Affinity designer pdf tutorial free download.Knowledge is power.
Affinity Photo set a new standard in the world of photo editing, in terms of quality and value, but Affinity Photo 2 will really blow you away. Your instructions are very welcome therefore.
Contune the manuals as possible, please. How refreshing to find a tutorial that is easy to follow with every step clearly explained rather than many that assume you know what they mean and inadvertantly leave out crucial basic steps that can throw you if you’re no sure of Affinity terminology. I like it. Appreciate the time taken to do these. It is also hard to find that particular step you’re looking for in a video tutorial when it’s so quick just to look back at the written instructions.
And then not all of us have consistent high speed internet available meaning we just can’t use the videos or have to wait while it loads and have to watch it at lower quality which isn’t as sharp and you can’t quite see what they’ve just clicked on. Thanks so much for these!
Good point about internet speed Impossible to watch tutorial vids, now everyone expects everyone to have a superfast connection but it’s jus not true for many people – and some live in or near big towns as well! I would love 11mbps, much of the month I’m at the mbps range. With our plan I get 15gb high speed per month, that sounds like a lot but its gotten so the internet eats the data so fast its gone in about 10 days, and that’s with very little watching youtube tutorials.
I’m thankful that some programs, like Affinity, lets you download their updates onto a flash drive from your download page and then do the update offline at home. But it seems like all tutorials assume that you have unlimited high speed internet.
A written Affinity Photo tutorial about making a fantasy map image from two textures from Pixabay. You can post now and register later. If you have an account, sign in now to post with your account. Note: Your post will require moderator approval before it will be visible. Paste as plain text instead. Only 75 emoji are allowed. Display as a link instead. Clear editor. Upload or insert images from URL. Please note there is currently a delay in replying to some post.
We’ll explain how to use the HSL color wheel in the next few paragraphs. As we were thinking about creating this book, this chapter on color theory was the most important part we wanted to teach. We divided this lesson into two parts. The first part will teach you the basics of Color Theory and the second will teach you some technical parts of each color format that we think you need to know so you can be a more educated designer.
If you ever get bored, you can simply turn the page : Part I – Color Theory In this lesson, we’ll teach you the basics of Color Theory as well as how to use the different Color Formats and their differing modes of color. Basically, Color Theory is how to use colors properly. We think it has four parts: I.
HSL Each color is made up of three parts: 1. Saturation: The degree of vibrancy of a Hue also called Tone. Lightness: How light or dark a Hue is Affinity calls this Luminosity. Saturation is made up of Tone middle line. Please take a look at the graphic below that we created for you.
We suggest you try your best to become completely familiar with this image and how the HSL color wheel works. As we said in the introduction, the color format is CMYK. So, the colors or more formally ‘Hues’ you see on the outside ring are made up of the three primaries: Cyan, Magenta, Yellow. The colors next to these are secondary and tertiary colors. So, let’s now look at this color wheel. The secondary color Red is selected. We know this because the white-circled node on the outside ring is where Red is located 1.
Now, we have the option of making the Red color less saturated 2 , darker 4 , or brighter 3, 5. We’ve listed these numbers also like this: 1. Hues – the outside ring. Saturation Tone – move inner node towards left side desaturates a Hue. Lightness – move inner node up or down lightens or darkens a Hue. Shade – move inner node towards black darkens a Hue. Tint – move inner node towards white lightens a Hue. Hue vs. Color A Hue is a color in its purest form. Look at this screenshot of the Color Sliders for Cyan.
A Color is a variance of a Hue. Look at this screenshot of a darker shade of Cyan. It is not Cyan, but a color close to Cyan. Notice its different color values see yellow rectangle.
Note: Practically speaking, everyone uses Color and not so much Hue. Knowing the difference is important, but not necessary to be a pro graphic designer.
The difference between these two is determined by the end-use of the creative process. This can be a confusing answer for beginners. To answer this is to think about what happens when the colors are combined together. RGB is considered an additive color process because it uses light as color and as you add more colors together, they get brighter and eventually combine to make white. This combination of light makes it possible to create approximately These different possible colors are called its ‘gamut’.
We’ll explain more about this in the next section. CMYK is considered a subtractive color process because it uses a physical material pigment or ink to create color.
When you add one pigment to another light is absorbed thus making the combined colors darker instead of brighter. Its gamut is about half the range as RGB.
The smaller gamut therefore produces less vibrant colors. Note: Notice how the RGB colors start on a black background. This is to mimic a computer’s screen. The CMYK colors start on a white background, to mimic paper. Question: Do you know why the last letter for this color format is K and not B for Black? When all three primary colors Cyan, Magenta, Yellow are combined, they don’t produce pure black, but an almost black or Key.
Therefore, a separate black color is needed to complete this gamut. Think of the cartridges in a color printer: It uses four color cartridges for Cyan, Magenta, Yellow and Black sometimes two black cartridges. Let’s now talk about the CMYK color wheel with its specific parts and how to arrange these parts and colors into useful color combinations.
The CMYK color wheel has three main parts: 1. There are three color groups: Primary, Secondary, Tertiary 2. Colors can be warm or cool. Primary colors are Hues or “pure” colors. Secondary colors are made from mixing two primary colors. These are Indigo, Green, Red. Tertiary colors are made from mixing one primary and one secondary color.
K or black is added to help the darkest combined colors go to black. The combination of all the colors does not create black. So, black is a needed addition to finish this color space’s gamut of colors. Note: The traditional color wheel we all learned in primary school has Red, Blue, and Yellow as its primary colors.
These wheels use different primary colors because they are specific to the type of media their colors will be seen on. If you accidently use a RGB color wheel for a print media document, the colors when you go to print them will not look as you see them on your screen and your client will not be a happy camper.
Color Schemes Knowing how to group colors to create aesthetically pleasing combinations is a skill you need to know how to utilize in order to be able to do your best work in Designer.
Some designers use the term ‘Color Harmony’ when talking about combining different colors in their works. This idea of harmony makes sense when you see colors that don’t belong together in a pattern.
It really is quite poor taste of colors. In this lesson, we’ll cover the six most-used color schemes using the CMYK color wheel as a guide. There are more, but these six are the ones we’ve seen used the most often. The six color schemes are: 1.
Monochromatic 2. Analogous Complimentary Triadic Double Complementary Tetradic Achromatic Note: Please do your own online study of the different color schemes and all of their meanings and usages. The more you study this subject matter the faster you’ll be able to master using these color schemes. There are more than these six we’ve covered.
Monochromatic color schemes are made up of a single Hue with varying tints, tones, or shades. This image here shows you the options you could use if you chose blue as the base color.
This color scheme is easy on the eyes and is popular among minimalists. Analogous color schemes are made up of three colors that are next to each other on a color wheel. This image below shows you one such combination of hues. This color scheme is often found in nature and is pleasing to the eyes.
It creates a serene and comfortable mood. We suggest you either use warm or cool analogous colors and not a combination of both.
For example, look at these three colors that you might see in a nice sunset. Complimentary color schemes are colors that opposite each other on the color wheel.
This combination creates a high level of contrast. Our favorite complimentary colors are Blue-Orange and Cyan-Magenta. We don’t usually use them at full saturation or full vibrancy because they would look too intense.
Because the pairing includes one warm and one cool color, the effect and be significant and provides a rich and eye-catching contrast. Triadic color schemes are three colors evenly spaced around a color wheel.
This scheme provides a high contrast look without being too strong like complimentary colors might be. Double Complementary color schemes are four colors made up of two sets of two complimentary colors. It allows you to create as much or as little contrast as you want.
We recommend you chose two base colors and use its complimentary color as accent colors. This scheme provides more variety than a complimentary color scheme by adding an additional pair of warm and cool colors. Achromatic color schemes lack color and instead use white, blacks, and greys.
The company Apple uses achromatic color schemes in their packaging. This color scheme is considered sophisticated and clean. This is the classic rule for creating balance. We recommend you give it a try when you create different works of art. This rule is one professional designers pay special attention to. Color Meaning Color has meaning and evokes emotional responses.
This is a established truth and needs to be understood. Here is a simple list of some of the different color and their meanings. Again, do yourself a favor and do your own internet search on this topic and you’ll see the research is vast and comprehensive.
Red: Passion, energy, danger, heat, anger, excitement, aggressive Green: Nature, calmness, peace, health, renewal, harmony Blue: Calm, relaxation, spirituality, trust, tranquil, soothing Cyan:Calmness, empathy, clarity, communication, compassion, stability Magenta: Free-spirit, kindness, warmth, welcoming, supportive Yellow:Energetic, vibrant, happy, warm, optimism Black:Death, power, mysterious, sophistication, formality, elegance Note: Take some time and think about some of your favorite brands and find out why they chose the colors they’re using as their logos and advertising materials.
Become a pro at using colors to maximize your effectiveness as a graphic designer. These values are represented by a numbered sequence.
This lesson will show you these values and why they are what they are. We hope this knowledge will help you be a better and more informed designer. Please do yourself a favor and go over this lesson multiple times.
We asked a friend of ours who doesn’t know anything about color, and she was a bit confused at first. She said she didn’t understand how a number could represent a color.
So, let’s take the first image below as an example. You can see this in the middle top right-hand corner of the image. Because it’s CMYK, each letter on the left side of the image corresponds to one of the letters. C is Cyan. M is Magenta. Y is Yellow. K is black. Each color, for example C or Cyan , is represented by a number from 0 to We understand this is confusing for new users, but we promise that as you begin to understand what’s going on inside each Color Format’s pop-out windows, you’ll see the logic of it.
Please contact us by email if you have any questions. We promise to answer you as fast as we can. Now that we’ve explained why this lesson may be confusing, let’s close our eyes and jump on in The Color Formats we’ll cover in this lesson are: 1. CMYK uses a code that looks like this: , 0, 0, 0.
Each number is a percentage see the below image for a reference. Simple, right? Notice how the in the C value box see yellow rectangle makes the Fill circle see the yellow arrow Cyan. Any adjustment of the value boxes will affect the Fill color. RGB uses a code that looks like this , 0, 0. This code represents Red. The value range is between These numbers are not percentages – just numbers.
The range of numbers from 0 to is based on a mathematical equation we’ll explain in a moment. Each pixel has three colors red, green, blue. Each color has a color depth of 8 bits. Because RGB is the color format for all digital screens, let’s start with a pixel and what it represents.
This image below is what a pixel on your screen might look like. Every pixel is made up of three possible colors. Each Channel is made up of 8 bits of color depth. Three Channels together is called a Pixel. Each Pixel is made up of 24 bits 3 Channels x 8 bits of color depth. Each bit is made up of one 0 and one 1 Binary code used in computers : This allows for 28 or color combinations per channel.
Each pixel has a specific RGB value ranging between zero is counted as a number. This is the same as if you count the 0 zero as a number. Did you understand all that? If not, please re-read it again and again until you do.
If you can grasp this, then you’re way ahead of where we were when we started. Now, let’s play around with these numbers Examples: a. Because if you add red and green light together, you get yellow. Now that we’ve discussed the RGB color format and you have a rough understanding of how it works with its value system, let’s now discuss its twin color format of RGB Hex. RGB Hex is the color format most professional graphic designers use and is why we created this entire chapter.
If you know how to use the RGB Hex code after reading this chapter, we know we’ve done our job. Experimenting with colors as we create new designs is a fun and rewarding experience. Why is this so special? Because it allows designers to use the exact color their clients want them to use because the Hex code in one country is the same in another.
This color is represented as a 6-digit code that looks like this: FF00FF. FF00FF is the code for Magenta. Ready to jump in? The Hex code is based on the RGB values between per each color. Each color or Channel is represented by two numbers, two letters or a combination of a number and a letter.
These are two zeros, not letters. The doesn’t mean anything. It’s just there to show you’re using a RGB Hex code. There’s a mathematical formula to figure out this code, which we’ll show you next.
Ready to learn something new? First, let’s look at the Legend and apply this knowledge to the equations below Legend: are their number values. But, we think it’s better to know how to do the math regardless of how easy it is to find already-made Hex code colors. We hope you feel the same. All we do is the opposite from above The Legend is the same, but the math is the opposite.
This is the color’s value. If you think you understand how these calculations work, then we are very happy for you because we think this knowledge will make you a much better designer than if you didn’t know these things.
We’ll work with these codes as we continue in this book so that you’ll gain more practical experience with them. The last color format we need to discuss is Pantone. Pantone colors are a set of standardized colors that allow designers, manufacturers, and printers to consistently use a specific color repeatedly with no chance of variance the world over i. It is similar to RGB Hex, but more precise as there are no blending of colors.
You can find the different Pantone’s in the Swatches Panel by clicking on the Swatches tab and then clicking on the pop-out window see yellow rectangle for the different Pantone options. Note: Pantones are a patented process, so educate yourself before you use them too widely. While it is free to use these colors in Designer, if you use them professionally, we highly recommend you contact their corporate headquarters first.
But we encourage you to expand your knowledge on these color formats. Not to sound cheesy, but knowledge truly is power. This ends this extra lesson on the Color Theory, Modes, and Codes. The resource we use the most is DaFont. Having a huge repertoire of great Fonts ready-to-use in the Designer program is a very beneficial thing. We think for new users, this is the most important thing to learn when first starting out. Ready to add a new Font to Designer? Click on Download on the next screen.
Note: dafont. This is important because many Fonts on this website are free for personal use, but not for commercial use.
Optional Use the Mode option to set the mode in which the grid will operate. Drag a corner handle on the grid. Use the to snap a grid handle to vertical or horizontal. With Snapping enabled, the grid handles will snap to any page edge. About layers Layers allow you to edit and design using a non-destructive methodology.
This gives you maximum flexibility for your photographic projects. What are layers? You can think of layers as being like sheets of paper that are stacked one on top of the other. Transparent areas of a layer reveal the layer below, while opaque parts of a layer obscure the layers below.
All layer management is carried out from the Layers panel. A layer at the top of the panel is at the front of your document and vice versa. The effect of layer order on a document. Create layers Empty layers can be created in the Layers panel or from the Layer menu. Layers are created above the currently selected layer. Once created, layers can be renamed for easy identification.
If you copy a layer group, all layers within the group will be duplicated. This operation can also be performed between documents. In Separated mode only, you can also drag layers between documents from window to window. By default, the Assistant will create a new layer to accommodate your paint strokes. To change a layer name: Click the layer’s label and type a new name. Layer opacity A layer’s opacity determines how see through a layer is and how much of the layer beneath is obscured or revealed.
Before and after opacity reduced. Numerical keys can be used to quickly set the opacity of selected layers. Different levels of opacity can also be applied to brush strokes, filter effects and the fills of vector content. From the Layers panel, select one or more layers.
Use the Opacity control to set an opacity value. To quickly select an opacity value, drag left or right over the panel’s Opacity label. To use opacity quick keys: 1. Select a single layer or multiple layers. Press a numerical key, or two numerical keys in quick succession, to set the opacity. Layer blending A layer’s blend mode determines how the layer’s pixels or contents blend with the pixels on the layer beneath.
Blend mode types Affinity Photo supports an impressive selection of different blend modes. The top pixels display over underlying pixels according to the level of top layer opacity. Any layer can have a blend mode assigned. The default blend mode is ‘Normal’—no special compositing is applied.
For a layer group, the default is ‘Passthrough’ i. The same blend modes can be utilized on layer effects and brushes. To change the blend mode of a layer: 1. On the Layers panel, select a layer. Choose a blend mode from the pop-up menu on the panel.
Layer blend ranges Blend ranges specify the range of colors on a current layer which are blended with the underlying layer s. About blend ranges Blend ranges allow you to specify how tonal values of a layer blend with the layer s below. You can set the range of the tonal values affected and can set the range to have any level of opacity from opaque to transparent. Before and after blend range applied.
The blend range of the selected layer and the underlaying layer s is controlled in the Blend Ranges dialog. You can change the blend range for individual color channels within the dialog. About blend gamma and antialiasing RGB documents only The Blend Ranges dialog allows you to adjust the blend gamma of the selected layer. This gives you the option of designing using a linear-RGB color space 1.
In other words, it gives you full control over how the tones of semi- transparent or antialiased edged objects interact with colors underneath. Blue rectangle using regular sRGB-blending 2. By default, text layers are set to a gamma of 1. These default settings can be changed in Preferences Tools options. Antialiasing is the reduction of the jagged appearance of lines on a pixel grid. Antialiasing is achieved by the addition of semi-transparent pixels along the line to smooth the transition from the line’s edge to background objects.
This area of transition is sometimes referred to as the antialiasing ramp or antialiasing coverage. In the Blend Ranges dialog, you can adjust the antialiasing ramp coverage of the selected layer. Antialiased line with linear coverage map before and custom coverage map after. Type directly in the text box or drag the pop-up slider to set the value.
If this option is off, nodes are connected using smooth curves. To change blend ranges: 1. On the Layers panel, select a layer and then click Blend Ranges. Adjust the settings in the dialog. Close the dialog. To modify the antialiasing ramp: 1. Click the Coverage Map thumbnail. From the displayed chart, select a node on the profile’s line and drag it vertically or horizontally to a new position.
Repeat for other nodes as needed. For more complex profiles, click on the profile line to add a node which can be positioned as for any generated node. To remove antialiasing, set a straight, horizontal profile line at the top of the chart. To reset antialiasing ramp to linear: 1. From the displayed chart’s pop-up dialog, click Reset.
The profile shows under the chart. To apply a custom coverage map profile: 1. Select a custom profile thumbnail from below the chart.
The chart will update, showing the chosen profile. Using adjustment layers Adjustment layers allow you to make non-destructive corrections and enhancements to your photo project or individual layers. Before and after a Recolor adjustment layer was applied.
About adjustment layers The Adjustment and Layers panels provide a range of adjustments you can apply to your photo or design. Once selected, an adjustment layer is added to the Layers panel. There may be times that you only want to apply an adjustment layer to either a single layer or a group of layers.
This is easily achieved by clipping. Adjustment layers also have mask layer properties. Areas of an adjustment layer can be revealed or hidden in the same way as with a mask layer. If you have a pixel selection in place when you add an adjustment layer, the area selected is automatically masked. To apply an adjustment from the Layers panel: 1. Click Adjustments and select an adjustment from the pop-up menu. If a dialog appears for the adjustment, follow the steps below: i.
Close the dialog to apply. The adjustment is added directly above the selected layer. To modify, merge or delete an adjustment layer: 1. On the Layers panel, double-click the adjustment layer that you want to modify. Close the dialog to apply the changes, Merge to apply the changes and merge the adjustment with the layer beneath, or Delete to remove entirely. To mask an adjustment layer: 1. On the Layers panel, select the Adjustment layer. Do any of the following: o To ‘erase’ from the mask, paint with the Erase Brush Tool.
Adjust the gradient colors from the context toolbar. Using Live Filters Live Filters allow you to apply filter effects such as blurring, sharpening, noise and distortion non- destructively, meaning you can modify or remove the effects without having to use the History panel to undo other operations on your work.
About live filters Live filters provide a way of applying creative effects to your images whilst retaining the ability to modify the effect settings or remove the effect altogether. The filter is added to the active layer, similar to applying Adjustment Layers. If you have a pixel selection in place when you add a live filter, the area is automatically masked. To modify, merge or delete a live filter: 1. On the Layers panel, double-click the live filter that you want to modify.
Adjust the settings in the dialog; the changes will be applied in real time. Close the dialog to apply the changes, Merge to apply the changes and merge the adjustment with the layer beneath, or Delete to remove the filter layer entirely. To mask a live filter: 1. On the Layers panel, select the live filter. Blur filters. Gaussian Blur The Gaussian Blur filter is used to reduce image noise or detail by creating a pleasing, smooth blur using a weighted average.
Gaussian blur added to the water. About the Gaussian Blur filter This filter can be applied as a non-destructive, live filter.
Type directly in the text box or drag the slider to set the value. Box Blur The Box Blur filter blurs an image based on the average color of neighboring pixels. At high radius levels, this results in an obvious ‘box’ effect. At lower radius levels, it results in an effect similar to Gaussian Blur. About the Box Blur filter This filter can be applied as a non-destructive, live filter.
Median Blur The Median Blur filter broadens color regions in the image. At much higher intensities it introduces flat areas of color. Median Blur on a photograph. About the Median Blur filter This filter can be applied as a non-destructive, live filter. At high levels it creates large, flat areas of color. Bilateral Blur The Bilateral Blur filter blurs an image while retaining areas of high contrast.
As these contrast changes most commonly occur at edges, it makes the filter very useful both for noise reduction and for creating interesting stylistic effects. About the Bilateral Blur filter This filter can be applied as a non-destructive, live filter. At larger tolerance values, pixels with greater tonal differences will be included within the blur. Motion Blur The Motion Blur filter blurs in a specified direction to give the impression of movement. This gives an effect similar to panning with a camera at slower shutter speeds.
Motion Blur can add the impression of speed or movement to images. About the Motion Blur filter This filter can be applied as a non-destructive, live filter. Drag the dial to set the value. Lens Blur The Lens Blur filter mimics the blur applied to a photo when a wide aperture is used to achieve a narrow depth of field. It can be used to improve the composition of a photo by applying a shallow depth of field to blur unwanted background.
Unlike the Gaussian Blur filter, the Lens Blur filter recreates the the bokeh effects generated with a real camera lens. About the Lens Blur filter This filter can be applied as a non-destructive, live filter. The shape of the iris affects the shape of the specular highlights bokeh. The most noticeable bokeh shapes are created using a low blade curvature and fewer aperture blades.
To mimic the effects of your own lenses, be sure to match the number of aperture blades. Depth Of Field Blur filter The Depth Of Field Blur filter applies a blur gradient that can be used to simulate extreme depth of field and miniaturization effects, such as tilt shift. Using the Tilt-Shift mode to produce a miniature model effect. About the Depth of Field Blur filter This filter can be applied as a non-destructive, live filter. Modifying the applied blur gradient The gradient stops determine the position and extent of the transition between the areas in sharp focus and those that are blurred.
The focus origin A defines the central point at which the image is kept completely in focus. Reposition the focus origin by dragging on the stop. The inner lines B define the width of the area in focus. For the Tilt Shift mode these can be set independently by dragging each of the stops in turn, or, symmetrically by dragging one of the stops while holding the.
The Elliptical mode always matches the shape of the inner lines to the outer lines so that only the width can be specified. The outer lines C define the end of the blur transition. For the Tilt Shift mode, these can be set independently by dragging each of the stops in turn, or, symmetrically by dragging one of the stops while holding the. The Elliptical mode always sets the stops in pairs.
The transition areas D between the inner and outer lines are where the blurring gradually increases. The wider the lines, the more gradual the transition. The area on the outside of the lines has the filter applied at the full amount set by the Radius slider. The angle of the filter can be changed by dragging the stops at an angle.
Once the desired angle is achieved, holding the will temporarily lock the angle to allow for further adjustment of the width of the adjustment. When using the tilt shift effect to “miniaturize” a scene, you will get the best effect if you choose your images carefully. Models are generally viewed from above, so the tilt shift effect will work best on images taken with an elevated viewpoint and a wide angle of view.
Buildings, roads, traffic and railways make excellent subjects. Field Blur filter The Field Blur filter lets you control blurring at specific areas of your image. About the Field Blur filter Against a uniformly blurred image, one or more selection handles can be added, positioned and edited to control the extent of blurring at that handle position, i.
Multiple areas of focus can therefore be created. Handles are independent of each other and can be repositioned and edited individually. This filter can be applied as a non-destructive, live filter. Decreasing the value brings the image under the handle increasingly into focus.
A selected handle shows as a double ring, as opposed to a single ring deselected. Diffuse Glow Diffuse Glow broadens highlights in the active layer or selection by brightening gradually outward from existing highlights, producing a soft halo effect. This creates a romantic, almost dreamy effect, similar to that of photographing an image through a soft diffusion filter. Using diffuse glow to add intensity and softness to the highlights of an image.
About the Diffuse Glow filter This filter can be applied as a non-destructive, live filter. As the tolerance decreases, the effect spreads to areas that were darker to begin with. Sharpen filters. Clarity The Clarity filter enhances the local contrast in an image. Its greatest influence is in the mid-tonal range. This results in a sharpening effect. Using the Clarity filter to accentuate the outline and details of the image’s subject.
About the Clarity filter In Photo Persona, this filter can be applied as a non-destructive, live filter. In Develop Persona, this filter is available on the Basic panel Enhance. Setting the value via a text box is not available in Develop Persona.
Unsharp Mask In spite of its misleading name, the Unsharp Mask filter is a flexible and powerful way to increase apparent sharpness in an image. Unsharp Mask can be used to add punch to an image, or to help sharpen soft images. About the Unsharp Mask filter This filter can be applied as a non-destructive, live filter.
A smaller radius enhances smaller scale detail. Use higher values for grainy images or skin tones. The Unsharp Mask filter affects the whole image or selection. High Pass The High Pass filter retains details where sharp color transitions occur, generally at the edges, and suppresses the rest of the image. High Pass filter applied with an Overlay blend mode for sharpening.
About the High Pass filter When a High Pass filter is applied at a high radius value to a duplicate layer and combined with a contrast blend mode such as overlay, soft light or hard light , it can be used as a useful sharpening technique.
At higher radius values, only edge pixels are kept. Distort filters. Ripple The Ripple filter adds a watery, undulating pattern, like ripples on the surface of a pond. The Ripple filter used to achieve a unique effect. About the Ripple filter This filter can be applied as a non-destructive, live filter. Drag on the image to set the origin. Twirl The Twirl filter applies a clockwise or counter-clockwise distortion effect to images. The Twirl filter applied to a fireworks photograph.
About the Twirl filter This filter can be applied as a non-destructive, live filter. Negative values give a counter-clockwise effect, positive values give a clockwise effect. Spherical The Spherical filter gives objects the appearance of being wrapped around a spherical shape, distorting the image and stretching it to fit the curve. Sharks have good days too! About the Spherical filter This filter can be applied as a non-destructive, live filter.
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Presents information on the fundamentals of graphic design and color theory, providing tips on ways to talk to clients about color and how to use color in presentations. From the meanings behind colors to working with color in presentations, Color Design Workbook provides you with the information needed to effectively apply color to design work. Since color is such an important part of graphic design, designers need the most up-to-date, as well as the most fundamental, information on the subject to have the tools needed to use color effectively.
The Color Design Workbook, New, Revised Edition explains the meanings behind colors, working with color in presentations, and loads more. This guide book provides you with the vital information needed to creatively and effectively apply color to your own design work. You will also receive guidance on talking with clients about color and selling color ideas, and you’ll also learn the science behind color theory.
Case studies are included to show the effects some color choices had on both their clients and consumers. So why wait any longer? Become a color expert now! This workbook will guide you in a step-by-step manner teaching you the first 10 skills all new users need to know how to use. We hope you enjoy this practical guide to getting a great start with Affinity Designer. It is part of the “Affinity trinity” alongside Affinity Photo and the yet-to-be-released Affinity Publisher.
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Master Affinity Apps with Official Tutorials and Resources
Какие вообще у них есть доказательства, что Танкадо действительно создал «Цифровую крепость». Только его собственные утверждения в электронных посланиях.
И конечно… «ТРАНСТЕКСТ». Компьютер висел уже почти двадцать часов. Она, разумеется, знала, что были и другие программы, над которыми он работал так долго, программы, создать которые было куда легче, чем нераскрываемый алгоритм.
(PDF) Libro Affinity Photo Manual | Ivan Meza –
› en-gb › learn. Watch tutorial and quick tip videos for the fastest, smoothest and most precise creative software. Affinity Photo for iPad keyboard shortcuts (PDF).