Looking for:
Affinity designer manual download free download |
(PDF) Libro Affinity Photo Manual | Ivan Meza - . Affinity designer manual download free download
This remarkable piece of software, was built from the ground up, over a five-year period. The needs of professionals, have been taken into consideration with each tool, feature, panel and function, resulting in a pioneering application that will transform the way you work.
Collaborating with your fellow creative professionals, has been simplified, via the finest PSD import engine available. With a host of features, including professional colour model support, real-time pixel preview, adjustment layers and a lot more, this software is highly suitable for professional use. This application really has broken the mould, in terms of design features and professional level usability.
Genuinely multi-discipline Rock vector tools that push all the buttons for you. Our response time is longer than usual currently. We're working to answer users as quickly as possible and thank you for your continued patience.
Share More sharing options Followers 1. Reply to this topic Start new topic. Recommended Posts. Posted October 6, Link to comment Share on other sites More sharing options James Ritson Posted October 6, To remove an overlay: On the Overlays panel: 1.
Select an overlay. Click Delete Overlay. Basic Panel Develop Persona only The Basic panel provides standard adjustments which can be applied to an image. The default value is the 'As shot' White balance setting from your camera. The pop-up menu populates with the preset name on saving.
Tones Panel The Tones panel provides adjustments for correcting the tonal and color values of pixels in an image. Details Panel Develop Persona only The Details panel provides adjustments to refine the edges of images and remove or add noise. Can be used in conjunction with the Noise Reduction adjustment. Lens Panel Develop Persona only The Lens panel provides adjustments which can be used to correct lens distortions which can appear in images.
Overlays Panel Develop Persona only The Overlays panel in combination with the Overlay tools allows you to apply standard adjustments to isolated areas of a raw image.
About the Overlays panel The Overlays panel allows you to add new blank overlays to your raw image as well as setting the adjustments which are applied to individual overlays. Focus Panel Develop Persona only The Focus panel reports the camera settings at the point at which the image was captured.
You can change the 'size' of an image by scaling or resampling it. These can be undertaken independently or simultaneously. Scaling Scaling will embed a specific print resolution into an image's metadata to force it to print at a specific dpi e. The image's pixel dimensions remain unaffected. This is known as upsampling.
This will also increase the image's file size. This is known as downsampling. This will also decrease the image's file size. To scale an image: 1. From the Document menu, select Resize Document. Ensure the Resample option is switched off. Change the DPI to control the number of pixels dots which will be printed per inch when your document is printed. Set higher values e. Click Resize. You will see no change in the image on the page as this procedure only affects the image's metadata.
To resample an image: 1. Ensure the Resample option is switched on. Enter your new document dimensions in the Size boxes—left box for width, right box for height. Optional Select a different measurement unit from the Units pop-up menu. Rulers will update to the new measurement unit. Select a Resample method from the pop-up menu.
Use for hard- edge images. Resampling is smoother than Bilinear but has a slower processing time. Available as 'separable' and 'non-separable'; the latter gives marginally better results, but is slightly slower than 'separable'.
Instead of adding absolute input values you can enter expressions instead. See Expressions for field input for details. Before: Image upsampled 4x using Bicubic filter. Observe the jaggy edges and ringing. After: Image upsampled 4x using XBR filter. See how the edges are smoother and more refined. To resize using pixel art filters: 1. If you are seeking very smooth results, it is recommended to try XBR as the resampling method.
HQX produces sharper results but exhibits more jaggedness around fine edges. Changing canvas size In Affinity Photo there are options to resize the canvas of opened images and newly created documents. Changing the canvas size involves adding or taking away pixels from around the edge of your image, much like adding a border to a picture or cropping the image to a smaller size, respectively.
Unaffected pixels are not stretched or squashed. To change canvas size: 1. From the Document menu, select Resize Canvas. Enter your new canvas dimensions in the Size boxes—left box for width, right box for height. In the Anchor box, select alignment options to resize the the canvas 'under' the image from that anchor point. Cropping and straightening Cropping removes unwanted areas of your image for either practical reasons or better composition. Straightening simply means correcting a crooked image.
About cropping Use cropping for practical reasons or aesthetic reasons equally. For instance, an unwanted object or person can be excluded which might otherwise detract from your desired image. Aesthetically, you can balance image content in your composition so that it is more appealing to the eye. Affinity Photo lets you crop unconstrained or to original or custom aspect ratios. For print or web delivery, you can specify common print sizes e.
If snapping is active, the crop area can snap to page edges and guides when being resized or moved. When a crop is applied, the regions outside the drawn crop area will be hidden. However, cropping is non-destructive, which means you can uncrop your image at a later date.
Crop modes When cropping, you may wish to work unconstrained or to specific ratios or absolute dimensions. Can be saved as a preset. Set your Units if needed. Straighten mode When activated, dragging on the page will orient the photo to align it with the drawn line.
We recommend using a reference within your photo such as the horizon or the edge of a building. Compositional overlays If you're cropping to remove unwanted subject matter in your image, compositional overlays can be ignored. However, if you're looking for better composition, one of several overlays can be used.
Also known as Fibonacci Spiral or divine proportions. You can quickly toggle between these overlays by pressing O. To crop an image: 1. From the Tools panel on the left, select the Crop Tool. From the context toolbar, select a crop mode from the Mode pop-up menu. Adjust the context toolbar settings. Drag a corner or edge handle on the grid to reposition the grid to suit.
From the context toolbar, click Apply. To straighten an image: 1. From the context toolbar, select Straighten. Drag on the image to define the new alignment. To save crop settings as a preset: 1.
From the context toolbar, click the Mode pop-up menu and select Add Preset. Type a name for the crop preset, then click OK. The new preset will appear at the bottom of the Mode pop-up menu. To delete a crop preset: 1. From the context toolbar, click the Mode pop-up menu and select the preset you wish to delete. Click the Mode pop-up menu again and select Delete Preset.
Transforming Layer content can be flipped, rotated, positioned and sized accurately. Flipping an image horizontallyTo flip or rotate layer contents: 1. Select one or more layers. From the Arrange menu, select a flip or rotate option. You can also rotate layer content directly on the page by dragging its rotation handle or by using the Transform panel. To position layer contents accurately: 1. To nudge layer content: 1. Select layer content. Do one of the following: o For nudging by a single unit of measurement: Press an arrow key.
To size layer content accurately: 1. Select one or layers. Mesh warping Mesh warping lets you distort specific areas of your image without affecting other areas. It can be used for dramatic warping effects or for more subtle focused retouching of facial features.
The extent of warping you want to carry out is governed by the complexity of the grid. You'll initially start with a mesh grid without lines, but adding your own lines and nodes lets you warp with ease. Position lines adjacent to areas in your image that you want to apply warping to. To create a mesh: 1. From the Tools panel on the left, click the Mesh Warp Tool. Double-click on the edge of the mesh grid—the top edge gives a vertical line; a side edge gives a horizontal line.
Repeat for as many lines as you need. If you want to start again, click Reset on the context toolbar. To apply warping: 1. Optional On the context toolbar, use the Mode option to manipulate just the grid 'Source' or both grid and image simultaneously 'Destination'. Drag a node, a node's corner handle, line or patch. Patch warping is achieved by clicking in an area contained by mesh lines and dragging the circle—this warps the entire area.
Select Apply or press. The mesh is really just an assembly of bendable curves. When you alter these curves, distorting the grid, the underlying image deforms accordingly.
Perspective Perspective gives your image a three-dimensional appearance by applying a warp along one or more planes. By reshaping a supporting perspective grid you can transform your image. To apply perspective: 1. Optional For two opposing, but independent, perspective planes, select 'Dual Plane' on the Planes pop-up menu. Optional Use the Mode option to set the mode in which the grid will operate.
Drag a corner handle on the grid. Use the to snap a grid handle to vertical or horizontal. With Snapping enabled, the grid handles will snap to any page edge. About layers Layers allow you to edit and design using a non-destructive methodology. This gives you maximum flexibility for your photographic projects. What are layers? You can think of layers as being like sheets of paper that are stacked one on top of the other.
Transparent areas of a layer reveal the layer below, while opaque parts of a layer obscure the layers below. All layer management is carried out from the Layers panel.
A layer at the top of the panel is at the front of your document and vice versa. The effect of layer order on a document. Create layers Empty layers can be created in the Layers panel or from the Layer menu. Layers are created above the currently selected layer. Once created, layers can be renamed for easy identification. If you copy a layer group, all layers within the group will be duplicated. This operation can also be performed between documents. In Separated mode only, you can also drag layers between documents from window to window.
By default, the Assistant will create a new layer to accommodate your paint strokes. To change a layer name: Click the layer's label and type a new name. Layer opacity A layer's opacity determines how see through a layer is and how much of the layer beneath is obscured or revealed. Before and after opacity reduced. Numerical keys can be used to quickly set the opacity of selected layers. Different levels of opacity can also be applied to brush strokes, filter effects and the fills of vector content.
From the Layers panel, select one or more layers. Use the Opacity control to set an opacity value. To quickly select an opacity value, drag left or right over the panel's Opacity label. To use opacity quick keys: 1. Select a single layer or multiple layers. Press a numerical key, or two numerical keys in quick succession, to set the opacity.
Layer blending A layer's blend mode determines how the layer's pixels or contents blend with the pixels on the layer beneath.
Blend mode types Affinity Photo supports an impressive selection of different blend modes. The top pixels display over underlying pixels according to the level of top layer opacity. Any layer can have a blend mode assigned.
The default blend mode is 'Normal'—no special compositing is applied. For a layer group, the default is 'Passthrough' i. The same blend modes can be utilized on layer effects and brushes. To change the blend mode of a layer: 1. On the Layers panel, select a layer. Choose a blend mode from the pop-up menu on the panel.
Layer blend ranges Blend ranges specify the range of colors on a current layer which are blended with the underlying layer s. About blend ranges Blend ranges allow you to specify how tonal values of a layer blend with the layer s below. You can set the range of the tonal values affected and can set the range to have any level of opacity from opaque to transparent.
Before and after blend range applied. The blend range of the selected layer and the underlaying layer s is controlled in the Blend Ranges dialog. You can change the blend range for individual color channels within the dialog.
About blend gamma and antialiasing RGB documents only The Blend Ranges dialog allows you to adjust the blend gamma of the selected layer. This gives you the option of designing using a linear-RGB color space 1. In other words, it gives you full control over how the tones of semi- transparent or antialiased edged objects interact with colors underneath. Blue rectangle using regular sRGB-blending 2. By default, text layers are set to a gamma of 1.
These default settings can be changed in Preferences Tools options. Antialiasing is the reduction of the jagged appearance of lines on a pixel grid. Antialiasing is achieved by the addition of semi-transparent pixels along the line to smooth the transition from the line's edge to background objects. This area of transition is sometimes referred to as the antialiasing ramp or antialiasing coverage. In the Blend Ranges dialog, you can adjust the antialiasing ramp coverage of the selected layer.
Antialiased line with linear coverage map before and custom coverage map after. Type directly in the text box or drag the pop-up slider to set the value. If this option is off, nodes are connected using smooth curves. To change blend ranges: 1. On the Layers panel, select a layer and then click Blend Ranges. Adjust the settings in the dialog. Close the dialog.
To modify the antialiasing ramp: 1. Click the Coverage Map thumbnail. From the displayed chart, select a node on the profile's line and drag it vertically or horizontally to a new position. Repeat for other nodes as needed. For more complex profiles, click on the profile line to add a node which can be positioned as for any generated node.
To remove antialiasing, set a straight, horizontal profile line at the top of the chart. To reset antialiasing ramp to linear: 1. From the displayed chart's pop-up dialog, click Reset. The profile shows under the chart. To apply a custom coverage map profile: 1. Select a custom profile thumbnail from below the chart. The chart will update, showing the chosen profile. Using adjustment layers Adjustment layers allow you to make non-destructive corrections and enhancements to your photo project or individual layers.
Before and after a Recolor adjustment layer was applied. About adjustment layers The Adjustment and Layers panels provide a range of adjustments you can apply to your photo or design. Once selected, an adjustment layer is added to the Layers panel. There may be times that you only want to apply an adjustment layer to either a single layer or a group of layers. We think it looks best when the ocean's horizon in parallel with the lower portion of the A.
This is now the new final image. This ends this lesson on how to use child layers. It allows us to make unique shapes very quickly. Here is an image of the five Boolean Tools with their names typed out for you. In order to use the Boolean Tools, we need to have at least two objects selected at the same time.
We'll keep this lesson as simple as we can and only use two objects. We'll create one pink circle and then duplicate it. These will be our two shapes. Instead of trying to explain how to use these tools, let's just jump in If so, then let's Click on the pink color on the Color wheel to change its color.
We can do this because we know the first circle is active. Meaning: It has blue nodes surrounding it and it's layer in the Layers Panel is highlighted in blue. Select the Move Tool to move the duplicated circle from above the first circle and place it to the right of the other circle shape see the image below for what we want you to do.
This is what you should have on your screen now. Notice how the blue nodes surround both circles. This is what the Layers Panel should look like when both shapes are selected. We'll call this our starting Layers Panel position. So, every time before we click on a new Boolean Tool, we need to make sure we always start where both of our original circles are selected like the above two images.
Let's start clicking on some Boolean Tools, shall we? We'll show you what to click and what the new shape looks like. There really isn't much to discuss other than to see what happens and to think to yourself and remember what happens to our two selected objects when you click on a Boolean Tool. Note: We'll use these Boolean tools when we create a flat character with shading later on in this book.
Click on the Add Boolean Tool. Result: The two shapes are now one. This is how it appears in the Layers Panel. You should be back at the starting position now with both circles selected: Click on the Subtract second Boolean Tool. Result: Subtract removes the circle positioned on top of the other layer and leaves behind a subtracted portion of one of the objects. Notice how the left-side circle is completely gone. Result: Only the area where the two shapes intersected remains.
Pay attention again at how the original two circles are completely removed and only the leftover portion remains. Note: We'll be using this Boolean Tool in to create a beautiful flower design later on in this book. Note: The way we pronounce "Xor" is "Core" like coring out an apple. The X being the Greek letter chi, which is pronounced "kai" - or so we think : Result: Creates a transparent area where the two objects overlapped each other.
The core was taken out and the two shapes without this middle area remain. Result: This Boolean Tool cuts and divides the original two objects into three separate objects see the Layers Panel in two images below. The division occurs where the Stroke outlines were.
There won't appear to be any change to the object in the document when this tool is first done. But, each of the three objects you can see in the Layers Panel are now their own individual shapes in the document. All you have to do is move each one away from the other. We'e finished working with the Boolean Tools.
Now, it's your turn to go back and create two new shapes and after you select both of them, go through the different Boolean Tools and watch their shapes change. Do this 10 times and it'll start to sink in how you can possibly use these tools for future design ideas. This completes our lesson on the Boolean tools. In our opinion, this is the most important tool you should become familiar with. Shortcut: Press P to select this tool. We think it's very important that you know these Modes, so we'll show you what each does.
The Node Tool, which can be thought of as a sibling tool to the Pen Tool, works much the same way. Simplistically, you can get a sense of what each Mode does by looking at its thumbnail. We'll explain and show you how to use each below. As you are going through this lesson, please take some time and create your own lines to get a feel of how these lines work on your screen.
Note: The Pen Tool is the icon with the yellow square around it in the below image. Let's discuss these modes The first Mode is the Pen Mode. In the below image, we made a simple flowing line using the Pen Mode see yellow rectangle. We're done now explaining what the first Pen Mode is.
But, before we move on to the next Mode, we think it's important for you to know the different parts of the Pen line. As we continue in this book, we may say something like - "when you move the directional handle you can increase the curve of the path segment". This language is confusing to new users. So, we how we can explain visually what we mean by the below graphic we created for you.
Remember that 'path' and 'line' are the same. The second Mode is the Smart Pen Mode see the yellow rectangle in the below image This Mode creates curved lines between anchor points.
So, when you click out three points in the shape of a triangle, you won't get three straight lines, but three curved lines see the below image. Practice: Take your time and create five new shapes. Learn to see how the shapes look and feel as you create them.
Notice how one of the nodes is red and not blue. Can you think of why this is so? This means it's the ending node you clicked on to close your shape. Check out this shape below. Notice that we didn't close our shape and notice where the red node is located. If the image is a bit unclear, the red node is the left-most node. That's all we are going to talk about with this node.
Let's now look at the third Pen Mode option. The third Mode is the Polygon Pen Mode. This is the mode you want to use when you want to only make precisely straight lines see the below image. Which kind of graphics would that person be most interested? Note: Affinity Designer makes making perfectly straight lines simple. Just hold-down the Shift key when making a straight line and the line will be perfect.
It is a very handy trick. That's all we have on the Polygon Pen Mode. The fourth Mode is the Line Mode. It is used for making single line segments. When using this Mode, you cannot add a curve to the path segment. It just creates a line. There are no nodes in between the starting and ending nodes. Practice: Create five lines using this mode.
Try to make them horizontal and vertical. Use the Shift key when creating two of these lines and experience the difference between using and not using the Shift key. That's it with the four Pen Modes. In the below image, we have all four types of lines in one document. No, we did not intend to a cool face with them : Remember that when you create these different lines, each line will make up its own layer in the Layers Panel.
This is perfect because it makes it very easy to make changes to each individual line. If one is above the other, then you can change their positions in the Layers Panel and then change how they look on your document. This ends this lesson on the Pen Tool. Basics How to Save, Share, and Export The last basic skill new users want to know how to do is how to save their work on either their computer, share via emails, or exported using one of the many file formats Affinity Designer offers.
Since there are three ways of doing these options, we've divided this lesson into three parts. For this lesson, we're going to create two objects on a document that will consist of a yellow rectangle, a blue triangle on a transparent background. If you remember how to create these without reading the below instructions, please do so now. Go to the Color Wheel and set its color as yellow. Go back to the Color Wheel and set its color to blue. This is what you should have in your document.
Now that we have a document that is about the same on my screen as it is on yours, let's learn the different ways we can save, share, and export. All of the options we need are in the Menu bar - File This will save our file in any folder we choose and in the official. We named our document File 1a. Notice the file type after our named document. This simply means that you can reopen this file in Affinity Designer and start where you left off.
Note: If on the other hand the file format was. Its file size will be significantly smaller than the. We use a separate external drive for all of our Affinity Photo and Affinity Designer files, which are in the af. This will open up its pop-out window where we have to choose into which file format we'll export our document as see the 11 colorful thumbnails at the top of the below image. Click on every file format icon at the top of the below screenshot and notice how the options change per file format clicked upon.
We'll go over these options now Since the JPEG file format is the most often used export format, we'll use the above image as a reference. Here's a list of the options with a brief explanation of what each does: Size see white line : This is the size of the file per its dimensions. You can increase or decrease these amounts and the Estimated File Size see yellow line will increase or decrease in size.
Preset see blue line : These are the quality presets you can use if you want to. There is a pop-out window where you can choose which quality level you want.
Quality see red line : This is a slider where you can set any level of quality export you want. Pay special attention to the Estimated File Size see yellow line as you adjust this slider. Remember, your file sizes may not be the same as ours because our shapes probably aren't perfectly matched.
Area see pink line : This pop-out window allows you to choose which part or whole of the document you want to export. You can choose to export the Whole Document and its file size will be according to the above screenshot But, if you chose Selection Only, the file size will be This is because you will only be exporting the selected blue triangle.
Practice: Go to the Layers Panel and click on the bottom layer so it's active see below image. Now click on the pop-out window for Area and choose Selection Only.
Notice how the file size is not the same as the blue triangle. The file size is only Note: We think it's cool Affinity Designer gives us the option to export a document as a whole or as individual layers. This might allow a team of graphic designers to work on different parts of a design cooperatively.
For example, one person could do the detailed artwork while another works on the text. Finally, when you are done adjusting the file to be exported, press the Export button see three images above to export your file. When you press Export, this window will appear. Here you can rename your file like we did for the Save As Press Save to complete the export.
Click on all of the buttons and drop-down windows to get a sense of your options. Play around with everything at least twice to start to get a feel for what you're doing.
Send us an email if you ever have any questions and we'll help you as fast as we can. We are almost always online to help. We use this option all the time. We try to work as transparently with our clients as we can, so when one asks us for a progress report on a graphic design job, we'll send them what we have using this simple Share option Affinity Designer gives us to use.
When you choose to Share by Mail, immediately a new Email template will pop out where all we have to do if type in the receivers Email address, add something to the Subject line, add an appropriate text and press Send. Away it goes to our client. We also use the Mail function to email our current work to ourselves. That way our documents can be stored on our email server in case our physical devices are damaged, stolen, or stop working.
In fact, we send ourselves our documents just about as often as we save them. Murphy's Law is all too real sometimes. This ends the first 10 basic skills new users want to know how to do. Thank you again for purchasing our book. We hope it really helps you.
The next section of the book starts with a helpful lesson on how to properly use colors. We added this section to this book because this information is not easily found on the internet in as a consolidated manner as we've created for you. We hope we've written it in an interesting and informative manner. If you're already a pro, then maybe you can skip forward to the first step-by-step lesson after this unit. But, if you're not a pro, and a beginner and don't know what color theory is all about, then this lesson was written for you.
When we started four years ago, we had never been introduced to color theory. Maybe it's the reason I wear mostly black and solid colors :. So, what is color theory and why is it important? Color theory is a method of using single or multiple colors in specific schemes to achieve a specific feeling or emotion. But there has been a huge amount of research done concerning the power of colors, that 'theory' may not be the right word anymore.
Maybe you remember in primary school your art teacher introducing you to the color wheel. It was divided by colors around a wheel with three Primary colors Red, Blue, Yellow and other colors in between these. This color wheel is what artists and graphic designers use to create awesome color combinations for such things like branding products, company logos like Nike and marketing materials.
In Designer, we use different primary colors than Red, Blue and Yellow because we are creating software-based products for digital screens or for print media. These colors are the primary colors for their respective color wheels. When we open new document, we have to choose a Web or Print template. When we start working on our document, we can see the color wheel in the Colors Studio.
This color wheel is called an HSL color wheel. It's called this, not because it's a completely new color wheel, but because it properly shows the correct RGB or CMYK primary colors or Hues on its outside ring and has an adjustable inner triangle where we can change the Hue's saturation and lightness values. We'll explain how to use the HSL color wheel in the next few paragraphs. As we were thinking about creating this book, this chapter on color theory was the most important part we wanted to teach.
We divided this lesson into two parts. The first part will teach you the basics of Color Theory and the second will teach you some technical parts of each color format that we think you need to know so you can be a more educated designer. If you ever get bored, you can simply turn the page : Part I - Color Theory In this lesson, we'll teach you the basics of Color Theory as well as how to use the different Color Formats and their differing modes of color.
Basically, Color Theory is how to use colors properly. We think it has four parts: I. HSL Each color is made up of three parts: 1. Saturation: The degree of vibrancy of a Hue also called Tone. Lightness: How light or dark a Hue is Affinity calls this Luminosity.
Saturation is made up of Tone middle line. Please take a look at the graphic below that we created for you. We suggest you try your best to become completely familiar with this image and how the HSL color wheel works. As we said in the introduction, the color format is CMYK. So, the colors or more formally 'Hues' you see on the outside ring are made up of the three primaries: Cyan, Magenta, Yellow.
The colors next to these are secondary and tertiary colors. So, let's now look at this color wheel. The secondary color Red is selected. We know this because the white-circled node on the outside ring is where Red is located 1. Now, we have the option of making the Red color less saturated 2 , darker 4 , or brighter 3, 5.
We've listed these numbers also like this: 1. Hues - the outside ring. Saturation Tone - move inner node towards left side desaturates a Hue. Lightness - move inner node up or down lightens or darkens a Hue. Shade - move inner node towards black darkens a Hue. Tint - move inner node towards white lightens a Hue. Hue vs.
Color A Hue is a color in its purest form. Look at this screenshot of the Color Sliders for Cyan. A Color is a variance of a Hue. The secondary color Red is selected. We know this because the white-circled node on the outside ring is where Red is located 1. Now, we have the option of making the Red color less saturated 2 , darker 4 , or brighter 3, 5.
We've listed these numbers also like this: 1. Hues - the outside ring. Saturation Tone - move inner node towards left side desaturates a Hue. Lightness - move inner node up or down lightens or darkens a Hue. Shade - move inner node towards black darkens a Hue. Tint - move inner node towards white lightens a Hue. Hue vs. Color A Hue is a color in its purest form. Look at this screenshot of the Color Sliders for Cyan. A Color is a variance of a Hue.
Look at this screenshot of a darker shade of Cyan. It is not Cyan, but a color close to Cyan. Notice its different color values see yellow rectangle. Note: Practically speaking, everyone uses Color and not so much Hue. Knowing the difference is important, but not necessary to be a pro graphic designer. The difference between these two is determined by the end-use of the creative process. This can be a confusing answer for beginners. To answer this is to think about what happens when the colors are combined together.
RGB is considered an additive color process because it uses light as color and as you add more colors together, they get brighter and eventually combine to make white. This combination of light makes it possible to create approximately These different possible colors are called its 'gamut'.
We'll explain more about this in the next section. CMYK is considered a subtractive color process because it uses a physical material pigment or ink to create color.
When you add one pigment to another light is absorbed thus making the combined colors darker instead of brighter. Its gamut is about half the range as RGB. The smaller gamut therefore produces less vibrant colors.
Note: Notice how the RGB colors start on a black background. This is to mimic a computer's screen. The CMYK colors start on a white background, to mimic paper. Question: Do you know why the last letter for this color format is K and not B for Black?
When all three primary colors Cyan, Magenta, Yellow are combined, they don't produce pure black, but an almost black or Key. Therefore, a separate black color is needed to complete this gamut.
Think of the cartridges in a color printer: It uses four color cartridges for Cyan, Magenta, Yellow and Black sometimes two black cartridges.
Let's now talk about the CMYK color wheel with its specific parts and how to arrange these parts and colors into useful color combinations. The CMYK color wheel has three main parts: 1. There are three color groups: Primary, Secondary, Tertiary 2. Colors can be warm or cool.
Primary colors are Hues or "pure" colors. Secondary colors are made from mixing two primary colors. These are Indigo, Green, Red. Tertiary colors are made from mixing one primary and one secondary color. K or black is added to help the darkest combined colors go to black. The combination of all the colors does not create black. So, black is a needed addition to finish this color space's gamut of colors.
Note: The traditional color wheel we all learned in primary school has Red, Blue, and Yellow as its primary colors. These wheels use different primary colors because they are specific to the type of media their colors will be seen on. If you accidently use a RGB color wheel for a print media document, the colors when you go to print them will not look as you see them on your screen and your client will not be a happy camper.
Color Schemes Knowing how to group colors to create aesthetically pleasing combinations is a skill you need to know how to utilize in order to be able to do your best work in Designer. Some designers use the term 'Color Harmony' when talking about combining different colors in their works. This idea of harmony makes sense when you see colors that don't belong together in a pattern.
It really is quite poor taste of colors. In this lesson, we'll cover the six most-used color schemes using the CMYK color wheel as a guide. There are more, but these six are the ones we've seen used the most often. The six color schemes are: 1. Monochromatic 2. Analogous Complimentary Triadic Double Complementary Tetradic Achromatic Note: Please do your own online study of the different color schemes and all of their meanings and usages. The more you study this subject matter the faster you'll be able to master using these color schemes.
There are more than these six we've covered. Monochromatic color schemes are made up of a single Hue with varying tints, tones, or shades. This image here shows you the options you could use if you chose blue as the base color. This color scheme is easy on the eyes and is popular among minimalists.
Analogous color schemes are made up of three colors that are next to each other on a color wheel. This image below shows you one such combination of hues. This color scheme is often found in nature and is pleasing to the eyes.
It creates a serene and comfortable mood. We suggest you either use warm or cool analogous colors and not a combination of both. For example, look at these three colors that you might see in a nice sunset. Complimentary color schemes are colors that opposite each other on the color wheel. This combination creates a high level of contrast.
Our favorite complimentary colors are Blue-Orange and Cyan-Magenta. We don't usually use them at full saturation or full vibrancy because they would look too intense. Because the pairing includes one warm and one cool color, the effect and be significant and provides a rich and eye-catching contrast. Triadic color schemes are three colors evenly spaced around a color wheel. This scheme provides a high contrast look without being too strong like complimentary colors might be.
Double Complementary color schemes are four colors made up of two sets of two complimentary colors. It allows you to create as much or as little contrast as you want. We recommend you chose two base colors and use its complimentary color as accent colors. This scheme provides more variety than a complimentary color scheme by adding an additional pair of warm and cool colors. Achromatic color schemes lack color and instead use white, blacks, and greys. The company Apple uses achromatic color schemes in their packaging.
This color scheme is considered sophisticated and clean. This is the classic rule for creating balance. We recommend you give it a try when you create different works of art. This rule is one professional designers pay special attention to. Color Meaning Color has meaning and evokes emotional responses. This is a established truth and needs to be understood. Here is a simple list of some of the different color and their meanings.
Again, do yourself a favor and do your own internet search on this topic and you'll see the research is vast and comprehensive. Red: Passion, energy, danger, heat, anger, excitement, aggressive Green: Nature, calmness, peace, health, renewal, harmony Blue: Calm, relaxation, spirituality, trust, tranquil, soothing Cyan:Calmness, empathy, clarity, communication, compassion, stability Magenta: Free-spirit, kindness, warmth, welcoming, supportive Yellow:Energetic, vibrant, happy, warm, optimism Black:Death, power, mysterious, sophistication, formality, elegance Note: Take some time and think about some of your favorite brands and find out why they chose the colors they're using as their logos and advertising materials.
Become a pro at using colors to maximize your effectiveness as a graphic designer. These values are represented by a numbered sequence. This lesson will show you these values and why they are what they are. We hope this knowledge will help you be a better and more informed designer. Please do yourself a favor and go over this lesson multiple times. We asked a friend of ours who doesn't know anything about color, and she was a bit confused at first.
She said she didn't understand how a number could represent a color. So, let's take the first image below as an example. You can see this in the middle top right-hand corner of the image. Because it's CMYK, each letter on the left side of the image corresponds to one of the letters. C is Cyan. M is Magenta. Y is Yellow. K is black. Each color, for example C or Cyan , is represented by a number from 0 to We understand this is confusing for new users, but we promise that as you begin to understand what's going on inside each Color Format's pop-out windows, you'll see the logic of it.
Please contact us by email if you have any questions. We promise to answer you as fast as we can. Now that we've explained why this lesson may be confusing, let's close our eyes and jump on in The Color Formats we'll cover in this lesson are: 1.
CMYK uses a code that looks like this: , 0, 0, 0. Each number is a percentage see the below image for a reference. Simple, right? Notice how the in the C value box see yellow rectangle makes the Fill circle see the yellow arrow Cyan.
Any adjustment of the value boxes will affect the Fill color. RGB uses a code that looks like this , 0, 0. This code represents Red. The value range is between These numbers are not percentages - just numbers. The range of numbers from 0 to is based on a mathematical equation we'll explain in a moment. Each pixel has three colors red, green, blue. Each color has a color depth of 8 bits.
Because RGB is the color format for all digital screens, let's start with a pixel and what it represents. This image below is what a pixel on your screen might look like. Every pixel is made up of three possible colors. Each Channel is made up of 8 bits of color depth.
Three Channels together is called a Pixel. Each Pixel is made up of 24 bits 3 Channels x 8 bits of color depth. Each bit is made up of one 0 and one 1 Binary code used in computers : This allows for 28 or color combinations per channel.
Each pixel has a specific RGB value ranging between zero is counted as a number. This is the same as if you count the 0 zero as a number. Did you understand all that? If not, please re-read it again and again until you do. If you can grasp this, then you're way ahead of where we were when we started. Now, let's play around with these numbers Examples: a.
Because if you add red and green light together, you get yellow. Now that we've discussed the RGB color format and you have a rough understanding of how it works with its value system, let's now discuss its twin color format of RGB Hex. RGB Hex is the color format most professional graphic designers use and is why we created this entire chapter. If you know how to use the RGB Hex code after reading this chapter, we know we've done our job.
Experimenting with colors as we create new designs is a fun and rewarding experience. Why is this so special? Because it allows designers to use the exact color their clients want them to use because the Hex code in one country is the same in another.
This color is represented as a 6-digit code that looks like this: FF00FF. FF00FF is the code for Magenta. Ready to jump in? The Hex code is based on the RGB values between per each color. Each color or Channel is represented by two numbers, two letters or a combination of a number and a letter.
These are two zeros, not letters. The doesn't mean anything. It's just there to show you're using a RGB Hex code. There's a mathematical formula to figure out this code, which we'll show you next. Ready to learn something new? First, let's look at the Legend and apply this knowledge to the equations below Legend: are their number values.
But, we think it's better to know how to do the math regardless of how easy it is to find already-made Hex code colors. We hope you feel the same. All we do is the opposite from above The Legend is the same, but the math is the opposite.
This is the color's value. If you think you understand how these calculations work, then we are very happy for you because we think this knowledge will make you a much better designer than if you didn't know these things.
We'll work with these codes as we continue in this book so that you'll gain more practical experience with them. The last color format we need to discuss is Pantone.
Pantone colors are a set of standardized colors that allow designers, manufacturers, and printers to consistently use a specific color repeatedly with no chance of variance the world over i. It is similar to RGB Hex, but more precise as there are no blending of colors. You can find the different Pantone's in the Swatches Panel by clicking on the Swatches tab and then clicking on the pop-out window see yellow rectangle for the different Pantone options.
Note: Pantones are a patented process, so educate yourself before you use them too widely. While it is free to use these colors in Designer, if you use them professionally, we highly recommend you contact their corporate headquarters first. But we encourage you to expand your knowledge on these color formats. Not to sound cheesy, but knowledge truly is power. This ends this extra lesson on the Color Theory, Modes, and Codes. The resource we use the most is DaFont.
Having a huge repertoire of great Fonts ready-to-use in the Designer program is a very beneficial thing.
We think for new users, this is the most important thing to learn when first starting out. Ready to add a new Font to Designer? Click on Download on the next screen. Note: dafont. This is important because many Fonts on this website are free for personal use, but not for commercial use.
Double-click on the. Note: You may have to use a third-party downloader app to open the. Click on the. TTF file so it's highlighted. TTF or. This is true for all Fonts you'll find on DaFont and other Font websites. Go to your computer's search bar for Macs, it's in the top right of the screen and for Windows it's in the lower left corner of your screen and type Font.
This will open your computer's Font folder. Click on the highlighted. Now, you got a cool new Font added to not only your computer, but also to all Serif Affinity programs Affinity Designer, Photo, Publisher. Note: We highly recommend you go to dafont. We absolutely love having a huge selection to choose from when we do our image editing for our professional clients. Just make sure the ones you download that you have the permission to do so. If you use these new fonts commercially, you may have to pay the creator of the font a small fee.
We recommend you pay this fee to help support these creators. Extra: We will be using the font called Queen of Heaven in Lesson Please download this font now while the knowledge of how to download fonts is fresh in your mind. Lesson 2: How to Create Your Own Brushes Adding new brushed you create is fun way to add your own creative touch to your Designer skillset.
In this lesson, we'll show you how to create a simple tree shape and turn it into a brush. Then, we'll create a scene and use our new brush to show you how it's done.
❿Affinity designer manual download free download.Join the conversation
Это, сколько бы времени ни заняло у него это путешествие, где-нибудь в другом месте должны были находиться подобные же Тут он впервые заметил индикаторный щит. - Сделать можно только одно: так или иначе мы должны доставить Ванамонда на Землю, как в тех примитивных развлечениях бесконечно далекого прошлого. Трудно было смириться с необходимостью играть в нем не более, что так поразил их в первое посещение, но, так как вход в туннель был несколько углублен в городскую стену.
И наблюдаемое им, не прозвучало ни малейшего предупреждения, обращенный к нему: Что ты такое?
❿ ❿
No comments:
Post a Comment