{"version":"https:\/\/jsonfeed.org\/version\/1","title":"Affinity Spotlight","description":"Creative inspiration, learning resources and Affinity news for photographers, illustrators and designers. Created by the award-winning makers of Affinity apps, Affinity Designer and Affinity Photo.","home_page_url":"https:\/\/affinityspotlight.com","feed_url":"https:\/\/affinityspotlight.com\/articles\/json\/","items":[{"id":"https:\/\/affinityspotlight.com\/article\/create-and-export-variations-of-a-document-with-ease-using-affinitys-layer-states\/","url":"https:\/\/affinityspotlight.com\/article\/create-and-export-variations-of-a-document-with-ease-using-affinitys-layer-states\/","title":"Create and export variations of a document with ease using Affinity\u2019s layer states\n","content_html":"
The latter type of layer state is called a query. Queries can identify layers that match any combination of layer tag, type, name and lock status.<\/p>
You could use a query to instantly hide all layers tagged red to ensure they\u2019re excluded from output. Or, you might use a query to toggle the visibility of all adjustments and live filters for an instant before-and-after comparison.<\/p>
Queries can select objects too. If you create document templates, you might use a query to select all image layers you\u2019ve tagged grey to indicate they should be removed before distribution, for example, and then delete them all with a key press.<\/p>
These are just a few example applications. There are other ways you can use queries to improve your workflow.<\/p>
Here, we\u2019ll explore how you can use them to build and output multiple deliverables from a single Affinity document, helping to smooth the process of working through clients\u2019 revisions.<\/p>
Queries are created and managed on the States Panel, which is available via the Window menu.<\/p> This query uses a regular expression to find layers that end with a specific word.
At any time, you can show, hide or select all layers that match a query\u2019s criteria with a single click.<\/p>
The States panel is also where you manage captured states. A captured state affects only layers that existed when it was created. A query affects all layers, including those added after the query was created.<\/p>
We\u2019ll demonstrate queries using this 23-page golf course brochure in Affinity Publisher, but note that the feature is available in Affinity Designer and Affinity Photo too.<\/p> All the pages of our brochure's initial design.
Our client has approved the design and commissioned the following deliverables:<\/p> English versions for each of its three golf courses, with some text and images being course-specific. Translations in French, German, Spanish and Japanese.
Ordinarily, you might create a separate Affinity document for each deliverable. However, even if good practice is followed\u2014using Affinity features such as text styles and global colours\u2014certain types of change would have to be repeated in all the documents.<\/p> Our brochure's cover, exported for multiple golf courses and languages.
Alternatively, we can create all brochure variations in one Affinity document, follow a consistent layer naming convention, and use queries to quickly switch to any variation of the document. Revisions to common design elements then only have to be performed once.<\/p>
Here\u2019s the layer stack for the first pair of facing pages in our initial document.<\/p> Pages 2 and 3 of our brochure, and their layer stack when the brochure is for a single golf course.
On this spread, the layers that will differ between deliverables are:<\/p> The course description The largest photo The driving range and restaurant photos at the lower right.
Everything else on the spread is the same for all deliverables.<\/p> The spread's reorganised layer stack after adding image and text layers for multiple golf courses.
Here\u2019s how the layer stack looks after adding content for all three courses. For each course-specific design element, we have:<\/p> Duplicated its layer, so there\u2019s a copy for each golf course. Replaced each new layer\u2019s content with course-specific text or imagery. Named each of these layers after its related course. Grouped layers by design element so the document is easy to navigate.
Next, we\u2019ve created one query for each golf course. As long as Scope at the bottom of the States Panel is set appropriately, we can switch between course variations of the document in just three clicks!<\/p> Each of the three queries we've created matches layers solely by layer name.
The queries are almost identical. They all ignore layer tags, types and lock status. For our purpose, we only need to inspect layer names, so each query\u2019s layer name criterion contains a different course name.<\/p>
You may be wondering why we\u2019ve typed additional characters\u2013(?i)\u2014in front of the course names in the queries.<\/p>
They relate to the Regular expressions setting, which we\u2019ve enabled. When the setting is disabled, Affinity considers a layer\u2019s name to be a match if it is literally what you\u2019ve typed in the box.<\/p>
Regular expressions allow Affinity to match layer names to a pattern, i.e. a specification.<\/p> Tip:
More information about using regular expressions in Affinity, including additional examples, is available at affinity.help<\/a>.<\/p> The additional characters we\u2019ve included tell Affinity to ignore the case of letters. So, it won\u2019t matter if we\u2019ve mistyped a layer name all in lower case\u2014for example, description shetland<\/i>\u2014or starting with two upper-case letters\u2014MAplewood<\/i>), say.<\/p> Care is still needed to avoid outright misspellings, though.<\/p> Having set up all three queries, we can click Hide\u2014the struckthrough eye\u2014on two of them and Show\u2014the open eye\u2014on the other to view a different course\u2019s layers.<\/p> Each query has Hide and Show buttons, as highlighted here, that set the visibility of matching layers. With the groundwork laid, the earlier work of adding and organising layers for each golf course needs to be repeated for the document\u2019s other pages.<\/p> While doing so, we ran into a problem on the brochure\u2019s back page. It contains a location line with all three golf course names, which has been automatically named using the start of the text.<\/p> The selected layer would be unintentionally affected by our queries. Currently, our queries can cause this layer to be unintentionally hidden.<\/p> One way to deal with this is to manually name the problematic layer, e.g. Location Line. That would work but isn\u2019t a scalable solution for documents that contain many auto-named text layers. It\u2019s better to make a small change to the naming of layers we want to affect.<\/p> So, course names are now preceded by a hyphen, and we\u2019ve updated our queries accordingly. This character sequence is unlikely to occur in auto-generated layer names.<\/p> Consider possibilities like this when devising your own naming convention.<\/p> We've revised layer names and updated our queries to be more precise, excluding unintentional matches. We can continue with this approach to handle the client\u2019s request for brochures in additional languages.<\/p> Much like we did for each golf course, we\u2019ve created duplicates of this spread\u2019s text and image layers.<\/p> Where your design allows for it, grouping layers can reduce the number of layers that need to be named to work with queries. For each language, we\u2019ve appended a hyphen and a short country code to each layer group\u2019s name, e.g. -FR for French layers and -JA for Japanese.<\/p> Here\u2019s the query we\u2019ve created to toggle French text layers.<\/p> Each of our language-related queries is very similar to the one shown above. The dollar sign at the end of our regular expression tells Affinity to match layer names that end with the specified pattern. Layer names that coincidentally contain the same characters\u2014in an earlier hyphenated word, for example\u2014will be ignored.<\/p> We\u2019ve repeated this for all pages and created a query for each language. Toggling between document variations requires a few more clicks than before in order to show content for only one golf course and one language.<\/p> Even so, the organisational work we\u2019ve done will make revision rounds from the client easier to handle.<\/p> Bear in mind that we\u2019ve shown just one scenario for using layer states. The feature can help out in many other ways. These tutorials cover some use cases in Affinity Photo and Designer.<\/p> Please turn on JavaScript to view this video Learn how to toggle layer visibility using manually created layer states and queries, which allow you to filter layers by colour tag, type, name and more in Affinity Photo. Please turn on JavaScript to view this video Discover how you can use layer states to select, show and hide layers based on criteria such as layer type and name, including the use of Regular Expressions for more advanced filtering in Affinity Designer. It\u2019s also worth noting that we\u2019re working on further improvements to layer states to make the feature even better.<\/p> ","summary":"Discover how layer states can reduce the work that's required to create and export variations of a document. The feature is available in Affinity desktop apps, starting with Version 2.4.","image":"https:\/\/affinityspotlight.com\/assets\/content\/z3l\/kbg\/vt6\/image-7c64ecafeb02a5282609dc0cf644cd24--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/z3l\/kbg\/vt6\/image-7c64ecafeb02a5282609dc0cf644cd24--hero-xl@2x.jpg","date_published":"2024-03-12T07:00:00+00:00","author":{"name":"Alan Stonebridge","url":"https:\/\/affinityspotlight.com\/articles\/author\/alan-stonebridge\/"},"tags":["page layout","Affinity Pubilsher","layer states"]},{"id":"https:\/\/affinityspotlight.com\/article\/interview-with-childrens-illustrator-laura-mocelin\/","url":"https:\/\/affinityspotlight.com\/article\/interview-with-childrens-illustrator-laura-mocelin\/","title":"Children\u2019s illustrator Laura Mocelin: \u2018touching hearts is my main objective\u2019\n","content_html":" Could you tell us a bit about yourself? I am an illustrator and layout designer based in southern Brazil who specialises in children\u2019s books. I graduated in Architecture and Urbanism in 2019, and after my graduation, I had the privilege of being able to choose to pursue the arts. I started illustrating small works on freelance websites, and it was there that the first opportunity to illustrate a children\u2019s book arose. That was when I discovered that this was what I would like to do. The first book I illustrated is titled \u201cOnde nascem as nuvens.\u201d It was written by Camila Oleski and I am proud to say that it was in this book that I started illustrating and diagramming, learning through my mistakes. Since then, I have illustrated more than 90 children\u2019s books between independent publications and publishers.<\/p> Have you always liked to draw? Yes, drawing has always been my passion. I know it\u2019s clich\u00e9, but I\u2019ve been drawing since I was little and I draw everything I see. As a kid, I would sit on a stool anywhere and draw from life or what I was feeling. This grew with me, and even in college, I chose projects where I could draw something, even if it was just a corner on a sheet of paper. I loved it\u2014I really did. It seems like art was my best friend\u2014it still is.<\/p> \u201cDrawing has always been my passion. I know it\u2019s clich\u00e9, but I\u2019ve been drawing since I was little and I draw everything I see. \u201d<\/p> How are you usually approached for commissions? The main way is through referrals. I use social networks to showcase my work and I also have clients who find me through them, but the recommendations are more concrete. I currently work as a freelancer, working with publishers and independent writers, too\u2014some of them on a regular basis.<\/p> What are the key things to keep in mind when illustrating a children\u2019s book? The main aspect of all is to show through drawing what the book needs to appeal to young readers. This makes the illustrator understand what the writer needs to pass forward through that story. You need to make children connect with the characters, with the atmosphere of the book, with the colours\u2026 The main objective is to touch hearts. The technique and tricks of illustration come from practising, but bringing feeling to them takes a complete understanding of the story and subject matter and why the illustrations are needed in the first place.<\/p> \u201cI feel the need to understand what the writer thought when they wrote the story\u2014what type of characters they thought of, what they felt and why they wrote it.\u201d<\/p> Talk us through your process for illustrating a children\u2019s book. Children\u2019s books are built by different parties and people, that\u2019s why I start the process with a lot of conversation with the authors\/publishers. I feel the need to understand what the writer thought when they wrote the story\u2014what type of characters they thought of, what they felt and why they wrote it. This is the first stage of working on a book\u2014a lot of conversation to understand the story. This is where a lot of research also comes in. I\u2019ve illustrated books where I had to research a lot about the topic because I had little understanding, and that made me learn a lot so I could later convey what I needed for the story. After the conversation, I begin studying the characters and base colours for the book. At every stage, I show the partial files to the writers for approval, so we can move forward together.<\/p> After studying, I do sketches and basic layouts. This is where I develop the dynamics of the book\u2014the perspectives I will use, the main elements and the spacing for the text. I like to do foreground and background studies to show the writer\/editor what I have in the foreground in the illustration. This helps with understanding each scene. Once approved, I move on to finalising the colours and files for printing at print shops\/sending them to the publisher.<\/p> How do you use Affinity apps in your workflow? When I started illustrating children\u2019s books five years ago, the first program I used was Affinity. During the creation process, Affinity applications move with me from the character study process to finalising the files for printing. I basically use Affinity Photo and Affinity Publisher almost simultaneously.<\/p> \u201cI love how easy it is to work with Affinity. In the draft phase of producing a book, I really like how I can use Photo and Publisher together\u2014it makes the development process a lot easier, and I can visualise the book as a whole\u2014text and illustration.\u201d<\/p> What do you like most about working in Affinity? I love how easy it is to work with Affinity. In the draft phase of producing a book, I really like how I can use Photo and Publisher together\u2014it makes the development process a lot easier, and I can visualise the book as a whole\u2014text and illustration. What stands out for me is the speed and ease of working with the programs, making it simple, almost natural. Artists need this facility to be able to create.<\/p> What does a typical working day look like for you? We can\u2019t always follow a rhythm, as creativity is like a roller coaster, so I enjoy it a lot when it\u2019s at the top. I like to have my breakfast and come to the office to follow my to-do list\u2014yes, I still have those lists written by hand and they save me. Then, I organise what I\u2019m going to work on\u2014sometimes I work on more than two books simultaneously, so I divide my day based on that. I like working at night, too\u2014that\u2019s when I\u2019m the most productive.<\/p> You\u2019ve recently written and illustrated your own children\u2019s book in Affinity. Can you tell us more about it and what inspired you to create this story? I wrote this story for my godson, who simply loves chickens and everything that involves this theme! And I think it\u2019s so beautiful that he feels things deeply\u2014it reminds me of when I was a child and how I felt everything in a huge way. I made this book so that he can always remember to allow himself to feel, because adults sometimes forget that. Furthermore, the theme of the book is also encouraging reading and friendship, topics that are extremely necessary for me. And the feeling of seeing the book arriving at my house was crazy! Haha, I was really moved because I had never imagined I could write and illustrate an entire story. I think a few years ago I didn\u2019t even know where to start. I still get emotional.<\/p> Are there any book projects that stand out as your favourites? All the stories I illustrate are unique, and I don\u2019t just say that out loud. Unique because I research and study a lot about creating elements and characters, choosing colours and page dynamics. But one story in particular made me learn a lot: The Memory Keepers, written by Sarah Allison and published by B+A Stories.<\/p> This story talks about Alzheimer\u2019s from the writer\u2019s real experience, which is why we have real characters and illustrations of real photos in the book.<\/p> I started the illustration process with a lot of research on the topic, as I also needed to learn so I could teach children through my illustrations. And in the middle of the process, I remembered that as a child I had contact with a neighbour who had Alzheimer\u2019s, and this had a huge impact on me and brought back many memories. I remember that I didn\u2019t really understand what was happening to her, so I thought that if I had a book like this, that explained in a playful way what this disease was and how to deal with it, it would have been easier and I would have learned more. I worked all of this into the colours too. It was a very special and challenging process.<\/p> The Memory Keepers Can you tell us what projects you are working on right now? I\u2019m currently working on four children\u2019s books by national and international independent writers and I also work as creative director at a local magazine in my city.<\/p> Lastly, what advice would you offer someone just starting out as a children\u2019s illustrator? To continue. Sometimes it\u2019s difficult to keep this in mind, especially as an artist, as we open our hearts to people through our work. But practising is the most incredible path you can try. Always moving forward, challenging yourself, testing new things, producing. Everything takes time, but it\u2019s worth it. We don\u2019t need to be good at everything, we need to find something that makes us happy.<\/p> You can check out Laura\u2019s portfolio at lauramocelin.com<\/a> and follow her work on Instagram @lauramocelinart<\/a>.<\/p> ","summary":"Talented children's illustrator Laura Mocelin has illustrated over 90 books using Affinity Photo and Publisher. We chat with her about her process, what a typical working day is like, and more.","image":"https:\/\/affinityspotlight.com\/assets\/content\/85l\/sbx\/wb0\/image-ee47a929b2cbd5f36b18759f49bf118a--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/85l\/sbx\/wb0\/image-ee47a929b2cbd5f36b18759f49bf118a--hero-xl@2x.jpg","date_published":"2024-03-12T07:00:00+00:00","author":{"name":"Melanie Khareghat","url":"https:\/\/affinityspotlight.com\/articles\/author\/melanie-khareghat\/"},"tags":["Affinity Photo","illustration","Affinity Publisher","children s book illustration","Laura Mocelin"]},{"id":"https:\/\/affinityspotlight.com\/article\/how-to-produce-high-dynamic-range-on-screen-graphics-in-affinity-photo\/","url":"https:\/\/affinityspotlight.com\/article\/how-to-produce-high-dynamic-range-on-screen-graphics-in-affinity-photo\/","title":"How to produce high dynamic range on-screen graphics in Affinity Photo\n","content_html":" The addition of 32-bit HDR PNG 3rd Edition to existing True HDR support for Mac and Windows means Affinity Photo meets all the key requirements for high dynamic range on-screen graphics for professional workflows such as broadcasting and visual effects\u2014making Affinity the first design software package to deliver this capability!<\/p> In 2023, the PNG specification was updated to include support for HDR imagery via additional \u201cchunks\u201d of metadata, allowing PNG files to be used as a robust and lossless interchange format for high dynamic range image content. The specification also includes graceful fallbacks should the files be opened in software that does not recognise these new \u201cchunks\u201d.<\/p> Although there are a handful of other formats that support HDR encoding, none of them quite tick all the boxes for professional workflows such as broadcast and visual effects.<\/p> JPEG-XL, whilst mature, is not widely adopted, and the popular web browser Chrome deprecated its support last year. Although it does have lossless encoding, most software will default to its lossy implementation, meaning it is not foolproof for an environment where lossless delivery is required. AVIF, HEIF and WebP, similar to JPEG-XL, are regarded more as lossy end-user delivery formats. OpenEXR and Radiance HDR, whilst flexible and popular with VFX software, require a colour management solution such as OpenColorIO, which may be regarded as non-user-friendly.<\/p> When it comes to colour management, the PNG Third Edition specification proposes a new cICP (colour independent code points) \u201cchunk\u201d that signals the HDR transfer function and colour space encoding. This ensures these two crucial aspects of the image encoding are unambiguous, and therefore the rendering between different decoders and encoders should remain consistent.<\/p> Affinity Photo\u2014and by extension, Designer and Publisher\u2014now support HDR encoding for the PNG format. Images can be encoded with both PQ (perceptual quantiser) and HLG (hybrid log gamma) transfer functions, along with a typical BT.2020 colour space. Standard dynamic range colour spaces and transfer functions (e.g. Rec.709) are also available, enabling this more robust colour management to be used for SDR imagery as well.<\/p> Please turn on JavaScript to view this video See how to work with cICP PNGs in Affinity Photo The tutorial video, which can be watched in HDR if you have a supported web browser and display, covers how to export to this new variant of PNG, and then looks at interchanging with NLE (non-linear editor) software. Finally, it also covers how to develop a single RAW file directly to 32-bit HDR and then export to HDR PNG\u2014ideal for VFX compositing workflows.<\/p> Visit our YouTube channel<\/a> for more video tutorials from our product experts, or check out the wealth of learning articles here<\/a> on Affinity Spotlight.<\/p> Don\u2019t own Affinity Photo? To learn more about our award-winning photo editing software or sign up for a free trial, go to affinity.serif.com\/photo\/trial<\/a>.<\/p> For our latest product news, discounts and learning resources and to see inspirational work created in Affinity, follow us on our socials: Facebook<\/a> | X (Twitter)<\/a> | Threads<\/a> | Instagram<\/a> | TikTok<\/a><\/p> ","summary":"Learn how to work with cICP PNGs for professional workflows such as broadcasting and visual effects.","image":"https:\/\/affinityspotlight.com\/assets\/content\/6wj\/zjn\/vzb\/image-eaf05af6f7f2132c21be6a1f30ab9cdc--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/6wj\/zjn\/vzb\/image-eaf05af6f7f2132c21be6a1f30ab9cdc--hero-xl@2x.jpg","date_published":"2024-03-01T08:00:00+00:00","author":{"name":"James Ritson","url":"https:\/\/affinityspotlight.com\/articles\/author\/james-ritson\/"},"tags":["Affinity Photo","32 bit","Affinity 2 4","HDR PNG"]},{"id":"https:\/\/affinityspotlight.com\/article\/affinity-24-introduces-support-for-over-50-new-cameras-and-32-bit-hdr\/","url":"https:\/\/affinityspotlight.com\/article\/affinity-24-introduces-support-for-over-50-new-cameras-and-32-bit-hdr\/","title":"Affinity 2.4 introduces support for over 50 new cameras and 32-bit HDR\n","content_html":" We are thrilled to announce the rollout of Version 2.4, our fourth major free update to Affinity Photo, Designer and Publisher, which brings support for new camera models from Sony, Panasonic and Nikon, among others, including:<\/p> Panasonic\u2013G9 mk2, GH6 Sony\u2013A7C 2, A7CR, A7R V, A9 III Nikon\u2013Z8, Z30, Zf Apple iPhone 13, 14, 15 Photographers using RAW will also notice a best-ever performance from the SerifLabs RAW processing engine, as well as a host of other time-saving tweaks and additions.<\/p> And in a world-first, the addition of 32-bit HDR PNG 3rd Edition to existing True HDR support for Mac and Windows, means Affinity Photo meets all the key requirements for high dynamic range on-screen graphics\u2014a measure implemented following consultation with leading sports broadcasters in North America. It also enables users to export images for HDR display in Google Chrome, with other browsers expected to follow.<\/p> High dynamic range support for sports graphics in Affinity Photo 2.4 There\u2019s also good news for architects and other designers, as Affinity Designer now supports both DWG and DXF export. This means outlines created in Affinity can now be easily exported for use in various CAD applications, making it easier than ever to incorporate Affinity into a professional workflow.<\/p> And the States Panel is an exciting addition to Affinity Designer and Affinity Publisher. It\u2019s particularly useful for managing different variations of a project or campaign because it eliminates the time-consuming need to toggle layer visibility individually when switching between artboards in Designer or spreads in Publisher.<\/p> Serif CEO Ashley Hewson says: \u201cThese updates underline our commitment to making Affinity the optimal choice for professionals. As well as adding support for the latest cameras, we\u2019ve worked with a leading global broadcaster to meet industry requirements for producing high dynamic range graphics, making Affinity the first design software package to deliver that capability.<\/p> \u201cAnd the addition of DWG and DXF export is in response to the growing number of architecture practices around the world who are putting their faith in Affinity.\u201d<\/p> Affinity 2.4 is out now Affinity Photo, Designer and Publisher are available as individual purchases or all together under the Affinity Universal Licence. There\u2019s no ongoing subscription. To find out more about Affinity and the 2.4 update go to affinity.serif.com<\/a>.<\/p> Affinity 2.4 is free to download for existing V2 users.<\/p> ","summary":"Affinity Photo now supports over 50 more cameras and a key new HDR standard following our latest free update.","image":"https:\/\/affinityspotlight.com\/assets\/content\/1tc\/vh4\/55s\/image-547aba758d0a06b3a7b363cda3378c88--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/1tc\/vh4\/55s\/image-547aba758d0a06b3a7b363cda3378c88--hero-xl@2x.jpg","date_published":"2024-02-28T08:00:00+00:00","author":{"name":"Melanie Khareghat","url":"https:\/\/affinityspotlight.com\/articles\/author\/melanie-khareghat\/"},"tags":["Affinity Designer","Affinity Photo","updates","Affinity Pubilsher","Affinity 2 4"]},{"id":"https:\/\/affinityspotlight.com\/article\/whats-new-in-affinity-24\/","url":"https:\/\/affinityspotlight.com\/article\/whats-new-in-affinity-24\/","title":"What\u2019s new in Affinity 2.4?\n","content_html":" Those using RAW will notice a best-ever performance from the SerifLabs RAW processing engine, which has been updated to include more than 50 additional RAW formats. It now supports:<\/p> Apple iPhone 13, 14 (all types), 15 (all types) Canon EOS R8 Nikon Z8 Panasonic DC-GH6 Leica Q3 and M11 Monochrom Fujifilm GFX 100 II Hasselblad CFV-100 OM Digital Solutions OM-1 Mark II DJI Mavic 3 Pro (drone) And many more! See our forum post on additional RAW format support<\/a> for a full list. The addition of 32-bit HDR PNG 3rd Edition to existing True HDR support for Mac and Windows, means Affinity Photo meets all the key requirements for high dynamic range on-screen graphics\u2014a measure implemented following consultation with leading sports broadcasters in North America\u2014making Affinity the first design software package to deliver this capability!<\/p> It also enables Affinity Photo users to export images for HDR display in Google Chrome (with other browsers expected to follow).<\/p> In this video, product expert James walks you through the process of importing and exporting HDR PNG files in Affinity Photo.<\/p> Please turn on JavaScript to view this video See how to work with cICP PNGs in Affinity Photo All Affinity apps have alignment functionality that lets you easily align and distribute layers as well as unify their properties, such as scaling and rotation. You will now see three new choices to make all items in your current selection adopt the same width, height or rotation, which makes precision alignment even quicker and easier. James demonstrates how useful these new options can be in this video.<\/p> Please turn on JavaScript to view this video Learn how to quickly align and distribute layers, as well as unify their properties such as width, height and rotation in Affinity Photo The States Panel in Affinity Photo is now available in Affinity Designer and Publisher! This feature has a lot of practical uses as it allows you to quickly switch between different variations of a project or compare design choices by capturing the current visibility states of your layers across your document. You can also use queries based on various criteria to toggle layer visibility and make selections across multiple layers and artboards simultaneously.<\/p> Product expert Katy explains how you can use Layer States to select, show and hide layers based on criteria such as layer type and name, including the use of Regular Expressions for more advanced filtering in this video.<\/p> Please turn on JavaScript to view this video Learn how to work with the States panel in Affinity Designer Affinity Designer now supports both DWG and DXF export, which is great news for architects and other designers! It means that outlines created in Affinity can now be easily exported for use in various CAD applications as well as utilities for things such as vinyl cutters, plotters and CNC tools.<\/p> James covers the import of DWG and DXF CAD documents, some example workflows and export options in this video.<\/p> Please turn on JavaScript to view this video See how to easily import and work with DWG and DXF CAD documents in Affinity Designer For a full list of new features and improvements, go to affin.co\/WhatsNew<\/a>.<\/p> If you\u2019re a new customer or wish to upgrade from V1 to V2, check out our purchase options<\/a>, V1 upgraders offer<\/a> or sign up for a free trial of Affinity Photo<\/a>, Affinity Designer<\/a> or Affinity Publisher<\/a>.<\/p> ","summary":"Here are five things you need to know about our latest update, which is free to download for V2 customers.","image":"https:\/\/affinityspotlight.com\/assets\/content\/kl8\/vlp\/ckv\/image-9fe69dd381de7472c5e83337ae0b0eaa--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/kl8\/vlp\/ckv\/image-9fe69dd381de7472c5e83337ae0b0eaa--hero-xl@2x.jpg","date_published":"2024-02-28T08:00:00+00:00","author":{"name":"Melanie Khareghat","url":"https:\/\/affinityspotlight.com\/articles\/author\/melanie-khareghat\/"},"tags":["Affinity Designer","Affinity Photo","update","Affinity Pubilsher","Affinity 2 4"]},{"id":"https:\/\/affinityspotlight.com\/article\/how-to-interpret-a-histogram-in-affinity-photo\/","url":"https:\/\/affinityspotlight.com\/article\/how-to-interpret-a-histogram-in-affinity-photo\/","title":"How to interpret a histogram in Affinity Photo\n","content_html":" Often overlooked, particularly by starting-out photographers and editors, histogram analysis is an integral part of every high-end editing process. It is one of the first stages of it too! But what is a histogram and why is it so important to understand it when deciding on your further editing steps? Let\u2019s take a closer look at what it\u2019s all about.<\/p> From left: Affinity Photo 2 Histogram in Levels, Curves and as a panel. In Affinity Photo 2 for desktop, you\u2019ll find a histogram in three places: as a panel in the top-right of the UI (both in the Develop and Photo Persona) and then in the Levels and Curves adjustments. On the iPad version of the app, a histogram is present on the Curves adjustment dialog as well as on the Metadata panel.<\/p> Tip: Try to train your eye to always look in the top-right of the UI first upon opening an image in Affinity Photo 2 (desktop). Analysing its information will give you a great starting point to decide on your next steps. A histogram presents the tonal and colour channel information (RGB) span for any given image. Forget colour for now (we\u2019ll circle back to it later) and think light only: the far left edge of a histogram is your complete black (0), whereas the far right indicates pure white (1). The areas in between the two will be our shadows, midtones and highlights.<\/p> And so, where you see the graph spike, that\u2019s the area where there is more light in a photo. Where the graph dips, those areas are less lit.<\/p> Tip: Open three different photos in Affinity Photo and analyse their histograms. Can you work out how the shadows, midtones and highlight areas of your images are affected by the light present and how the histogram represents it? To answer the question it is best to first know what mood you\u2019d like to communicate in your image. Let\u2019s have a look at a couple of examples that might rule the decision, and how the histogram readout can guide you.<\/p> Dark and moody Histogram example representation for a dark and moody look. Looking at the graph for the photo above, we can clearly see that most of the tonal information resides on the left side: this is an indication of our image being underexposed (as seen), with most of the data present in the shadow areas. This is intentional here, and often preferred when working with images typically captured at dusk or dawn.<\/p> And so, if that\u2019s the look you\u2019re going for, manipulate it with either one (or a combination) of the following:<\/p> The Black Level slider in the Levels adjustment The left side of the graph in the Curves adjustment The Exposure adjustment slider Light and airy Histogram example representation for a light and airy look. In contrast to the previous look, note that softer, high-key images are represented by a histogram readout that is pushed to the right\u2014a common term used in photography for this type of effect. Perfect for scenes with an abundance of light (typically ambient daylight), and this kind of edit can be achieved by manipulating the following:<\/p> The White Level slider in the Levels adjustment The centre area (mid-tones) as well as the right (highlights) side of the graph in the Curves adjustment The Exposure adjustment slider One of the first steps when editing your digital photos is to ensure you\u2019ve set the correct White Balance, as it will affect your decision-making for subsequent adjustments. Affinity Photo allows you to make that correction via a dedicated adjustment in both the Develop and Photo Persona. However, most starting-out photographers would evaluate the effect of the adjustment on the page by eye and skip observing what happens on the histogram.<\/p> Let\u2019s have a look at how paying attention to the histogram helps you set the correct White Balance.<\/p> Example of an image and histogram set with incorrect White Balance. Looking at the image above, we see that the image is too warm with an unpleasant colour cast\u2014this often happens when your camera\u2019s White Balance is set with an incorrect preset, e.g. Cloudy for daylight scenes. Note that the histogram colour channels (RGB) are spread out along the graph. What we\u2019d like to see instead is for them to align, i.e. to be stacked around the same area (below).<\/p> White Balance corrected through aligning the histogram RGB values. Simply use the White Balance adjustment slider and observe the graph values align as you drag left and right, depending on your image.<\/p> Tip: Remember that (apart from the White Balance adjustment itself) you can manipulate colour channels separately via the Curves adjustment as well. There, you can select each individual one and manipulate its graph line. And so, with the colour channels graph aligned on the histogram, and thus correct white balance set, you can start with the subsequent edits knowing that your scene has been appropriately prepared.<\/p> If your captured scenes turn out either over or under-exposed, and you\u2019re wondering how much you\u2019d need to compensate for those while editing, a histogram can help. Look no further than the Levels and Curves adjustments to see how manipulating the graphs can help achieve correct exposure and improve tonal contrast.<\/p> Adjusting Levels and Curves to correct tonal values. With Levels, use the Black Level and White Level sliders and observe how the white lines move on the histogram: try to position them close to where the initial histogram data starts to spike. Similarly, on the Curves adjustment graph, push the bottom-left and upper-right nodes inward, closer to the graph\u2019s data and observe changes in tonal contrast to arrive at a point you\u2019re happy with.<\/p> For a deep dive into how a histogram can be used in professional colour grading, why don\u2019t you check headshot photographer Ivan Weiss\u2019 Creative Session video<\/a>, where he presents creative colour grading techniques with Affinity Photo and offers free content to get you started!<\/p> ","summary":"Affinity Photo's histogram offers a deep dive into your image's tonal information. Here, we take a look at how to interpret it to make informed choices for further editing.","image":"https:\/\/affinityspotlight.com\/assets\/content\/r1b\/yv5\/cz9\/image-cfe6aeebd9f3aa7225f00967f0765b0b--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/r1b\/yv5\/cz9\/image-cfe6aeebd9f3aa7225f00967f0765b0b--hero-xl@2x.jpg","date_published":"2024-02-12T08:00:00+00:00","author":{"name":"Mike Leski","url":"https:\/\/affinityspotlight.com\/articles\/author\/mike-leski\/"},"tags":["Affinity Photo","Photo editing","histogram"]},{"id":"https:\/\/affinityspotlight.com\/article\/the-drawing-of-the-year-awards-2024-are-now-open\/","url":"https:\/\/affinityspotlight.com\/article\/the-drawing-of-the-year-awards-2024-are-now-open\/","title":"The Drawing of the Year Awards 2024 are now open!\n","content_html":" Since its inception, the Drawing of the Year Awards have recognised excellence in visual representation across architecture, design and the built environment, celebrating the very best imagery created by professionals and students around the world.<\/p> 2024 marks the fifth year of these aspirational Awards, which are free to enter and open to all.<\/p> There are over \u00a3100,000 GBP ($127,000 USD) worth of prizes to be won, with the top 250 entries receiving a free Affinity V2 Universal Licence!<\/p> Submissions must convey architecture, design or the built environment, but can be created in any medium, style or discipline. Archisource welcomes creatives from all backgrounds and drawings of all types. Whether it be hand-drawn or painted, rendered or collaged, detailed linework or diagrammatic.<\/p> Last year saw a record number of participants using Affinity as part of their workflows. Here are some of those entries:<\/p> Left: THE SCIFI CITY 2200 by Andrew Boness (@andyboness on Instagram). Right: Forum Temporalism by Jan M\u00fcller (@atelier__35 on Instagram). Left: Night Performance by Nathan Tipping-Stevenson (@stevensonathan on Instagram). Centre: The Colour of the Year 2020 by Una Design (@unadesignoficial on Instagram). Right: The Rural Revival by Tom Groves (@tom__groves on Instagram). This year, there are six major award categories, focusing on an array of creative processes: the Drawing of the Year Award, Digital Drafting Award, Digital Media Award, Hand Drawn Award, Mixed Media Award and Visualisation Award.<\/p> The six Award category winners will win an ultimate studio set up worth up to \u00a312,500 each\u2014including a huge array of software licences, creative tools and studio essentials that every creative needs. From 12 Month Subscription Licences to: MicroStation, Chaos\u2019 V-Ray \/ Enscape, and Vectorworks Architect, to beautiful furniture and lighting to pen tablets, phones, headphones and huge stationery bundles!<\/p> The top 250 entries will receive a free Affinity V2 Universal Licence, including Affinity Designer 2, Affinity Photo 2 and Affinity Publisher 2 for Mac, iPad and Windows PC worth \u00a3159.99 GBP ($200 USD).<\/p> All entries must be submitted by 17th March 2024. For full details and to enter visit: archisource.org<\/a>.<\/p> ","summary":"Affinity has a proud history of supporting up-and-coming professionals and architects, so we are delighted to be partnering with Archisource for this year\u2019s Drawing of the Year Awards.","image":"https:\/\/affinityspotlight.com\/assets\/content\/jjg\/54x\/ygc\/image-604dfe9418fbedb71ebc7eca163a4bd7--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/jjg\/54x\/ygc\/image-604dfe9418fbedb71ebc7eca163a4bd7--hero-xl@2x.jpg","date_published":"2024-02-07T10:00:00+00:00","author":{"name":"Melanie Khareghat","url":"https:\/\/affinityspotlight.com\/articles\/author\/melanie-khareghat\/"},"tags":["Affinity Designer","Affinity Photo","Competition","architecture","Archisource","Drawing of the Year Awards"]},{"id":"https:\/\/affinityspotlight.com\/article\/photographer-gianni-saccardo-contact-with-nature-makes-me-feel-alive\/","url":"https:\/\/affinityspotlight.com\/article\/photographer-gianni-saccardo-contact-with-nature-makes-me-feel-alive\/","title":"Photographer Gianni Saccardo: \u2018contact with nature makes me feel alive\u2019\n","content_html":" In this interview, we learn more about his love for the outdoors, what he wishes to convey through his images, the type of edits he makes and how discovering Affinity helped him reinvent his practice.<\/p> When did you first pick up a camera or become interested in photography? I remember it clearly and as if it were yesterday. I was nine years old and was called upon to fulfil a task of great responsibility: my father asked me to take a picture of him and Mum. Holding that little metal box in my hand ignited a flame about the world of photography and all its secrets, which not only has never been extinguished, but is still alive to this day.<\/p> \u201cThere is, in my opinion, nothing comparable to the feeling of being alone in the midst of nature, watching it wake up or fall asleep naturally following the cycle of the sun, catching its shades of light. \u201d<\/p> What attracted you to landscape photography? This has a lot to do with who I am as a person. I have always been a lover of the outdoors: I enjoy skiing, climbing, and walking at altitude. Contact with nature awakens in me something primal and deep that makes me feel alive. Being confined within four walls, even if they were those of my own home, makes me feel trapped, and therefore every opportunity to be able to experience the environment and the outside world is a chance to reconnect with myself.<\/p> There is, in my opinion, nothing comparable to the feeling of being alone in the midst of nature, watching it wake up or fall asleep naturally following the cycle of the sun, catching its shades of light. At that point, the step was short: it was simply a matter of capturing with a camera what my eye saw.<\/p> What do you try to communicate with your photography and how do you achieve it? I simply try to honour the magnificence of nature. Our planet is uniquely beautiful and it is so here and now. It has already gone through other eras, it has already been through upheavals, and it is constantly changing, but it is still wonderfully fascinating. What we have lost in our daily living is the awe at this beauty, which for me is unparalleled, and therefore, with my photos, I would just like to raise awareness of how much of a privilege it is for us to witness such majesty. In addition to this, the assiduous search for unseen scenarios is, for me, a way of communicating through images, things that I would otherwise likely not know how to express. Something potentially very intimate but also capable of arousing fascination for others.<\/p> \u201cI simply try to honour the magnificence of nature. Our planet is uniquely beautiful and it is so here and now. It has already gone through other eras, it has already been through upheavals, and it is constantly changing, but it is still wonderfully fascinating.\u201d<\/p> Do you spend much time planning before you visit a location? Yes, planning is really a very large part of my work. It is the so-called submerged part of the iceberg. I don\u2019t believe in the motto \u201cbeing in the right place at the right time\u201d; not that fate doesn\u2019t exist, but the photo, even before it exists in the camera, has a definite shape in my mind, and it is necessary to consciously plan all the elements that make it up: weather, light, hours, location, point of view, focal length, camera setup. For a few weeks, this activity becomes almost a sweet obsession that acts as a background to everything else. Clearly, if it were up to me, I would try to plan even the impossible\u2014I need it so that what I have in mind and the image that I can then achieve in reality parallel as much as possible. However, when I am then on the spot, it is also necessary to adapt to the unexpected, which takes you by surprise but can also turn out to be a great inspiration. As they say, the unexpected is always just around the corner!<\/p> What is your favourite time of day to shoot? My favourite moment is sunrise, without a doubt. The sunrise is not merely the moment with the best light but also that single instant when everything is one step away from awakening. Like the silence just before the start of a concert, that minute second in which you are certain that something you are going to enjoy so much will begin shortly. That is the moment that is most precious to me.<\/p> We were delighted to hear you use Affinity Photo for your retouching. How did you first discover the app, and what impressed you about it? I work also in the graphic design field and around 2018, I remember experiencing a small moment of impasse. Once again, I felt trapped in the graphic standards that the traditional reference panorama offered. For me, my work tools are something which I cannot\u2014and am not willing to compromise, settle or give in to limitations. I needed software that could respond to stimuli, like an extension of myself, to effortlessly achieve the result I have in mind.<\/p> \u201cI found Affinity on the web, and in starting to use it, I reinvented my business. Finally, an intuitive, simple, comprehensive software that avoided complicated techniques or workarounds to hit the target.\u201d<\/p> I found Affinity on the web, and in starting to use it, I reinvented my business. Finally, an intuitive, simple, comprehensive software that avoided complicated techniques or workarounds to hit the target: Affinity Photo at first and then, as a natural evolution, Designer and Publisher. I am a person who likes to get straight to the point without getting lost, and this software reflects me so much: it fits me like a pair of gloves.<\/p> What kind of editing do you do on your images? What is your aim with the final result? I work more on contrasts and colour but with the sole intent of going to correct what are probably technical limitations of my camera. The goal is to make an image as natural as possible and, above all, true to what my eye caught, not the lens through which it was shot. In my opinion, naturalness and non-artifactuality are everything in a photo, and the idea is really that of an invisible hand correcting imperfections without distorting the overall result.<\/p> What features\/tools in Affinity Photo do you find most useful? This is a difficult question to answer precisely because Affinity Photo responds almost in full to what are my professional demands. If I had a magic wand and the chance to improve it further, however, I would probably add the ability to bulk sync RAW files with masks and dust corrections and to expand the abilities of macros, maybe including some special actions like Tone Mapping. This would really speed the workflow up.<\/p> How do you feel you\u2019ve grown as a photographer over the last couple of years? Photography is, for me, like a journey in which you never arrive but through which you can constantly grow. What is certain is that having more awareness of my equipment has allowed me to make better choices of lenses to use in order to reproduce my idea to perfection\u2014always, however, with an eye open to the search for details that were previously beyond my consideration. This is something that comes from experience but, as I said, is not even close to being a point of arrival.<\/p> \u201cPhotography is, for me, like a journey in which you never arrive but through which you can constantly grow.\u201d<\/p> Do you have a favourite photo, and if so, can you share the story behind it? Yes, I have one, and the story behind it is really funny because it turns out I didn\u2019t even take the picture. I was on a family vacation in Tuscany, the first vacation with our little one, who was eight months old at the time. The plan was to wake up very early to arrive at Podere Belvedere at the crack of dawn, to take what is a classic for anyone visiting the Val D\u2019Orcia. As any parent knows, sleeping past a certain time for many is a luxury, and so finding us all already awake at a really early time, we all decided to go together to take the picture.<\/p> Naturally, such a misty and striking sunrise had attracted a large number of photographers, some of them so well equipped that my equipment, in comparison, felt almost like toys.<\/p> It looked like a firing squad ready to shoot. In short, we earned the last place in line, and almost instantly, I shot. \u201cOkay, I\u2019m good,\u201d I told my family, triggering the curiosity of all the other photographers, who could not believe I had managed to get my shot in a few seconds. As I was rearranging my tools, however, I heard my camera go off again: my little girl pulled the trigger. And what\u2019s funny is that her photo was, by far, better than mine. Beginner\u2019s luck, I come to say, or it must be that these new generations have truly amazing talent! Here is the picture she took:<\/p> What locations are next on your list, and is there a dream location you would like to shoot someday? In the immediate future, I plan to tour Liguria and return to Mont Blanc, a location I am particularly fond of and has already yielded me more than one photo. I am fortunate to live in a place in the world that offers striking views of rare beauty. I have many dreams in the drawer, though, and all of which are mostly pins on my personal planisphere. My dream location, however, is the extraordinary Salar de Uyuni in Bolivia: it is not only a place that has magic and that I would like to see once in a lifetime, but it is also one of those places where it is not possible to go without a camera.<\/p> Finally, what advice would you give a beginner looking to improve their landscape photography? Be consistent. Every failure is a step forward to reach your goal. It seems almost obvious to reaffirm that it is practice that makes perfect, but without an objective view of our mistakes, in photography as in life, growing and improving will not be possible. You never stop learning throughout the duration of this exciting journey, so to someone who, for the first time, manifests curiosity about landscape photography, I would suggest patiently and stubbornly building up whatever may be useful to them, be this weather, composition, shooting techniques, post-processing and whatever else. \u201cThe harder I practice, the luckier I get!\u201d (quoting Jerry Barber, golfer).<\/p> You can see more of Gianni\u2019s landscape photography on his Instagram account<\/a>.<\/p> ","summary":"Italian photographer Gianni Saccardo chats with us about his love for the outdoors, what he tries to communicate with his photography and how using Affinity has helped him reinvent his practice.","image":"https:\/\/affinityspotlight.com\/assets\/content\/qqz\/fqn\/7yl\/image-b6df369132925fa35ee74159be4505cf--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/qqz\/fqn\/7yl\/image-b6df369132925fa35ee74159be4505cf--hero-xl@2x.jpg","date_published":"2024-01-30T10:00:00+00:00","author":{"name":"Melanie Khareghat","url":"https:\/\/affinityspotlight.com\/articles\/author\/melanie-khareghat\/"},"tags":["Affinity Photo","photography","photographer","landscape","Landscape Photography","Gianni Saccardo"]},{"id":"https:\/\/affinityspotlight.com\/article\/7-tips-for-working-with-text-in-affinity-publisher\/","url":"https:\/\/affinityspotlight.com\/article\/7-tips-for-working-with-text-in-affinity-publisher\/","title":"7 tips for working with text in Affinity Publisher\n","content_html":" It\u2019s only natural to reach for the context toolbar to adjust font size, but there\u2019s an alternative on iPad: simply drag up or down from the Text Panel\u2019s icon.<\/p> This adjusts the font size of the selected text, or the word at the insertion point. If the selection includes multiple font sizes, they\u2019ll all become the same size.<\/p> Spotted a word or phrase you want to change throughout a document? Select the text but resist the impulse to copy it to the Clipboard.<\/p> On desktop, press Cmd+F (Mac) or Ctrl+F (Windows). On iPad, select Replace on the Edit menu. Notice that Affinity automatically populates the Find box with the selected text. Just take care that your selection doesn\u2019t include unwanted spaces or punctuation either side of the words you want to find.<\/p> It can be helpful to draw attention to special characters and content in your text. This includes invisible characters such as em spaces and tabs, fields that display a title or product name, and index marks that denote what follows will appear in your publication\u2019s index.<\/p> Affinity Publisher can highlight where these features have been used.<\/p> The various kinds of text mark can be independently shown or hidden. For example, to show invisible characters:<\/p> On desktop, select Text > Show Special Characters. On iPad, select Special Characters on Toggle Preview Mode\u2019s options menu. Discover the full range of available text marks and how to toggle their visibility at affinity.help<\/a>.<\/p> The Paragraph Panel provides everything you need to position and align text to tab stops, but there\u2019s another method that works directly on the page:<\/p> On desktop, select View > Show Text Ruler. On iPad, select Text Rulers on Toggle Preview Mode\u2019s options menu. When a text frame contains a selection or an insertion point, you\u2019ll see a text ruler along its top edge.<\/p> Creating a tab stop is as simple as clicking\/tapping on the text ruler. Drag a tab stop to fine-tune its position.<\/p> A vertical line is shown below the dragged tab stop, which can help you to align the affected text to nearby content.<\/p> Tip: When you create a tab stop, it\u2019s added only to the paragraphs that are selected, or in which the insertion point is positioned. The same is true when editing a tab stop\u2019s properties.<\/p> A tab stop\u2019s settings can be edited in full with a Ctrl-click (Mac), a right-click (Windows) or a tap (iPad). You might find you never need to use the related part of the Paragraph Panel.<\/p> Affinity provides a comprehensive dialog for creating text styles from scratch, but there\u2019s an alternative method available that you might prefer.<\/p> Use the context toolbar and relevant panels to apply local formatting to text on the page, and then create a text style from that text.<\/p> This is especially helpful on iPad, on which the dialog takes over the whole screen and stops you observing changes as part of your overall design.<\/p> Select the formatted text, and then select Create Paragraph Style, Create Character Style or Create Group Style.<\/p> On desktop, these options are at the bottom of the Text Styles Panel. On iPad, reach them by tapping the arrow next to the text style at the top of the Text Panel and then tap +.<\/p> At this point you\u2019ll see the dialog mentioned earlier, and it\u2019ll be populated with the formatting of the selection. Simply name the text style and click\/tap OK.<\/p> Affinity Publisher\u2019s Auto Replace feature, located in the Auto-Correct section of the app\u2019s settings, can be used to reduce the effort required to type special characters.<\/p> Rather than pressing multiple keys on a hardware keyboard, or wasting time finding the correct on-screen key on iPad, Auto Replace allows you to type a short sequence of regular characters and have Affinity substitute the character you really want.<\/p> Notice that among Auto Replace\u2019s predefined entries are some existing examples for typing things like copyright, trademark and registered trademark symbols.<\/p> Whether you want to type multiplication and division signs, degree celsius\/fahrenheit symbols or something more niche, Auto Replace makes it a breeze.<\/p> You might want Affinity Publisher\u2019s Change straight quotes to typographic quotes setting enabled most of the time. What if you need to type straight quotes, though?<\/p> The setting affects straight quotes typed directly into document text, but not elsewhere in Affinity\u2019s interface. Here are two scenarios in which this proves useful.<\/p> First, you can create auto-replacements that produce straight quotes. Affinity will change your specified character sequence to the corresponding type of straight quote but it won\u2019t then change the result to a typographic quote.<\/p> Second, let\u2019s say you\u2019ve placed text from a writer into Affinity Publisher, edited it, and only then noticed it contains straight quotes.<\/p> You can type straight quotes into the Replace feature to find all of them in your document.<\/p> Stepping through the search results one at a time, replacing each with the correct opening or closing typographic quote one at a time, would be laborious. Careful examination of patterns in the text might massively speed up the process.<\/p> As a crude example, let\u2019s say you\u2019re working with English text in which all \u2018opening\u2019 straight double quotes are preceded by either a space or an opening round bracket.<\/p> You could find instances of these two-character sequences and replace them with left typographic double quotes. Then, search for remaining straight double quotes and replace them with closing typographic quotes.<\/p> ","summary":"Discover techniques you can start using today to improve how you type, style and edit text.","image":"https:\/\/affinityspotlight.com\/assets\/content\/hgg\/sz1\/m9r\/image-5d4599d7b209c7807e20c1e20ce01b05--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/hgg\/sz1\/m9r\/image-5d4599d7b209c7807e20c1e20ce01b05--hero-xl@2x.jpg","date_published":"2024-01-29T09:00:00+00:00","author":{"name":"Alan Stonebridge","url":"https:\/\/affinityspotlight.com\/articles\/author\/alan-stonebridge\/"},"tags":["typography","text frame","text styles","Affinity Publisher 2","Affinity Publisher 2 for iPad","Affinity Pubilsher","formatting"]},{"id":"https:\/\/affinityspotlight.com\/article\/colour-theory-1-basic-concepts\/","url":"https:\/\/affinityspotlight.com\/article\/colour-theory-1-basic-concepts\/","title":"Colour Theory 1: Basic concepts\n","content_html":" In this series, we\u2019ll look at colour theory with respect to basic concepts, colour use in art and design, and finish with how colour is applied in Affinity apps.<\/p> In this first part, we\u2019ll look at colour basics, a subject that often feels both abstract and complex. On the way, we\u2019ll cover history, colour models, colour spaces and profiles.<\/p> The subject of colour has been theorised over millennia from both artistic and scientific perspectives. In particular, the work of Isaac Newton1 and Schifferm\u00fcller2 explored colour prisms and circles of spectral colour, while Goethe3, having just written Faust, challenged acknowledged ideas and postulated a fledgeling Colour wheel concept which we see in art and design today. This was, in turn, re-evaluated by Munsell4, who proposed the Munsell Color System, defining colour as a sphere and concepts of hue, saturation and lightness.<\/p> Chronology of colour theories. Enough of the history lesson, let\u2019s move on to colour itself.<\/p> There are three colour models\u2013RGB, CMYK and Lab. The term \u2018model\u2019 is used because the models are often visualised in 3D.<\/p> RGB colour 3D model example. Red, Green and Blue (RGB) are primary colours\u2013meaning you can\u2019t create them by mixing any other colours together. However, you can mix them together to create secondary colours. Early school days taught us that you mix red and green to get yellow, green and blue to get cyan, blue and red for magenta.<\/p> RGB colours showing additive characteristics on a black screen. This red\u2013green\u2013blue colour mixing is fundamental to how colour is presented in electronic technology\u2013right from the very first colour television screens, up to modern computer desktop\/mobile device screens (above). Because with RGB, colours are additive\u2013as each colour increases, the lighter the results\u2013and hence an otherwise black screen (above) becomes illuminated with colour. At the most extreme, you start from black and end up with white.<\/p> Note: Adding equal amounts of red, green and blue will always give you shades of grey.<\/p> For CMYK, Cyan, Magenta and Yellow colours are primary pigment colours. These are used in printing as each colour directly represents a physical ink (K means Key, which is black).<\/p> CMYK colours showing subtractive characteristics on white paper. CMYK is a subtractive colour model because as each colour increases the darker the results\u2013colour is taken away (i.e. blocked or subtracted), so ultimately, a white (page) will turn to black.<\/p> Tip: Next time you replace your printer cartridges you\u2019ll see that they will be labelled with one of these colour inks.<\/p> Munsell created a colour system where Hue, Saturation and Lightness (HSL) were considered properties of colour. His three-dimensional system attempted to offer a perceptually uniform system that wasn\u2019t adversely affected by conforming to a \u201ccontaining\u201d geometric model.<\/p> The HSL system remaps (or transforms) a colour space as hue, saturation and lightness values\u2014these settings let you interpret colour more easily and intuitively compared to visualising combinations or RGB, CMYK or Lab colour mixes. Imagine what RGB colours you would mix for a turquoise colour?<\/p> Hue: This is the most prominent wavelength on a colour spectrum. Think of Hue as being the colour of a rainbow, i.e., the red, orange, yellow, violet, etc.<\/p> Saturation: (Sometimes called Chroma) sets the purity of the chosen hue, ranging from fully saturated to desaturated. Full saturation would lack any black; desaturation tends towards grey.<\/p> Lightness: The amount of light reflected from the hue.<\/p> A few words about HSB and HSV. You may have seen these mentioned in relation to colour, so how do they compare to HSL?<\/p> HSL: Here 100% lightness (L) makes white; 0% lightness makes black; they are absolute opposites.<\/p> HSB\/HSV: Here B means Brightness, and V means Value\u2013both are the same except for naming. When compared to HSL, for both HSB\/HSV, at 0% and 100%, the hue\/saturation colour will still show but at their very darkest or lightest (compared to HSL\u2019s respective black and white).<\/p> The Lab (CIELAB) colour mode is an alternative to Munsell\u2019s Color system. Lab is named after its channel characteristics\u2013a Lightness channel plus two colour channels opposing values of \u2018red\u2013green\u2019 (a) and \u2018yellow\u2013blue\u2019 (b). This three-dimensional colour space is based on the theoretical range of human visual perception, and was intended to be more perceptually uniform compared to the RGB CIEXYZ colour space.<\/p> Lab colour model. A colour space is a specific implementation of a colour model (RGB, CMYK, etc). For example, Adobe RGB (1998), sRGB, etc., are all unique colour spaces for the RGB colour model. Different colour spaces are also available for CMYK and Lab colour models too.<\/p> A colour space\u2019s colour gamut is the range of available colours in that colour space in relation to a full-gamut reference CIEXYZ colour space. This colour space and gamut is often conceptually visualised in a chromaticity diagram, as residing to different degrees within a CIEXYZ colour spectrum\u2013the triangle\u2019s corners depict the RGB primary colours.<\/p> You can directly compare one colour space\u2019s gamut against another. The difference in size and shape of the colour gamut reflects the extent of colours supported in relation to a full gamut of colours. The smaller the colour gamut, the smaller the supported colour range.<\/p> Adobe RGB (1998) vs sRGB colour spaces and gamut within CIEXYZ colour space. Note: The sRGB colour space, due to its small gamut, has become the default colour space for computer screens.<\/p> As not all devices can display the same colour gamut, it can lead to colours looking different on each device\u2013some colours can\u2019t be displayed as they are outside the colour space with the smaller gamut. The difference between triangular areas is the potential colour \u2018loss\u2019 between devices.<\/p> To avoid disparity in colour, let\u2019s now look at colour profiling, which normalises these colour disparities, i.e. the different gamuts, so that colours are reproducible and consistent across devices and workflows\u2013the basis of colour management.<\/p> When we share documents between devices, the device has to work out how to display the colour. As not all devices can display the same extent of colour (i.e., the colour gamut), we use colour profiles to display or render the colour information, so it looks the same across devices.<\/p> We\u2019ll cover colour profiles in more detail in Part 3 of the series.<\/p> In Colour Theory 2: Colour in branding and design<\/a>, we focus on colour messaging from a design perspective, answering questions like \u201cWhich colour should I pick?\u201d and \u201cHow can I change the mood of my designs?\u201d Why not check it out now?<\/p> ","summary":"Andy explores the basic concepts of colour as part of a three-part Colour series.","image":"https:\/\/affinityspotlight.com\/assets\/content\/364\/6qf\/j91\/image-58249367ade145c59664e6c521ee70b1--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/364\/6qf\/j91\/image-58249367ade145c59664e6c521ee70b1--hero-xl@2x.jpg","date_published":"2024-01-25T08:00:00+00:00","author":{"name":"Andy Capstick","url":"https:\/\/affinityspotlight.com\/articles\/author\/andy-capstick\/"},"tags":["CMYK","colours","profile","rgb","models","hsl","Lab","colour theory"]},{"id":"https:\/\/affinityspotlight.com\/article\/colour-theory-2-colour-in-branding-and-design\/","url":"https:\/\/affinityspotlight.com\/article\/colour-theory-2-colour-in-branding-and-design\/","title":"Colour Theory 2: Colour in branding and design\n","content_html":" In Colour Theory 1: Basic concepts<\/a>, we briefly looked at the history of colour theory, colour models and model differences.<\/p> In this article, we\u2019ll focus on colour messaging from a design perspective, answering questions like \u201cWhich colour should I pick?\u201d and \u201cHow can I change the mood of my designs?\u201d<\/p> In the marketing of products and services, colour is all-important in conveying a non-verbal message to potential customers as a result of psychological symbolism (historical, cultural, spiritual, emotive) or natural association (environmental).<\/p> If your designs are intended for a specific geographical region, it\u2019s important to be conscious of what that colour means to those target territories. For example, a branding campaign focusing on China that used red in its designs would suggest happiness and prosperity, while the same colour in South Africa would suggest mourning. As a result, campaigns that are truly global could benefit from more neutral, even natural colours, to avoid bad messaging. After all, colour associations with the natural world are universal.<\/p> It\u2019s not just product\/service marketing that carefully considers colour choice. Political parties, academic organisations, societies and charities consider this too.<\/p> Tip: Have a think about colour messaging in your own culture and geographical region, and why those colours were chosen.<\/p> Here are some colour messaging examples.<\/p> Warm colours Reds, yellows and oranges are warm colours, suggesting energy and positivity. Unlike red and yellow, which are primary colours, orange is a secondary colour (a mix of red and yellow) which brings together mixed messages from its parent primary colours.<\/p> Red\u2013importance, attention, love, passion, warnings, danger, fire, violence, war, anger, rebellionSends out a strong message that provokes an emotive response; the message may differ significantly by culture or political influence.<\/p> Orange\u2013creativity, youth, vitality, enthusiasm, autumn, fall Considered less overpowering than red, and friendlier too. You may find it used as text accent highlights on more neutral designs.<\/p> Yellow\u2013happiness, sunshine, spring, cowardice, illness, caution, warningsAssociated with happy summers and warmth, but with a darker side (just like red).<\/p> Logo examples:<\/p> Major brands (e.g., Coca-Cola) use red to demand attention, while others use yellow to signal happiness (McDonalds). Cool colours The opposite of warm colours terminology-wise, cool colours such as green, blue and purple are more calming. Blue is the only primary colour, with green and purple being derived from blue and the other primary colours.<\/p> Green\u2013banking, money, growth, safety, nature, organic, earth, plant life, inexperience, envy As a natural colour, it is associated primarily with the environment. Could banking have adopted green to symbolise growth?<\/p> Purple\u2013wealth, luxury Historically the colour of royalty, you\u2019ll find it on expensive regal fabrics (jewels, crowns, etc.). Using this sparingly for very special events or promotions would make sense.<\/p> Blue\u2013responsibility, trust, security, cold, water, space, sadness, melancholy Lighter blues suggest calmness and water qualities, while dark blues suggest professionalism and trustworthiness.<\/p> Logo examples:<\/p> Tropicana uses green to signify naturalness, while NASA uses a deep blue as a direct colour association with space. Both, along with Hallmark, use supporting leaf, crown and star imagery in their logos to reinforce this. Neutral colours Black and white, plus greyscale colours, can be used for design backgrounds and unification of contrasting colours in palettes. In branding, they can be used as safe neutral colours that can be presented either standalone or in front of stronger colours.<\/p> Black\u2013power, modernness, sophistication, elegance, authoritarian, death, evilBlack always seems to stay in fashion due to its neutrality, hence its wide use in modern electronic equipment (televisions, computers, cell phones) and the automotive industry. For the same reason, in branding, black oozes power and simplicity.<\/p> Grey\u2013formality, professionalism, moodiness, coolnessBlack and white designs are very contrasting, but greys can be used in place of black or white for understated \u2018softened\u2019 designs.<\/p> White\u2013purity, peace, cleanliness, coolnessAssociated with minimalist \u2018clean\u2019 designs, white offers a wide scope from which to add stronger \u2018messaging\u2019 colours. As an example of cultural differences in colour messaging, in western culture, white is the popular choice of colour for wedding dresses, while Chinese brides traditionally wear red wedding dresses.<\/p> Brown\/Beige\/Tan\/Cream\/Ivory\u2013natural, earth, wood, stone, calmness, purityThe colours listed progress from warm to cool.<\/p> Logo examples:<\/p> The WWF makes a natural black\/white association with a protected animal, the iconic Panda, while the BBC goes for an understated logo that suggests professionalism. With some consideration to colour messaging you\u2019ll be able to choose colour that fits with your target audience.<\/p> In the next (and final) article in this series, Colour Theory 3: Applying colour in Affinity apps<\/a>, we look at how you apply colour and create palettes in Affinity apps.<\/p> ","summary":"Let's look at how colours can give your designs a different message.","image":"https:\/\/affinityspotlight.com\/assets\/content\/czg\/nv8\/p7v\/image-a954fa8e497c13057ab515980e3c9fcf--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/czg\/nv8\/p7v\/image-a954fa8e497c13057ab515980e3c9fcf--hero-xl@2x.jpg","date_published":"2024-01-25T08:00:00+00:00","author":{"name":"Andy Capstick","url":"https:\/\/affinityspotlight.com\/articles\/author\/andy-capstick\/"},"tags":["branding","design concepts","colours","logo design","color","marketing","messaging","colour theory"]},{"id":"https:\/\/affinityspotlight.com\/article\/colour-theory-3-applying-colour-in-affinity-apps\/","url":"https:\/\/affinityspotlight.com\/article\/colour-theory-3-applying-colour-in-affinity-apps\/","title":"Colour theory 3: Applying colour in Affinity apps\n","content_html":" The first article in this series, Colour Theory 1: Basic concepts<\/a>, looked at colour models such as RGB and CMYK, while the second, Colour Theory 2: Colour in branding and design<\/a>, covered how colour messaging can be used to communicate the right information to the end-user.<\/p> This last article in the Colour Theory series looks at how you practically apply colour in Affinity apps via panels and the creation of palettes of colour sets that work together in different ways.<\/p> For Affinity Designer and Affinity Publisher, as you set up a document from scratch you will be setting up a colour format, be it based on an RGB or CMYK model, immediately. This colour format depends on the type of work you are about to do. For example, RGB is the choice for presenting designs on screen, while CMYK is reserved for the process of printing physical books. However, for Affinity Photo, you\u2019ll mostly be opening an image, typically a photo from your camera, so your document will adopt the colour format of that opened photo, e.g. RGB.<\/p> Why do you need to know this? Well, mostly you don\u2019t, as Affinity does a great job of guiding you through the document setup for the type of document you need to produce. The work is done for you. However, what is useful to know is that you should define colours via panels that match your active document colour format, i.e. use RGB colours in an RGB colour format; CMYK colours in a CMYK colour format.<\/p> For all Affinity apps, colour is chosen from the Colour panel, Swatches panel or context toolbars. A choice of sliders or an HSL colour wheel (Hue, Saturation, Lightness) can be used.<\/p> The Colour panel lets you choose a colour for the currently selected object.<\/p> HSL colour wheel<\/p> In Affinity Designer, colour is selected from an HSL colour wheel by default. Importantly, this gives a more intuitive experience compared to colour selection from RGB sliders, because you can work with colour using easier conceptual terms such as hue, saturation and lightness rather than using RGB values. Less guesswork, more productivity!<\/p> Please turn on JavaScript to view this video The HSL colour wheel defines RGB colours in an RGB colour space.<\/p> Sliders<\/p> By default, Affinity Photo and Affinity Publisher prefer colour to be offered using sliders. They let you precisely define colours by dragging, although you can input values into boxes directly.<\/p> Please turn on JavaScript to view this video Tip: If you\u2019re looking to define colours of the differing Lightness values you can press the shift key while dragging any slider\u2014the resulting colour will be lighter or darker but will always retain the original hue and saturation.<\/p> Spectrums<\/p> Instead of the colour wheel or sliders, you can optionally \u2018eyeball\u2019 colours you need by selecting from a colour spectrum. You can use this to initially choose a colour and then fine tune it using sliders.<\/p> CMYK printing<\/p> If you\u2019re designing for process printing, it\u2019s recommended to define colour in terms of CMYK values. To do so, you just need to swap the Colour panel to CMYK sliders and define values for cyan, magenta, yellow and black (this is K). Alternatively, to ensure absolute colour accuracy in print output, you can adopt the PANTONE\u00ae colour matching system\u2014here you choose PANTONE colours from the Swatches panel, which we\u2019ll look at next.<\/p> Think of the Swatches panel as a storage area for colours that you want to return to again and again. You can also access pre-defined system and application palettes, as well as PANTONE library palettes. Colours are stored as swatches, i.e. square coloured thumbnails, that can be clicked to apply that colour to a selected object.<\/p> If you\u2019re using more than a few colours in your design, you can use palettes, the digital equivalent of an artist\u2019s palette, to apply a set of used colours that you want to restrict yourself to.<\/p> Tip: For CMYK documents, creating a palette of stored CMYK colours in the Swatches panel lets you keep to a CMYK colour set rather than incorrectly choosing RGB colours from other palettes.<\/p> ","summary":"Finishing off the Colour theory series, Andy looks at how colour spaces are used in Affinity apps, and how colours are applied.","image":"https:\/\/affinityspotlight.com\/assets\/content\/xc2\/2yk\/5ln\/image-16a3a84f6735f7a013f120d1f8f79a4d--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/xc2\/2yk\/5ln\/image-16a3a84f6735f7a013f120d1f8f79a4d--hero-xl@2x.jpg","date_published":"2024-01-25T08:00:00+00:00","author":{"name":"Andy Capstick","url":"https:\/\/affinityspotlight.com\/articles\/author\/andy-capstick\/"},"tags":["colours","panels","swatches","colour theory"]},{"id":"https:\/\/affinityspotlight.com\/article\/masking-explained\/","url":"https:\/\/affinityspotlight.com\/article\/masking-explained\/","title":"Masking explained\n","content_html":" Masking allows us to determine which part of a layer is shown or hidden in our document by restricting its visibility. In practical terms, this means:<\/p> We can apply adjustment and filter layers selectively to certain areas of an image\u2013anything from tonal adjustments to blurs, sharpening filters and distortions.<\/p> We can composite parts of separate images into one main composition, giving us creative freedom to create entirely new images.<\/p> Because of masking, we can do the above non-destructively by adding what are called Mask Layers to our document. Consider this compositing example:<\/p> Here we can see we\u2019ve pasted two entirely separate images on top of our base image. Let\u2019s say we wanted to cut out the stones from these two pictures in order to place them into the foreground of the base image.<\/p> Typically, we would use selection tools to isolate the stones and delete the rest of the images\u2013physically removing those pixels. Rather than deleting or erasing, however, we could instead mask the unwanted areas out, meaning they would simply be hidden from view.<\/p> Composite elements after masking. Masking the unwanted areas would be a non-destructive approach\u2013the benefit being that we could go back and change, revise or tidy up the mask at any point during editing, including using selection refinement if the mask\u2019s edges are rough or inaccurate. Had we erased the unwanted pixels, we couldn\u2019t do this.<\/p> Masking is also a popular way to restrict filters and adjustments to specific areas. In this image, for example, we might want to desaturate the background colours whilst keeping the vibrant reds. Additionally, we may also choose to add some diffuse glow, but only to the text.<\/p> After applying selective adjustments. Using masking for both these cases allows us to achieve the look we\u2019re after, rather than desaturating the entire image or having a distracting glow over the background areas as well.<\/p> Masking can be defined not just from selections, but also from colour and gradient fills. Here, for example, we might wish to restrict tonal adjustments to the sky of the image by adding a gradient fill as a mask, which provides a smooth transition for the adjustments.<\/p> Affinity Photo has comprehensive masking support, and masks can be created through selections, colours, fills and channels.<\/p> Masking in Affinity Photo 2 for desktop. A unique feature of Photo is that Adjustments and Live Filter layers inherently have their own layer mask, and can instantly be masked without having to add a nested Layer Mask to them, saving time and making for a more efficient workflow. In practical terms, this means that you can start painting right away on the adjustment layer and the mask will appear automatically for you.<\/p> Although masking is used less frequently in Affinity Designer when compared with Affinity Photo, its vector masking features do come in handy.<\/p> Masking in Affinity Designer 2 for desktop. In Designer, you can use the Pixel Persona\u2019s Erase Brush Tool on a vector shape to remove unwanted areas. A Mask Layer will be created automatically when you erase on the vector layer, allowing you to edit non-destructively.<\/p> Alternatively, you can use Pixel Persona\u2019s Paint Brush Tool to paint with a black brush to erase, and even restore removed areas by swapping to, and painting with, a white brush.<\/p> Tip: By default, the above non-destructive mask-and-erase behaviour will occur but you can rasterise the vector shape (without creating a masking) using View> Assistant Manager instead.<\/p> From Affinity Publisher, you can use StudioLink to quickly switch between each of the Affinity apps\u2019 features, using the Photo Persona\u2019s masking capabilities to mask areas of an image placed on a page from within the same app.<\/p> Masking in Publisher's Photo Persona. Publisher\u2019s own masking capabilities allow you to create some unique and interesting effects, for example, creating a mask to display an image within a headline.<\/p> Masking in Publisher. Masking is a powerful method in the Affinity suite of desktop apps, allowing users to quickly and easily make precise image and content manipulations. However, the same steps can also be taken in Affinity Photo, Designer and Publisher for the iPad, providing users with full control over their selective image and content changes. Ultimately, utilising masking in all of these apps can be incredibly helpful in getting the most out of each user\u2019s workflow.<\/p> Once learnt and mastered, it really is hard to imagine working without masking for the plethora of endless possibilities it provides. To discover more about it and to see it in action, visit our Affinity Photo YouTube channel<\/a> where you will find a number of videos explaining a range of context-based masking techniques.<\/p> Masking in Affinity Photo 2 for the iPad. ","summary":"Discover some uses for masking in Affinity Photo, Designer, and Publisher.","image":"https:\/\/affinityspotlight.com\/assets\/content\/rsb\/lx9\/k51\/article-1468924803--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/rsb\/lx9\/k51\/article-1468924803--hero-xl@2x.jpg","date_published":"2024-01-12T00:00:00+00:00","author":{"name":"James Ritson","url":"https:\/\/affinityspotlight.com\/articles\/author\/james-ritson\/"},"tags":["Affinity Designer","layer","masking","mask","selective","Affinity Photo","Affinity Publisher"]},{"id":"https:\/\/affinityspotlight.com\/article\/blend-modes-explained\/","url":"https:\/\/affinityspotlight.com\/article\/blend-modes-explained\/","title":"Blend modes explained\n","content_html":" In graphic design or digital art, more complex designs use multiple layers stacked on top of each other. The pixels of the higher layers are placed on top of pixels on lower layers, obscuring them in the process. While this default behaviour is perfectly acceptable, the use of blend modes across these layers opens up a world of creative freedom and possibilities.<\/p> Essentially, blend modes determine exactly how an upper layer\u2019s pixel colours will blend with those on the layer(s) beneath. Results can vary quite dramatically depending on the chosen mode. There are five or six most commonly used modes but anywhere up to 30 modes may be available in your app.<\/p> Tip: Experimentation is key! Blending results depend entirely on the images you\u2019re working with.<\/p> Before we go any further\u2026<\/p> Remember that blending affects all underlying layers not just the layer immediately below the blend layer. Blend mode names, such as Multiply, Overlay, and Screen are pretty much the same across all graphic design and photo editing apps. They function in much the same way too. This is your choice for a darkening effect. It multiplies the blend layer\u2019s colour channel values with those of the base layer. Black in either layer gives black; white leaves the other layer\u2019s colour unchanged. Lighter greys will give softer shadows, while darker greys will give deeper shadows. Why? Well, black has a value of 0, and white has a value of 1, and all other multiplied values are divided by 255. \u201cClass, get your calculators out!\u201d<\/p> So if Multiply darkens, then Screen will lighten\u2013the complete opposite! Black is assigned a value of 1, white is assigned 0; the latter produces white. The inverse of the blend and base layer colours are multiplied. The resulting colour is always lighter.<\/p> Meet the clever combination of the above\u2013Multiply and Screen combined together to increase contrast. In essence, it darkens darker areas, while lighter areas are lightened further. If the underlying layer\u2019s pixels are <50% grey, it multiplies; if >50%, it screens.<\/p> A cool example of using flat colours with blend modes over images is put to effect in the following example, where we strip an image of its colour and use a Multiply blend mode to effectively colourize non-white & black areas of an image\u2013in this case, all the grey tints. You can see this effect commonly in model studio shots used as artist covers in music streaming services, etc.<\/p> Use a Black & White adjustment layer, and give an aqua blue shape layer a Multiply blend mode In reality, there are many other blend modes that can be used which offer more subtle and harsher blending effects. Their use is less common so they\u2019re not included in this article\u2013but you can experiment accordingly!<\/p> Most apps will also offer \u2018on-brush\u2019 blend modes so you can paint colour that will blend into the base layers as you paint. It\u2019s worth trying these out if you want to blend layer content but only want to do so in specific brushed regions.<\/p> Blend modes are just as important in vector-based graphic design as in pixel-based raster design. The blend modes operate very similarly between the two disciplines with a slight difference: in the former, a chosen mode is applied to the selected object, with blending between that object and objects beneath, as opposed to the latter which is pixel layer over pixel layer.<\/p> That just about wraps up this article. I hope it\u2019s given you some insight into the inner workings and application of blend modes. The next time you\u2019re throwing some layers around, try a few blend modes out and see where they lead you!<\/p> To learn more about the blend options available in Affinity, check out this video:<\/p> Please turn on JavaScript to view this video Discover how to use graph-based blend ranges, control antialiasing and use fill opacity with specific blend modes for a greater range of blending effects. ","summary":"Explore how blend modes can be used to creatively alter how colours interact between your project's layers.","image":"https:\/\/affinityspotlight.com\/assets\/content\/3sc\/fg3\/w9h\/image-f257d3fa33913edf1fbdd74940b2c578--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/3sc\/fg3\/w9h\/image-f257d3fa33913edf1fbdd74940b2c578--hero-xl@2x.jpg","date_published":"2024-01-08T00:00:00+00:00","author":{"name":"Andy Capstick","url":"https:\/\/affinityspotlight.com\/articles\/author\/andy-capstick\/"},"tags":["Affinity Designer","colour","Affinity Photo","Affinity Photo for iPad","blend modes","design concepts"]},{"id":"https:\/\/affinityspotlight.com\/article\/14-tips-for-photographing-fireworks\/","url":"https:\/\/affinityspotlight.com\/article\/14-tips-for-photographing-fireworks\/","title":"14 tips for photographing fireworks\n","content_html":" Firework shows might only last for about fifteen minutes, but their fleeting nature is part of what makes them interesting to photograph. You have a short window to capture the perfect shot, but at the same time, there aren\u2019t any \u201crules.\u201d We\u2019ve seen photographers try super creative things to elevate a simple firework into something otherworldly, from playing around with a 90-year-old film camera to refocusing during an exposure.<\/p> We asked six of these artists\u2013with backgrounds ranging from photojournalism to commercial photography\u2013to tell us their secrets for creating firework photos that are anything but ordinary. You don\u2019t need much to follow in their footsteps: a camera, lens, and tripod will do the trick.<\/p> Image \u00a9 Dave Sanders (@dave_sanders on Instagram) \u201cWhen composing, stand back a little; try to include silhouettes of the people in front of you or nearby buildings and bridges. Images that incorporate other elements into the frame will have much more of an impact.\u201d<\/p> Photojournalist Dave Sanders Give yourself plenty of time to set up your composition and anticipate where the show will be, especially if you\u2019ll be competing with a crowd for the best spots. \u201cI\u2019ve found the best approach to shooting fireworks is to use a tripod and compose a shot before things get started,\u201d the photojournalist Dave Sanders<\/a> explains.<\/p> \u201cWhen composing, stand back a little; try to include silhouettes of the people in front of you or nearby buildings and bridges. Images that incorporate other elements into the frame will have much more of an impact.\u201d As Dave explains, there\u2019s also another reason to get started early: \u201cSmoke will soon obscure the scene, so the best window for images is often towards the beginning of the show.\u201d<\/p> Image \u00a9 Johnny Martyr (@JohnnyMartyrphoto on Instagram) \u201cKnow the general area where the fireworks will be displayed, and shoot wide. You can always crop later if needed.\u201d<\/p> Commercial photographer Jeff Sudmeier In a similar vein, it can help to bring a wider lens so everything\u2019s visible in-frame. \u201cI use a wide-angle lens to make sure I can capture everything in the display,\u201d the commercial photographer Jeff Sudmeier<\/a> tells us. \u201cKnow the general area where the fireworks will be displayed, and shoot wide. You can always crop later if needed. Last year, I used a 28mm lens, only because I forgot my other wider lens at home (rookie mistake), but it worked just fine.\u201d<\/p> Image \u00a9 Johnny Martyr (@JohnnyMartyrphoto on Instagram) The number one tip among the artists we interviewed: switch to manual exposure settings. You want full control over your shutter speed, aperture, and ISO. \u201cUnlike most subjects, it\u2019s more challenging to photograph fireworks with a fully automatic camera than a fully manual one,\u201d Johnny Martyr<\/a>, who specialises in 35mm black and white photography, tells us. \u201cSo choose a camera that either has no automatic control, has fully manual mode, or at least the ability to hold the shutter open for an extended period (this is called Bulb Mode).\u201d He prefers a classic Leica and a 90mm, but he says even a simple starter camera like the beloved Pentax K1000 with a nifty fifty lens will do the trick.<\/p> Manual focusing is also your best bet, as autofocus is unlikely to cut it. \u201cSet your focus to manual and to infinity,\u201d Johnny says. \u201cAutofocus systems may have difficulty finding the correct focus point, and it\u2019s very difficult to manually focus on moving fireworks in the dark. In nearly all cases, infinity will be correct, so just set your lens to it, and forget about focus for the rest of the night.\u201d<\/p> Image \u00a9 Johnny Martyr (@JohnnyMartyrphoto on Instagram) \u201cI like setting my shutter to Bulb for fireworks,\u201d Johnny says. \u201cThe way Bulb Mode works is that you press the release to open the shutter, and it remains open as long as your finger is on that button. The moment you let go, the shutter closes, and the photograph is over. Doing this means that you don\u2019t have an exact exposure time, but I like it because you control exactly what sequences of the firework explosion you capture on film.<\/p> \u201cWhen photographing fireworks in Bulb Mode, the longer you hold the shutter open, the more of the firework\u2019s path you get in the final image. So, if you open the shutter when you see a rocket first launch into the sky, the resulting photo will contain the \u2018tail,\u2019 or the line up to the main explosion. Most people will want to keep the shutter open through the explosion until no more light from it is visible. This ensures that you capture the full shape of the firework.<\/p> \u201cBut it\u2019s good to experiment. Try releasing the shutter at the moment of the explosion. This will \u2018delete\u2019 the tail of the firework and create an image of only the explosion. And you can experiment with how long after each explosion you keep the shutter open. The longer the exposure, the more detail and shape; the shorter the exposure, the smaller and less movement.\u201d<\/p> Image \u00a9 Charlie Sin (@chawleeee on Instagram) \u201cTwo common mistakes I see are not using a shutter release cable (for long exposures) and using a high ISO, which will introduce noise,\u201d the Los Angeles-based photographer Charlie Sin<\/a> explains. \u201cA shutter release will help you get sharper firework photos because pressing on the camera itself will shake the camera and create a wavy firework (unless that is what you are going for). Let a slower shutter speed do the work, not the ISO. Otherwise, you\u2019ll get grain in the shadows (again, unless that\u2019s something you\u2019re intentionally going for).\u201d<\/p> Your next setting is aperture. \u201cYour aperture will always be stopped down considerably, between f8 and f22,\u201d Johnny tells us. \u201cThis helps ensure a lot of depth of field, guaranteeing that the entire firework is in focus and sharp. Most 35mm-size lenses perform best at middle apertures, so that\u2019s where I like to set mine.\u201d<\/p> \u201cIf your shutter speed is too short, you won't be able to capture the full streaks of the fireworks. If your shutter speed is too long, you may overexpose your image because there are too many fireworks in one shot. I suggest a shutter speed between four and ten seconds.\u201d<\/p> Commercial photographer Jeff Sudmeier \u201cIt\u2019s necessary to use a tripod if you want your scene to be still and clean,\u201d Jeff tells us. Last year, he used a shutter speed of eight seconds, so that support was vital. \u201cI suggest using a shutter speed that\u2019s not too short, but also not too long,\u201d he suggests. \u201cIf your shutter speed is too short, you won\u2019t be able to capture the full streaks of the fireworks. If your shutter speed is too long, you may overexpose your image because there are too many fireworks in one shot. I suggest a shutter speed between four and ten seconds.\u201d<\/p> Image \u00a9 John Cornicello (@cornicellophoto on Instagram) \u201cOverexposure is a problem I see frequently,\u201d the Seattle-based photographer John Cornicello<\/a> admits. \u201cIt often comes from having the camera in an automatic exposure mode like aperture or shutter priority mode. The camera sees a lot of dark sky and compensates by giving more exposure.\u201d Aside from shooting in manual mode, check your histogram to ensure you\u2019re not blowing out those highlights; it\u2019s better to lose some detail in the dark sky than in the fireworks themselves.<\/p> One option is to use an intervalometer, a tool commonly used for timelapses. That way, you can set your camera on your tripod, adjust your settings to perfection, and let the intervalometer click the shutter at regular intervals (the intervalometer will also double as a shutter release, and you can use it with Bulb mode).<\/p> \u201cMy approach is probably very, very different than most photographers, but the way I like to shoot fireworks is to set up my frame on a tripod and use an intervalometer to take a photo every five seconds,\u201d the photographer Evan Halleck<\/a>, who also shoots timelapses, tells us. \u201cThe timing of firework photography can be very tricky, so this way, if you like your frame, you know you are going to get a nice shot at some point.\u201d<\/p> Image \u00a9 Jeff Sudmeier (@jeffsuds on Instagram) \u201cIf you\u2019re shooting near a body of water, try to incorporate reflections in your composition,\u201d Jeff urges. \u201cIt can make a huge difference.\u201d<\/p> Deep shadows and bright highlights can make a firework photo \u201cpop\u201d off the page (or screen). \u201cI usually create an S-Curve on the curve tool to get a nice contrast,\u201d Charlie says. \u201cFrom there, I\u2019ll dodge and burn the smoke from the fireworks to get a clean look.\u201d<\/p> Image \u00a9 Evan Halleck (@halleckphoto on Instagram) If you used an intervalometer, you have plenty to play with in post-production. Try combining multiple shots. \u201cI always like to blend several photos together with the same composition to really show what five minutes of fireworks looks like in one photo,\u201d Evan explains. \u201cI use the lighten blend mode a lot and mask out the fireworks I really enjoy.\u201d<\/p> Image \u00a9 Charlie Sin (@chawleeee on Instagram) \u201cSuper sharp, detailed fireworks photos can be found all over the internet. Try something different!\u201d<\/p> Photographer Johnny Martyr Charlie uses a technique called focus pulling to transform fireworks into flowers made of light; essentially, he\u2019s turning the focus ring during an exposure. Johnny, the film photographer, has experimented with film stocks ranging from Kodak Tri-X (b&w) to Kodak Ektar 100 (colour). Both of these artists stress the importance of being creative and thinking outside the box.<\/p> \u201cI see people showing up to fireworks displays with big professional cameras, lenses, and tripods, but all this stuff can be a distraction from just having fun,\u201d Johnny explains. \u201cPlus, you end up with photos that look like everyone else\u2019s. I wonder if people realise how easy it can be to get quality fireworks photos with any old 35mm or medium format camera and a $10 roll of film. Super sharp, detailed fireworks photos can be found all over the internet. Try something different!\u201d<\/p> Feature Shoot<\/a> showcases the work of international emerging and established photographers who are transforming the medium through compelling, cutting-edge projects, with contributing writers from all over the world.<\/p> ","summary":"With New Year celebrations on the horizon, six professional photographers reveal their secrets for capturing awe-inspiring creative shots of fireworks. Read on for their top tips!","image":"https:\/\/affinityspotlight.com\/assets\/content\/w04\/s2k\/dsx\/image-10d8c5be696fcd5ee235ac31621bf633--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/w04\/s2k\/dsx\/image-10d8c5be696fcd5ee235ac31621bf633--hero-xl@2x.jpg","date_published":"2023-12-20T09:00:00+00:00","author":{"name":"Melanie Khareghat","url":"https:\/\/affinityspotlight.com\/articles\/author\/melanie-khareghat\/"},"tags":["photography","tips","long exposure","feature shoot","fireworks"]},{"id":"https:\/\/affinityspotlight.com\/article\/photographer-lorenzo-morandi-i-always-seek-inspiration-beyond-the-realm-of-photography\/","url":"https:\/\/affinityspotlight.com\/article\/photographer-lorenzo-morandi-i-always-seek-inspiration-beyond-the-realm-of-photography\/","title":"Photographer Lorenzo Morandi: \u2018I always seek inspiration beyond the realm of photography\u2019\n","content_html":" He chats with us about his diverse range of influences, what happens behind the scenes on a typical shoot and how Affinity\u2019s seamless integration between apps enables him to retouch and present his images with ease.<\/p> Lorenzo, please tell us a bit about yourself and your creative background. I live with my family in Alessandria, a city in Piedmont, equidistant from Milan, Turin, and Genoa. Born in 1985, I graduated in Civil Engineering and Architecture. Like many students, I initially approached architectural photography as a tool for studying and exploring design projects.<\/p> Laur\u00e8ne Ossin, Taekwondo World Champion Cadet Eseniya Lanskaya, painter What made you want to start a career in photography? After several years of working as a designer and project manager, I turned to professional photography in 2016. The catalyst for this decision was the discovery of portrait photography, where, for the first time, I contemplated the relationship between individuals and space. A realm of infinite possibilities unfolded.<\/p> \u201cI'm fascinated by those who, in photography, employ contemporary language and creatively interpret classical references. \u201d<\/p> Who or what is your biggest inspiration as a photographer? I always seek inspiration beyond the realm of photography. I believe that a defining aspect of those studying design and architecture is an interest in innovators who provide fresh perspectives on the discipline, often by blending and breaking traditional moulds. I\u2019m fascinated by those who, in photography, employ contemporary language and creatively interpret classical references.<\/p> My influences range from classical portrait painting\u2013for the poses of my subjects, to the painters of the 20th century. I draw inspiration from the use of light by Caravaggio and Rembrandt, and I admire the way Francis Bacon interprets subjects, placing them in relation to geometric figures. I am fascinated by the abstraction of Manlio Rho, whose forms and tones provide ample material for the decomposition and recomposition of the image, and Rothko, for his ability to express himself through subtle colour gradients. Among modern photographers, my references include Irving Penn and Ren\u00e9 Burri, extending to the contemporary artist Nadav Kander.<\/p> I realise my references are diverse, drawing also from contemporary films and TV series like \u201cThe Man on The High Castle\u201d and \u201cPeaky Blinders,\u201d creating a vast reservoir of inspiration for my photography.<\/p> Wang Mengyin, art curator Portrait of Carlotta Tell us a bit about YourStory and how it came about. YourStory<\/a> was born in 2016. I distinctly remember the moment: in the car with my wife, expecting our first child, discussing photography. I had just begun capturing people through sequences that, in a way, told a story, and I thought to myself, why not make this approach a coherent project? Not yet a photographer, I decided to publish my photos under this name as printed volumes, produced in limited quantities. Quickly evolving into an enterprise and studio, YourStory garnered assignments from local and, within a couple of years, national and international entities. Today, YourStory is essentially the editorial project tied to my professional activity, continually gathering, and publishing photographic stories featuring talented individuals, creatives, designers, artists\u2013whose personal stories intertwine inseparably with their work. My wife, Sara, is also a photographer and serves as a reference point, offering a critical and sincere perspective on my work.<\/p> Italian sculptor Jacopo 'Jago' Cardillo \u201cBuilding a trusting relationship, often established through dialogue and my genuine interest in the person in front of the lens, is crucial.\u201d<\/p> Can you give us some \u2018behind the scenes\u2019 insights on a typical photoshoot with you? My photo shoots typically unfold in the subjects\u2019 working environments\u2013real spaces where I utilise natural light and integrate artificial lighting. Each situation is unique, requiring experimentation and testing to find the best setup and lighting. In the studio, I have no predetermined schemes, experimenting with natural and artificial light based on the subject\u2019s features and my desired outcome. In both cases, the best photo results come from the subject\u2019s relaxed state. Building a trusting relationship, often established through dialogue and my genuine interest in the person in front of the lens, is crucial.<\/p> Motorcyclist, designer and customizer Alessandro 'Phonz' Fontanesi \u201cAffinity in the App Store struck me with its product philosophy, multiplatform capability, and real innovation in an Adobe-dominated sector.\u201d<\/p> How did you discover the Affinity suite, and how do you use it for your photography work? I am a fan of digital minimalism and efficient workflows. I appreciate sleek and performance-oriented apps that fulfil my needs. Discovering Affinity in the App Store struck me with its product philosophy, multiplatform capability, and real innovation in an Adobe-dominated sector. I use Capture One for managing projects with numerous RAW files, finding excellent integration with Affinity Photo. After the selection, cataloguing, and RAW development phase, I use Affinity Photo for all photo retouching. I appreciate the ease with which I can apply frequency separation, rapidly enhancing skin tones in portraits, along with correction tools (patch, clone brush, etc.). Occasionally, I use the \u201cLiquify Persona\u201d module for precise deformations.<\/p> French artist S\u00e9bastien N\u00f4tre \u201cI use Affinity Photo for all photo retouching. I appreciate the ease with which I can apply frequency separation, rapidly enhancing skin tones in portraits, along with correction tools (patch, clone brush, etc.).\u201d<\/p> What I also value across the Affinity suite is the seamless integration between apps; Affinity Publisher is my choice for presenting work. I\u2019ve created templates for directly laying out photos and exporting them as PDF previews for clients or in various formats for Instagram\u2013stories, reels, posts. All the apps I use daily follow a non-subscription model, a crucial consideration in choosing Affinity.<\/p> French artist S\u00e9bastien N\u00f4tre \u201cWhat I also value across the Affinity suite is the seamless integration between apps; Affinity Publisher is my choice for presenting work. I\u2019ve created templates for directly laying out photos and exporting them as PDF previews for clients or in various formats for Instagram\u2013stories, reels and posts.\u201d<\/p> When creating an image, particularly a portrait, I let instinct guide me, especially during the capture. I never seek specific poses; I want to photograph the subject with a serious and spontaneous expression, as if in a suspended moment. Sometimes, I seek the subject\u2019s gaze; other times, I intentionally avoid it.<\/p> Regardless of intentions, what makes a portrait work is how light sculpts the face. Therefore, I believe applying a universal lighting scheme is limiting, and I search for the best light for each individual face. I greatly enjoy the post-production phase, dedicating many hours to it. I\u2019m not interested in correcting flaws to make the subject beautiful; instead, I work on tones, contrasts, and colour dominants to create a compelling image.<\/p> Francesco Recine, volleyball World Champion of the Italian Male Team \u201cI greatly enjoy the post-production phase, dedicating many hours to it. I\u2019m not interested in correcting flaws to make the subject beautiful; instead, I work on tones, contrasts, and colour dominants to create a compelling image.\u201d<\/p> Do you have a favourite photo out of all the ones you\u2019ve taken? Could you tell us about it? My favourite photograph is part of the \u201cGeometrie\u201d series. It\u2019s neither a portrait nor an architectural photo, although the subject is architectural. I took this photo in 2013 when I didn\u2019t even know the basics of photography and was guided purely by instinct. The photo has slight colour manipulation but relies entirely on the graphic strength of a three-dimensional space compressed into two dimensions. It was in the pre-Instagram era and gained widespread attention and was being shared, published, and used for posters in various parts of the world. It reminds me of my starting point and how technique is a fundamental component that always comes after the idea and intuition.<\/p> What do you enjoy most about your work on YourStory? What I love most about YourStory is that it\u2019s a project driven by a genuine need and desire\u2013to connect and create relationships through photography. I can say that YourStory is a subset of my photography, an evolving project that can be pursued without compromise, expressing my vision. Thanks to this project, I\u2019ve met incredibly interesting individuals, leading to the birth of other projects, collaborations, and assignments. Humanly, it has fuelled my creativity over the past decade. I believe YourStory is also a way to explore common denominators among those in creative professions: doubts, the fear of taking risks, the need to shape and communicate one\u2019s identity, and self-imposed limits when defining a personal style. It\u2019s an extraordinary situation of instability in which I probably see a reflection of myself.<\/p> Fernando Cobelo, illustrator Ernesto D\u2019Argenio, actor What achievement are you most proud of in your photography career and why? I am extremely happy that this project has allowed me to collaborate with internationally acclaimed artists, with works published and exhibited in museums that would otherwise have been inaccessible to me. Among all, the relationship with contemporary artist Eugenio Tibaldi is undoubtedly the most significant. Each year, it enables me to engage with current themes and profound perspectives on the world and human condition, using photography and continually questioning it.<\/p> To see more of Lorenzo\u2019s photography, visit his website, lorenzomorandi.com<\/a> and Instagram @lorenzomorandi.it<\/a>.<\/p> You can also check out his editorial project, YourStory, here<\/a> and on Instagram @yourstory.it<\/a>.<\/p> ","summary":"Photographer Lorenzo Morandi talks about his fascinating editorial project, YourStory, and how he uses the Affinity suite to retouch and present his work.","image":"https:\/\/affinityspotlight.com\/assets\/content\/kzy\/t3w\/tr5\/image-07a30f934136c93ed7905b3107b8f644--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/kzy\/t3w\/tr5\/image-07a30f934136c93ed7905b3107b8f644--hero-xl@2x.jpg","date_published":"2023-12-13T15:00:00+00:00","author":{"name":"Amy Lovett","url":"https:\/\/affinityspotlight.com\/articles\/author\/amy-lovett\/"},"tags":["Affinity Photo","photographer","Portrait photography","Lorenzo Morandi"]},{"id":"https:\/\/affinityspotlight.com\/article\/when-to-heal-and-when-to-clone\/","url":"https:\/\/affinityspotlight.com\/article\/when-to-heal-and-when-to-clone\/","title":"When to heal, and when to clone?\n","content_html":" As photographers, we inevitably run into situations where our photos can be somewhat ruined by a presence of unwanted objects such as power lines, random by-standers, birds, dust spots, you name it!<\/p> Examples of unwanted elements We know it\u2019s often impossible to work around those obstacles whilst shooting, so let\u2019s turn to Affinity Photo 2 and look at two of the most interchangeably used tools for fixing problem areas such as these: the Healing Brush (including the Inpainting Brush) and Clone Brush tools!<\/p> In short, both healing and cloning work on the basis of sampling, usually from areas adjacent to the problem region. Here\u2019s the catch though; cloning is a better choice for objects you\u2019d like to either duplicate or remove completely (think: copy), whereas healing is recommended for more complex areas that include some sort of texture, varied colours and levels of tonality.<\/p> Example of an area with hard-edge tones (A) and mixed-tones (B) As you experiment with the two tools for healing\/inpainting and cloning more, you\u2019ll be able to judge when to choose one over the other. You\u2019ll also notice soon enough, that these tools can (and sometimes should) be used in-tandem to get the desired result.<\/p> Here\u2019s an example of a photo where we\u2019d like to remove the houses on the left to distract us less\u2014they seem detached from the ones nearby and thus create a left-heavy scene.<\/p> Starting image with somewhat distracting elements We\u2019ll start with the Clone Brush Tool by sampling from the nearby grass area (\u2325\/Alt-click, Mac\/Windows, respectively) and then painting in gently to replace the houses. We do this on a new pixel layer with Current Layer and Below setting selected on the context toolbar.<\/p> Tip: Take time while sampling and cloning for optimum result. Set Hardness to a low value (20%) and keep switching between a smaller and larger brush size\u2014this helps to make the transition between strokes smoother and more realistic. Sampling and cloning Once done with cloning, we switch to using the Healing\/Inpainting Brush tools as we encounter a challenging area where the houses hide behind the tree\u2019s branches.<\/p> This is where we\u2019d like to take the advantage of colour and texture blending to avoid hard edges and visible differences. These two tools take into account the texture (from where we sample) and colours (from where we paint) and mix them together.<\/p> Inpainting Note: When using the Heal Brush Tool, you need to sample from an area still, whereas Inpainting does so automatically as you paint. For the latter, make your brush size slightly larger for Affinity Photo 2 to perform blending tones in nearby colours and textures more accurately. Here is the image with the problem areas removed\u2014much more pleasing to the eye.<\/p> Final result As always, remember that healing and cloning can be performed using both Affinity Photo 2 desktop and iPad, thus not limiting you to one platform and allowing you to continue your edits on the go.<\/p> ","summary":"In this article, we'll look at when to use healing vs cloning for treating problem areas in photos.","image":"https:\/\/affinityspotlight.com\/assets\/content\/tqz\/nsk\/q8k\/image-2e8b7e0a76e7308ff35d09e0cb4742e4--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/tqz\/nsk\/q8k\/image-2e8b7e0a76e7308ff35d09e0cb4742e4--hero-xl@2x.jpg","date_published":"2023-12-06T15:00:00+00:00","author":{"name":"Mike Leski","url":"https:\/\/affinityspotlight.com\/articles\/author\/mike-leski\/"},"tags":["Affinity Photo 2","Affinity Photo 2 iPad","Healing","Healing Brush Tool","Inpainting Brush Tool","Clone Brush Tool"]},{"id":"https:\/\/affinityspotlight.com\/article\/get-creative-with-spirals\/","url":"https:\/\/affinityspotlight.com\/article\/get-creative-with-spirals\/","title":"Get creative with spirals!\n","content_html":" Newly introduced into all Affinity apps in V2.3 (30\/11\/2023 launch), the Spiral Tool joins 21 other shape tools in both Affinity desktop (Mac and Windows) apps and iPad apps.<\/p> The tool offers a truly comprehensive spiral creator encompassing a choice of creative styles and options. With professional-level and smooth results, it\u2019s sure to resolve the long-standing demand from the creative design industry for a powerful spiral creator.<\/p> \u201cThe objective was to create a spiral that replicated common and useful patterns\u2014which is why we included commonly created approximated models.\u00a0The other objective was to maintain spiral editability and give an instant preview of changing parameters, as with all shapes. Users can push parameters to the extremes for some unique results!\u201d<\/p> Ben Idoine, Affinity Senior Software Engineer In terms of creativity, spirals can be incorporated into many graphic designs, photo-editing projects and page layouts. Here are just some examples that spring to mind.<\/p> You\u2019ll encounter spirals in many aspects of life: rope coils, watch springs, mazes, staircases, waltzers and children\u2019s sweets are just some examples.<\/p> Lollipops with different spiral styles We see spirals in nature all the time. From snails to swirling clouds, whirlpools, ripples and waves; even the cosmos has spiralling galaxies. So, it makes sense to include these elements in nature-focused designs.<\/p> Spirals in nature: wind and waves In some instances, rather than drawing a basic spiral it\u2019s fun to add some variety to the spirals by altering stroke properties. This can introduce dashed and dotted lines, and even apply a pressure profile for a naturally tapering spiral as in the example above.<\/p> Spirals also make great repeating patterns. Curving and straight-edged spirals can be used equally to fill out backgrounds or fill specific areas in your design.<\/p> Repeating patterns based on standard and straight-edged spirals Tip: Use Affinity Designer\u2019s Symbols feature on your initial spiral so that all other spiral instances in your tiled pattern will change automatically as you edit any one of them!<\/p> One interesting use in photo editing is to draw spirals on the focal point of your design; this cleverly draws the eye into the main object of interest. If carried out subtly, this won\u2019t distract from the main object.<\/p> Spiral added to a butterfly to strengthen the focal point The spiral you choose may be just the beginning of your design. Don\u2019t forget that like any vector shape, you can convert the spiral to curves for complete design freedom\u2014including deleting parts of the spiral for a more asymmetric look or merging the spiral into your planned design.<\/p> Using a simple spiral as the basis for a fish-themed logo If you\u2019re keen to explore spirals further, it might be worth knowing that Affinity\u2019s Spiral Tool goes beyond basic spirals and offers many distinct looks. Here\u2019s a visual overview.<\/p> Spiral styles and variations For any Affinity app, you\u2019ll find the Spiral Tool along with all the other shape tools in the Shape tools menu. For more details, why not catch up with:<\/p> Please turn on JavaScript to view this video Learn how to use the Spiral Tool \u2013 new in version 2.3. Our tutorial video which explains how to use the Spiral Tool and take advantage of its customisable parameters for even greater flexibility.<\/p> The Spiral Tool topic<\/a> in Affinity.help.<\/p> ","summary":"Andy takes a look at some creative ideas for designing stunning spirals using Affinity\u2019s new Spiral Tool.","image":"https:\/\/affinityspotlight.com\/assets\/content\/q23\/ght\/qqs\/image-686a7eaf2c82f17024d8e75e52ac0506--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/q23\/ght\/qqs\/image-686a7eaf2c82f17024d8e75e52ac0506--hero-xl@2x.jpg","date_published":"2023-12-06T15:00:00+00:00","author":{"name":"Andy Capstick","url":"https:\/\/affinityspotlight.com\/articles\/author\/andy-capstick\/"},"tags":["Affinity Designer","spirals","fibonacci"]},{"id":"https:\/\/affinityspotlight.com\/article\/make-pdfs-that-work-better-with-assistive-technologies-using-affinity-publisher-2\/","url":"https:\/\/affinityspotlight.com\/article\/make-pdfs-that-work-better-with-assistive-technologies-using-affinity-publisher-2\/","title":"Make PDFs that work better with assistive technologies using Affinity Publisher 2\n","content_html":" It\u2019s super easy to add descriptions, often called alt text, to images in Affinity Publisher 2. In fact, you may not even have to type anything.<\/p> If an image contains XMP metadata\u2014perhaps supplied by its creator or added during your workflow\u2014you can simply tell Affinity to use the embedded title, description or heading as the image\u2019s alt text.<\/p> When an image\u2019s metadata isn\u2019t quite what you want, or if there isn\u2019t any, you can provide custom alt text.<\/p> If an image's metadata is unsuitable as alt text, select Custom and type your own. Tip: So that assistive technology doesn\u2019t speak or display a generic description of images that have no alt text, make sure you apply the Mark as Decoration setting to them.<\/p> Affinity Publisher 2 can alert you when alt text has not been specified. You\u2019ll need to enable this by editing your preflight profile on the Preflight Panel.<\/p> You can tell Affinity to inform you about any non-decorative images in a document that do not have alt text. In the Alt Text category, choose the warning level and the kinds of content to be checked: placed documents, placed images, and vectors.<\/p> After tagging your document\u2019s images, there\u2019s just one more thing to do. When you export a PDF, ensure the Tagged PDF setting is selected. It\u2019s preselected for Affinity Publisher 2\u2019s \u2018digital - small size\u2019, \u2018digital - high quality\u2019, and \u2018for export\u2019 presets.<\/p> The Tags Panel in Affinity Publisher 2.3 is just the start of a series of improvements we\u2019re making to PDF accessibility. Upcoming updates will provide support for reading order, heading tags and other document structure tools that will further enhance your PDFs.<\/p> To try out these features at the earliest opportunity, sign up for the Affinity Beta Software Program<\/a>.<\/p> ","summary":"Tag images with descriptive alt text to give readers with accessibility needs a better experience with PDFs made in Affinity Publisher 2.3.","image":"https:\/\/affinityspotlight.com\/assets\/content\/27g\/4jm\/4nj\/image-296b124ff7ffe861c1815c5b694a0369--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/27g\/4jm\/4nj\/image-296b124ff7ffe861c1815c5b694a0369--hero-xl@2x.jpg","date_published":"2023-12-06T14:00:00+00:00","author":{"name":"Alan Stonebridge","url":"https:\/\/affinityspotlight.com\/articles\/author\/alan-stonebridge\/"},"tags":["tags","tagging","Affinity Publisher 2","Affinity Publisher 2 for iPad","accessibility","assistive technology","alt text"]},{"id":"https:\/\/affinityspotlight.com\/article\/level-up-your-skills-with-top-tips-and-tricks-from-affinity-pro-users\/","url":"https:\/\/affinityspotlight.com\/article\/level-up-your-skills-with-top-tips-and-tricks-from-affinity-pro-users\/","title":"Level up your skills with top tips and tricks from Affinity pro users\n","content_html":" If you\u2019re looking for tips on how to make your beauty edits look more natural, look no further! In this session, beauty and fashion photographer Kayleigh June walks you through her retouching process in Affinity Photo, demonstrating how she beautifies her photos using healing tools, Dodge and Burn, the Clone Stamp Tool and more. She also shares her top tips for achieving the best results.<\/p> You can download the image of the RAW file she uses to follow along here: affin.co\/KJFC<\/a>.<\/p> Please turn on JavaScript to view this video Learn how to retouch a beauty photo with photographer Kayleigh June. We are huge fans of Luc Sauve\u2019s retro badge designs and were delighted to get an in-depth look at his process for designing a lettermark and badge for a fictional Hockey team\u2014Affinity Wild Hockey Club\u2014in this session. Among other tools in Affinity Designer, he shows you how he uses 3D and warped text to create a unique design.<\/p> You can download the working file and other resources for this session here: affin.co\/LSFC<\/a>.<\/p> The free Google font pack Oswald also used in Luc\u2019s design can be downloaded here: fonts.google.com\/specimen\/Oswald<\/a>.<\/p> Please turn on JavaScript to view this video Graphic designer Luc Sauve talks you through his lettermark and badge design process in Affinity Designer. In our very first Affinity Masterclass series, multiple award-winning photographer and artist Felix Hernandez gives us an in-depth look at how he creates one of his signature miniature masterpieces over four fascinating sessions.<\/p> From making physical assets to posing and shooting them to post-processing using Affinity Photo, follow along as he takes you through his unique creative process from start to finish. This is a must-watch for anyone interested in miniature photography and a great chance to gain an insight into Felix\u2019s workflow.<\/p> Downloadable resources for the first session can be found here: affin.co\/FHFC<\/a>.<\/p> The other three pro sessions and resources are available from our YouTube playlist: Affinity Masterclass with Felix Hernandez<\/a>.<\/p> Please turn on JavaScript to view this video Go behind the scenes with multiple award-winning photographer and artist Felix Hernandez as he creates one of his signature miniature masterpieces. If you\u2019re a pixel-based pattern designer looking to work in vector or someone wanting to get into pattern design, this one is for you! Learn how to create repeat patterns from start to finish using Affinity Designer in this creative session led by pattern designer and Skillshare teacher Weronika Salach.<\/p> You can follow along and create your own pattern by downloading the free Repeat Pattern template file (for Affinity Designer V1 and V2) here: affin.co\/WSFC<\/a>.<\/p> Please turn on JavaScript to view this video Learn how to create vector repeat patterns in Affinity Designer with Weronika Salach. Marit van Ekelenburg\u2019s stunning macro work first caught our eye on Instagram, where her behind-the-scenes videos and striking close-ups of insects have captured the imagination of hundreds of thousands of followers. In this fascinating session, Marit demonstrates her post-production workflow using Affinity Photo 2, showing you how she uses Image Stacking and Focus Merging to achieve eye-catching end results.<\/p> Please turn on JavaScript to view this video Watch as macro photographer Marit van Ekelenburg demonstrates her post-production workflow using Affinity Photo 2. Learn how to create an eye-catching infographic using multiple styles of graphic design in this creative session led by artist and YouTuber Rhys Thomas (aka RSKT). Taking you through his workflow step-by-step, Rhys will show you how he sources information and creates a visual outline and script before experimenting with various layouts and ultimately crafting the final visual piece using adjustment layers in Affinity Photo and Designer.<\/p> Please turn on JavaScript to view this video Learn how to create eye-catching infographics using Affinity Designer and Photo with artist Rhys Thomas. Interested in learning some non-destructive techniques for 3D render post-production? Be sure to check out this creative session from our in-house product expert, James Ritson. Focusing specifically on render imagery from Blender, James guides you through his non-destructive workflow using placed render passes, adjustment layers, live filter layers and vector fill layers in Affinity Photo. He also covers esoteric techniques (like producing a diffuse glow effect non-destructively) as well as advanced techniques such as blend ranges, masking images and adjustments, tonal blending between foreground and background elements, and adding an organic grain effect.<\/p> He\u2019s also provided free-to-use downloads of the source files and everything else you need to follow along, which you can download here: affin.co\/JRFC<\/a>.<\/p> Please turn on JavaScript to view this video Our in-house product expert James Ritson demonstrates some powerful non-destructive techniques for 3D render post production using Affinity Photo. In this session, artist and educator Isabel Aracama shows you how to use a combination of Vector and Pixel personas in Affinity Designer to create an incredibly realistic-looking illustration of a butterfly. If you\u2019ve ever looked at a photo-realistic illustration and wondered how it was done, this is your chance to learn some of the techniques!<\/p> To accompany the session there is an Affinity Designer file to download: affin.co\/IAFC<\/a>. This file is locked like our in-app samples but allows you to browse the layers and see how everything is put together.<\/p> Please turn on JavaScript to view this video Discover how to use a combination of Vector and Pixel personas in Affinity Designer to create an incredibly realistic-looking illustration with artist Isabel Aracama. In a Halloween-themed Creative Session, our in-house product expert, Benjamin Viney, shows you how to create an illustrated book with our award-winning Affinity Publisher software. If you dare, follow along as he reimagines his own version of Bram Stoker\u2019s 1897 classic, Dracula\u2026 First, Ben will show you how to illustrate and design a cover utilising Affinity Publisher\u2019s fantastic array of creative tools, such as the Pen Tool, Transparency Tool, layer blend modes, and the Gradient Fill Tool. He\u2019ll also talk you through how to choose the best font for your cover as well as book size. After that, Ben will focus on chapter one of the spine-tingling vampire tale, demonstrating how to lay out the internal pages of a book using master pages, automatic fields such as running headers and page numbers, as well as text styles and auto-flowing text.<\/p> He\u2019s also provided free-to-use downloads of the source files and everything else you need to follow along here: affin.co\/BVFC<\/a>.<\/p> Please turn on JavaScript to view this video Our in-house product expert Benjamin Viney shows you how to create an illustrated book in our award-winning Affinity Publisher software. Nashville photographer Quinn Ballard has over ten years of experience in architectural and interior photography. In this creative session, he runs through his top tips and tricks for editing exterior photos in Affinity Photo, sharing plenty of nuggets of wisdom for anyone wanting to get the best from their images and speed up their workflow.<\/p> If you\u2019d like to follow along, download the supplementary free content, \u201cAll Kinds \u2019o Clouds\u201d\u2014a selection of images for replacing skies in your own photos\u2014here: affin.co\/QBFC<\/a>.<\/p> Please turn on JavaScript to view this video Watch as photographer Quinn Ballard he runs through his top tips and tricks for editing exterior photos in Affinity Photo. Whether you\u2019ve just started out with a free trial or have been using Affinity for quite some time, we hope you find these sessions useful. There are many more to discover in our Creative Sessions Playlist<\/a>, including topics such as comic and cartoon illustration in Affinity Designer, faking the underwater look in Affinity Photo and typography fundamentals in Affinity Publisher, so don\u2019t forget to check them out!<\/p> To get notifications about future sessions and tutorials, subscribe to the official Affinity YouTube channel.<\/p> Subscribe to our YouTube channel<\/a><\/p> ","summary":"A look back at this year's Creative Sessions, which are free to watch on-demand on the official Affinity YouTube channel.","image":"https:\/\/affinityspotlight.com\/assets\/content\/qhz\/0cw\/tfx\/image-fbf123874c2e7ba1b117fed6b53ae7b5--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/qhz\/0cw\/tfx\/image-fbf123874c2e7ba1b117fed6b53ae7b5--hero-xl@2x.jpg","date_published":"2023-12-06T14:00:00+00:00","author":{"name":"Melanie Khareghat","url":"https:\/\/affinityspotlight.com\/articles\/author\/melanie-khareghat\/"},"tags":[]},{"id":"https:\/\/affinityspotlight.com\/article\/affinity-23-is-here\/","url":"https:\/\/affinityspotlight.com\/article\/affinity-23-is-here\/","title":"Affinity 2.3 is here!\n","content_html":" The addition of a Spiral Tool allows the quick and easy creation of a wide variety of complex spirals including, Linear, Decaying, Semi-circular, Fibonacci and Plotted.<\/p> In this video, our in-house product expert, Katy, explains how to use the Spiral Tool and take advantage of its customisable parameters for greater flexibility.<\/p> Please turn on JavaScript to view this video Learn how to use the Spiral Tool \u2013 new in version 2.3. UI designers and photo editors alike will benefit from the new Pixel Grid option, which can be turned on in addition to the main grid and appears when zoomed in for precision editing.<\/p> For Affinity Designer users, the new grid feature provides a valuable supporting visual aid when doing UI work such as designing icons.<\/p> In Affinity Photo, this option is especially useful when editing zoomed-in images as it helps editors visualise the pixels. Moreover, using a different grid colour can help when there is little colour variance in the image. While a grid option has been present in Affinity Photo, users now have the option to toggle it on and off.<\/p> Please turn on JavaScript to view this video Learn how to enable and use the Pixel Grid in Affinity Designer for workflows where pixel-based precision is required. As data protection and security demands become ever-tighter, Affinity products now allow users to create and place password-protected PDFs.<\/p> Our product expert, Ben, covers how to password-protect PDFs exported from Affinity Publisher, including restricting operations such as printing and editing, in this video.<\/p> Please turn on JavaScript to view this video Learn how to password-protect PDFs exported from Affinity Publisher. The new Tags Panel in Affinity Publisher allows you to add alt text to any image or object when exported to PDF for accessibility purposes. Ben covers how to create custom alt text descriptions, utilise XMP data and mark elements as decoration, in this video.<\/p> Please turn on JavaScript to view this video Learn how to make your digital PDFs more accessible by leveraging Alt Text supported by screen readers. After reviewing feedback from the previous beta, we\u2019re pleased to say we\u2019ve been able to implement a few requests to Move Data Entry.<\/p> You can now choose to create duplicates in front or behind the original using the new Insertion mode options Scale has now been added, allowing you to quickly resize an object by a given percentage (when creating duplicates, the scale percentage will also apply to every subsequent duplicate\u2014this can also be combined with other transforms) Properties of the object being transformed can now be adjusted without dismissing the dialog. User-requested improvements have been made to Move Data Entry. For a full list of new features and improvements, visit the Affinity website: affin.co\/WhatsNew<\/a>.<\/p> If you\u2019re a new customer or wish to upgrade from V1 to V2<\/a>, check out our purchase options<\/a> or sign up for a 30-day free trial<\/a>.<\/p> ","summary":"Version 2.3 introduces the highly requested Spiral Tool as well as some great new capabilities and improvements.","image":"https:\/\/affinityspotlight.com\/assets\/content\/twn\/53g\/v8x\/image-76483e9f60bff7cb9d7f46d7c2e62bba--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/twn\/53g\/v8x\/image-76483e9f60bff7cb9d7f46d7c2e62bba--hero-xl@2x.jpg","date_published":"2023-11-30T08:00:00+00:00","author":{"name":"Melanie Khareghat","url":"https:\/\/affinityspotlight.com\/articles\/author\/melanie-khareghat\/"},"tags":["Affinity Designer","Affinity Photo","Affinity Pubilsher","Affinity 2 3"]},{"id":"https:\/\/affinityspotlight.com\/article\/how-to-use-symbols-in-affinity-designer-2\/","url":"https:\/\/affinityspotlight.com\/article\/how-to-use-symbols-in-affinity-designer-2\/","title":"How to use Symbols in Affinity Designer 2\n","content_html":" In order to create a symbol within your design, first, you need to go to Window > Symbols to ensure the Symbols Panel is visible.<\/p> Now simply select the object you would like to convert to a symbol, for example, a logo or an icon using the Move Tool or via the Layers Panel, and then click Create in the Symbols Panel. To make sure all of your symbols update at the same time, you\u2019ll also need to have synchronisation turned on. So, if it is not already highlighted, click Sync.<\/p> Now if you copy and paste the symbol elsewhere in your design or across multiple artboards, when you make changes to that symbol they will be reflected in all other symbol instances, in real-time\u2014which is extremely useful if a client requests bulk changes throughout a design or project.<\/p> This video shows how to make your design workflows more efficient using symbols.<\/p> Please turn on JavaScript to view this video An overview of using Symbols in Affinity Designer Converting logos and icons into symbols is a great way to avoid inconsistencies in branding and UI projects. Let\u2019s use this coffee shop branding as an example. Once we\u2019ve got our logo ready, we can turn it into a Symbol and start to put this branding onto different product mock-ups over multiple artboards.<\/p> This is ideal for when you need to show how something might look in various print formats like letterheads, business cards, menus, packaging or even staff uniforms etc., or to show how it will look as part of a user interface, app or website across different devices.<\/p> It is also perfect for UI design where buttons, icons, form elements and logos are repeated and need to be consistent. Using symbols to update all instances simultaneously will allow you to focus more attention on the user experience, rather than spending time trying to combat inconsistencies in your design.<\/p> Tip: The Detach feature allows you to isolate one or more of your symbols. With the symbol you wish to change selected, click Detach. You will able to edit this element independently or prevent it from being edited with the rest of the symbols. You can also create symbols from curves and shapes just before you duplicate and transform them. This lets you create interesting repeating designs which can change all instances in one go! Two duplication methods are possible:<\/p> Move data entry\u2014the symbolised object can be duplicated when you press the Enter key; the resulting Move\/Duplicate dialog offers Rotation and Number of copies options. As you adjust these options\u2019 values the design will change with it. Power Duplicate (cmd + J or ctrl + J (Mac or Windows)\u2014this modifier-based approach relies on the Duplicate command and on-page manual object rotation rather than using the Move\/Duplicate dialog. By converting the individual shapes a design is made up of into symbols we can very easily change the characteristics of the whole design, in seconds. For example, changing the colour of each petal individually in the flower design below would have taken a very long time, but using symbols I was able to make changes to one petal that were then applied across the whole design instantly, as you can see in this video.<\/p> Please turn on JavaScript to view this video The key to success with this type of design is trying to stick to exact angles and distances when duplicating using either method. The flower design above consists of a duplicated petal shape, which was then rotated by exactly 30 degrees and moved slightly to the right of the very first\/highest pedal. I knew that I wanted exactly 12 petals in my overall design, so 30 degrees was the perfect amount to fill the shape as intended.<\/p> Symbols can be incredibly useful when creating repeat patterns because any changes you make to an object will be reflected across all other instances of that object in your design.<\/p> For example, I created a simple ice lolly design that I then wanted to repeat across the whole canvas. Using a combination of Symbols and Power Duplicate seemed a perfect choice.<\/p> To create the initial symbol from which to build the pattern, I selected the ice lolly design and then clicked Create in the Symbols Panel (with Sync turned on).<\/p> I then started to copy and paste the Symbol using Power Duplicate (Command + J or control + J on a PC) in the same direction and distance across the canvas\u2013this is also a quick way to make sure the gaps between your symbols are equal each time.<\/p> When I had one long line of symbols, I grouped them together using Command + G (or control + G on a PC) and then duplicated the line several times to fill the rest of the page. Once I filled the page, it was easy to adjust the colour, angle and size of the ice lollies without having to select each one individually.<\/p> This cushion mock-up was also made using symbols. After creating a simple design using random shapes, I then turned it into a symbol and used it as the basis for a much larger pattern.<\/p> On the left, you can see the original smaller square pattern I designed before I converted it into a symbol and duplicated it numerous times around my design.<\/p> When making this kind of pattern, the Distribution options (found in the top-right corner of your Toolbar) are essential to making sure everything is evenly placed, as when an element is spaced even slightly incorrectly, it will really stand out when your pattern is scaled to the correct size.<\/p> For more information on creating seamless repeat patterns for textiles, check out this article by pattern designer Weronika Salach: How to achieve perfect repeat patterns every time in Affinity Designer<\/a>.<\/p> Any vector warp group made from one or more objects can itself be symbolised. In the same way that changes to symbolised shapes can be applied to all symbol instances simultaneously, multiple symbolised warp groups allow you to always keep your warps consistent across your design.<\/p> You can also use symbols to create intricate illustrations with repeat elements. This city design was made by combining numerous different skyscraper symbols and then overlaying them together to create an effective \u2018collage-style\u2019 illustration.<\/p> Here, I\u2019ve broken it down to show you a few of the buildings on their own to give you a better idea of how it was put together.<\/p> If you want to go full \u2018Inception-style\u2019, you can have symbols embedded within symbols too. So, to make life even easier, I made the window sections vector symbols. This meant that I could make changes to the colour, height, width and gaps between the windows all in a matter of seconds! Editing two hundred individually placed window sections just wouldn\u2019t have been feasible.<\/p> These are just a few examples where symbols can be utilised to great effect. There are many more use cases where they can enhance your workflow, so if you don\u2019t already use symbols in Affinity Designer, hopefully, this article has inspired you to give this feature a try\u2014you might find it a real time-saver!<\/p> ","summary":"Symbols are a game-changer when it comes to creating repeatable elements in Affinity Designer 2. Let\u2019s take a closer look at this incredible feature and the many ways it can be used\u2026","image":"https:\/\/affinityspotlight.com\/assets\/content\/xwr\/0bh\/bm6\/image-33a60f7649fadc2c8c20174b440b6e7b--hero-lg@2x.jpg","banner_image":"https:\/\/affinityspotlight.com\/assets\/content\/xwr\/0bh\/bm6\/image-33a60f7649fadc2c8c20174b440b6e7b--hero-xl@2x.jpg","date_published":"2023-11-17T10:00:00+00:00","author":{"name":"Matt Searston","url":"https:\/\/affinityspotlight.com\/articles\/author\/matt-searston\/"},"tags":["Affinity Designer","branding","tutorial","logo design","patterns","symbols","vector warp"]},{"id":"https:\/\/affinityspotlight.com\/article\/how-to-create-a-successful-photography-blog\/","url":"https:\/\/affinityspotlight.com\/article\/how-to-create-a-successful-photography-blog\/","title":"How to create a successful photography blog\n","content_html":" Your photography blog could land you on the first page of Google, allowing the right clients to find you just when they need you. Maybe it encourages your followers to offer direct feedback that helps generate new creative ideas, or perhaps it inspires you to launch a whole new product or service, whether it\u2019s mentoring courses for other photographers or an online print shop featuring highlights from your portfolio.<\/p> We recently caught up with seven professionals\u2014three wedding photographers, a travel photographer, a mountain\/wilderness photographer, a nature photographer\/photo editing expert, and a commercial photographer\/art director. Each had a different speciality, and each had a different reason for launching a blog. But they all agreed that blogging had expanded their audience, challenged them to try new things, and opened up new opportunities. We asked them to divulge their secrets for starting\u2014and maintaining\u2014a successful photography blog.<\/p> Image \u00a9 Heather K Purdy (@heatherkpurdy on Instagram) \u201cSharing tips on your blog is a really great way to increase traffic to your site and to pay it forward.\u201d<\/p> Photographer Heather K Purdy Types of content that consistently do well, across almost all genres and niches, include tutorials, guides, and tips and tricks. These tips can vary based on your unique skill set, whether it\u2019s studio lighting, post-processing, styling, or even marketing.<\/p> \u201cSharing tips on your blog is a really great way to increase traffic to your site and to pay it forward,\u201d the Big Sur-based wedding and elopement photographer Heather K Purdy<\/a> tells us. \u201cI remember being a newer photographer and being so grateful for all the posts I came across that shared tips and tricks, so I always try to keep this in mind when I share blog posts for other photographers on topics like: How to Find Your Ideal Client.<\/p> \u201cYou can also share things that are specific to your clients and not just other photographers. I have a whole post on which wedding gowns work best for elopements. My brides have told me repeatedly how much they have appreciated that post.\u201d<\/p> Colorado \u00a9 Matt Kloskowski (@mattkloskowski on Instagram) Our second tip comes from Matt Kloskowski<\/a>, a wildlife and nature photographer and educator specialising in the art of photo-editing. \u201cOne of the most common blogging mistakes I see is when people write about (or create videos about) things that they want to show people,\u201d he explains. \u201cAnd, to me, that\u2019s the wrong approach. You need to create content about what your audience wants to see.\u201d<\/p> The only way to know what they want is to start sharing content, while watching what people respond to, reading comments, and accepting feedback. \u201cThere are tens of thousands of amazing photographers and millions of great photos, so you need to bring something else to the table besides a great image,\u201d Matt continues. \u201cYou get these ideas through interactions with your audience and learning what resonates with them.\u201d<\/p> What if you don\u2019t have an audience yet? \u201cStart somewhere,\u201d Matt suggests. \u201cDon\u2019t wait for the \u2018perfect\u2019 time. It doesn\u2019t exist. You have to get started before you gain any momentum. Once you start moving ahead, so many of the other things fall into place.\u201d<\/p> Image \u00a9 Amber Garrett (@ambergarrettphoto on Intstagram) \u201cBy blogging my sessions and targeting specific keywords, I\u2019m on the first page of Google, which allows more clients to find and book me.\u201d<\/p> Photographer Amber Garrett Search engine optimisation (or SEO) ensures your website (and blog) surfaces in search results, making it exponentially easier for clients to find your work. An understanding of the basics, such as using target keywords and regularly refreshing\/updating your site, goes a long way. \u201cMy blog has absolutely been the reason that my business gets found so easily on Google,\u201d the Las Vegas-based wedding and elopement photojournalist Amber Garrett<\/a> says.<\/p> \u201cBy blogging my sessions and targeting specific keywords, I\u2019m on the first page of Google, which allows more clients to find and book me. This has led to an increase in my business\u2019 revenue, which ultimately allowed me to work full time in my business, supporting myself and my husband (and our house full of animals). Blogging can seem so daunting as a photographer, but learning the best practices for SEO and organising your workflow for it will help tremendously.\u201d<\/p> D\u00eda de Muertos in LA \u00a9 Kirsten Alana (@KirstenAlana on Instagram) \u201cIt\u2019s so important to be able to curate and edit yourself to present a story in a concise way,\u201d the travel and lifestyle photographer Kirsten Alana<\/a> says. \u201cWe don\u2019t have editors for our own sites like writers do for the big outlets. And we get so passionate about the photos that we think we have to share them all. I say \u2018we\u2019 because I absolutely make this same mistake myself. I\u2019m trying to change, though! Having a blog allows me to be more in control of what stories I tell, and how I tell them, so I\u2019m intentional and selective about what I put out there.\u201d That is, don\u2019t share content for content\u2019s sake; make sure it aligns with your brand and goals.<\/p> Late nights in Iceland \u00a9 Simon Migaj (@simonmigaj on Instagram) \u201cIn the beginning, I remember overthinking every aspect of every entry, but the reality is that each and every post has value and you need to realise that and just start posting. The more you\u2019ll do it, the better you\u2019ll get at it.\u201d<\/p> Photographer Simon Migaj \u201cIf you think that this is something that you\u2019d like to do, then you just need to start,\u201d says Simon Migaj<\/a>, a commercial photographer specialising in documentary, architectural, and lifestyle work. \u201cIn the beginning, I remember overthinking every aspect of every entry, but the reality is that each and every post has value, and you need to realise that and just start posting. The more you\u2019ll do it, the better you\u2019ll get at it.\u201d<\/p> When he started, Simon anticipated his blog would help attract clients, but he didn\u2019t expect the added benefit of connecting with people, including other photographers, who flocked to his blog for travel tips. As long as you\u2019re creating something that\u2019s valuable to your audience or helps them learn something new, you\u2019re on the right track. \u201cTry not to be worried about whether it\u2019s the best blog post you\u2019ve ever seen,\u201d Simon says. \u201cA good published entry has more value than a perfect eternal draft.\u201d<\/p> \u201cPost often,\u201d Simon urges. \u201cI don\u2019t mean that you have to post daily; it can even be once a month, but help people remember and stay up-to-date on your blog.\u201d Updating your site also helps with SEO. Another tip from Simon: \u201cShare across numerous platforms. If you want to reach a bigger audience, don\u2019t be afraid to post the same content to your blog, Medium, or Google.\u201d You can also share your blog posts on social media; maybe you add them to your Instagram bio or include a link sticker on your Stories.<\/p> Autumn & Winter, Sarek National Park \u00a9 Magnus Lindbom (@magnuslindbomphoto on Instagram) While running a successful blog boils down to creating something of value for your audience, remember to stay true to what inspired you to pick up a camera in the first place. That\u2019s what you\u2019ll come back to when you need encouragement or motivation. \u201cI think we all need to start within ourselves,\u201d the mountain and wilderness photographer Magnus Lindbom <\/a> tells us.<\/p> \u201cWhat is your passion? What are you interested in? Write about that, while at the same time trying to keep your audience in mind. If you\u2019re just starting a blog, you might find that it\u2019s hard to gain traction and followers. Don\u2019t give up. If you write about things that you love, people will eventually find you.\u201d<\/p> Paris in the Rain \u00a9 Catherine O'Hara (@ catherineoharaphotography on Instagram) \u201cIf your main website is more of a professional, polished portfolio rather than an expressive outlet, you can still communicate to prospective clients on a more personal level via your blog.\u201d<\/p> Photographer Catherine O'Hara Trying it out<\/h2>
Let\u2019s go multilingual<\/h2>
Learn more about layer states<\/h2>
Why is PNG 3rd Edition support important for broadcasting and special effects workflows?<\/h3>
How can I export this new variant of PNG in Affinity?<\/h3>
Discover more<\/h2>
1. Affinity Photo supports over 50 new camera models<\/h3>
2. You can produce high dynamic range on-screen graphics<\/h3>
3. Precision alignment is quicker and easier<\/h3>
4. You can easily select, show and hide layers based on criteria<\/h3>
5. Support for DWG and DXF export has been added to Designer<\/h3>
Find out more about Affinity 2.4<\/h2>
Don\u2019t own Affinity V2?<\/h2>
OK, but what am I looking at?<\/h3> Histogram panel indicating tonal areas: (A) Shadows, (B) Midtones, (C) Highlights.
How do I decide what to do next?<\/h3>
White Balance and Histogram<\/h3>
Bonus tip<\/h3>
1. Quickly adjust font size<\/h3>
2. Find text in fewer key presses<\/h3>
3. Highlight invisible characters and other text marks<\/h3>
4. Take direct control of tab stops<\/h3>
5. Create text styles from locally formatted text<\/h3>
6. Use a speedy way to type special characters<\/h3>
7. Type or convert straight and typographic quotes<\/h3>
Introduction to colour<\/h2>
History<\/h3>
Colour models<\/h2>
Understanding RGB<\/h3>
Understanding CMYK<\/h3>
Understanding HSL<\/h3> Munsell's 3D HSL system.
Understanding Lab<\/h2>
Colour space<\/h2>
Colour profile<\/h2>
Don\u2019t miss Part 2<\/h2>
Colour messaging<\/h2>
Summary<\/h2>
Setting up documents<\/h2>
Panels explained<\/h2>
Colour panel<\/h3>
Swatches panel<\/h2>
Palettes<\/h3>
What is masking?<\/h2>
Compositing<\/h3> Composite elements before masking.
Selective adjustments<\/h3> Before applying selective adjustments.
Painting and Gradients<\/h3>
Masking and Affinity Photo<\/h2>
Masking and Affinity Designer<\/h2>
Masking and Affinity Publisher<\/h2>
Learn more<\/h2>
What exactly is a blend mode?<\/h3>
Multiply<\/h2> The Shape layer in this example has a Multiply blend mode affecting the Image layer below
How it works<\/h3>
Some other cool examples and applications<\/h3> Restoring shadows in faded antique photos Darkening of filters (e.g., Lighting) Toning down overexposed photos Removing white backgrounds in image composites (without having to cut out)
Screen<\/h2> The Shape layer in this example has a Screen blend mode affecting the Image layer below
How it works<\/h3>
Other examples<\/h3> Boosting underexposed photos Removing black backgrounds in image composites (without having to cut out)
Overlay<\/h2> The Shape layer in this example has an Overlay blend mode affecting the Image layer below
How it works<\/h3>
Other examples<\/h3>
Other blend modes<\/h2>
More about blend modes<\/h2>
Finishing up<\/h2>
1. Arrive early<\/h3>
2. Go wide<\/h3>
3. Shoot in manual mode<\/h3>
4. Ditch the autofocus<\/h3>
5. Experiment with exposure times<\/h3>
6. Keep that ISO low<\/h3>
7. Stop down your lens<\/h3>
8. Use a tripod<\/h3>
9. Beware of overexposure<\/h3>
10. Try an intervalometer<\/h3>
11. Play with reflections<\/h3>
12. Boost that contrast<\/h3>
13. Get creative in post<\/h3>
14. Have fun with it!<\/h3>
About the contributor<\/h2>
Heal vs Clone<\/h2>
Healing\/Inpainting and Cloning in practice<\/h2>
Creative showcase<\/h2>
Everyday objects<\/h3>
Nature<\/h3>
Patterns<\/h3>
Focal points<\/h3>
Taking spirals further<\/h3>
The technicals<\/h2>
Find out more<\/h2>
Get a heads-up from Preflight<\/h2>
Exporting with alt text<\/h2>
There\u2019s more to come<\/h2>
Beauty retouching in Affinity Photo<\/h2>
Creating a badge design in Affinity Designer<\/h2>
The art of crafting \u201cthings\u201d with Felix Hernandez<\/h2>
Create vector repeat patterns in Affinity Designer<\/h2>
Macro photography workflow in Affinity Photo<\/h2>
Infographic workflow with Rhys Thomas (RSKT)<\/h2>
3D render post production workflow<\/h2>
Creating a lifelike illustration in Affinity Designer<\/h2>
Creating an illustrated book in Affinity Publisher<\/h2>
Editing architectural photography in Affinity Photo<\/h2>
1. You can easily create complex spirals<\/h2>
2. A new Pixel Grid is available in all apps<\/h2>
3. You can create and place password-protected PDFs<\/h2>
4. Affinity Publisher has a new Tags Panel<\/h2>
5. We\u2019ve made improvements to Move Data Entry<\/h2>
Find out more about Affinity 2.3<\/h2>
Don\u2019t own Affinity V2?<\/h2>
How to make a symbol<\/h2>
Using symbols to ensure consistency in branding and UI design<\/h2>
Combining symbols and duplicated objects<\/h2>
Using symbols to create pattern designs<\/h2>
Using symbols when warping designs<\/h2>
Creating illustrations using symbols<\/h2>
Final thoughts<\/h2>
1. Pay it forward<\/h3>
2. Listen to your audience<\/h3>
3. Learn the basics of SEO<\/h3>
4. Be selective<\/h3>
5. Try not to overthink it<\/h3>
6. Stay consistent<\/h3>
7. Chase your passion<\/h3>
8. Show us who you are<\/h3>