SERIF (EUROPE) LTD.

Affinity
Designer Help
Version 1.3.5.

SERIF (EUROPE) LTD. NOVEMBER 2015

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Introduction
1 • Built from the ground up to live in the Cloud-connected App store
world

What is Affinity Designer? • Multiple applications rolled into one! Combined seamlessly, avoiding
time-consuming flipping between separate vector and pixel
applications.
• Combined vector and pixel editing in the same document, retaining
vector editing throughout.
• Non-destructive operation.
Why not review the product's key features in detail?

______________________________________________________________
SEE ALSO:
Key features
Affinity Designer is a powerful vector design application coupled with
pixel-based textures and retouching, all brought together in the same Personas
user interface. You'll benefit from lightning fast performance, ultimate
flexibility and beautifully designed professional-level features.

About Affinity Designer

The product possesses an impressive selection of professional-level

concepts and features aimed at pushing the boundaries of your
design experience.

Key concepts

• Ultimate flexibility with seamless mixed discipline creativity

• Different tool sets, called Personas, for different design needs.
• Best in class performance
• Real-time dynamic tools and effects
• Accessible professional-level tools and features
• High-end file format support

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2 ๏ Intuitive Move tool moves, scales, transforms
๏ Rotate from movable origin

Key features ๏ Customizable nudge distances

๏ Node tool for fine tuning vectors
๏ Freeform Pencil tool
• Raster finishing without switching apps
• Smooth gradients
• Add noise to fills and strokes as a solid or graduated attribute
• Powerful layers management
๏ Drag and drop layers
๏ Non-destructive adjustment layers
๏ Apply adjustments and blend modes at the stack, layer, group,
selection or object level
Power, performance and compatibility: ๏ Clipping within layers
๏ Pixel adjustments and effects on vectors
• Optimized for: ๏ Blend modes
๏ Grand Central Dispatch (GCD)
๏ Layer and object Blend ranges (linear and non-linear)
๏ OpenGL
๏ Per object Blend gamma control
๏ Core Graphics
๏ Lock child layer positions
๏ 64-bit engine
• Customizable geometric shapes
• Create massive gigapixel-sized documents
• Live-preview non-destructive Boolean operations as compounds
• 16-bits per channel editing
• Corner Tool for rounding sharp corners
• Sub-pixel accuracy
• Convert shapes and text to fully editable curves
• For all Intel 64-bit Macs (Core 2 Duo onwards)
• Duplicate and transform objects with precision
• For OSX 10.7 (Lion) and newer
• Professional colour support
• 64-bit plug-in support ๏ 16-bits per pixel colour depth
• Multi-touch support ๏ CMYK, Lab, Greyscale and RGB colour modes
• Up to date Tablet support ๏ Colour panel (RGB, HSL, LAB, CMYK, Greyscale)
• MacBook/MacBookPro Force Touch trackpad support ๏ Swatches panel (Apple, System, Web Safe colours, Crayons)
Solid graphic design tools: ๏ Global colours
๏ Colour tints
• Artboards
๏ Colour picker (colour mode aware, pick from anywhere on screen.
• Accurate vector tools:
๏ Professional colour support
๏ Precise Pen tool

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 ๏ PANTONE® colour support • Rotate canvas
๏ ICC colour profiling • Incredible zoom range
๏ Import Adobe ASE colour palettes. • Intuitive panning
• Vector brushes with stretch and corner controls • Saveable zoom viewpoints
๏ High quality brush galleries • Dynamic snapping guides for precise alignment
๏ Change brush size, hardness, and opacity on the fly • Multi-object alignment and distribution
๏ Import/export brushes, including ABR file import • Pixel-accurate alignment for web graphics and website mockups
๏ Custom brushes (including image-based brushes) • Managers for Brushes, Grids, Snapping and other operations
๏ Optimized for graphics tablets • Pixel, Retina, and Outline view modes with Split View support
๏ Multi-controller support including pressure and velocity • Automatic, fixed and projection grids
๏ Controller-specific brush dynamics • Context toolbar and hintline
๏ Customizable controller ramps • Fluid document History <8192 steps
• Customizable, saveable stroke styles • Save history with document (multi-session)
• Styles presets • Snapshots
• Artistic and frame text • Keyboard modifiers for on-the-fly tool changes
• Character and Paragraph panels • Mixed-mode assistant eases vector and pixel mode switching according
• Advanced typography including ligatures to the user’s preferences
๏ Flowing text • Defaults (document and global)
๏ Spellchecking • Media browser
๏ OpenType font features Pixel-based designs:
User interface: • Seamlessly switch to and from pixel editing mode to apply finish to
vector artwork
• Persona task-orientated workspaces
• Customizable tabbed workspace • High quality layer effects
• High DPI (retina) support
• Pixel brushes for high-quality textures
• Multiple document views
• Windowed, Fullscreen, and Separated modes ๏ Import/export brushes, including ABR file import
• Docked or floating panels ๏ Custom brushes
• Comprehensive keyboard shortcuts and modifiers ๏ Change brush size and colour on the fly
• Customizable keyboard shortcuts • Pixel selection tools
• Customizable toolbars
๏ Shaped selections
Design Aids:
๏ Smart selection brush works over pixel and vector data

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 ๏ Refine selections to capture fine detail ______________________________________________________________

• Pixel adjustment brushes SEE ALSO:

Affinity Designer
๏ Dodge and Burn brushes Personas
๏ Smudge, Blur and Sharpen brushes

• Masks
• Pixel flood fill tool
• Pixel and vector artwork exported in harmony
๏ Pixel artwork scaled if required on output
๏ Nearest Neighbour, Bilinear, Bicubic and Lanczos 3 pixel scaling
available
๏ Set export areas and file formats during or after the design process

Interoperability:

• Retention of vector design elements when cutting and pasting between

Affinity Designer and other applications
• Affinity Designer files can be opened in other Affinity products and vice
versa
• iCloud sync and merge

Import, Export and Printing

• High-quality Adobe® Photoshop® PSD import and export

• SVG import and export, including Inkscape extended SVG support
• Export slices, layers, and pages to PNG, JPEG, TIFF, GIF, EPS, SVG and
PDF
• Export automatically to retina sizes (@2x and @3x)
• Set export areas and file formats during or after designing
• Desktop printing with Layout, Paper Handling, Feed, and Duplexing
control
• Web-ready PDFs (Acrobat) with presets
• Professional hi-res PDF/X printing (CMYK) with presets
• Spot colours and overprint control
• Bleed and printer marks

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3 • Create art and frame text
• Add and crop photos and vector images

Personas Pixel Persona

• Make freehand, shape, and brush-based selections

• Add pixel brush strokes
• Erase using pixel brushes
• Retouch with dedicated tools

Export Persona

• Choose sized areas for export

Think of Personas as different ways of working within your application. If ______________________________________________________________

you want to work purely with vector tools you can design in the default SEE ALSO:
Draw Persona; for additional raster textures and pixel brush strokes Switching Personas
operations the Pixel Persona is the choice for you. One final Persona, Affinity Designer
Export Persona, is ideal for exporting specific areas of your design as
usable graphics (for web, print, etc.).

You can switch between Personas with a single click, with the workspace
tools and panels changing to that Persona's way of working.

The three Personas can be added to with additional complementing

Personas when they become available. Think of these Personas as being
functionality add-ons that enhance Affinity Designer over its lifetime.

About each Persona

Let's take look at each Persona's features..

Draw Persona

• Draw lines and shapes

• Add vector brush strokes
• Add fills and transparency

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Switching Personas

When you switch to a different Persona, a unique workspace layout

containing the tools and panels used by that Persona is loaded. This may
also change the menus available so that everything you need to unleash
your creativity is at your fingertips.

To switch to a different Persona:

• On the Toolbar, click the button for the Persona that you want to use.

• From the top Affinity Designer menu, choose a Persona you wish to
switch to.

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SEE ALSO:
Personas

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2

Get started
1 • DPI—Sets the resolution of your document. For example, for professional
print quality, set your resolution to 300 dpi.

Create new documents • 'Actual Size' Zoom—Sets the device which is mimicked when
presenting the document at 'Actual Size' (⌘8). This option is only
available when the document units are set to Pixel or Points. Select from
the pop-up menu.
• Portrait—Uncheck to present your document in landscape orientation.
• Include Margins—Check to switch on page margins.
• Left Margin, Right Margin, Top Margin, Bottom Margin— Sets the
printer margins, showing as non-printable blue lines. Click Retrieve
Margin from Printer to use your default printer's settings.

When creating a new document, the Document Units define the

exact size of your document on screen. For example, if you chose
New documents can be created from presets or customised to meet your 'pixels', your document will display at its exact pixel size when
specific needs. Documents can be also created directly in iCloud Drive for exported and viewed on screen at 100%. Similarly, for physical
an efficient workflow. Document Units (e.g., millimeters) you'll get the exact print size at
100%.
When you create your new document you specify a range of colour settings
plus page dimensions depending on the purpose of your document. These
settings are as follows:
You can also create a new document based on the contents of the
• Type—Select the aim and deliverable for your project (for quickly clipboard.
populating settings below). As well as print (press-ready CMYK), you can
work to specific Photo print sizes, specific Web screen resolutions, and
with the Devices option, design to iPad, iPhone, Nexus, Kindle Fire HD, To create a new document:
and Galaxy S5 document specifications. 1.From the File menu, click New.
• Page Preset—Offers sizes for UK/US print, photos, screen use, and 2.From the dialog, choose document settings.
mobile devices. A Custom option indicates if your page is using
non-standard page dimensions. 3.Click OK.
• Document Units—Displays your rulers and object dimensions in pixels, To create a new document in iCloud Drive:
points or using physical measurement units. 1.From the File menu, click Open.
• Colour Format—Sets the colour mode to RGB or Grey (8 or 16 bit), 2.From the sidebar, select the Affinity Designer folder in iCloud Drive and
CMYK (8 bit), or Lab (16 bit). select the New Document item.
• Colour Profile—Sets the colour gamut for the previously chosen colour 3.From the dialog, choose document settings.
format.
4.Click OK.
• Transparent background—Check to set your page background to be
transparent.
• Page Width/Height—Change these values to make a custom page size.
(An alternative to selecting a Page Preset size above.)
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______________________________________________________________
SEE ALSO:
Document setup
Open documents and images
Colour models

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Creating new documents

from clipboard contents

You can create a new document based on the current contents on the
clipboard. This 'paste as new document' feature allows you to start a new
project from a copied section (layer or selection) of another project in
Affinity Designer or other supported applications.

To create a new document based on clipboard contents:

• From the File menu, click New From Clipboard.
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SEE ALSO:
Creating new documents
Open documents and images

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3 To open an image as a new document (via Finder):
• Open Finder and drag the file to an off page area of your workspace.

Open documents and

Raster images opened using the above methods will create a new
images document with one layer, named 'Background', which is locked by
default. The document will adopt the image name as its file name.

On opening, a file's colour space is preserved by default, but you

can convert it to the default working colour space via Affinity
Designer>Preferences (Colour Profiles option) using the Convert
opened files.. option. The document's current colour profile is
displayed at the top left of your workspace.

As well as opening previously saved Affinity Designer documents, raster To add an image to a layer (via Finder):
images (from camera, mobile device, or digital artwork) and vector images
(SVGs) can be opened. A range of popular camera raw images and other 1.From the Layers panel, select the 'target' layer.
professional design file formats can also be opened. 2.Drag an image from Finder to your page. The image will be added to the
A key feature of the Affinity product range is the ability to seamlessly open selected layer.
any Affinity project file in any Affinity product, regardless of the original
Affinity product it was created in. In doing so, you can enhance your design
You can embed existing documents into layers as described for
with another Affinity product's features with no concern over file
adding images above.
compatibility on saving.

Affinity Designer documents are saved with the .afdesign file To open Adobe PDF files:
extension. 1.From the File menu, click Open.
2.From the PDF Options dialog, you can choose:
To open a document or image: ๏ A specific or all pages to import.
1.Do one of the following: ๏ Set the resolution for the PDF content.
๏ From the File menu, click Open. ๏ If text is to remain more editable at the expense of accurate design
reproduction.
๏ Double-click anywhere in the empty view. (Only available in Normal
mode when no other documents are open.) ๏ If separate text lines can be treated as a single text frame to aid text flow.

2.Select the file you want and click Open. ๏ To substitute a missing font with a similar replacement font.

To open a recently used document:

• From the File menu, click Open Recent, then select a file from the For multi-page PDF files, each page is placed on its own layer.
submenu. Switch on a hidden page's layer to view its content.

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______________________________________________________________
SEE ALSO:
Create new documents
Colour management
Supported file formats
Arrange/Manage layers

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4 ๏ Portrait—Uncheck to present your document in landscape
orientation.

Document setup ๏ 'Actual Size' Zoom—Sets the device which is mimicked when
presenting the document at 'Actual Size' (⌘8). This option is only
available when the document units are set to Pixel or Points. Select
from the pop-up menu.
๏ Click Object will Rescale to increase/decrease object dimensions in
relation to a change in Page Width and/or Page Height.
๏ Use Object will Anchor to Page to keep object size unchanged
when changing page size.
๏ Anchor point—controls the scaling of objects (when Object will
Rescale is set) in relation to the currently set anchor point.
๏ Resample lets you control how objects are resampled when Objects
will Rescale is set.
• For Colour (management):
Affinity Designer lets you access and modify your document setup at any
๏ Colour Format—Sets the colour mode to RGB or Grey (8 or 16 bit),
time. This setup will have been chosen previously when creating a new
document. CMYK (8 bit), or Lab (16 bit).
๏ Colour Profile—Sets the colour gamut for the previously chosen
To modify your document setup:
colour format.
• From the File menu, select Document Setup (⇧⌘P).
๏ For applying a different colour profile, Assign adopts the new profile
The settings are as follows: but leaves the values of the colours/pixels as is. Convert converts
• Type—Select the aim and deliverable for your project (for quickly each colour from the old profile to the new one—colour/pixel values
populating settings below). As well as print (press-ready CMYK), you can may change as a result.
work to specific Photo print sizes, specific Web screen resolutions, and ๏ Transparent background—Check to set your page background to
with the Devices option, design to iPad, iPhone, Nexus, Kindle Fire HD, be transparent.
and Galaxy S5 document specifications.
• For Margins:
• Page Preset—Offers sizes for UK/US print, photos, screen use, and
๏ Include Margins—Check to switch on page margins.
mobile devices. A Custom option indicates if your page is using
non-standard page dimensions. ๏ Left Margin, Top Margin, Right Margin, Bottom Margin— Sets the
• Document Units—Displays your rulers and object dimensions in pixels, printer margins, showing as non-printable blue lines. Click Retrieve
points or using physical measurement units. Margin from Printer to use your default printer's settings.
The dialog is split into separate tabs which let you customize your current • For Bleed:
preset or apply more advanced settings. ๏ Left Bleed, Top Bleed, Right Bleed, Bottom Bleed— For
For Dimensions: professional printing, bleed extends the printable area beyond the
๏ Dimensions—Change these values to make a custom page size. (An page edge to allow artwork to be trimmed.
alternative to selecting a Page Preset size above.) ______________________________________________________________
๏ DPI—Sets the resolution of your document. For example, for SEE ALSO:
professional print quality, set your resolution to 300 dpi. Create new documents
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About bit depth

Affinity Designer has several different colour models, some capable of working at
8 or 16 bit depth.
Bit depth
Your document's bit depth refers to the amount of tonal or colour information that
can be stored per pixel. The higher the bit depth, the more tonal information each
pixel can store.
In Affinity Designer, you need to choose a colour format (mode) to work in when
creating a new document. This sets the colour model and the bit depth (8 or 16
bits) for the document you are working on.

If you want to understand bit depth in greater detail, there is a

wealth of information on the internet.

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SEE ALSO:
Create new documents
About colour models

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6 To embed a document:
1.From the File menu, select Place.

Embedding documents 2.In the pop-up dialog, navigate to and select a document, and click Open.
3.Do one of the following:
๏ Click to place the document at a default size.
๏ Drag on the page to set the size and position of the document.

Embedded documents are shown in the Layers panel using their

original document name and the suffix '(Embedded document)'.

To edit an embedded document:

1.Do one of the following:
๏ Double-click the placed document.
Embedding documents allows you to place any Affinity (Designer, Photo, ๏ From the context toolbar, select Edit Document.
etc.), Photoshop, Illustrator, Freehand, SVG, EPS or PDF document into
your current document without the need to open each file in turn.
Embedded documents are shown in the Layers panel using their
original document name and the suffix '(Embedded document)'.

Embedded documents are shown in the Layers panel using their

original document name and the suffix '(Embedded document)'.

To replace a document:
1.Select the document.
2.From the context toolbar, select Replace Document.
______________________________________________________________
SEE ALSO:
Open documents and images

Two supporting documents and a text document embedded in the main design.
Once you've added embedded documents onto your page, you can edit
each document without leaving your current document.

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7 Presents the selected mode in isolation on a single page.
Split View

Viewing Presents two modes simultaneously on the same page. A sliding divider
can be repositioned to view different areas of the design in either mode.
To display specific modes:
Do one of the following:
• Click Pixel view mode to display vector designs as individual pixels.
• Click Retina pixel view mode to display vector designs as individual
pixels. Use for Retina displays.
• Click Outline view mode to display design as paths only.
• Ensure all icons are deselected to return to Vector mode.

You can also switch between View modes via the View menu (View
There are a variety of viewing options available which give you maximum Mode sub-menu).
flexibility when creating your designs.
View modes
To work in Split View:
The view mode is made up of two distinct components:
1.From the View menu's View Mode sub-menu, select Split View.
• how objects are displayed on screen, and
2.Click one side of the divider.

• how your project page is presented. The divider label displays as black for the selected side (otherwise
Modes displayed as grey).
Vector 3.From the Toolbar or View menu, select a mode.
Drawn objects are displayed as vectors by default. This means that, Full Screen Display
regardless of the current zoom level, objects (and applied effects) are You can jump to full screen view easily via a window button, menu option or
always presented with smaooth, vector edges and transitions. a keyboard shortcut.
Pixel To display full screen:
During design, vector objects are presented as if they are constructed from Do one of the following:
individual pixels. This is an accurate representation of how your design will
appear once exported and viewed as an image. • Click the Full Screen button at the top of your window (this is the top-left
green button for OS X Yosemite users).
Pixel (Retina)
• From the Window menu, select Toggle Full Screen.
As for Pixel mode above, but represents viewing on retina displays.
• Press ⌃(ctrl)⌘F.
Outline
During design, page objects are presented as paths only (with no fills or New View
strokes). There are times when it is useful to view a design at different zoom levels
simultaneously. This can be achieved by opening your current project in a
View
Single View
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New View. The views can then be set to different zoom levels. Changes
made to any view are replicated in the other.

You can also switch between View modes via the View menu (View
Mode sub-menu).

To open the current project in a new view:

• From the View menu, select New View. The project opens in a new
tab/window which includes a numerical reference in its title.
To switch between open projects and views:
Do one of the following:
• Press ⌘`.
• Click a project/view tab in Normal mode.
• Click a project/view window header in Separated mode.
• From the View menu, select a project/view from the Views sub-menu.
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SEE ALSO:
About workspace modes
Zooming
Zoom Tool

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8
•Zoom In using ⌘+.

Zooming •Zoom Out using ⌘-.

•Zoom to Fit using ⌘0 or double-click the View Tool icon.
•Zoom to 100% using ⌘1 or double-click the Zoom Tool icon.
•Zoom to Selection using ⌘⇧0.
•Actual Size using ⌘8.
•Pixel Size using ⌘9.

When creating a new document, the Document Units define the

exact size of your document on screen. For example, if you chose
'pixels', your document will display at its exact pixel size when
exported and viewed on screen at 100%. Similarly, for physical
Document Units (e.g., millimeters) you'll get the exact print size at
Zooming into areas of your document is an essential part of the design
100%. The print size is determined by the dpi set in Document
process. As well as TrackPad 'pinching' control (if available), several
Setup.
zooming options are possible.
To zoom in or out of a document:
______________________________________________________________
Do one of the following:
SEE ALSO:
• Click the Zoom Tool (shortcut Z) and then:
Navigator panel
๏ Drag on the page—right to zoom in or left to zoom out.
Zoom Tool
๏ Click on the page to zoom in a step.
View
๏ ⌥-click on the page to zoom out a step.
๏ ⌥-drag on the page to zoom into a rectangle area.
๏ Select a zoom level from the context toolbar.
๏ Click the View Tool (shortcut H) and select a zoom level from the
context toolbar.
• Select the View menu and then Zoom options.
• Use ⌥ and your mouse scroll wheel (if available).
• Zoom in or out using the options in the Navigator panel.

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9

Pan/Scroll the Document

view

When your document is zoomed-in, you can work on different areas of your
design by using panning.

To pan an image with the View Tool:

1.From the Tools panel on the left, click the View Tool (or shortcut H).
2.Drag the zoomed-in document in relation to its view.

Temporarily activate the View Tool by using Hot key panning:

press Spacebar. As soon as you let go, the tool will switch back to
the previously selected tool.

You can also pan the Document view using a track pad, mouse
wheel, scroll bars, or the Navigator panel.

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SEE ALSO:
Zooming
Navigator panel

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3

Artboards
1 About artboards
Using artboards, you can convert a single page document into a

Artboards multi-page, multi-product design project. Their true power lies within their
flexibility—artboards have limitless uses.
The size of artboards can be based on presets or customized to suit your
needs. They can be moved and resized just like other objects in a
document and can be arranged in any way you want—sometimes this will
be important to the outcome of the design, other times it simply helps you
organize your work.
Artboards also possess their own colour and opacity properties, so these
can be adjusted at any time during the design process.
Artboards can be exported and printed together or separately, but are all
saved together in their parent document.

Artboards come complete with a dedicated Artboard Tool and

Artboards are discrete design areas, of any shape and size, within the same context toolbar.
document, on which you can place design elements. Objects which extend
beyond the boundary of an artboard are clipped to the edge of the
artboard's design area. Artboard topics:
• Adding and removing artboards
• Selecting, moving and resizing artboards
• Renaming and viewing artboards
• Aligning and distributing artboards
• Artboard colour and opacity
• Exporting artboards
• Printing artboards
Some uses for artboards
• Two artboards of equal size might represent two sides of a page.
• Several artboards of varying sizes could be used to create a branding
concept including a company logo, letterheaded paper, compliment slip,
envelope, business card and brochure.
• Various sized artboards might be placed together for an advertising
campaign which includes a billboard poster, full- and half-page ads,
flyers, as well as web banners and rich-graphic emails.
• Numerous artboards of equal size showing different screen displays of a
Artboards displaying a branding concept for a fictional company. mobile app.

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• Two equal sized artboards could be used to design the back and front of
a book cover, with a third, changeable width artboard in the middle to
accommodate the spine.
• Numerous artboards of equal size could be created to allow for the
design of a pack of cards.
• Progressive mock-up artboards might be placed together leading to the
final, signed off design artboard.
• Several artboards displaying colour variants of an identical design.
• Various sized artboards arranged logically to form the basis of a concept
sheet for character design.
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SEE ALSO:
Artboard Tool
Create new documents
Open documents and images

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2 2.On the Tools panel, click the triangle in the bottom-right of the Move
Tool icon to access and select the Artboard Tool.

Adding (and removing) 3.On the context toolbar, from the Size pop-up menu, select:
๏ Document—to add an artboard at the current document's

artboards
dimensions.
๏ Selection—to add an artboard behind the selected object(s) at the
same size as the selected object(s).
๏ any other preset—to add another artboard at a device-specific
preset's dimensions.
4.On the context toolbar, click Insert Artboard.

To add custom size artboards:

• With the Artboard Tool selected, drag on the pasteboard (or inside
another artboard to create a nested artboard).

Artboards can be added to your document at a preset or custom size.

Adding artboards Modifier keys
Once you have opened a document (or created a new document), you can When using the Artboard Tool, the following modifier keys can be
add artboards using the Artboard Tool. used:
Artboards can be created: • The ⇧ key constrains the artboard's proportions at the time of
creation (to a square) or when resizing.
• using the original document's dimensions—perfect for creating
multi-page documents • The ⌘ key resizes the artboard from its centre.
• using preset sizes—perfect for device-specific designing • The ⌃(ctrl) key allows the artboard to be rotated while being
added or resized.
• using the current selection's dimensions
• at a custom size
• by copying or duplicating other artboards To copy or duplicate an artboard:
• by converting a selected object • With an artboard selected, do one of the following:
Removing artboards ๏ With the Move Tool or Artboard Tool, ⌘-drag the artboard.
Artboards can be deleted from your project at any time. Any objects placed ๏ From the Edit menu, select Duplicate.
on the artboard will be deleted as well.
To convert an object to an artboard:
As an alternative to deleting an artboard, you can convert it into a standard
object. In this situation, any objects on the artboard will be nested within • With the single object selected, from the Layer menu, select Convert
the new object, thereby preserving your design. Object to Artboard.

To add artboards at preset dimensions:

1.(Optional) With the Move Tool, select one or more objects.

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 If an object has been converted to an artboard, that artboard
remains editable as if it was the original object. For example, an
artboard converted from a closed shape can still be edited as a
closed shape and an artboard converted from artistic text can still
be edited as text.

To remove an artboard:
1.Do one of the following:
๏ Using the Artboard Tool, click to select a single artboard or ⇧-click
to select multiple artboards.
๏ On the Layers panel, select one or more artboards.
2.Do one of the following:
๏ Press the ⌦ key.
๏ On the Layers panel, click Remove Layer.
To convert an artboard to an object:
• With the single artboard selected, from the Layer menu, select Convert
Artboard to Object.
______________________________________________________________
SEE ALSO:
Artboard Tool
Selecting, moving and resizing artboards
Create new documents
Open documents and images
Duplicating objects

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3 To reposition an artboard:
Do one of the following:
Selecting, moving and • Using the Artboard Tool or Move Tool, drag the selected artboard.
• With an artboard selected, on the Transform panel, adjust the X and/or Y
resizing artboards settings.
To resize an artboard:
With an artboard selected, do one of the following:
• Using the Artboard Tool or Move Tool, drag the artboard's selection
handles.
• On the Transform panel, adjust the W (width) and/or H (height) settings.

Modifier keys
When using the Artboard Tool, the following modifier keys can be
Once selected, artboards can be repositioned anywhere on the pasteboard used:
and resized at any time to suit your needs. • The ⇧ key constrains the artboard's proportions at the time of
Artboards can also be rotated and sheared directly on the pasteboard using creation (to a square) or when resizing.
the Artboard Tool or using precision edits using the Transform panel. • The ⌘ key resizes the artboard from its centre.
• The ⌃(ctrl) key allows the artboard to be rotated while being
added or resized.
Selected artboards can also be modified in a variety of ways using
different tools, depending on how the artboard was originally
created. For example, an artboard converted from a closed shape To rotate, shear and flip an artboard:
can still be edited as a closed shape using the Node Tool and an
With an artboard selected, do one of the following:
artboard converted from artistic text can still be edited as text
using the Artistic Text Tool. • Using the Artboard Tool or Move Tool, drag the artboard's rotation
handle, or position the cursor close to one of the artboard's corner
handles and drag on the page.
To select artboards: • Using the Artboard Tool or Move Tool, position the cursor close to one
Do one of the following: of the artboard's side handles and drag on the page.
• With the Artboard Tool selected, click an artboard. • On the Toolbar, select a flip or rotate option.
• On the Layer panel, select an artboard entry. • On the Transform panel, adjust the R (rotation) and/or S (shear) settings.

• With the Move Tool selected, click on any empty artboard.

Pressing the during any of the above operations will allow you to
select multiple artboards.

26
______________________________________________________________
SEE ALSO:
Artboard Tool
Adding and removing artboards
Aligning and distributing artboards
Rotating and shearing objects
Transforming objects

27
 ______________________________________________________________
4 SEE ALSO:

Renaming and viewing Artboards

Adding and removing artboards

artboards
Zooming
Navigator panel

Artboards can be renamed and selected as targets for zooming, just like
any other document objects.
Newly created artboards are given the default naming convention of
'Artboard {n}', while copied or duplicated artboards take on the same name
as the original artboard.
Artboard names appear in the Layers panel as well as being located near
their artboard on the pasteboard. To help you organize and identify
artboards, you can rename them.
You can also zoom to artboards, for focused working, using the Zoom to
Selection option.
To rename an artboard:
1.Select an artboard.
2.On the Layers panel, click the artboard's current name.
3.Type a new name for the artboard.
To zoom to an artboard:
1.Select an artboard.
2.From the View menu, select Zoom to Selection.

You may wish to create view points for each of your artboards to
allow you to quickly switch between them. For more information
on creating view points, see the Navigator panel topic.

28
5

Aligning and distributing

artboards

Although discrete design containers, artboards can be aligned and

distributed just like any page object.
Once selected, artboards can be used in conjunction with the available
aligning, distributing and spacing commands.

To align, distribute and space artboards:

1.Select multiple artboards.
2.Do one of the following:
๏ On the Toolbar, click Arrange, set your options from the pop-up
panel, and then click Done.
๏ From the Layer menu's Alignment sub-menu, select an alignment
option.
๏ Select the Move Tool and then, on the context toolbar, select a
horizontal or vertical alignment option.
______________________________________________________________
SEE ALSO:
Selecting, moving and resizing artboards
Aligning objects
Distributing objects

29
6 However, artboards also have an overall Opacity property which is
controlled on the Layers panel. Adjusting the opacity of the artboard in this

Artboard colour and

way will affect all objects placed on the artboard.
To change the opacity of an artboard:

opacity
1.Select an artboard.
2.On the Layers panel, use the Opacity control to set an opacity value.
To use opacity quick keys:
1.Select an artboard.
2.Press a numerical key, or two numerical keys in quick succession, to set
the opacity. For example:
๏ Press 4 for 40% opacity.
๏ Press 0 for 100% opacity.
๏ Press 4 and 5 for 45% opacity.
๏ Press 0 and 7 for 7% opacity.
Like page objects, groups and layers, artboards have their own colour and
opacity properties. ______________________________________________________________
Colour properties SEE ALSO:
Any colour (gradient or solid) can be applied to an artboard using the Artboards
Colour or Swatches panels or the Gradient Tool. Colours can be applied to Selecting colours
the artboard's stroke or fill.
Gradient editing
If a colour is applied to the artboard's fill, it will appear behind any objects
Transparency
placed on the artboard—therefore acting as a background colour.
If a colour is applied to the artboard's stroke, it will appear over any objects
placed on the artboard—therefore acting as an overlay.

To take full advantage of an artboard's stroke appearing in front of

artboard content, you may wish to set the line to Align Stroke to
Inside on the Stroke panel.

For information on applying colours to an artboard's fill or stroke, see the

Selecting colours and Gradient editing topics.
Opacity properties
The artboard's fill and stroke colours can also have a solid opacity or
gradient transparency applied. This can be achieved using the Colour panel
or the Transparency Tool, respectively. For more information, see the
Selecting colours and Transparency topics.

30
7 5.Click Export.

Exporting artboards
To export an artboard using Export Persona:
1.In Export Persona, on the Layers panel, select an artboard and click
Create Slice.
2.On the Export Options panel, adjust export settings as appropriate.
3.On the Slices panel, adjust settings as appropriate then do one of the
following:
๏ Check 1x, 2x and/or 3x for increasing levels of resolution.

๏ Click to export a single item.

๏ Click Export Selected to export all checked items.
4.Navigate to and select the storage folder for the exported image(s) and
then click Export.
5.(Optional) On the Slices panel, select Continuous if you want to
Artboards can be exported as individual images or all the artboards in a
automatically re-export export areas if the document is subsequently
document can be exported together as a single image.
changed. This option is only available if Export Selected was selected
If you select an artboard before proceeding to export, the selected artboard above.
will automatically be selected in the Export dialog. However, all artboards in
the current document are available for exporting from the Export dialog at
______________________________________________________________
any time, regardless of selection. SEE ALSO:
If you choose to export the entire document, all artboards in the document Artboards
will be included in the exported image. The resulting image dimensions will Export
be based on the smallest possible size relative to each artboard's size and
position on the pasteboard. In other words, the smaller the artboard sizes Exporting using Export Persona
and the closer they are together, the smaller the overall image's
dimensions.
For more information on exporting an entire document, see the Export
topic.
Export Persona
Slices (export areas) can be created directly from artboards, allowing you to
access all the features available in Exporting using Export Persona.
To export an individual artboard:
1.(Optional) Select an artboard.
2.From the File menu, select Export.
3.Adjust the settings in the dialog.
4.From the Area pop-up menu, select a named artboard. (This step is not
necessary if the above optional step was followed.)

31
8 3.Ensure Scaling and Artboards is selected from the pop-up menu below
the Orientation setting.

Printing artboards 4.From the Artboards pop-up menu, select a named artboard.
5.Adjust the settings in the dialog.
6.Click Print.
______________________________________________________________
SEE ALSO:
Artboards
Print

Artboards can be printed as individually or all the artboards in a document

can be printed together.
If you select an artboard before proceeding to print, the selected artboard
will automatically be selected in the Print dialog. However, all artboards in
the current document are available for printing from the Print dialog at any
time, regardless of selection.
If you choose to print the entire document, all artboards in the document
will be included. By default, the resulting print will be based on the smallest
possible size relative to each artboard's size and position on the
pasteboard. In other words, the smaller the artboard sizes and the closer
they are together, the smaller the overall print dimensions.
For more information on printing an entire document, see the Print topic.
To print a selected artboard:
1.(Optional) Select an artboard.
2.From the File menu, select Export.
3.(Optional) In the Print dialog, click Show Details to access advanced
printing options.
4.Adjust the settings in the dialog.
5.Click Print.
To print an individual artboard:
1.From the File menu, select Export.
2.In the Print dialog, click Show Details.

32
9

Artboard tool

The Artboard Tool allows you to add, move and resize artboards within a
document.

The Move Tool and Artboard Tool are grouped together on the
Tools panel. Click the triangle in the bottom-right of the displayed
icon to access the alternative tool.

Settings
The following settings can be adjusted from the context toolbar:
• Size—sets the preset size of the artboard to be added to the pasteboard.
• Insert Artboard—adds a new artboard to the pasteboard.
___________________________________________________________________
SEE ALSO:
Artboards

33
4

Drawing lines
and shapes
1 Lines
A line is an open path that has distinct start and end points, called nodes,

About lines and shapes with one or more nodes placed along the line. It generally has a stroke
applied. The path between nodes can be straight (A) or curved (B) and is
known as a segment or curve. Complex paths are created from multiple
curves (C).

When you want to draw vector shapes and lines you'll need to use the Pen,
Pencil, Brush and Shape tools. Editing lines and shapes is done with the The type of node controls the curve of the path between segments. There
Node tool or the ⌘ key as you draw. are three basic types of node:
• Sharp (A)—path abruptly changes direction between segments creating a
point.
• Bézier (smooth) (B)—path creates a continuous curve between segments.
• Smart (C)—path creates a continuous curve but uses a line of best fit.

Lines and shapes have both stroke and fill properties. These can
be defined before creation and can be modified at any point
afterwards. When drawing lines, any combination of nodes can be used to create the
desired path. Each node also has control handles. These appear when the
node is selected. The length and slope of the control handles determine the
shape of the line segment. A node can be edited at any time.

35
 To set Fill Mode:
• With the object selected, from the Layer menu, select an option from the
Fill Mode sub-menu.
___________________________________________________________________
SEE ALSO:
Edit vector lines
Draw and edit shapes
Shapes
A shape is a closed path—it has no discernable start or end—made up of
multiple curves.

You can also easily create geometric type shapes using the Shape tools.
These have special properties that enable you to quickly create otherwise
difficult to draw shapes, such as circles, rectangles and polygons.
Filling self-intersecting shapes
Shapes which have been constructed using self-intersecting lines can be
filled in two different ways: Alternate or Winding. The former mode applies
a fill or transparency to contiguous sections alternately along the lines. The
latter fills all sections encompassed by the shape's outer lines.

Alternate and Winding Fill Modes respectively.

36
2 To continue an existing curve:
1.Place the pen pointer over the final node on the path that you want to

Draw lines and shapes continue.

2.Click once to select the node.
3.Continue to place new nodes as needed.

To draw freehand curves with the Pencil tool:

• Drag on the page in the direction that you want the path to follow.

To close curves to create a custom shape:

Do one of the following:
• With the line selected with the Pen or Node Tool, click Close Curves on
the context toolbar.
• When creating the line with the Pen tool, click on the starting node to join
the curves and create the shape.
Vector curves (lines and shapes) are easily created using either the Pen tool
or the Pencil tool. The Pen tool has several modes that change the way the Modifier keys
path is drawn.
When using the Pen Tool, the following modifier key can be used:
To draw precise curves with the Pen tool: • The ⌘ key temporarily activates the Node tool.
1.Select the Pen Tool. • The ⇧ constrains control handles to 45 degree intervals in Pen
2.On the context toolbar, click one of the modes: mode. In Smart mode, node positioning is constrained instead.
• The ⌥ key forces the node into cusp mode.
๏ Pen Mode—click-drag on the page to create repeated nodes;
repositioning the displayed off-curve control handles at each node
defines the shape of the next segment as you lay down nodes. ___________________________________________________________________
SEE ALSO:
๏ Smart Mode—click repeatedly on the page to lay down each
node; a best fitting curve is created without need for control handle Draw and edit shapes
adjustment. Edit vector lines and shape
Pen tool
๏ Polygon Mode—click repeatedly on the page to lay down each
node; a line is created with sharp nodes made up of straight Pencil tool
segments. Node tool
๏ Line Mode—click and drag on the page to create a simple
single-segment straight line.
3.To complete the curve without closing it, press the esc key. To close the
curve, click on the starting node.

37
3 To change curvature of a segment:
Do one of the following:

Edit vector lines and • Select the node and then drag the control handles.

shapes

• Drag on the line directly to pull it into position.

Vector lines and shapes are easily edited using either:

• The ⌘ key as you draw your line or shape.

• The Node Tool.

Modifier keys
When using the Node tool, the following modifier keys can be
used to speed up the workflow:
• The ⇧ key constrains the control handle to 45 degree intervals.
In Smart mode, node positioning is constrained instead.
• The ⌥ key changes the node type to a sharp node to create a
cusp in the line.
Use the former for fine tuning and line adjustment as you draw, the latter for
more prolonged editing operations.
To edit lines as you draw: The Node Tool can be used in conjunction with the Transform
panel to position or scale selected nodes precisely.
• Press the ⌘ key to move nodes and adjust control handles when fine
tuning of your line is needed. Colour and opacity can also be altered from
the Colour panel.
To add nodes:
With ⌘ key pressed, you can edit other lines in the same way by • With the path selected, click at the point where you want the node to be
clicking them. added.

38
To delete nodes:
• Select the node and press the ⌦.

To close curves:
Do one of the following:
• Select the path and click Close Curves on the context toolbar.
• Drag the end node and drop on top of start node when the pointer
changes.

To break (split) curves:

• Select the node at the point at which you want the curve to break and
click Break Curve on the context toolbar.

To join curves:
1.With the Node Tool (hold down the ⌘ key if using the Pen Tool), hold
down with the ⇧ key and select both curves.
2.Click Join Curves on the context toolbar.

To reverse curves:
• Click Reverse Curves on the context toolbar. The start node becomes
active, ready for further drawing from the opposite end of the curve.

To convert nodes to a different type:

Do one of the following:
• Select the node(s) you want to change and click one of the node types,
Sharp, Smart or Smooth, on the context toolbar.
• Hold the ⌥ key and click on the node to convert it to a Sharp node.
___________________________________________________________________
SEE ALSO:
Draw lines and shapes
Draw and edit shapes
Node tool

39
4 Available shapes:
• Rectangle

About geometric shapes • Ellipse

• Rounded Rectangle
• Triangle
• Diamond
• Trapezoid
• Polygon
• Star
• Double Star
• Square Star
• Arrow
• Donut
Most geometric shapes, such as squares, circles and polygons, are difficult • Pie
to draw accurately freehand. We've provided a selection of useful shapes to
• Segment
help you solve this problem. The shapes are fully geometrically correct,
customizable, and can even be converted to curves for additional editing. • Crescent
• Cog
• Cloud
• Callout Rounded Rectangle
• Callout Ellipse
• Tear
• Heart
___________________________________________________________________
SEE ALSO:
Draw and edit shapes
Converting objects to curves
Snapping
Once created, the shapes are easy to modify by changing the properties on
the context toolbar or by dragging the special red handles. When hovered
over, the direction in which they can be dragged is indicated by the pointer
and/or a horizontal line.

40
5 3.Modify options as required, either by changing the values on the context
toolbar or by dragging the red handle(s) (if available).

Draw and edit shapes

When you hover over a handle, a red guide line will appear to
suggest the direction of drag needed to modify your shape.

Geometric and other special shapes that would be otherwise hard to draw Shapes can be converted to text frames via Layer>Convert to
can be easily created using one of the corresponding shape tools. Once Text Frame.
drawn, both the shape and its stroke can be made into curves for more
freeform design.
To edit an existing shape:
1.Click the Node Tool.
2.Select the shape, either by clicking the shape or by clicking the layer
entry in the Layers panel.
3.Edit the shape as required by either by directly dragging the red
handle(s), or by changing the values on the context toolbar.

Shapes have special snapping properties which allow lines to snap

To draw a new shape: to various angles within the shape.
1.Choose one of the shape tools, e.g., Rounded Rectangle from the Tools
panel.
To convert a shape to curves:
2.Drag on the page to create the shape and use the ⇧ modifier to
constrain the shape's proportions if needed. 1.Click Convert to Curves, found in either the Layer menu or on the
context toolbar.

41
The shape is now made from curves. Segments and nodes can be modified
with the Node Tool.

To expand a stroke:
1.Select the shape with either the Move Tool or the Node Tool.
2.Click Expand Stroke on the Layer menu.
The shape's stroke is now detached from the object and made into curves.
Like Convert to Curves, the resulting curves can then be manipulated with
the Node Tool.

Modifier keys
As you create shapes, the following modifier keys can be used
while the shape is being drawn:
• The ⇧ key constrains shape's proportions at the time of
creation.
• The ⌘ key draws or resizes from centre (can be combined with
the ⇧ key).
• Where appropriate, on many shapes, the ⌘ key moves the red
handles in pairs.
• The ⌃(ctrl) key lets you draw, rotate and position a shape along
a previously drawn line. Opposing handles on the shape will
snap along the line.

___________________________________________________________________
SEE ALSO:
About geometric shapes
About lines and shapes
Edit lines and shapes
Frame text

42
6 rounded. The more you drag, increasing the radius, the more pronounced
the corner.

Cornering shapes You can apply rounded corners simultaneously to multiple nodes
that have been selected previously.

To edit a rounded corner:

1.Select the shape.
2.Click on the sharp corner node. (Although the corner is already rounded,
the original shape's outline is retained.)
3.Drag the centre of the ring to resize the corner as needed.

By default, the shape's outline is not affected by the tool (apart

from at the corner). However, dragging the shape's outline with the
⌘ key pressed will reshape the shape; the corner radius is not
Cornering lets you selectively round sharp corners on closed shapes. affected by reshaping.

___________________________________________________________________
SEE ALSO:
Corner Tool
About lines and shapes
Edit lines and shapes

Ideal for rounding corners on geometric shapes or on closed shapes drawn

with the Pen tool, the tool let you selectively apply cornering as and when
you need it. A pre-requisite is that the corner must be a sharp corner, so
geometric shapes such as polygons, stars, and triangles are great
candidates for corner rounding.
Using an on-screen red "shaping" ring you can control the size of the
corner by dragging; the corner will shape itself around the ring's
circumference for precise and perfect results. You'll see the ring only as you
drag from a sharp corner node.

To create a rounded corner:

1.From the Tools panel, select the Corner Tool.
2.(Optional) Adjust the context toolbar settings.
3.Hover over the sharp corner node to be rounded and drag inwards or
outwards. A ring is shown around which the corner will be automatically

43
5

Colour
1

About colour

Affinity Designer can use different colour models to represent different ways
of describing colour. These models (RGB, CMYK, Lab, and Grey) can be
selected as you create your new document.
Colour definitions are described comprehensively on the internet, so in this
section we'll just focus on how to set a colour model, the model's colour
space, and how a colour profile represents that colour space.
In terms of selecting colour as you design, Affinity Designer provides the
Colour panel's HSL colour wheel by default or optional sets of sliders.
Furthermore, the Swatches panel can be used for easy access to preset
and custom 'saved' colours that you'd like to use again.
If you're happy to leave colour management until output is required, you
can create new documents with the suggested default colour format RGB/8
with sRGB IEC61966-2.1 colour profile.
___________________________________________________________________
SEE ALSO:
Colour models
About colour spaces
Colour management
Selecting colours

45
2

Colour models
A representation of the RGB colour model. This model is universal within digital
cameras and electronic displays.
CMYK model
The CMYK model is a subtractive model. Cyan, Magenta and Yellow are
combined to make each colour. A fourth ink, Black, is also used for extra
control and can be used either on its own for a true black, or combined with
the other inks for a rich black.

A screen uses varying amounts of light to create the colours that you see.
In the physical world, inks are used to create the colour on the page. Colour
is stored by turning colours into numbers. A colour model is used to
describe the numerical system used.
As not all devices have the same ability to display colour, a colour space is
used to define the gamut (available range) of colour. By working within a A representation of the CMYK colour model. When the three colours combined
colour space suitable for the intended output device, you can be confident they make black. Black is also added as a separate colour for extra tonal control.
that your colours will be able to be displayed as intended.
In Affinity Designer, you can take advantage of an end-to-end CMYK or Lab The way that the colour model is implemented is defined by the
colour-managed workflow as you create a new document. colour space that is chosen; this is possible by selecting a colour
About colour models profile.
Different colour models represent colour as numbers in different ways.
When working in Affinity Designer, you can choose one of four colour Lab
models. Lab colour represents the theoretical range of human vision using three
RGB model channels: Lightness (L), and two colour channels of opposing values of 'red
- green' (a) and 'yellow - blue' (b). It can be very useful when used
The RGB model is an additive colour model. The primary colours of light, creatively, especially as Lightness can be adjusted without any change to
Red, Green and Blue, are combined in various degrees to make other hue or saturation.
colours in the spectrum.

46
 A representation of the Lab colour opposition model. Lightness (L) is controlled
separately to the two colour channels (a, b).
To select a new document's colour model:
• As you create a new document, select an option from the Colour Format
pop-up menu.

The Colour Format of a document is a combination of a colour

model and a bit depth setting (8 or 16).

To change your document's colour model at any time:

1.From the File menu, select Document Setup (⇧⌘P).
2.From the Colour Format pop-up menu, select any of the available
models as described above.

Designer converts each colour from the old format to the new one—
colour/pixel values may change as a result.
___________________________________________________________________
SEE ALSO:
About colour spaces
Colour management
About bit depth

47
3 ___________________________________________________________________
SEE ALSO:

Colour spaces About colour models

Colour management

Your colour space dictates the range of colours that are available to your
screen or other output device.
About colour space
Each output device, for example, your display or printer, is only capable of
producing a certain range of colours. A colour space is a specific
implementation of the colour model used to define the colour gamut (i.e.,
the range of available colour). For example, Adobe RGB, sRGB, Apple
RGB, and so on, are all unique colour spaces for the RGB colour model.
Different colour spaces are also available for CMYK and Lab colour models.
In order for a device to know which colour space to use, it looks at the
assigned colour profile. You can choose your colour space by assigning a
colour profile to your document.
Which colour space should I use?
Which colour space you choose depends on what you're doing and the
colour model you're choosing to operate in.
If you're unsure of what colour space to operate, it's advisable to stick with
the default sRGB IEC61966-2.1 profile if using the RGB colour model.

If you need to use a colour space that is not available in Affinity

Designer, it will have to be installed on your system. Devices can
install colour profiles for you. Consult your system's colour
management documentation for instructions.

48
4 In Affinity Designer, an opened file's colour profile is honoured by default.
You have the option to convert it to the current working colour space. When

Colour management
placing images into an existing document, the image's embedded colour
profile will always be converted to the document's current working space.
On export, you can choose to embed the document's or a named colour
profile to ensure accurate colour management. Alternatively, the exported
file can be unprofiled by not embedding the document or named profile.
Assigning colour profiles
Affinity Designer lets you choose global default colour profiles, assign a
colour profile as you create a document, or at any point during your
session.

Most commercial printers will accept sRGB as they'll be able to do

their own profiling at the print stage to get the best results for your
work.
For the CMYK colour model, it's best to consult your print partner
The colour and tonal information in a digital document is stored as
for an appropriate CMYK colour profile recommendation.
numbers. When we share these documents between devices, the device
has to work out how to display the colour. As not all devices can display the
same colour gamut it can lead to colours looking different on each device. To select default global colour profiles:
• From Affinity Designer>Preferences (Colour Profile option), select an
RGB, CMYK, Greyscale or LAB colour profile from the pop-up menus.
• Choose a Rendering intent option and check Black Point
compensation.

The chosen profile will be used as the current working space and
will be offered when creating new documents, or will be used if
you choose to convert an opened file's colour space (discarding
Documents without colour profiles (or with unsupported colour profiles) may not
look the same across each device. its own colour profile).
To ensure that the colour looks the same on each device, we use colour
profiles to tell the device how to display or render the colour information. To select a new document's colour profile:
• As you create a new document, select an option from the Colour Profile
pop-up menu.
To convert the colour space of file to be opened to the current working
space:
• Prior to opening the file, from Affinity Designer>Preferences (Colour
Profile option), check the Convert opened files to working space
option.
Options exist to warn that a file's working space will be converted, or that
Documents with the correct profile for a calibrated device should closely match. an unprofiled file will be assigned the current working space's profile.
49
 Because soft proofing is applied as an adjustment you can apply multiple
To change your document's colour profile at any time:
adjustments, and therefore produce soft proofs for multiple output devices.
1.From the File menu, select Document Setup (⇧⌘P). As an example, if you want to create several different output types, you
2.From the dialog: might want to start with a colour profile on document creation with a wide
๏ Select the Colour tab. gamut (e.g., Adobe RGB 1998), and then change the profile to match the
output destination. However, colour information may be thrown away if
๏ From the Colour Profile pop-up menu, select a profile. changing to a smaller colour gamut—simply changing back to a profile with
๏ Select Assign or Convert. a wider gamut will not restore the additional colour information. By applying
a soft proof adjustment you prevent this, allowing you to work in a wider
Assign adopts the new profile but leaves the values of the
gamut until you are ready to change to your chosen output profile.
colours/pixels as is. Convert converts each colour from the old profile
to the new one—colour/pixel values may change as a result. ___________________________________________________________________
๏ Click OK. SEE ALSO:
Create new documents
Common colour profiles used in design include sRGB Export Options panel
IEC61966-2.1 and Adobe RGB 1998, the former for on-screen
Export
display.
Soft proof adjustment
To embed a colour profile on file export: Colour models
1.With Export Persona active, choose your Preset in the Export Options
panel.
2.(Optional) Select a different ICC profile from the pop-up menu.
Otherwise, the document's colour profile will be embedded.
3.Check Embed ICC profile.

You can also embed an ICC profile via File>Export (click More> in
the dialog).

By default, exported files are unprofiled, i.e. a colour profile is not

embedded within them. This maintains a low file size optimized for
web use. On opening the file, your working colour profile will be
assigned to the file.

About soft proofing

Soft proofing simulates output as you design with respect to the colour
profile and the paper medium you intend to print on.
In Affinity Designer, this can be done by applying a Soft Proof adjustment
to your design. You can then preview how your output will appear,
preventing any nasty surprises at print time.

50
5 3.From the flyout choose colour from a Swatches, Colour, or Gradient
pane.

Selecting colours Using the Colour pane, you have the option of selecting colour
using an HSL Colour Wheel by default; RGB, RGB (HEX), HSL,
CMYK, Lab, Greyscale sliders; in 8 bit, 16 bit or percentage modes
where applicable; or independent Hue, Saturation, or Lightness
boxes.

Using the Colour panel

With the Colour panel, colours can be applied to an object or adopted by a
tool in just a few clicks. Opacity and noise are further colour attributes
which can be applied. Colours can be saved to a palette in the Swatches
panel.
To select a stroke/fill colour (using default HSL Colour Wheel):
Affinity Designer offers several ways of choosing colours for your design. 1.Click the Stroke or Fill swatch at the top left of the panel.
2.Click for a hue colour on the outer ring.
About selecting colours
3.Click in the inner triangle to set the combined Saturation and Lightness.
An essential requirement for efficient design is the ability to access colours
easily and intuitively. Designers may have a preferred method for colour The relevant swatch updates to the selected colour.
selection, so Affinity Designer provides a choice:
• Context toolbar—for selection of Fill and/or Stroke colours from the Click a None swatch to make the colour completely transparent.
context toolbar that displays when a vector object is selected.
• Colour panel—for selection from colour wheel, sliders, or boxes using
different colour models.
• Swatches panel—for selection by swatch from different preset or custom Click Panel Preferences menu on the Colour panel to select
categories, including PANTONE® Colours. colour via RGB, HSL, CMYK, LAB, or Greyscale sliders; in 8 bit, 16
• Colour Picker—for sampling colours anywhere on your screen; great for bit or percentage modes where applicable; or use Hue, Saturation,
complementary colour work. or Lightness boxes.
• Gradient Tool—apply or edit a colour gradient across your object.
Choose from the tool's context toolbar. To switch colours between the swatch selectors:
Using the object's context toolbar: • Click the double-headed arrow. The colours switch (but the
For quick access, Fill and Stroke swatches are available from the context active swatch selector remains the same.)
toolbar of any selected shape, line, or stroke. To adjust opacity or noise setting:
To apply a fill or stroke colour to a vector object: 1.Select the Switch to opacity/noise toggle button to the bottom-left of
1.Select the object. the panel.
2.From the context toolbar, click either the 'Stroke' or 'Fill' swatch. 2.Drag the slider to set the value.

51
 Using the Colour Picker
To use a different colour model:
The picker lets you sample colours within or outside Affinity Designer, then
1.Click the Panel Preferences menu, and select Sliders from the menu.
use them in your design.
2.At the top right of the panel, click the current colour mode displayed, e.g.
RGB, to reveal a pop-up menu. To use the Colour Picker:
3.Select a different colour model from the menu. 1.From either the Colour or Swatches panel, drag the Colour Picker icon
to the colour you want to sample.
When using RGB or CMYK sliders, you can change the tint (or 2.Click the swatch selector you want to apply the colour to.
shade) of a colour by ⇧-dragging any of the individuals sliders.
3.Click the swatch next to the Colour Picker to apply the colour.
Other sliders will update as the colour is tinted.
Using the Gradient Tool
Use the Gradient Tool to apply your own gradient paths to an object's
To use a different colour mode: stroke or fill; you can also apply solid and bitmap fills. The tool's context
• Click the Panel Preferences menu, and select 8 bit, 16 bit or Percentage toolbar lets you change a linear gradient fill to be radial, elliptical, or
from the menu. conical.

To save colours to Swatches panel: To use the Gradient Tool:

• Click the Panel Preferences menu, and select one of the following: 1.Select an object.
๏ Add Colour to Swatch—adds the current colour to the currently 2.Select the Gradient Tool from the Tools panel.
loaded palette in the Swatches panel. 3.From the context toolbar, select either 'Stroke' or 'Fill' from the Context
๏ Select a chord type from the Add Chord to Swatch pop-up menu— pop-up menu.
adds a chord of the current colour to the currently loaded palette in 4.From the context toolbar, select a fill type from the Type pop-up menu.
the Swatches panel.
5.Drag the cursor across the object's stroke or fill depending on what you
Using the Swatches panel selected previously.

The Swatches panel provides colour swatch presets that are selectable Hold down the ⇧ key to constrain the angle of the gradient path to 45°.
from various categories. You can easily apply greys, solid colours, or
gradient colours as presets. Create your own gradient fills by clicking the colour swatch,
To use a colour swatch: adjacent to the Type pop-up menu, on the context toolbar.
Do one of the following: For preset gradient fills, use the Swatches panel.
• Choose a palette category from the category pop-up menu and click a
colour swatch in the palette. Accessing PANTONE® Colours
• Click a swatch from the Recently used swatches. PANTONE® Colour palettes are available from the main Swatches panel.
They are also available from the pop-up Swatches panel on the context
• Click a None swatch to make the colour completely transparent. toolbar when a shape, line, or stroke is selected.
To access PANTONE® Colours:
Hold down the ⌥ key when selecting a swatch to honour the
opacity and/or noise already applied to your object (i.e. only the • On the Swatches panel (or pop-up Swatches panel), from the category
colour of the object will update). pop-up menu, select your preferred PANTONE palette.

52
Registration colour
Printing to PDF will allow you to include printer marks, including registration
marks coloured with registration black (100%C:100%M:!00%Y:100%K).
However, you can create custom registration marks for your print
provider???you can add a registration colour swatch to the Swatches panel
registration mark for professional printing.
To create a custom registration colour:
• From the Swatches panel, click Panel Preferences, then select Add
Registration Colour.
___________________________________________________________________
SEE ALSO:
Colour Chords
Colour models
Gradient editing
Swatches panel

53
6 To create a global colour from scratch:

Global colours
1.On the Swatches panel, select a Document palette from the palette
pop-up menu. If no Document palette exists you can create one from the
panel's Panel Preferences menu.
2.From Panel Preferences, select Add Global Colour.
3.From the dialog, name and select your colour.
4.Click Add.

A global colour is indicated by a tab in the bottom-left corner

of its colour swatch.

You can check if a global colour has ben assigned to an object's

stroke or fill by using the Colour panel.
Global colours can be created and applied to different objects in your
design. If you want to change the colour across your design at a later time,
you can simply edit it in the Swatches panel and all objects update with the If you're importing a document palette containing global colours
new colour automatically and simultaneously. as a System or Application palette, the global colours will be
converted to standard colours.
About global colours
The global colour could be applied as a solid fill, stroke, or a colour used in
a gradient fill. They can be made while in RGB, CMYK, HSL, LAB, To edit a global colour:
Greyscale, or Tinting colour modes. 1.On the Swatches panel, right-click the chosen colour swatch and select
Global colours can only be created in a currently active Document palette Edit Fill.
that you've created previously. Once created, apply the colour to your 2.From the dialog, select a colour.
design. All objects using the global colour will be updated automatically.
To create a global colour from an existing object: ___________________________________________________________________
Do one of the following: SEE ALSO:
• Select the object, choose a Document palette in the Swatches panel, set Overprinting
the Stroke/Fill colour selector, then click Add current colour to palette Spot colours
as a global colour.
• ⌃(ctrl)-click the object and select Add to Swatches, then From Fill as
Global, From Line as Global or From Both as Global depending on the
object property you want to save.
The global colour is added to the currently selected document palette in the
Swatches panel. If a document palette does not exist a new one is created
for you in which the colour will be stored.

54
7 To create a spot colour:
• On the Swatches panel, select a Document palette from the palette

Spot colours pop-up menu. If no Document palette exists you can create one from the
panel's Panel Preferences menu.
• From Panel Preferences, select Add Global Colour.
• From the dialog, name and select your colour.
• Check Spot.
• Click Add.

A spot colour swatch is indicated by a small dot in the

bottom-right corner of its colour swatch.

You can check if a spot colour has ben assigned to an object's

stroke or fill by using the Colour panel.
You can can convert any standard colour in your colour palette to a spot
colour.
___________________________________________________________________
About spot colours
SEE ALSO:
In professional printing, spot colours can be used instead of CMYK process
colours when your artwork contains a very limited colour set. By converting Global colours
these colours to be spot colours, print costs can be reduced significantly. Overprinting
You may also be able to accurately reproduce colours otherwise impossible
Spot colours
with process colours.
As well as converting a standard colour to a spot colour you can also use
pre-supplied PANTONE® spot colours instead.
In your Affinity app, a spot colour is treated as a global colour. You have to
create a global colour in order to access Spot and Overprint options.

In advance of using this feature, consult your print provider for

advice on their use.

When publishing to PDF, the Honour spot colours option in the

Export Options panel (Export Persona selected) lets you include
spot colours in your output. You can also make the spot colours
overprint in the same panel.

55
8
Standard or spot colours can be made to overprint in the same

Overprinting
panel.

In advance of using this feature, consult your print provider for

advice on its use.

To create an overprint colour:

• On the Swatches panel, select a Document palette from the palette
pop-up menu. If no Document palette exists you can create one from the
panel's Panel Preferences menu.
• From Panel Preferences, select Add Global Colour.
• From the dialog, name and select your colour.
• Check Overprint.
For professional printing, colours can be made to overprint. By applying an
• Click Add.
overprint colour to objects selectively you can control overprinting.
Once converted, you can apply the overprint colour to an object's stroke or
fill as you would any other colour.

An overprint colour swatch is indicated by a curved tab in the

top-right corner of its colour swatch.

In advance of using this feature, consult your print provider for

advice on its use.
Knockout vs. Overprinting.
You can check if an overprint colour has been assigned to an object's
About overprinting
stroke or fill by using the Colour panel.
Overprinting means that you can print one ink colour on top of another
To make an existing standard colour overprint:
instead of, by default, the underlying colour being 'knocked out' (removed).
As a professional printing feature, overprint works when publishing PDFs • On the Swatches panel, right-click the swatch thumbnail, then select
using a CMYK colour space and PDF/X compatibility. Overprint.
You don't need to explicitly make an overprint for black, for black text or ___________________________________________________________________
black graphics, as this is set by default. On PDF publishing, you can control SEE ALSO:
black overprinting using the Overprint black option in the Export Options Global colours
panel (for any PDF export options).
Overprinting

56
9 • Shades—colours which vary in lightness from the base colour to black.
• Tones—colours which vary in saturation from the base colour to grey.

Colour Chords You'll find a wide range of colour theory websites on the Internet.

To create a colour chord using the Swatches panel:

1.From the category list pop-up menu, select a palette containing the base
colour.
2.From the palette, right-click the base colour swatch and then select a
chord type from the Create Colour Chord flyout menu.

To create a colour chord using the Colour panel:

1.(Optional) On the Swatches panel, click Panel Preferences and choose
an 'Add Palette' option.
A colour chord is a spread of harmonious colours which can be used in 2.Do one of the following:
conjunction with each other to produce appealing designs. ๏ With no content selected, select a colour from the colour model's
About colour chords Wheel (HSL only), Sliders, or Boxes, or click the picked colour
swatch.
Colour chords are created by first choosing a base colour and then picking
a chord type (built on professional colour theory). A spread of colours is ๏ Select page content containing the base colour. Remember to select
then populated and stored in the current palette in the Swatches panel. the appropriate colour selector on the Colour or Swatches panel.
You can then select from these colours as you design. 3.On the Colour panel, click the Panel Preferences menu and select a
Chord types are based on the HSL colour wheel and include: chord type from the Add Chord to Swatch pop-up menu.
• Complementary—the base colour and its opposite on the colour wheel. ___________________________________________________________________
• Split Complementary—the base colour and the colours adjacent to its SEE ALSO:
opposite on the colour wheel. Selecting colours
• Analogous—the base colour and the colours adjacent to it on the colour Colour panel
wheel.
Swatches panel
• Accented Analogic—as for Analogous but, like Complementary, also
includes the base colour's opposite.
• Triadic—three colours spaced equally around the colour wheel starting
from the base colour.
• Tetradic—four colours arranged around the colour wheel in two
complementary colour pairs, starting from the base colour. Otherwise
known as 'Rectangle'.
• Square—four colours spaced equally around the colour wheel starting
from the base colour.
• Tints—colours which vary in lightness from the base colour to white.
57
10
You can also apply a gradient to pixel layers, adjustment layers

Gradient editing
and layer masks using the Gradient Tool.

Gradient settings
The following settings can be adjusted via tool's context toolbar (colour
swatch):
• Type—determines the gradient type (linear, elliptical, etc.) via a pop-up
menu.
• Position—controls the position of the stop along the gradient from left
(0%) to right (100%), with 50% representing the central point.
• Mid Point—adjusts the spread of colours between the selected colour
stop and the stop to its right.
• Colour—click the colour swatch to display a pop-up panel where you
can modify the selected stop's colour (including noise value).
The Gradient Tool does a great job in drawing a simple colour gradient
• Opacity—controls how see through the stop is. 100% represents fully
across your object. However, you might want to apply a more complex fill,
opaque, 0% represents fully transparent.
introducing more than two colours along the gradient path, adjust where
each colour is positioned and/or control colour transitions. You can do this • Insert—adds a new stop between a selected stop and the stop to its
in two ways. right. The stop adopts the colour at its new position.
• Directly on the object. • Copy—duplicates the selected stop, positioning it between the selected
• Via the tool's context toolbar. stop and the stop to its right.
Using the former, you modify the gradient by eye; the latter lets you design • Delete—removes the selected stop from the gradient. Deleting an end
with precision and absolute control. stop shortens the path back to the adjacent stop.
• Reverse—the gradient is reversed, i.e. like a mirror image.
To modify a gradient (directly on an object):
With the Gradient Tool selected, click an object with a gradient fill applied
and then do any of the following:
• Click on the gradient path to add a stop.
• Click a stop to select it. Selected stops display larger than other stops.
• Drag a stop to reposition it along the gradient path. End stops can be
repositioned (by dragging) to extend or contract the gradient's length; the
angle of the gradient can also be changed by dragging.
• Drag a mid point marker to adjust the spread of colours between two
colour stops.
• Apply a colour (or opacity or noise value) to a selected stop from the
Colour panel.
Complex gradient applied directly on the object and then adjusted using the pop-up
panel from the context toolbar. • Delete a selected stop by pressing ⌦ key.

58
To modify a gradient (via the tool's context toolbar):
1.With the Gradient Tool selected, click an object.
2.From the context toolbar, select the colour swatch.
3.Click the Gradient option which lets you modify your gradient using the
above settings.
___________________________________________________________________
SEE ALSO:
Selecting colours
Transparency

59
11 2.Drag across your object to apply a transparency gradient.
To apply layer opacity:

Transparency 1.From the Layers panel, select a layer.

2.Click the panel's Opacity down arrow and drag the slider to adjust.
To use opacity quick keys:
1.Do one of the following:
๏ Select a single layer or object, or multiple layers or objects.
๏ Select a Brush tool in Pixel Persona.
2.Press a numerical key, or two numerical keys in quick succession, to set
the opacity. For example:
๏ Press 4 for 40% opacity.
๏ Press 0 for 100% opacity.
๏ Press 4 and 5 for 45% opacity.
Transparency can be applied in lots of ways in Affinity Designer. ๏ Press 0 and 7 for 7% opacity.
Here are the typical methods for its use. To apply layer effect opacity:
• As solid Opacity, applied to strokes, fills and brush strokes.
1.From the Layers panel, click Layer Effects.
• As a transparency gradient, again applied to either stroke or fill.
2.From the dialog, adjust the Opacity slider if available. Not all layer effects
• As layer opacity. have the Opacity setting.
• As a layer effect property. ___________________________________________________________________
Opacity is a term you'll see in Affinity Designer—this is the opposite of
SEE ALSO:
transparency. An object with 0% transparency is fully opaque (100%
opacity), while 100% transparency means the object is invisible (0% Colour panel
opacity). Transparency Editor
Opacity quick keys
You can use the numerical keys to set the layer opacity of a selected
layer(s) or object(s).
This quick access to opacity settings also applies to Brush tools in Pixel
Persona.
To change the solid opacity of an object:
1.From the Colour panel, choose stroke or fill from the Stroke/Fill colour
selector.
2.Drag the Opacity slider.

To apply a transparency gradient to an object:

1.From the Tools panel, select the Transparency Tool.

60
12 Settings
The following settings can be adjusted in the dialog:

Transparency Editor • Type—determines the gradient type used. Select from the pop-up menu.
• Position—controls the position of the stop along the gradient from left
(0%) to right (100%), with 50% representing a central point.
• Mid Point—adjusts the alpha spread between the selected stop and the
stop to its right.
• Opacity—controls how see through the stop is. 100% represents fully
opaque, 0% represents fully transparent.
• Insert—adds a new stop between the selected stop and the stop to its
right. The stop adopts an alpha level at its new position.
• Copy—duplicates the selected stop, positioning it between the selected
stop and the stop to its right.
• Delete—removes the selected stop from the gradient. Deleting an end
Using the same principles as gradient editing, transparency editing lets you stop shortens the path back to the adjacent stop.
customise a gradient but just on the alpha channel in your design. This • Reverse—the gradient is reversed, i.e. like a mirror image.
allows for more complex transparency gradients to be made, and then
applied to object fills and strokes. To modify the gradient (directly on an object):
You can introduce more than two alpha levels along the gradient path, • See the Gradient editing topic for the procedure but use the Transparency
adjust where each stop is positioned and/or control alpha transitions. You Tool instead of the Gradient Tool.
can do this in two ways. To modify the gradient directly (via context toolbar):
• Directly on the object. • See the Gradient editing topic for the procedure but use the Transparency
• Via the tool's context toolbar. Tool instead of the Gradient Tool.
Using the former, you modify the transparency gradient by eye; the latter ___________________________________________________________________
lets you design with precision and absolute control. SEE ALSO:
Transparency
Gradient editing

Complex gradient applied directly on the object and then adjusted using the
pop-up panel from the context toolbar.
61
6

Layers
1

About layers

Layers let you organize the contents of your design into a logical tiered
structure for better creative composition and object management.
What are layers?
You can think of layers as being like sheets of paper that are stacked one The effect of layer order on a document.
on top of the other. Transparent areas of the layer reveal the layer below, Types of layer
while opaque parts of a layer obscure the layers below. Objects that make There are several types of layers that can be created:
up a specific part of your design would normally be placed on the same
layer. • Pixel layer—used for pixel based editing and tools.
Affinity Designer also lets you create sublayers, which are child layers • Mask layer—special layer that allows you to define what content is
nested under a parent layer. Sublayers are perfect for use as an extra level hidden to reveal layers beneath.
of object organization in more complex documents. • Adjustment layers—special layers that can be used to correct or enhance
All layer management is carried out from the Layers panel. the layers beneath.
Here are some important points regarding layers: • Object (curve, shape, text, image) layer—each vector or text object is
created on its own layer.
• All documents have at least one layer.
___________________________________________________________________
• The order of your layers is important. A layer at the top of the panel is at
the front of your document and vice versa. SEE ALSO:
• Any selected layer(s) are highlighted, so that you can always see what Create layers
layer you are working on. Selecting and editing layers
• Any layer can be hidden, to exclude its layer objects from displaying in Using layer masks
your design.
Using adjustment layers
Layer effects
Layers panel

63
2 To create a sublayer:

Creating layers
• From the Layers panel, drag one layer over another layer to make it a
child layer.
To create a new pixel layer:
• From the Layers panel, click Add Pixel Layer.
___________________________________________________________________
SEE ALSO:
Selecting and editing layers
Manage layers
Layer masking
Using adjustment layers
Assistant Manager

Affinity Designer lets you create and manage layers using the Layers panel.
Both vector and pixel layers can be created in the Layers panel that can be
used to place objects or lay down pixels in your design. Multiple 'stacked'
layers present layer objects or pixels in a logical, ordered and managed
manner.
In addition, a sublayer can be created as a child layer of any currently
selected layer. Use sublayers for more complex multi-object designs where
storing related objects in sublayers under the parent layer might help object
management further. Also use them to restrict adjustments and effects to
the sublayer only, instead of an entire layer.
Layers or sublayers are created above or inside the currently selected layer,
respectively.
As well as vector layers, you can create pixel layers when using pixel-based
tools. Some tools and effects can only be applied to pixel layers. In many
instances, the layer is created automatically by the tool that you are using
or by the Assistant manager if the option is turned on.

You can also copy and paste layers between documents using
Edit>Copy (⌘C) and Edit>Paste (⌘V). If you copy a group, all
layers within the group will be duplicated.

To create a new layer:

• From the Layers panel, click Add Layer.

64
3 ___________________________________________________________________
SEE ALSO:

Selecting and editing About layers

Create layers
Arrange/manage layers

Selecting and editing layers (and layer objects) are essential operations
when working with multi-layered documents. Layers can also be renamed
for easy identification or given a unique colour to differentiate objects that
belong to different layers.
To select a layer:
• In the Layers panel, click the layer name. This displays all layer objects as
one selection in your workspace.

To select a specific layer object:

1.In the Layers panel, expand the layer to show its contents by clicking the
layer's arrow.
2.Double-click the layer object entry. This displays the chosen object.
To select multiple layers (or layer objects):
• In the Layers panel, ⌘-click each layer (or layer object).
To change a layer name or colour:
1.⌃(ctrl)-click the layer and select Properties.
2.Type a new name or select a new layer colour by clicking the colour
swatch.

65
4 • Drag a layer entry up/down the layer stack. When you see a blue line
between two layers, drop the layer to place.


Arrange/manage layers
If you pause during the drag procedure, you'll see a preview on the page
for the current operation.
• When a layer is selected, click the Move to Back, Back One, Forward
One or Move to Front button on the top toolbar. Using these buttons,
sublayers can only be reordered within their parent layer.

When you move a layer, the content of the layer moves with it.

To duplicate a layer:
1.In the Layers panel, select a layer.
2.In the Edit menu, select Duplicate.
The duplicate layer is added above the selected layer.
To lock a layer (or layer object):
Arrange and manage layer operations let you show/hide, reorder, duplicate,
or lock layers. 1.In the Layers panel, select the layer or object to be locked.
2.Do one of the following:

๏ Select Lock/Unlock.
๏ From the Layer menu, select Lock.

Select Lock/Unlock again or use the Layer menu's Unlock item, to

allow the layer contents or object to be editable.

Layers or objects which are locked show in the Layers panel with
a lock symbol next to them.
Reordering layers by dragging an entry in the Layers panel.
Show or hide layers to include/exclude layers (and layer objects) in your ___________________________________________________________________
document and any output. Any layer can be also be reordered in the layer SEE ALSO:
stack to change layer object ordering, or duplicated to improve efficiency.
Selecting and editing layers
Locking prevents a layer or layer objects from being moved, resized, flipped
or rotated. Create layers
Using layer masks
To hide or show a layer:
Using adjustment layers
• In the Layers panel, click Show/Hide Layer.
To reorder layers:
Do one of the following:

66
5 To change the opacity of a layer:
1.From the Layers panel, select one or more layers.

Layer opacity 2.Use the Opacity control to set an opacity value.

To use opacity quick keys:
1.Select a single layer or multiple layers.
2.Press a numerical key, or two numerical keys in quick succession, to set
the opacity. For example:
๏ Press 4 for 40% opacity.
๏ Press 0 for 100% opacity.
๏ Press 4 and 5 for 45% opacity.
๏ Press 0 and 7 for 7% opacity.
___________________________________________________________________
SEE ALSO:
A layer's opacity determines how see through a layer is and how much of About layers
the layer beneath is obscured or revealed. At 1% opacity, the layer is
Transparency
almost transparent, whereas at 100% the layer is completely opaque.

The opacity of the blade layer, in the right-hand illustration, has been reduced to 40%.
Numerical keys can be used to quickly set the opacity of selected layers.

Different levels of opacity can also be applied at different points

along a fill or transparency path, or to brush strokes and object
fills.

67
6
Any layer or object can have a blend mode assigned. The default

Layer blending
blend mode is 'Normal'—no special compositing is applied. For a
group, the default is 'Passthrough'. When set, the group itself has
no special blend properties of its own, and passes on the blend
mode of its parent layer.

Layer blend modes applied to sublayers produce isolated blending

which will not affect the parent layer or any other layers in the layer
stack.

The same blend modes can be utilized on layer effects and pixel
brushes.

A layer's blend mode determines how the layer or object's pixels blend with To change the blend mode of a layer (or object):
the pixels on the layer beneath. 1.In the Layers panel, select a layer (or object).
Blend mode types 2.Choose a blend mode from the pop-up menu on the panel.
Affinity Designer supports an impressive selection of different blend modes. ___________________________________________________________________
The most commonly used blend modes are as follows:
SEE ALSO:
• Normal—The default blend mode. The top pixels display over underlying
pixels according to the level of top layer opacity. Layer blend ranges
• Multiply—The blending result is a combination of the top and bottom Layer effects
colour at each pixel position, always producing a darker value. Painting brush strokes
• Screen—The opposite of Multiply, where the blending result is a
combination of the inverse of the top and bottom colour at each pixel
position, always producing a lighter value.
• Overlay—Applies either Multiply or Screen blend mode, depending on
the bottom colour at each pixel position. If the bottom layer pixels are
<50% grey, it multiplies; if >50% it screens.
• Colour Burn—Darkens the bottom colour pixels relative to the values of
the top colour pixels.
Other available blend modes include Darken, Darken Colour, Lighten,
Lighter Colour, Colour Dodge, Add, Soft Light, Hard Light, Vivid Light, Pin
Light, Linear Light, Hard Mix, Difference, Exclusion, Subtract, Hue,
Saturation, Luminosity, Colour, Average, Negation, Reflect, Glow, Contrast
Invert, Erase and Passthrough.

68
7 About blend gamma and antialiasing (RGB documents only)
The Blend Ranges dialog allows you to adjust the blend gamma of the

Layer blend ranges selected layer. This gives you the option of designing using a linear-RGB
colour space (1.0), regular sRGB-blending (2.2) or any gamma value up to
3.0. In other words, it gives you full control over how the tones of
semi-transparent or antialiased edged objects interact with colours
underneath.

Blue rectangle using linear-RGB (1.0 gamma) and regular sRGB-blending (2.2
gamma), respectively.

By default, text layers are set to a gamma of 1.45 and all other
types of layer to 2.2 (regular sRGB-blending). These default
Blend ranges specify the range of colours on a current layer which are
settings can be changed in Preferences (Tools option).
blended with the underlying layer(s).
About blend ranges
Antialiasing is the reduction of the jagged appearance of lines on a pixel
Blend ranges allow you to specify how tonal values of a layer blend with the grid. Antialiasing is achieved by the addition of semi-transparent pixels
layer(s) below. You can set the range of the tonal values affected and can along the line to smooth the transition from the line's edge to background
set the range to have any level of opacity (from opaque to transparent). 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 and custom coverage map, respectively. Viewed
in Pixel mode at 800% zoom.
Before and after blend range applied.
Settings
The blend range of the selected layer and the underlying layer(s) is
controlled in the Blend Ranges dialog. The following settings are available in the Blend Ranges dialog:
You can change the blend range for individual colour channels within the • Gamma—controls the layer's blend gamma.
dialog.
69
• Coverage Map—controls the layer's antialiasing ramp. • Click on the curve to add additional nodes.
• Channels—controls which channel is affected when adjusting the blend • Click to select a node and then press the to remove it.
range. Select from the pop-up menu. To modify the antialiasing ramp:
The following settings can be adjusted for both the Source Layer Ranges 1.Click the Coverage Map thumbnail.
and the Underlying Composition Ranges:
2.From the displayed chart, select a node on the profile's line and drag it
• Graph—controls the affected tonal range and the opacity within the vertically or horizontally to a new position.
specified range.
3.Repeat for other nodes as needed.
• In—sets the horizontal position of the selected node. Type directly in the
text box or drag the pop-up slider to set the value. For more complex profiles, click on the profile line to add a node
• Out—sets the vertical position of the selected node. Type directly in the which can be positioned as for any generated node.
text box or drag the pop-up slider to set the value.
• Linear—when selected (default), the graduation between two nodes is
linear (i.e. nodes on the graph are connected using straight lines). If this To remove antialiasing, set a straight, horizontal profile line at the
option is off, nodes are connected using smooth curves. top of the chart.
• Reset—returns the graph to the default position (a straight line between
two nodes positioned at the top of the grid). To reset antialiasing ramp to linear:
1.Click the Coverage Map thumbnail.
When adjusting the graphs in the dialog it is worth noting the 2.From the displayed chart's pop-up dialog, click Reset.
following:
To save a coverage map profile:
• The graphs represent tonal values from darkest on the left to
lightest on the right. • Under the chart, click Save Profile. The profile shows under the chart.
• Objects on the selected layer become less visible as nodes on To apply a custom coverage map profile:
the Source Layer Ranges graph are moved downwards. 1.Click the Coverage Map thumbnail.
• Objects on the underlaying layer(s) become more visible as 2.Select a custom profile thumbnail from below the chart. The chart will
nodes on the Underlying Composition Ranges graph are update, showing the chosen profile.
moved downwards.
___________________________________________________________________
SEE ALSO:
To change blend ranges, blend gamma and antialiasing ramp:
Layer blending
1.On the Layers panel, select a layer and then click Blend Ranges.
2.Adjust the settings in the dialog.
3.Close the dialog.
To adjust a graph directly:
Do any of the following:
• Drag a node horizontally to affect more or less pixels.
• Drag a node vertically to affect the visibility of pixels at the tonal value
selected.

70
8

Layer clipping

Layers panel showing clipping using parent and child objects.

Clipping involves positioning one object inside another. The path of the About clipping
parent object becomes the new boundaries for the child object. Any areas When scaling a parent object, child (clipped) objects scale to maintain the
of the child object which lie outside the parent object's path are masked correct aspect ratio. Scaling a clipped object has no effect on the parent
(hidden). object. A clipped object can be edited independently from its parent, e.g.
adjusting colour, opacity, and/or blend mode.
Any object can act as a parent or child in clipping relationships. Therefore
both vector and pixel objects can be either clipped or clipping objects.

Clipping is a great way of aligning the edges of shapes and adding

colour and tone to designs. The latter is particularly effective when
the clipped pixel or vector object's blend mode has been
adjusted.

Objects can be clipped on creation by drawing or painting directly

inside a selected object. This is controlled by Insert inside the
selection object targeting. For more information, see the Targeting
objects topic.

To clip objects:
1.On the page, position the object to be clipped so it overlaps the object
which will perform the clipping.
2.In the Layers panel, drag the object to be clipped on top of the object
The three upper shapes are clipped to the lower shape's path, adding shading to the
lower shape.
which is to perform the clipping.

71
The clipped object is nested within the clipping object in the Layers panel.
The clipped object has become a child of the clipping object.

To select clipped objects:

1.In the Layers panel, expand the clipping object's contents (if needed) by
clicking the layer's arrow.
2.Click to select the clipped object.
The clipped object can now be moved and edited as needed.

Alternatively, you can select clipped objects directly on the page

using ⌘-click.

To remove clipping from an object (unclip):

• In the Layers panel, drag the clipped object from inside the parent object
to a layer.
___________________________________________________________________
SEE ALSO:
Targeting objects
Layers panel
Layer blending

72
9 To add a pixel mask to a vector layer:
1.In the Layers panel, select the chosen vector layer.

Layer masking 2.Jump to Pixel Persona.

3.Do one of the following:

๏ To 'erase' from the mask, paint on the page using the Erase
Brush tool.

๏ To 'restore' the mask, paint on the page using the Paint Brush.

To create an empty mask layer:

• From the Layers panel, click Mask Layer.

By default, a created mask layer is applied to the current layer, but

it can be moved by dragging outside the current layer, applying
A layer mask is used to reveal a portion of a layer while the rest of the layer the mask to all layers below. Alternatively, the mask can be moved
remains hidden. This means that you can use a mask layer to 'delete' areas onto an object, applying the mask just to that object.
of a layer that you don't want.
In Affinity Designer, two types of masking are possible: To edit a pixel mask:
• Pixel masking: performs a similar task to the erase tools with one 1.In the Layers panel, select the mask thumbnail representing the mask
important difference; a pixel mask can be modified, or even discarded, at layer.
any point in time. 2.Paint using the above tools.
• Vector masking: this involves using a line or shape as a mask over To change pixel mask properties:
another object that crops to the line or shape's outline.
• As you erase on the pixel mask, adjust Width, Opacity, Flow and
Hardness from the Erase Brush tool's context toolbar.
Masking can be applied at any level in the Layers panel—as an
independent mask layer, applied to a specific layer (or sublayer), to To enable/disable a clipped mask layer:
groups, or to individual objects. This is governed by the mask • ⇧-click on the mask thumbnail. A red line over the thumbnail indicates
layer's positioning in the layer stack. that the mask is disabled.
To add a vector mask:
The non-destructive power of masking
1.Draw a vector object, e.g., a line or shape, which is to be your mask.
Masks are applied to designs as a separate layer, allowing them to be freely
2.Do one of the following:
edited and moved. Mask layers affect any object below them within the
same parent layer. They can also be clipped to individual objects so that ๏ In the Layers panel, drag the created object entry directly onto the
only that object is affected. thumbnail of another 'target' object.
๏ ⌃(ctrl)-click the object and select Mask to Below, if the object to be
Adjustment layers also have mask layer properties. Areas of an masked is directly below the masking object.
adjustment layer can be revealed or hidden in the same way as
The thumbnail of the target object changes to indicate that a mask and
with a mask layer.
crop have been applied.

73
The mask of the object is applied in a "crop to top object" operation.

Vector masks can be used layer to layer, layer to object, object to

layer, or object to object (as above).

To delete a mask:
1.In the Layers panel, select the mask's thumbnail.
2.Press the ⌦ key.
___________________________________________________________________
SEE ALSO:
Using adjustment layers
Layer clipping

74
10
If you have a pixel selection in place when you add an adjustment

Using adjustment layers

layer, the area selected is automatically masked. If you have a
vector object selected, then the adjustment layer is created as a
child of the object layer. This behaviour can be changed in the
Assistant Manager options.

To apply an adjustment:
1.On the Layers panel, do one of the following:
๏ Select a layer to add the adjustment as a child of the layer. It will
affect all objects on the selected layer, depending on the
adjustment's position within the layer stack.
๏ Select a layer object/group to add the adjustment which affects that
object/group only.
2.Click Adjustments and select an adjustment from the pop-up menu.
Use adjustment layers to apply an adjustment to your vector/pixel layer (or
3.If a dialog appears for the adjustment, follow the steps below:
object). This is carried out non-destructively (i.e., without permanently
affecting the original layer or object). i. Adjust the settings in the dialog.
ii. Click Close.
To modify, merge or delete an adjustment layer:
1.In the Layers panel, double-click the adjustment layer that you want to
modify.
2.Adjust the settings in the dialog.
3.Click Close to apply the changes, Merge to apply the changes and merge
the adjustment with the layer beneath, or Delete to remove the
adjustment layer entirely.
To move an adjustment layer:
Do one of the following:
Before and after adjustment applied. • Drag the adjustment to the top of the Layers panel so it affects all layers
About adjustment layers below it.

The Layers panel provides a range of adjustments directly from the panel. • Drag the adjustment above or below objects within a layer to affect more
Once selected, an adjustment layer is applied to the layer or object. or fewer objects on the layer.

There may be times that you only want to apply an adjustment layer to • Drag the adjustment onto an object to make it a child of that object and
either a single layer or a group of layers. This is easily achieved by clipping confine the affect of the adjustment to that object only.
the adjustment layer to either a layer or sublayer.
To mask an adjustment layer:
Adjustment layers also have mask layer properties. Areas of an adjustment
1.In the Layers panel, select the Adjustment layer.
layer can be revealed or hidden in the same way as with a mask layer.
2.Do any of the following:

75
 ๏ To 'erase' from the mask, paint with the Erase Brush Tool.
๏ To 'restore' the mask, select the Paint Brush and paint.
___________________________________________________________________
SEE ALSO:
Applying adjustments
Layer masking
Creating pixel selections
Assistant Manager

76
7

Object
control
1 • On the Layers panel, click an object entry.
• With an object already selected, from the Select menu, select Select

Selecting objects Next or Select Previous.

Select Next/Previous will only select objects on the same layer or

within the same group as the initially selected object.

To select multiple objects:

Do one of the following:
• With the Move Tool selected, ⇧-click each object on the page in turn to
select them.
• With the Move Tool selected, drag to draw a marquee around the
object(s).*
To select all objects on a layer:
Before you can move or modify vector objects, you must first select them.
Do one of the following:
You can select single or multiple objects using a variety of methods. If you
• From the Select menu, select Select All (⌘A).
already have an object selected, you can quickly select the next or previous
object in the z-order (stack). • On the Layers panel, click a layer or sub-layer.
Edit All Layers and Select All To select objects (or groups) in a group:
The behaviour of the Select All command depends on the Edit All Layers • Double-click on the object. If the object itself is in a group, the group will
setting on the Layers panel: be selected first—double-clicking again will select the object.
• When enabled, the command will select all objects across all layers and
sub-layers. Modifier keys
• If this option is off, only objects on the current layer are selected. Objects When using the Move Tool, the following modifier keys can be
within sub-layers are not selected. used to aid object selection:
• The ⇧ key allows you to select multiple objects by clicking
Edit All Layers is enabled by default but can be disabled at any them in turn.
time. • The ⌃(ctrl) key selects objects which are only partially covered
by the selection marquee.*
To toggle Edit All Layers: • The ⌥ key selects objects which are located directly behind the
currently selected object.
• On the Layers panel, click Edit All Layers.

To select an object:
Do one of the following: *The default marquee selection and ⌃(ctrl) key modifier behaviour
can be swapped using the User Interface options in the
• With the Move Tool selected, click an object or group on the page to Preferences dialog.
select it.

78
 You can Lock/Unlock selected objects from the Layers panel
or Layer menu.

Locate an object in the Layers panel, by ⌃(ctrl)-clicking the object

and selecting Find in Layers Panel.

___________________________________________________________________
SEE ALSO:
Move Tool
Grouping objects

79
2 ๏ On the context toolbar, click Ungroup.
๏ From the Layer menu, select Ungroup (⇧⌘G).

Grouping objects To release a grouped object:

1.Select the object you wish to move out of the group.
2.Right click the object and from the menu, choose Release.
To ungroup all grouped objects:
1.Select grouped objects.
2.From the Layer menu, select Ungroup All.

All groups and nested groups are ungrouped, leaving all previously
grouped objects as separate, single objects.

To select objects (or groups) in a group:

Objects can be grouped together to assist with design composition. One or • Double-click on the object. If the object itself is in a group, the group will
more groups can also belong to a 'parent' group. be selected first—double-clicking again will select the object.
Grouped objects remain together so they can be easily selected, moved, To promote a group to a layer:
copied, and edited as if they are a single object. • From the Layer menu, select Promote Group to Layer.
Groups, and nested groups, can be broken apart at a later date into their ___________________________________________________________________
separate components or objects. Ungrouping can be activated on
SEE ALSO:
individual groups, or across multiple or nested groups using a single
command. Targeting objects
Furthermore, a group can be converted to layer at a later date (if needed) to Layers panel
assist with design organization.

Grouped objects display as nested Group layers on the Layers

panel.

To create a group:
1.Select multiple objects.
2.Do one of the following:
๏ On the context toolbar, click Group.
๏ From the Layer menu, select Group (⌘G).
To ungroup objects:
1.Select the group.
2.Do one of the following:

80
3

Duplicating objects

(A) original object, (B) original object duplicated and rotated by 15°, (C) transformed
duplicate duplicated numerous times.
To 'power duplicate':
1.Select one or more objects or groups.
2.From the Edit menu, select Duplicate (⌘J).
3.Transform the duplicated object or group.
4.From the Edit menu, select Duplicate (⌘J).

Increase your efficiency by duplicating objects or groups. A duplicate is created and the transform is automatically applied to the
Affinity Designer lets you make copies of your original design. Once duplicate.
duplicated, you can modify the duplicate to create design variations. 5.Repeat step 4 to create more duplicates with the transform
To duplicate: accumulatively applied.
Do one of the following: ___________________________________________________________________
• On the Layers panel, right-click a layer, group or object and select SEE ALSO:
Duplicate. Arrange/manage layers
• On the page, ⌘-drag a selection.

You can also duplicate a selected layer using the same command
from the Edit menu.

Power duplicate
If you duplicate an object and then transform the duplicate, you can
immediately duplicate this transformed object. If you do, the newly created
object will adopt the transform of the duplicate and will be also transformed
again using the same settings. In other words, the transform is applied
accumulatively to subsequent duplicates.

81
4
To align objects on different layers, Edit All Layers needs to be

Aligning objects
enabled.

Make use of more Align options by customizing the Toolbar

(View>Customise Toolbar).

The same settings can also be adjusted from the Arrange pop-up panel
along with:
• Align to—the pop-up menu sets the alignment criteria for the operation.
For example, you can align in relation to the page Spread or page Margin.
If margins are not set, alignment is to the page edge instead.

The Arrange pop-up panel also offers options for distributing

objects.
Objects can be aligned on the page accurately using the Arrange
commands.
To align objects:
1.Select multiple objects.
2.Do one of the following:
๏ On the context toolbar, select a horizontal or vertical alignment
option.
๏ On the Toolbar, click Arrange, set your options from the pop-up
panel, and then click Done.
๏ From the Layer menu's Alignment sub-menu, select an alignment
option.

To toggle Edit All Layers:

Before and after vertical alignment applied. • On the Layers panel, click Edit All Layers.
Settings ___________________________________________________________________
The following settings can be adjusted from the context toolbar, always in SEE ALSO:
relation to selection bounds: Distributing objects
• Align Horizontal—aligns the selected objects using the Left edges,
Centre points, or Right edges of the objects.
• Align Vertical—aligns the selected objects using the Top edges, Centre
points (Middle), or Bottom edges of the objects.

82
5 Intersect—creates a new object from the overlapping areas of selected
objects.

Joining objects

Objects before and after operation.

Divide—splits object areas into separate objects; the object from the
intersecting area retains the colour of the upper object.

Objects can be joined together to create an unlimited variety of shapes

using Boolean operations. Objects before and after operation.
Joining operations Combine—merges selected objects into a composite object with
There are various operations available: transparent area where filled regions overlap.

Add—creates a new object from the sum of the selected objects.

Objects before and after operation.

Objects before and after operation.

New objects adopt the properties of the lowest object in the
Subtract—removes overlapped areas of the lowest object. All other selection.
selected objects are discarded.

To implement join operations:

1.Select multiple objects.
2.Do one of the following:
๏ On the Toolbar, select Add, Subtract, Intersect, Divide or Combine.
Objects before and after operation. ๏ From the Layer menu's Geometry sub-menu, select an operations
command.

83
 Holding down the ⌥ key when selecting Add, Subtract, Intersect
or Combine will create a non-destructive compound.

___________________________________________________________________
SEE ALSO:
Creating compounds

84
6

Creating Compounds
Objects before and after operation.
Intersect—modifies Compound by only showing overlapping areas of
selected object and objects below.

Objects before and after operation.

Compounds provide a flexible approach to creating a variety of shapes Subtract—reduces Compound by removing the object's area from all
from separate objects using Boolean operations. objects below.

Unlike joining objects, creating a Compound is a non-destructive process.

This means a Compound can be added to, or broken apart, at any time.
Objects within the Compound can also be removed and modified without
restriction, if and when desired.
Objects within a Compound interact with each other depending on their
individual compound mode. This mode can be changed at any time; each Objects before and after operation.
mode can be previewed in realtime on selection.
Xor—modifies Compound by creating a composite shape, with transparent
areas where object overlaps with objects below.
By default, the Compound adopts the properties of the lowest
object when the Compound is created. However, once a
Compound is in place its individual properties can be modified, as
with any object.

Compound modes
There are various operations available: Objects before and after operation.
Add—expands Compound by adding the object's area to all objects below. To create a Compound:
This is the default mode. 1.Select multiple objects.
2.Do one of the following:
๏ From the Layer menu, select Create Compound.

๏ Hold down the ⌥ key and, on the Toolbar, select

Add, Subtract, Intersect or Combine.

85
To change the compound mode of individual objects:
1.In the Layers panel, click the object's compound mode icon.
2.Select a compound mode from the pop-up menu.
To add an object to a Compound:
• In the Layers panel, drag the object on top of the compound object.
The object is included in the Compound using the default Add mode.
To remove an object from a Compound:
• In the Layers panel, drag the object from inside the compound object to
a layer.
To break up a Compound:
1.Select the Compound.
2.From the Layer menu, select Release Compound.
___________________________________________________________________
SEE ALSO:
Joining objects

86
7 • Space Horizontally—evenly distributes the selected objects
horizontally.

Distributing objects • Space Vertically—evenly distributes the selected objects vertically.

• Auto Distribute—when selected (default), the objects are distributed
evenly within the selection bounds. If this option is off, a specified
distance between objects can be set adjacent to the Auto Distribute
option.

Make use of more distribute options by customizing the Toolbar

(View>Customise Toolbar).

To distribute or space objects:

1.Select multiple objects.
2.On the Toolbar, click Arrange, set your options from the pop-up panel,
Objects can be distributed or spaced evenly on the page using the Arrange
and then click Done.
commands.
___________________________________________________________________
Distribution and spacing
SEE ALSO:
The distribution of objects involves setting an even distance between
specific points on objects. Aligning objects

Objects before and after distribution.

The spacing of objects ensures there is an equal distance between the
edges of each selected object.

Objects before and after spacing.

Settings
The following settings can be adjusted from the Arrange pop-up panel.
Distribution is always carried out within the selection bounds:

87
8 ๏ Back One—moves the selected object(s) down one position in the
layer.

Ordering objects ๏ Forward One—moves the selected object(s) up one position in the
layer.
๏ Move to Front—repositions the selected object(s) at the top of the
layer.

The above options are also available from the Layer menu's
Arrange sub-menu.


You can also reposition or nest objects using the Layers panel.

___________________________________________________________________
SEE ALSO:
Every object on the page occupies a specific position within a design's
Targeting objects
z-order (stacking order). With overlapping objects, this will determine which
parts of the object are exposed and which are hidden. Arrange/manage layers
When objects are placed or drawn, they are assigned a position in the Layers panel
currently selected layer's z-order. This initial position is determined by
object targeting. However, all objects can be repositioned within a layer's
z-order as needed.

Before and after z-order repositioning.

To change an object's z-order position:
1.Select one or more objects.
2.From the Toolbar, choose one of the following:
๏ Move to Back—repositions the selected object(s) at the bottom of
the layer.

88
9
Alternatively, you can access the default behaviour, as well as the

Targeting objects
other targeting options, from the Layer menu's Insertion
sub-menu.

___________________________________________________________________
SEE ALSO:
Paste Inside
Layer clipping
Grouping objects
Arrange/manage layers
Layers panel
Ordering objects

Targeting allows you to decide the z-order, or nesting, of an object during

creation.
By default, drawn or placed objects are positioned:
• Directly above the current selection.
• At the top of the layer, if there is no selection.
This default targeting behaviour can be modified so objects can be placed
or drawn below the selection, at the top of the layer (regardless of
selection), or nested inside a selection.

Once placed or drawn, you can reposition or nest objects using

the Layers panel or the Order options on the Toolbar.

To change targeting behaviour:

• From the Toolbar, choose one of the following:
๏ Insert behind the selection
๏ Insert at the top of the layer
๏ Insert inside the selection

To revert to default targeting ensure the active button is switched off.

89
10
You can also rotate objects directly on the page by dragging the

Transforming objects
selection's rotate handle or by using the Transform panel.

To position objects accurately:

1.Select one or more objects.
2.On the Transform panel, change X and/or Y values.
To nudge objects:
1.Select one or more objects.
2.Do one of the following:
๏ For nudging by a single unit of measurement: Press an arrow key.
๏ For 10x the single unit of measurement: Press an arrow key with the
⇧ pressed.

Objects can be flipped, rotated, positioned and sized accurately. You can change nudge distances via Affinity Designer>
>Preferences>Tools.

To size objects accurately:

1.Select one or more objects.
2.On the Transform panel, change W and/or H values.
___________________________________________________________________
SEE ALSO:
Rotating and shearing objects
Transform panel
The background object has been rotated left, while the foreground object has
been flipped horizontally.

To flip or rotate objects:

1.Select one or more objects.
2.Do one of the following:
๏ On the Toolbar, select a flip or rotate option.
๏ From the Layer menu's Transform sub-menu, select a flip or rotate
option.

90
11 ๏ Position the cursor close to one of the object or selection's corner
handles and drag on the page.

Rotating and shearing You can rotate with more precision using the transform options on
the Toolbar or Transform panel.

objects To move the rotation centre:

1.Select one or more objects.
2.Select the Move Tool, then click Show Rotation Centre on the context
toolbar. The centre shows centrally within the object or selection.
3.Drag the rotation centre to a new position in the selected object, another
object, or anywhere on the page.
Once you've moved the centre, you can rotate your object(s) about it as
described above.
Objects can be rotated and sheared directly on the page using the Move Tool.
You can snap the rotation centre to the bounding box, centre, key
points, or the geometry of other objects (or even the same object).

To reset the rotation centre:

• Double-click the rotation centre.

To shear objects:
1.With the Move Tool, select one or more objects.
2.Position the cursor close to one of the object or selection's side handles
(A) original object, (B) original object rotated, (C) original object sheared.
and drag on the page.
Positioning the cursor over particular areas of an object, multiple selection,
or group will allow you to rotate or shear. Feedback is provided by the
You can shear objects with more precision using the Transform
following cursors.
panel.

Rotation is also possible about a custom rotation centre placed on your

page.

To rotate objects:
1.With the Move Tool, select one or more objects.
2.Do one of the following:
๏ Drag the object or selection's rotation handle.

91
 Modifier keys
When using the Move Tool, the following modifier keys can be used to
aid rotating and shearing:
• The ⇧ key constrains rotation to 15° increments.
• When rotating from an object or selection's corner handle, the
⌃(ctrl) key temporarily repositions the rotation origin to the opposite
corner.
• The ⌘ key shears the opposite edge in the opposite direction by the
same value.

___________________________________________________________________
SEE ALSO:
Transforming objects
Transform panel

92
12
Once an object has been converted to curves, it can no longer be

Convert objects to curves

edited in its conventional way. For example, you would not be able
to change the font of text once it has been converted to curves.

New shapes can also be created by joining two or more objects

together in a variety of ways. For more information, see the Joining
objects topic.

  To convert a shape to curves:

1.Select the shape with either the Move or the Node Tool.
2.Do one of the following:
๏ Click Convert to Curves on the context toolbar.
๏ From the Layer menu, select Convert to Curves.
You can create new shapes by converting geometric shapes (created using
the Shape Tools) into curves and then adjusting the nodes of the resulting The shape is now made from curves. Segments and nodes can be modified
shape. with the Node Tool.
___________________________________________________________________
SEE ALSO:
Draw and edit shapes
Edit vector lines and shapes
Joining objects

The rounded rectangle shape is converted to curves to allow the horizontal edges
to be modified.
The Convert to Curves operation is not limited to geometric shapes. You
can convert almost any object to curves, including text.

Text converted to curves and then nodes removed to modify bowl, counter, and
aperture of the letters.

93
13 To save a style:
1.Select the object whose style you want to save.
Styles 2.Click Panel Preferences and choose Add Style from Selection from the
menu.
___________________________________________________________________
SEE ALSO:
Styles panel

Instead of having to create effects, fills, colours and properties for your
design from scratch, the Styles panel can be used to apply a pre-designed
style to your object (shape, artistic text or frame text). If you want to save a
combination of the above for future use, these can be stored in the panel as
a custom style.

If you plan to save some styles, create a custom category in the

panel first.

To apply a style:
1.From the Styles panel, select a category from the pop-up menu.
2.Select and drag your chosen style onto your object.

To create a custom category:

• Click Panel Preferences and choose Add Styles Category from the
menu.

To rename a styles category:

1.Choose the category you want to rename from the category pop-up
menu.
2.Click Panel Preferences and choose Rename Category from the menu.
3.Type a new name for the category in the dialog and click OK.

94
14 4.From the Edit menu, select Paste Style (or press ⇧⌘V).

Paste Style *Alternatively, you can cut (rather than copy) the object. From the
Edit menu, select Cut (or press ⌘X).

Paste Inside
This feature allows you to paste an object (or selection of objects) inside
another object.

This feature allows you to copy an object's stroke, fill, and layer effect
properties and apply them directly to another object. This includes copying
between stroke, shape, and text objects. (A) original objects, (B) square 'cut' and placed on the clipboard, (C) square pasted
inside circle.
To copy and paste inside:
1.Select one or more objects.
2.From the Edit menu, select Cut (or press ⌘X).**
3.Select the object which will act as the parent object.
4.From the Edit menu, select Paste Inside (or press ⌥⌘V).

**Alternatively, you can copy (rather than cut) the object. From the
Edit menu, select Copy (or press ⌘C).

___________________________________________________________________
SEE ALSO:
Styles
(A) top object copied to clipboard, (B) bottom object selected, (C) top object style
pasted onto bottom object. Styles panel
To copy and paste stroke and fill properties: Targeting objects
1.Select the object with the properties to be copied. Layer clipping
2.From the Edit menu, select Copy (or press ⌘C).*
3.Select the object which will receive the new properties.

95
15 To revert synchronized defaults back to saved defaults:

Object defaults
• From the Toolbar, select Revert defaults.

If an object is currently selected, its attributes revert to the default
settings.
To reset defaults to factory settings:
• From the Edit menu, select Defaults, then Factory Reset.

If an object is currently selected, its attributes revert to the default
settings.
___________________________________________________________________
SEE ALSO:
Toolbar

When you create new objects, their appearance is initially determined by

the default settings for the particular object you are creating.
These defaults can be changed in the current document, saved globally for
future documents or returned to factory settings at any time. Synchronizing
defaults lets you base a new default on the currently selected object, with
the option to save the defaults or revert to saved defaults if needed.

Object defaults are stored separately for stroke and fill attributes,
artistic text attributes, and frame text attributes.

To synchronize defaults to current selection:

1.Select an object with the attributes you wish to save as default settings.
2.From the Toolbar, select Synchronize defaults from selection.
Synchronized defaults override saved defaults for this document only. This
is a great way to work with a set of defaults temporarily for a single
document without having to save them.
To save defaults:
• From the Edit menu, select Defaults, then Save.
The defaults used for this document become the global defaults for all
future documents.

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16

Rasterizing objects

Lines, curves, shapes and text can be rasterized to create pixel layers. This
is only a requirement if the appearance of complex vector gradients or
effects need to be honoured, particularly for print artwork.
To rasterize a shape, line or text layer:
• In the Layers panel, right-click a layer and select Rasterize.
___________________________________________________________________
SEE ALSO:
Draw lines and shapes
Draw and edit geometric shapes
Working with text

97
8

Vector
painting
1 2.From the Brushes panel, select a brush thumbnail of your choice.
3.If needed, click Properties to edit the brush used as your Texture Line

Painting brush strokes Style via a Brush dialog.

To edit brush strokes after you paint:
• Press the ⌘ key to move displayed nodes and adjust control handles.
Colour and opacity can be altered from the Colour panel.

With pressed⌘ key, you can edit other brush strokes in the same
way by clicking them.

___________________________________________________________________
SEE ALSO:
Brush tools
Brushes panel
Use the Vector Brush tool to apply vector brush strokes to your design. A Modifying brush strokes
range of categorised brushes can be chosen, with each category
Painting pixel brush strokes
containing brushes of varying properties and characteristics.
If you want to save a brush, these can be stored in the panel as a custom
brush for future use.
Painting
Affinity Designer provides an impressive selection of brushes for use with
your brush tools. As well as using the Vector Brush Tool to apply 'freehand'
vector brush strokes to your page, brush strokes can be applied to object
outlines and around photos.
For additional photo-realistic textures, you can use the Paint Brush (e.g.,
spray brushes) and other brush-based tools to enhance your vector design.
Brush strokes are applied to your page using a combination of the Vector
Brush Tool (or Paint Brush), the Brushes panel and the tool's context
toolbar.

To paint vector brush strokes:

1.From the Tools panel, select the Vector Brush Tool.
2.From the Brushes panel, select a brush thumbnail of your choice.
3.Adjust the context toolbar settings.
4.Drag on the page in the direction that you want the brush stroke to follow.
To apply a vector brush stroke to a selected shape:

1.From the Stroke panel, select the Texture Line Style and a Width.
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2 • Body—determines the method with which the central section is drawn
along the length of the stroke.

Modifying brush strokes • Corners—determines the method used to control how corners are drawn
within the stroke.
• Head Offset—sets the transition point at which the head section
becomes the body section.
• Tail Offset—sets the transition point at which the body section becomes
the tail section.
• Drag the red dotted lines on the lower preview to set the length of the
brush body. As the lines are repositioned the Head and Tail Offset values
will update.
• Reset—returns all stroke settings to those of the saved brush preset.
• Duplicate—saves the current stroke settings as a preset brush.
• Close—exits the dialog and applies stroke settings to the selected
A brush stroke applied to the page is fully editable and can be modified, object.
while the stroke is selected, via options on the context toolbar. To modify brush strokes:
For more advanced brush settings you can also use the Edit button on the 1.Select the Brush tool, unless already selected.
Brushes panel, with the option to save your brush stroke setting as a new 2.⌘-click on the brush stroke.
brush preset.
3.On the context toolbar, click More.
Settings
4.Adjust the settings in the Stroke section.
The following settings are available in the Brush dialog's Stroke section:
5.Click Done.
• Brush Width—sets the size of the stroke.
• Size Variance—sets the amount of brush width deviation allowed as a You can paint on the page while the Brush dialog is open. The
stroke is painted. stroke will adopt the current settings in the dialog. This allows you
• Opacity Variance—sets the amount of transparency deviation allowed as to adjust the full brush settings as you paint for increased
a stroke is painted. efficiency.
• The controller pop-up menu varies the brush size and opacity according
to a particular input: 'Pressure' for graphics tablets, and 'Velocity' or
'Velocity Inversed' for mouse/trackpads. The last two options simulate For more information on saving your settings as a preset, see the
pressure relative to the speed of mouse movement. Click the adjacent Creating custom brushes topic.
Ramp profile icon to select a standard profile from lower thumbnails or
create your own using the ramp chart. Move circular nodes to reshape
the ramp, add nodes to the ramp by clicking on the line, or select a node
to delete a node with the ⌦ key (simplifying the ramp). Check Linear for
straight lines between all nodes; If unchecked (non-linear), nodes are
connected using smooth curves
• The profile pop-up menu sets the behaviour of the controller.

100
___________________________________________________________________
SEE ALSO:
Painting brush strokes
Create custom brushes
Brush tools
Brushes panel

101
3 • New Textured Intensity Brush—creates a brush stroke based on the
opacity values of a raster image. In the pop-up dialog, navigate to and

Creating custom brushes

select a file, and click Open.
• New Textured Image Brush—creates a brush stroke based on the
colour values of a raster image. In the pop-up dialog, navigate to and
select a file, and click Open.
The new brush is added to the selected category using default settings.

Additional options from the panel preferences menu allow you

to create, rename, or delete custom brush categories, as well as
import a brush set as a new category or export the current
category as a brush set.

___________________________________________________________________
SEE ALSO:
Affinity comes complete with a range of preset brush strokes which you can
customise to suit your needs. Alternatively, you can create a custom brush Brush Tool
from scratch using your own image. Painting brush strokes
To modify a preset brush stroke: Brushes panel
1.On the Brushes panel: Modifying brush strokes
๏ Select a preset.
๏ Click Edit.
2.Adjust the settings in the Stroke section.
3.Do one of the following:
๏ Click Duplicate to save the modified preset to a new custom preset.
๏ Click Close to save the custom settings to the current preset.
๏ Click Reset to return settings to those of the preset.

For more information on adjusting stroke settings, see the

Modifying brush strokes topic.

To create a custom preset brush stroke from scratch:

On the Brushes panel, click and then select:
• New Solid Brush—creates a basic, solid vector stroke.

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4
When you use your tablet stylus or mouse on the page, the

Pressure sensitivity
resulting pressure profile from the stroke is displayed in the Stroke
panel's Pressure box. This can be optionally saved as is, or
modified before saving. You save the profile so you can apply it to
a stroke at a later time.

To save a pressure profile:

• Under the chart, click Save Profile. The profile shows under the chart.
To modify a pressure profile:
1.From the displayed chart, select a node on the profile's line and drag it
vertically or horizontally to a new position.
2.Repeat for other nodes as needed.

For more complex profiles, click on the profile line to add a node
Affinity Designer offers complete flexibility when using graphic tablets for which can be positioned as for any generated node.
real pressure-sensitive drawing and painting. If you prefer a mouse or
TrackPad, Affinity Designer offers simulated pressure sensitivity. To apply a custom pressure profile to a selected stroke:
Whether you're using vector-based Pen, Pencil or Brush tools, or 1.From the Stroke panel, click the Pressure option.
pixel-based Brush or Retouch tools, you can simply plug in your graphic
tablet and you're ready to go. 2.Select a custom profile from below the chart. The chart will update,
showing the chosen profile.
For mouse users, Affinity Designer lets your mouse become velocity
sensitive by default. The same brush tools can be used but with simulated
pressure sensitivity based on the speed (velocity) of your mouse
movements. For any stroke you make, a pressure profile is recorded that
you can reshape and optionally save and apply manually to new strokes
later in your session. This is called re-profiling.
This automatic response is governed by the brush controller which is set to
automatic by default—it senses the type of input device and varies brush
size, flow, etc. as you paint according to a particular input: 'Pressure',
'Velocity', 'Brush Defaults', or 'None'. If set to 'None', the brush is always a
fixed size, flow setting, etc. Otherwise, the brush stroke properties will vary
from a minimum to maximum amount (e.g. the full brush width).
While you get the response you need from either input, you'll still be able to
fine-tune brush settings for pressure/velocity.
• For vector brush settings: jitter options let you control how brush size and
flow are affected by your tablet stylus or mouse.
• Pixel brush settings: as for vector brush options, but additional jitter
options are provided that affect brush hardness, shape, colour, and the
scatter and rotation of nozzles.

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___________________________________________________________________
SEE ALSO:
Painting brush strokes
Painting pixel brush strokes

104
9

Pixel painting
1 To paint pixel brush strokes:

Painting pixel brush

1.Use the Layers panel to select the pixel layer that you want to work on,
or create a new pixel layer.
2.From the Tools panel, select the Paint Brush.

strokes 3.From the Brushes panel, select a brush thumbnail of your choice. The
tool uses a soft-round brush by default.
4.Adjust the context toolbar settings.
5.Select a stroke colour from the Colour panel.
6.Drag on the page in the direction that you want the brush stroke to follow.

Modifier keys
When using the Paint Brush, the following modifier can be used:
• The ⇧ key draws a straight brush stroke from the end of the
You can use Pixel Persona to add photo-realistic textures to your vector previous brush stroke to the next position you click.
designs using pixel brushes. Alternatively, you can use basic hard- and • Press the ⌥ key and holding down the left mouse button picks
soft-edged pixel brushes to add shadows and highlights to your work. up a new colour under the brush to paint with.
• Press the ⌃(ctrl) and ⌥ keys and drag on the page. Dragging
left or right will decrease or increase the brush size, respectively.
Dragging up or down will decrease or increase the brush
hardness, respectively.

___________________________________________________________________
SEE ALSO:
Brush tools
Brushes panel
Before and after adding shadows and highlights using a soft-edged pixel brush.
Modifying pixel brushes
Brushes
Painting brush strokes
Affinity Designer provides an impressive selection of pixel brush designs for
use with your Paint Brush. Each category contains brushes of varying
properties and characteristics.
You can also create your own pixel brushes to assist with your design work.
If you want to save a brush, these can be stored in the panel as a custom
brush for future use.

Clipping pixel brush strokes to vector objects helps to create

shadows and highlights efficiently.

106
2 • Wet edges—sets the default 'wet edge' behaviour of the brush. Select
from the pop-up menu. The 'wet edge' behaviour builds paint up along

Modifying pixel brushes

the edges of your pixel brush stroke, producing a watercolour effect.
Dynamics
• Jitter settings determine the extent to which a chosen controller
(Pressure, Velocity, Rotation, etc.) will affect the above General settings.
Pick a controller from the pop-up menu and click the adjacent Ramp
profile icon to select a standard profile from lower thumbnails or create
your own using the ramp chart. Move circular nodes to reshape the ramp,
add nodes to the ramp by clicking on the line, or select a node to delete a
node with the ⌦ key (simplifying the ramp). Check Linear for straight
lines between all nodes; If unchecked (non-linear), nodes are connected
using smooth curves.
• Scatter X—sets the deviation in the horizontal position of the stroke the
preset will allow as a stroke is painted.
• Scatter Y—sets the deviation in the vertical position of the stroke the
Pixel brushes can be modified before you paint on your design. Basic
preset will allow as a stroke is painted.
modifications can be made from the context toolbar, while advanced
adjustments can be made from the Brushes panel.
Hue, Saturation, and Luminosity Jitter settings affect the brush
Settings colour, which is set via the Colour panel. Similarly, Flow Jitter
The following settings are available: affects brush opacity, also set on the Colour panel.
General
• Size—sets the default width of the stroke. This can still be overwritten for Texture
individual brush strokes using the context toolbar or Stroke panel. For nozzle control:
• Hardness—how hard the edges of the brush are. The brush appears • Brush Nozzles—displays the nozzles currently used in the current brush.
softer as the percentage decreases. • Add—adds an additional nozzle to the preset.
• Spacing—sets the distance between each nozzle point. A lower • Remove—deletes the selected nozzle from the preset.
percentage results in the nozzles blending together to give a flowing
stroke. A higher percentage pushes nozzles away from each other For base texture control:
creating a spray-style stroke. • Base Texture—displays the underlying texture or pattern for the current
• Flow—controls how fast colour is built up under your brush. brush.
• Shape—sets the diameter of the brush nozzles. • Set Texture—launches a dialog to add a base texture, as an image, to
the brush. For example, to simulate a textured surface like paper or
• Rotation—sets the angle at which the brush nozzles are drawn. Great for canvas.
non-round brushes, e.g. for calligraphic effects.
• Remove—deletes the base texture from the current brush.
• Blend Mode—changes how the applied colour interacts with existing
colours on a layer. Select from the pop-up menu. • Invert—creates a negative version of the texture.
• Mode—controls how the base texture contributes to the current brush.
Select from the pop-up menu.

107
 ๏ None—the base texture is ignored, so only the brush nozzles are
used.
๏ Nozzle—allows nozzles to build up brush colour onto the base
texture depending on flow and opacity response.
๏ Final—the density of the base texture is kept constant, with no
nozzle flow or opacity response.
• Scale—sets the size at which the texture is displayed. A lower
percentage will display the texture at a larger size. A higher percentage
will display the texture tiled at a smaller size.

Images for base textures should be JPG or PNG. Any reasonably

sized image will be acceptable as the base texture can be scaled
(above).

Additional settings:
• Reset—returns all stroke settings to those of the saved brush preset.
• Duplicate—saves the current stroke settings to a new preset.
• Close—exits the dialog and applies stroke settings to the selected
preset.
To modify pixel brush settings:
1.Choose one of the following:
๏ With Paint Brush selected, on the context toolbar, click More.
๏ On the Brushes panel, click Edit Brush.
2.Adjust the settings in the dialog.
3.Click Close.

For more information on creating custom pixel brush presets, see

the Creating custom pixel brushes topic.

___________________________________________________________________
SEE ALSO:
Painting pixel brush strokes
Creating custom pixel brushes
Modifying brush strokes

108
3 5.Click Close.

Creating custom pixel Additional options from Panel Preferences allow you to create,
rename, delete, import and export brush categories.

brushes Move brushes to any created category by right-clicking and

selecting a category name from the Move Brush to Category
menu option. Custom categories adopt the naming convention
'Brushes', 'Brushes 2', 'Brushes 3', etc.

___________________________________________________________________
SEE ALSO:
Brushes panel
Modifying pixel brushes

You can create a custom brush from a preset or from scratch using a raster
image.

To create a custom preset brush stroke from scratch:

On the Brushes panel, click Panel Preferences and then select:
• New Intensity Brush—creates a brush stroke based on the opacity
values of a raster image. In the pop-up dialog, navigate to and select a
file, and click Open.
• New Round Brush—creates a brush stroke based on a circular shape.
• New Square Brush—creates a brush stroke based on a rectangular
shape.
• New Image Brush—creates a brush stroke based on the colour values of
a raster image. In the pop-up dialog, navigate to and select a file, and
click Open.
The new brush is added to the selected category using default settings. To
edit the default settings, follow the procedure below from step 3.
To create a custom preset brush stroke from a preset:
1.On the Brushes panel, select a brush and click Edit Brush.
2.In the dialog, click Duplicate and then Close.
3.Select the new brush at the bottom of the panel and click Edit Brush.
4.Adjust the settings in the dialog. See Modifying brushes for more
information.

109
4 2.Switch to Pixel Persona.
3.From the Tools panel, select the Erase Brush tool.

Erasing 4.Paint on the vector layer to erase.

You'll notice a vector mask thumbnail appear next to the layer, group or
object. While this remains selected you can continue erasing. Selecting the
adjacent vector thumbnail allows you to edit the vector layer, or group or
object again.

Move brushes to any created category by right-clicking and

selecting a category name from the Move Brush to Category
menu option. Custom categories adopt the naming convention
'Brushes', 'Brushes 2', 'Brushes 3', etc.

___________________________________________________________________
SEE ALSO:
Designer lets you erase areas of a pixel or vector layer using a combination Erase Brush Tool
of the Erase Brush tool, the Brushes panel and the tool's context toolbar.
Typically you'd erase previously unwanted pixel brush strokes on a pixel Brushes panel
layer. Painting pixel brush strokes
Erasing on a pixel layer Assistant Manager
If you're working on a pixel layer, you can use the Erase Brush Tool to erase
unwanted pixels directly on the layer.

To erase on a pixel layer:

1.From the Tools panel, select the Erase Brush Tool.
2.From the Brushes panel, select a brush thumbnail of your choice.
3.Adjust the brush width and other brush-related properties from the
context toolbar above your workspace.
4.Drag on the page in the direction that you want the erase brush stroke to
follow.
Erasing on a vector layer
Pixels don't exist on a vector layer so a pixel mask is created and applied
over the vector layer instead; the vector layer remains unaffected. By
painting with pixel brushes directly on the mask, you can decide what can
be shown or hidden on the underlying vector layer.

To erase on a vector layer:

1.From the Layers panel, select the vector layer, group or object contained
within it.

110
5 Blur
Blurring reduces the contrast between pixels under the brush stroke,
Retouch thereby softening the edges of the painted area. This has the opposite
effect to Sharpening. Blurring does not smear colour within the painted area
like Smudging.

Sharpen
Sharpening increases the contrast between pixels under the brush stroke,
thereby enhancing the edges of the painted area. This has the opposite
effect to Blurring.
To use a retouch brush:
1.Use the Layers panel to select the pixel layer that you want to work on.
2.Click a retouch brush tool.
3.The tool uses a soft-round brush by default. To use a different brush
style, choose one from the Brushes panel.
Retouching is the process of correcting, enhancing, or creatively
manipulating a photo. 4.On the context toolbar, change the brush values as desired.
In contrast to the adjustment layers, the retouch brushes apply 5.Drag on the image to apply the effect under the brush stroke.
modifications to a selected pixel layer, thereby affecting individual pixels on ___________________________________________________________________
the layer.
SEE ALSO:
The retouch brushes provide the opportunity for precision work in editing
Brush tools
images and pixel layers. For example, the Dodge Brush is ideal for
lightening areas of shadow within a photo while leaving other areas Blur Brush
unaffected. Burn Brush
The retouch brushes available include: Dodge Brush
Sharpen Brush
Dodge
Smudge Brush
Dodging adjusts the exposure under the brush stroke to lighten the painted
area. This has the opposite effect to Burning. Painting pixel brush strokes

Burn
Burning adjusts the exposure under the brush stroke to darken the painted
area. This has the opposite effect to Dodging.

Smudge
Smudging is a technique which allows you to blend pixels within an image.
The brush 'picks up' colour from the click point and 'drags' it in the brush
stroke direction.

111
10

Text
1
By default, the size of text is expressed in points, regardless of the

Working with text

units set within your document. If you wish text size to reflect
document units, this can set in Preferences.

By default, all text objects are created with a blend gamma of 1.45.
This can be changed in Preferences>Tools or modified for
individual objects.

To select text objects for formatting:

• With the Move Tool selected, do one of the following:
๏ Click a text object to make formatting changes to all the text within
the text object.
๏ Double-click a text object to make formatting changes to sections of
There are three varieties of text, Art, Frame and Path, to give you flexibility
text within the text object.
when working with typography.
• With either of the text tools selected, click a text object to make
Text objects contain both character and paragraph elements, making it
formatting changes to sections of text within the text object.
easy to modify standard text attributes such as font, size, format, and
alignment. All text types have quick access settings on the context toolbar ___________________________________________________________________
and supporting dialogs for more extensive, advanced options. SEE ALSO:
When performing text editing, Designer supports all the standard text Artistic text
selection and formatting techniques and shortcuts.
Frame text
The unique features of artistic text, frame text and path text are discussed
in the Artistic text, Frame text and Text on a path topics. Character formatting
Paragraph formatting
If you're opening Affinity documents or vector images from another Artistic Text Tool
computer, the original fonts used may be missing from your Frame Text Tool
computer. If so, you'll get a Missing Fonts dialog indicating the
fonts which are missing. The font will be substituted for a
replacement system font.
When text using the missing font is selected in your design, its font
name will be prefixed with a '?' on the context toolbar, and will
show in red text in the Font pop-up menu.

If you're designing before full copy has been written, you can use
placeholder (filler) text within your text frames to help you progress
with your project. Filler text can be inserted from the Text menu.

113
2 ๏ From the Text menu, select Insert Text from File. In the pop-up
dialog, navigate to and select a file, and click Open.

Artistic text For text imported from external applications, use Paste without
Format (Edit menu) for 'clean' unformatted text.

To resize artistic text:

With the artistic text selected, do one of the following:
• To resize height and width simultaneously (constraining the aspect ratio),
drag the object's corner handles.
• To resize height and width independently (unconstrained), drag the
object's central, side handles.

Modifier keys
When using the Artistic Text Tool, the following modifier keys can
Artistic text, as the name suggestions, is best suited to single prominent be used:
words (or phrases) or decorative typographical design.
• The ⇧ key reverses the resize conventions (as described above).
Artistic text can be modified in many of the same ways as drawn objects,
while still retaining standard text attributes. This makes it ideal for single • The allows text to be rotated while being added or resized.
words, headlines, pull quotes, etc,. • The ⌘ key resizes the text from the centre.
When artistic text is resized, the text stretches or contracts to fit its new
dimensions. It's relative font size automatically updates on the context
toolbar. Text Tools and the esc key
Although paragraph attributes can be set for artistic text, it is more likely The esc key uses the following logic when a Text Tool is active:
modifications will be to character attributes and on-page positioning using
design aids and a creative eye. 1.If the esc key is used when glyphs (characters) are selected, the
glyphs are deselected but the caret (cursor) remains inside the
text object. (You can then continue editing the text within the
Artistic text can be converted to curves for advanced text object.)
typographical design. Once artistic text is converted to curves, you
will not be able to use standard text attributes to modify it. 2.If the caret is inside the text object and no glyphs are selected,
the esc key will remove the caret and select the text object. (You
can then press V to switch to the Move Tool to reposition the
To create artistic text: text object.)
With the Artistic Text Tool selected: 3.With the text object selected, pressing the esc key will deselect
the text object.
1.Click or drag on the page for a default or custom 'sized' text size,
respectively.
2.Do one of the following:
๏ Type your text
๏ Paste (⌘V) previously copied text.
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___________________________________________________________________
SEE ALSO:
Working with text
Artistic Text Tool
Frame text

115
3
For text imported from external applications, use Paste without

Frame text
Format (Edit menu) for 'clean' unformatted text.

To create frame text from curves/shapes:

1.Select a previously drawn curve or shape.
2.From the Tools panel, select Frame Text Tool.
3.Position the cursor close to the curve or within the shape.

The cursor will change to indicate that shaped frame text will be created.
4.Click to convert the curve or shape to a shaped text frame.
5.Type your text.

Alternatively, select a previously drawn line, curve or shape and

then, from the Layer menu, select Convert to Text Frame.
Frame text is perfect for presenting paragraphs with a formalized structure
and layout. If you want to present text in columns, frame text is the ideal
solution. Modifier keys
By clicking in the drawn frame then typing, you're able to fill the frame with When using the Frame Text Tool, the following modifier keys can
frame text. If excess text overflows the bottom of the frame, you can either be used:
reduce the text's font size from the context toolbar or make the text frame • The ⇧ key constrains frame's proportions at the time of creation
larger; both methods will make the text fit the frame. (to a square) or when resizing.
Frame text can be created within rectangular (square) frames using the • The ⌃(ctrl) key allows the frame to be rotated while being
Frame Text Tool or within any curve or closed shape. added or resized.
• The ⌘ key resizes the frame from its centre.
To achieve natural looking text while working on your design, from
the Text menu, select Insert Filler Text.

To create frame text:

With the Frame Text Tool selected:
1.Drag on the page. This sets the initial size of the text frame.
2.Do one of the following:
๏ Type your text.
๏ Paste (⌘V) previously copied text.
๏ From the Text menu, select Insert Text from File. In the pop-up
dialog, navigate to and select a file, and click Open.

116
 To scale text:
Text Tools and the esc key • With the text frame selected, drag the object's scale handle (extends
The esc key uses the following logic when a Text Tool is active: from the bottom-right corner of the selection).

1.If the esc key is used when glyphs (characters) are selected, the
glyphs are deselected but the caret (cursor) remains inside the
text object. (You can then continue editing the text within the
text object.)
2.If the caret is inside the text object and no glyphs are selected,
the esc key will remove the caret and select the text object. (You
can then press V to switch to the Move Tool to reposition the
text object.)
3.With the text object selected, pressing the esc key will deselect
the text object.

Resizing text frames

When resizing a frame you can control whether:
• Text remains at its set size and reflows through the frame.
• Text scales as the frame is resized.
Using placeholder text
To reflow text:
If you're designing before full copy has been written, you can use
With the text frame selected, do one of the following: placeholder (filler) text to help you progress with your project.
• To resize height and width simultaneously, drag the object's corner To add filler text:
handles.
• With the text frame selected, from the Text select Insert Filler Text.
• To resize height and width independently, drag the object's side handles.
___________________________________________________________________
SEE ALSO:
Working with text
Frame Text Tool
Artistic text

117
4
When a line, curve or shape is converted to a path to

Text on a path
accommodate text, the original object is discarded. If you wish to
retain the original object, we recommend duplicating it first.

To achieve natural looking text while working on your design, from

the Text menu, select Insert Filler Text.

Modifying path text

Once the path has been created, you can modify the end points of the path
to expand or restrict the section on which text will flow. The end points of
the path section are indicated by orange triangles.
If text extends beyond the end points of a section, it will flow onto a second
path (if one is available) or wrap around to follow the path in the opposite
direction. If this occurs, additional path end points will become available so
Path text is a variation of Artistic text which follows a line, curve or outline this new section can be adjusted separately. A second path may be
of a shape. available if you have created your path using a shape which has an
enclosed space, such as a Donut.
Furthermore, you can also control the distance between the text and the
path (i.e. the Baseline) and the direction in which the text flows along the
path.

Each path section can have a different Baseline value.

Reshaping the path object

You can reshape the path object at any point using the Node Tool. If your
text path object originated from one of the Shape tools, you can modify it
as if it was still the original geometric shape. Text already present on the
path will reflow along the changing path when the object is reshaped.
For more information on reshaping a path object, see the Edit vector lines
and shapes and Draw and edit shapes topics.

To create path text:

Before and after conversion to path text (and final design example).
1.Select a previously drawn line, curve or shape.
Applying text to a path allows you to explore a whole range of diverse
typographical designs. The path can be created from any line, curve or 2.From the Tools panel, select Artistic Text Tool.
shape drawn using any of the line or shape tools. These include, but are not 3.Position the cursor close to the line, curve or shape's outline.

limited to, the Pen Tool, Pencil Tool, and Ellipse Tool. The only criterion is The cursor will change to indicate path text will be created.
that a line, curve or shape must exist on the page before path text can be
implemented.
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4.Click or drag on the page for a default or custom 'sized' text size,
respectively.
 Text Tools and the esc key
The line, curve or shape is converted to a path ready for accommodating The esc key uses the following logic when a Text Tool is active:
text.
1.If the esc key is used when glyphs (characters) are selected, the
5.Do one of the following:
glyphs are deselected but the caret (cursor) remains inside the
๏ Type your text text object. (You can then continue editing the text within the
๏ Paste (⌘V) previously copied text. text object.)
๏ From the Text menu, select Insert Text from File. In the pop-up dialog, 2.If the caret is inside the text object and no glyphs are selected,
navigate to and select a file, and click Open. the esc key will remove the caret and select the text object. (You
can then press V to switch to the Move Tool to reposition the
text object.)
Alternatively, select a previously drawn line, curve or shape and
then, from the Layer menu, select Convert to Text Path. 3.With the text object selected, pressing the esc key will deselect
the text object.

To modify the flow of path text: Resizing path object

With the path text selected, do one of the following: When resizing a path object you can control whether:
• Drag one or more path end points. • Text remains at its set size and reflows across the path.
• On the context toolbar, set the Baseline option. • Text scales as the path is resized.
• On the context toolbar, click Reverse Text Path. To reflow text:
With the path object selected, do one of the following:
Modifier keys
• To resize height and width simultaneously, drag the object's corner
When positioning path end points, the following modifier keys can handles.
be used:
• To resize height and width independently, drag the object's side handles.
• The ⇧ key constrains the distance between the end points,
moving the entire path (and text) position.
• The ⌥ key ignores snapping points along the path.
• The ⌘ key moves end points symmetrically.

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To scale text:
• With the path object selected, drag the object's scale handle (extends
from the bottom-right corner of the selection).

Using placeholder text

If you're designing before full copy has been written, you can use
placeholder (filler) text to help you progress with your project.
To add filler text:
• With the path text object selected, from the Text select Insert Filler Text.
___________________________________________________________________
SEE ALSO:
Working with text
Artistic Text Tool
Frame text

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5 ๏ Loosen/Loosen More—expands character tracking by one
increment/five increments.

Character formatting • Baseline

๏ Raise Baseline/Precise Raise Baseline—moves the text upwards
by ten increments/one increment.
๏ Lower Baseline/Precise Lower Baseline—moves the text
downwards by ten increments/one increment.
To access the Character panel:
Do one of the following:
• With text selected, on the context toolbar, click Character.
• From the Text menu, select Show Character.
• From the View menu, select Studio>Character.
___________________________________________________________________
Character formatting describes text attributes which are applied at a SEE ALSO:
character level. Character panel
Character formatting includes attributes such as font and size and may be Working with text
applied to a single letter or single word as well as full paragraphs or stories. Artistic text
This type of formatting is useful for both art and frame text.
Frame text
With your text (or text object) selected, character formatting settings are
available from the context toolbar, the Text menu, and the Characters Paragraph formatting
panel.
Incremental changes
Rather than setting a finite value for certain text attributes, the Text menu
offers the following incremental changes:
• Size
๏ Bigger/Precise Bigger—increases the size of the text by ten
increments/one increment.
๏ Smaller/Precise Smaller—decreases the size of the text by ten
increments/one increment.
• Spacing
๏ Use Default—sets the character tracking to the font's default setting.
๏ Use None—sets the character tracking to zero.
๏ Tighten/Tighten More—condenses character tracking by one
increment/five increments.

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6 stops, the tab stop space is calculated from the position of the previously
added tab stop.

Paragraph formatting To modify and delete tab stops:

On the Paragraph panel, in the Tab Stops section, do one of the following:
• Double-click a listed tab stop and type in a new value to adjust the tab
stop position.
• Select a listed tab stop and set the Alignment and/or Leader.
• Select a listed tab stop and click Delete Selected Tab Stop to remove a
tab stop.
___________________________________________________________________
SEE ALSO:
Paragraph panel
Working with text
Paragraph formatting describes text attributes which are applied at a Frame text
paragraph level. Character formatting
Paragraph formatting includes attributes such as alignment, leading, and
indents which can only be applied to full paragraphs or stories.
This type of formatting can be applied to artistic text, but is more
appropriate for frame text.
With your text (or text object) selected, paragraph formatting settings are
available from the context toolbar, the Text menu, and the Paragraph
panel.
To access the Paragraph panel:
Do one of the following:
• With text selected, on the context toolbar, click Paragraph.
• From the Text menu, select Show Paragraph.
• From the View menu, select Studio>Paragraph.

To add tab stops:

On the Paragraph panel, in the Tab Stops section:
1.Set the tab stop space using the input box.
2.Click Add New Tab Stop.
A new tab stop is added to the paragraph and is listed on the left within the
Tab Stops section. If you repeat the above procedure to add multiple tab

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7
The available font features differ between fonts. This is dependent

OpenType font features

on how the font was designed by the font designer.

As OpenType fonts are cross-platform, you can make use of

OpenType fonts from both Mac and Windows operating systems.

___________________________________________________________________
SEE ALSO:
Working with text
Artistic text
Character formatting

Affinity Designer provides support for OpenType font features. These

extend the font's character set which lets you present text with a greater
degree of typographical control.

Text example of an OpenType stylistic set using the font Gabriola.

Font features supported include ligatures, alternates, swash variants,
stylistic sets, and figure positions. You'll also get ligature control via the Text
menu's Ligatures sub-menu.
To apply OpenType font features:
1.Assign a font to your text that supports OpenType font features.
2.From the Text menu, select Show Typography (⇧⌘T).
3.Adjust the settings in the dialog.

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8 2.Select a category by clicking the icons at the bottom of the pop-up
dialog.

Special characters 3.Click a displayed symbol to add it to the text object at the insertion point.
___________________________________________________________________
SEE ALSO:
Working with text

Special characters can be added to your text objects to increase your

design options.
Typographical and special characters are available for insertion into a text
object from the Text and Edit menus. These characters include line breaks,
non-breaking spaces, and copyright and trademark symbols, as well as
icons, emoticons, and other embellishments.
The following characters can be added from the Text menu's Insert
Character flyout:
• Line Break
• Em Dash
• En Dash
• Figure Dash
• Em Space
• En Space
• Zero Width Space
• Non-Breaking Space
• Soft Hyphen
• Non-Breaking Hyphen
To add special characters:
With an insertion point in the text object:
1.From the Edit menu, select Emoji & Symbols.

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9 To check spelling:
From the Text menu, from the Spelling sub-menu, select one or more of

Spelling the following:

• Spelling Options (or press ⇧⌘;)—runs the spell checker.
• Check Spelling—displays and selects the next mis-spelled word.
• Check Spelling While Typing—highlights spelling errors as you type.
To correct a mis-spelled word on the page:
• With one of the text tools selected, ⌃(ctrl)-click the mis-spelled word
and select an alternative from the pop-up menu.
To ignore a mis-spelled on the page:
1.Select the mis-spelled word.
2.From the Text menu, from the Spelling sub-menu, select Ignore
Mis-Spelt Word.
The built-in spell checker ensures the text in your design is perfect before ___________________________________________________________________
being published. SEE ALSO:
There are several ways to interact with the spell checker, including using Working with text
the Spelling dialog or searching for and handling spelling errors directly on
Frame Text Tool
the page.
Artistic Text Tool
Spelling errors are indicated by red underlining.

Settings
The following options are available from the Spelling dialog (spell checker):
• Current word—select and type to manually input a suggested correction.
• Suggestions list—select a word from the list of suggestions to replace the
current word.
• Change—substitutes the mis-spelled word with the current word.
• Find Next—displays the next mis-spelled word.
• Ignore—ignores the mis-spelling of the current word.
• Learn—adds the current word to the dictionary.
• Define—looks up the current word in the launched MacOS dictionary
application.
• Guess—shows a list of possible alternatives for the current word.
• Check Spelling In—sets the scope of the spell check. Select from the
pop-up menu.

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11

Media
1 ___________________________________________________________________
SEE ALSO:

Place images Place Image Tool

Open documents and images
Media Browser
Colour management

Raster images, such as pictures and photos, can be added to the page to
complement your design.
Once added to your page, you have the option to replace the image,
retaining its position, as well as edit the image in Affinity Photo.

The image's embedded colour profile will always be converted to

the document's current working space.

To place an image:
1.From the File menu, select Place.
2.In the pop-up dialog, navigate to and select a file, and click Open.
3.Do one of the following:
๏ Click to place the image at its default, displayed size.
๏ Drag on the page to set the size and position of the image.

Alternatively, use the Place Image Tool.

To replace an image:
1.Select an image.
2.From the context toolbar, select Replace image.

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2 To add photos to the Media Browser:
Do one of the following:

Media Browser • Drag a folder directly onto the Media Browser.

• ⌃(ctrl)-click the upper section, select Add, and then navigate to and
select a folder, and click Open.
To add media from the Media Browser:
Do one of the following:
• Drag the image thumbnail from the Media Browser directly to the page.
• Double-click an image thumbnail. Images are added as a new document.
___________________________________________________________________
SEE ALSO:
Place images
Place Image Tool
The Media Browser is a storage area providing quick access to saved
raster images.

You can access the Media Browser from the View menu (⇧⌘M).

Settings
The following options are available in the dialog:
• The upper section displays added folders while the lower section displays
thumbnails of images within the folders. The Pictures folder is added by
default.
๏ Drag the slider to adjust the zoom level.
๏ Type in the search box to display images which match the search
criteria only.
Options available in the dialog via ⌃(ctrl)-click menus
• Remove—removes the selected folder from Media Browser. The folder
and contents are not deleted from your computer.
• Reload—synchronizes with the selected folder to ensure Media Browser
is displaying up-to-date content.
• Show in Finder—opens the selected folder or file in Finder.
• Open With Preview.app—opens the selected file in Preview.
• Quick Look—opens the selected file in Quick Look.

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12

Selections
1
Modifier keys

Creating pixel selections When using the Marquee or Free Hand Selection tools, the
following modifier keys can be used to aid in the creation of
selections:
• The ⇧ key constrains the marquee's proportions.
• The ⌃(ctrl) key automatically adds areas to the current
selection.
• The ⌥ key automatically removes areas from the current
selection.

To create a pixel selection from a layer:

• On the Layers panel, click the chosen layer's thumbnail while pressing
the ⌘ key.
Pixel selections can be created for focussed editing of specific pixel To remove a pixel selection:
regions. Selection boundaries are defined depending on whether individual • From the Select menu, select Deselect (⌘D).
pixels are included or excluded.
To invert a marquee selection:
There are several tools you can use to create pixel selections:
• With a selection in place, from the Select menu, select Invert Pixel
• Rectangular Marquee Tool Selection (⇧⌘I).

• Elliptical Marquee Tool If you 'invert' when no selection is in place, a marquee is placed
around your entire page, therefore selecting every pixel in your
• Column Marquee Tool image.
• Row Marquee Tool
___________________________________________________________________
• Free Hand Selection SEE ALSO:
• Selection Brush Range pixel selections
Once your selection has been created, you can invert it so all included Sampled colour pixel selections
pixels are excluded and vice versa. Modifying pixel selections
Marquee Selection
Selections created using the Marquee tools align to individual
Selection Brush
pixels.

To create a pixel selection:

• With a Selection tool selected, drag on your page.

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2

Range pixel selections

You can create a pixel selection using colour or tonal ranges from your
image.
If you decide to create a selection based on a colour or tonal range, your
image is analysed and all pixels which fall into the chosen range are
included in the selection. Pixels which are not in the chosen range are
excluded.
Colour and tonal range selections are available from the Select menu.
These include:
• From the Colour Range sub-menu:
๏ Select Reds
๏ Select Blues
๏ Select Greens
• From the Tonal Range sub-menu:
๏ Select Midtones
๏ Select Shadows
๏ Select Highlights
___________________________________________________________________
SEE ALSO:
Creating pixel selections
Sampled colour pixel selections

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3

Sampled colour pixel

selections

You can create a pixel selection by sampling colours from your image.
Settings
The following settings can be adjusted from the dialog:
• Tolerance—determines how closely pixels must match the selected
colour to be included in the selection. For lower tolerance settings, pixels
must be very close in value to the clicked pixel. For higher tolerance
settings, pixel colour can vary widely from the clicked pixel. Drag the
slider to set the value.
• Model—determines the colour model used when sampling. Select from
the pop-up menu.
To create a pixel selection from a sampled colour:
1.From the Select menu, choose Select Sampled Colour.
2.Click on your image to select the sampled colour.
3.Adjust the settings in the dialog.
4.Click Apply
___________________________________________________________________
SEE ALSO:
Creating pixel selections
Range pixel selections

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4 ___________________________________________________________________
SEE ALSO:

Modifying pixel selections Creating pixel selections

Refining pixel selection edges

Once you have a pixel selection in place, it can be modified in several

ways.
You can modify your pixel selection by enlarging or shrinking it, applying a
feather to its edge, and/or by smoothing its curve. These options are
available from the Select menu as Grow/Shrink, Feather, and Smooth,
respectively.
Settings
The following settings can be adjusted from the relevant dialogs:
• Radius—controls the extent of the effect.
๏ Negative values for Grow/Shrink will shrink the selection while
positive values enlarge it.
• Circular—if this option is unchecked (default), resizing honours the
original selection shape. When checked, the selection shape is made
more rounded with increasing Radius values.

Feathering can also be applied to a selection from the context

toolbar.

In addition to the modifications discussed here, you can also refine

the edges of your selection. This option is available from the
context toolbar and the Select menu.

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5 ๏ Matte—re-analyses the selection and attempts to separate
foreground detail from the background. Great for selecting hair at the

Refining pixel selection

edges of photos, etc.
๏ Foreground—adds to the selection (revealing more of the
foreground).

edges ๏ Background—deletes from the selection (revealing more of the

background).
๏ Feather—softens the alpha edge of the selection.
• Width—sets the width of the brush tip. Type directly in the text box or
drag the pop-up slider to set the value.
• Output—determines how the selection is applied upon exiting the dialog.
Select from the pop-up menu.
To refine pixel selection edges:
1.With a selection in place, from the Select menu, select Refine Edges.
Once a selection has been created, you can refine its edges to ensure your 2.Adjust the settings in the dialog.
selection is as accurate as needed. 3.If you wish to adjust the selection edges by painting, drag on the preview.
For very fine selection, e.g. of hair against a coloured background, use an 4.Click Apply.
adjustment brush as part of the refinement to 'brush-in' fine detail.
___________________________________________________________________
Settings
SEE ALSO:
The following settings can be adjusted from the dialog:
Creating pixel selections
• Preview—sets the way your selection and page display. Select from the
pop-up menu. Modifying pixel selections
• Matte Edges—when selected (default), the selection area closely follows
image edges. If this option is off, selection doesn't follow image edges
which is useful for more accurately refining straight selection edges.
• Border width—expands the selection by adjusting the width of its
border. Drag the slider to set the value.
• Smooth—determines the curvature of the selection's edge. Drag the
slider to set the value.
• Feather—determines the softness (opacity) of the transition at the edge
of the selection. Drag the slider to set the value.
• Ramp—changes the size of the selection. Drag the slider to set the value.
Negative values will shrink the selection while positive values enlarge it.
• Adjustment brush—determines the adjustment brush's refinement
mode.

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6 To create an outline selection:
1.With a selection in place, from the Select menu, select Outline.

Creating outline selections 2.Adjust the settings in the dialog.

3.Click Apply.
___________________________________________________________________
SEE ALSO:
Creating pixel selections

The Outline feature allows you to create a new selection based on the outer
edges of a previously created selection.

Before and after outline selection created.

Settings
The following settings can be adjusted from the relevant dialogs:
• Radius—controls the width of the selection.
• Circular—when selected, the selection edges become increasingly
rounded with increasing Radius values.
• Alignment—determines to origin for the expansion. Select from the
pop-up menu.

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13

Saving and
sharing
1
If you have only made modifications that are supported by an

Save
image file type (for example, a JPG or PNG), then using the Save
function will simply save over the top of the current file. If you have
made modifications that are not supported, such as adding layers,
then you can save the image as a project file or flatten and merge
the changes to the existing file.

To save history with a document:

1.From the File menu, select Save History With Document.
2.In the Saving With History dialog, click Yes to accept the conditions
discussed in the dialog.
3.Save your document.

Saving your document's history with your document may

When you save your document all project information is preserved, allowing significantly increase the size of your project file.
you to edit it at a later date. The design project is saved as a single file with
the extension .afdesign.
The first time you save your document, you'll be asked to give the project a You can switch off the save history feature by repeating step 1 of
name and save location. Following this, future saves will overwrite the the procedure above.
previous version.
Optionally, you can save a current project as a new project. In this case, the
new file will not overwrite the saved version. Affinity Designer autosaves your document at regular intervals. To
change the autosave interval, go to Affinity Designer>
A document's history can be saved along with the document, so >Preferences (Performance).
earlier edits can be returned to even if the document is closed and
reopened. ___________________________________________________________________
SEE ALSO:
To save as a new project: Export
1.From the File menu, select Save As (⇧⌘S). Share
2.Adjust the dialog settings as required.
3.Click Save.
To save the current project:
• From the File menu, select Save (⌘S).

137
2 • Don't export layers hidden by Export persona—when selected, layers
which have been hidden while in Export persona are excluded from the

Export
exported file even if they display on the page. If this option is off, all
objects on the page (which are within the Area selected above) will be
exported regardless of whether they are hidden in Export persona.
Additional settings
For PNG, JPEG, GIF and TIFF file formats:
• Size—by default, displays the native dimensions of your image. Type
value(s) to set an alternative width and/or height for your exported image.

• Lock aspect ratio—when selected (default), the image's native

aspect ratio is honoured. If this option is off, exported image width and
height can be set independently.
For PNG, JPEG, GIF, TIFF and PSD file formats:
• Resample—select which resampling method (see note below) to use if
The Export dialog provides a streamlined approach to exporting your the image is to be upsampled or downsampled on export.
document, artboard or current selection, to a common file format by giving For JPEG file formats:
you quick access to standard export settings.
• Quality—sets the resulting quality of the exported image. Higher quality
may result in significantly larger file sizes.
For more information on exporting individual artboards, see the
Exporting artboards topic. For SVG file formats:
• Export text as curves for font independence— when selected, the text
General settings in the resulting file will be drawn as curves (therefore displaying precisely
as intended, even if viewed on a device without the used fonts installed).
The following general settings can be adjusted from the Export dialog: If this option is off (default), text will be exported as text and the viewing
• Format—select the format for your exported file. Export formats include device will need the used fonts installed for it to be viewed correctly.
PNG, JPEG, GIF, TIFF, PSD, PDF, SVG and EPS. For PDF, SVG and EPS file formats:
• Preset—sets pre-defined export options for the selected file format. • Raster DPI—this option lets you choose the resolution for rasterization
Select from the pop-up menu. for effects which will be rasterized on export.
As well as the default application presets, this pop-up menu will give you For EPS file formats:
the option of selecting a custom preset.
• Postscript level—sets the version of the exported postscript file. Select
• More—accesses advanced settings for the chosen file format. For more from the pop-up menu.
information on these settings, see the Export Options panel topic.
• Area—instead of exporting the whole page, you can either export any
document artboards or the currently selected object. For the latter you
can export an object with or without its background using the Selection
with background or Selection without background options.
To export drawn slices or specific layers, use Export Persona.

138
 ___________________________________________________________________
Resampling methods SEE ALSO:
The following resample settings are available: Export Persona
• Nearest Neighbour—simple resampling which has the fastest Export Options panel
processing time. Use for hard-edge images.
Exporting artboards
• Bilinear—algorithmic resampling for use when shrinking
images. File formats

• Bicubic—algorithmic resampling for use when enlarging

images. Resampling is smoother than Bilinear but has a slower
processing time.
• Lanczos 3—complex algorithmic resampling which gives the
best results but with the longest processing time. Available as
separable and non-separable.

Depending on the image format, the export dialog will offer an

Estimated File Size for the exported image.

To export a design as an image:

1.From the File menu, select Export.
2.Adjust the settings in the dialog.
3.Click Export.
To create a custom preset from advanced settings:
1.From the File menu, select Export.
2.In the dialog, select More.
3.Adjust the settings in the dialog.
4.Click Manage Presets and select Create preset.
5.Type in the name of the custom preset and click OK.

For more information on the settings available in the More dialog,

see the Export Options panel topic.

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3 ___________________________________________________________________
SEE ALSO:

Print Save
Export
Share
Printing artboards

You can print the project's page to create a physical or PDF copy for
distribution.
The final print of the page will include all currently visible objects. This
might vary depending on the active Persona. For instance, objects which
are visible in other Personas will not display in Export Persona if they are
set to 'not export'. Layer visibility and exportability is controlled by the
Layers panel.

The Print dialog will honour the project's current page setup.
Therefore, it is important to check your page setup settings before
proceeding to print.

For more information on printing individual artboards (rather than

the entire document), see the Printing artboards topic.

To print project pages:

1.From the File menu, select Print.
2.In the dialog, adjust settings as appropriate.
3.Click Print.

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4 ___________________________________________________________________
SEE ALSO:

Share Export

The Share options take the hassle out of distributing your document to
clients, friends, and family.
When a sharing option is selected, your document page is exported as a
JPG and made available to the relevant application or website.
Options
The following sharing options are available:
• Mail—image is placed in the body of an email, ready for sending to
contacts.
• Messages—image is placed in a new message, ready for sending to
buddies.
• AirDrop—image is made available for airdropping.
• Flickr—image is uploaded to your Flickr account for sharing with
followers.
• Twitter—image is uploaded to your Twitter account for sharing with
followers.
• Facebook—image is uploaded to your Facebook account for posting.
• Add to Photo—image is imported into Apple's Photo application.
• Add to Aperture—image is imported into Aperture (if installed).
• Set Background Image—image is used as your background image.
To share a design:
• From the File menu, from the Share sub-menu, select a sharing option.

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14

Exporting
1
You can export the entire document's page using File>Export or

Exporting using Export

by selecting the pre-defined spread area on the Slices panel.

Persona To export an area of the document as an image:

1.Do one of the following:
๏ With the Slice Tool selected, drag on your page to define your export
area.
๏ On the Layers panel, select an artboard, layer, group or object and
click Create Slice.
2.On the Export Options panel, adjust export settings as appropriate.
3.On the Slices panel, adjust settings as appropriate then do one of the
following:
๏ Check 1x, 2x and/or 3x for increasing levels of resolution.
The Slice Tool or Layers panel can be used in combination with the Export
Options and Slices panels to give you total flexibility and freedom in ๏ Click to export a single item.
exporting areas of your document. ๏ Click Export Selected to export all checked items.
Using the Slice Tool 4.Navigate to and select the storage folder for the exported image(s) and
The Slice Tool gives you full freedom to create export areas of all sizes, over then click Export.
any part of your document.
5.(Optional) On the Slices panel, select Continuous if you want to
automatically re-export export areas if the document is subsequently
The Force Pixel Alignment option on the Toolbar, when changed. This option is only available if Export Selected was selected
selected, will ensure your slices snap to full pixels when created, above.
moved or modified.
Modifier keys
Using the Layers panel When using the Slice Tool, the following modifier keys can be
You can also create export areas from a selected artboard, layer, group or used:
object using the Layers panel. • The ⇧ key constrains the area's proportions to a square.
If you're exporting a Layer panel item as a slice, the slice will automatically • The ⌘ key if pressed as you drag out a slice area, draws from
size to what is considered to be the extent of the selected item. A circle the centre of the original drag position (can be combined with
symbol at the top right of the slice indicates that it is auto-sized. If you the ⇧ key).
choose to resize the slice, the symbol changes to a square, indicating that
the slice has been modified. A resized slice created from a Layer panel item
can be reset to 'auto-sized' at any point. To reset the dimensions of an export area created from a layer:
Furthermore, you can set areas to be invisible during export by using the 1.With the Slice Tool, select an export area.
item's checkbox in the Layers panel. If you decide to print from within
2.On the context toolbar, select Revert to auto sized.
Export Persona, non-exporting layers will not print.

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 To exclude or include a visible layer from export:
• In the Layers panel, click Visible in export.
___________________________________________________________________
SEE ALSO:
Layers panel (Export Persona)
Export Options panel
Slices panel
Export
Exporting artboards

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2 • Pixel format—sets the colour mode for the exported image. Select from
the pop-up menu.

Export Options panel • Matte—sets the background colour for the exported image. Select from
the pop-up panel.
• ICC Profile—by default, this is set to the ICC profile of the project
(document). However, the project's ICC profile can be overwritten for this
export area. Select from the pop-up menu.
• Embed ICC profile—when selected, the ICC profile is included within the
exported image's data, allowing the image to be viewed using the correct
profile on any device. If this option is off, the viewing device must
possess the ICC profile otherwise a substitute profile is used.
For JPG, PDF, SVG and EPS file formats:
• Quality—sets the resulting quality of the exported image. Higher quality
may result in significantly larger file sizes.
For PDF, SVG and EPS file formats:
Set the export options for a pre-defined export area using the Export
Options panel. • Rasterize—select an option for rasterizing design elements which are
unsupported by the file format. Select from the pop-up menu:
About the Export Options panel
๏ Nothing—no elements within the design are rasterized on export,
Once an export area has been defined, the Export Options panel allows you therefore unsupported elements are not included in the exported file.
to set specific export attributes for that area. Using the panel, different
export areas on the page can have different settings applied. This gives you ๏ Everything—all elements within the design are rasterized for a
full control over your exported designs. resulting exported file which perfectly matches your original design.
You can save custom settings as a preset for future use. ๏ Unsupported properties—only unsupported elements are rasterized
in the exported file.
General settings
• Downsample—select whether to downsample raster images within the
The following settings are available in the panel:
design.
• Preset—sets pre-defined export options for a range of common file
• Above—if this set DPI is exceeded by raster design elements, those
formats, colour modes, and bit depths. Select from the pop-up menu.
elements will be rasterized down to this set DPI. This option is dependent
• File format—sets the graphics format for the exported image. Select on the Downsample option being active.
from the pop-up menu. • Use documentation resolution—ensures the export is the same DPI as
• Resampler—select which resampling method (see note below) to use for the current project's setting.
the image on export. • Use DPI—overrides the current project's resolution setting for the export.
• Embed metadata—when selected, any raster image's original metadata The exported image's DPI is set using the adjacent input box
is preserved in the exported file. If this option is off, all original metadata • Allow JPEG compression—when selected, rasterized design elements
is removed.
will be compressed to decrease exported file size. If this option is off,
Additional settings rasterized design elements will be exported as uncompressed.
For JPEG, PNG, TIFF and GIF file formats: For PNG and GIF file formats:

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• Palettized—when selected, encodes the exported image by mapping it • Colour Space—choose whether to use the document's current colour
to the Palette and Colours settings set below. (This option cannot be space or export using a selected colour space. Select from the pop-up
switched off for GIF images.) menu.
• Palette—by default, this is set to be automatically determined. However, • Profile—choose whether to use the document's current colour profile or
you can specify an encoding palette yourself. Select from the pop-up export using a specific colour profile. Select from the pop-up menu.
menu. • Embed profiles—when selected (default), the chosen (or document's)
• Colours—selects the number of colours available in the palette. Select colour profile will be embedded in the exported file. If this option is off,
from the pop-up menu. the exported file will not have the colour profile embedded with it (the
For SVG and EPS file formats: viewing device will need to have the appropriate colour profile installed to
view the exported PDF accurately).
• (Use) Relative coordinates—when selected, objects in the exported file
• Honour spot colours—when selected, spot colours within the design are
have relative positions for maximum editability. If this option is off, object
positions are fixed to create a file which is optimized for viewing. exported as spot colours. If this option is off, spot colours are converted
to an equivalent colour within the exported file's colour space (see
For JPG file format: above).
• Progressive—when selected, the exported image is progressively • Overprint black—when selected, design elements which use CMYK
compressed for optimized viewing when downloading. black are set to overprint. If this option is off, CMYK black elements are
For PSD file format: set to be indistinguishable to other colours during printing.
• Compatibility mode—when selected, the exported file will be • Include bleed—when selected, any Bleed set in Document Setup will be
compatibile with other applications which do not support some features included in the PDF output.
(file size may also increase). If this option is off, the exported file may not • Include printer marks—when selected, the PDF output will show crop
be readable by other applications (depending on the features used in the marks, registration marks, colour bar and greyscale bar around the page
image). edge.
• Smallest file sizes—when selected, the exported file will be compressed • Embed fonts—select an option for handling fonts used in the document.
where possible but may not be readable by other applications. If this
๏ Text as Curves—all text is converted to curves. This ensures the
option is off, no compression will take place for the exported file.
resulting exported file will display correctly regardless of the fonts
• Rasterise all layers—when selected, layer content is rasterized in the installed on the viewing device.
exported file (the layer structure is retained). If this option is off, no
๏ All Fonts—any fonts used in the document are embedded in the
rasterization takes place on export.
exported file. This ensures the resulting exported file will display
• Strategies—set the way to export specific project attributes. Select from correctly regardless of the fonts installed on the viewing device.
the pop-up menu.
๏ Uncommon Fonts—fonts used are only embedded in the exported
๏ Preserve accuracy—the listed attribute will be rasterized to preserve file if they are not part of the fonts traditionally installed on most
its intended design. devices. The viewing device must have the expected fonts installed
๏ Preserve editability—the listed attribute will be exported with its to view any common fonts in the exported file.
original settings to allow for easy editing. ๏ No Fonts—no fonts are embedded in the exported file. A viewing
For PDF file format: device must have all the used fonts installed to accurately view the
exported file.
• Compatibility—sets the version and type of PDF to be exported. Select
from the pop-up menu. • Subset fonts—when selected, embedded fonts will only include the
glyphs used in the document. If this option is off, all glyphs for the used

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 fonts are embedded in the exported file, regardless of whether they However, this might not be supported by some apps. If this option is off,
appear in the document or not. objects will exist as singular elements within the exported file.
• Allow advanced features—when selected, all design features supported • Set viewBox—when selected, the exported file includes coordinates and
by the PDF file format are exported as vectors. If this option is off, dimensions which define the view box of the image. If this option is off,
depending on the nature of these features, they are rasterized or no view box data is included in the exported file. The export area is used
converted to curves on export. These features include: to define the view box.
• Artistic text which has been horizontally or vertically stretched. • Add line breaks—when selected, the code in the exported file will be
• Text which has an applied stroke. optimized for human viewing and reading. If this option is off, the image
will be exported with code on a single line which will make the file size
• Linear and radial gradients. significantly smaller.
• Non-solid transparencies.
For EPS file format:
• Postscript level—sets the version of the exported postscript file. Select
If the Allow advanced features option is selected on export, the
from the pop-up menu.
resulting PDF, when imported into other applications, may cause
the above advanced features to be rasterized or rendered • Minimise size—when selected (default), the exported file will be
incorrectly. The third party's app may also display an error compressed to create the smallest file size possible.
message on PDF import.

 Resampling methods
The following resample settings are available:
For SVG file format:
Nearest Neighbour—simple resampling which has the fastest
• Export text as curves—when selected, the text in the resulting file will processing time. Use for hard-edge images.
be drawn as curves (therefore displaying precisely as intended, even if
viewed on a device without the used fonts installed). However, this option Bilinear—algorithmic resampling for use when shrinking images.
will increase file size, and text won't be editable as text or available to Bicubic—algorithmic resampling for use when enlarging images.
"text to speech" in other apps. If this option is off, text will be exported as Resampling is smoother than Bilinear but has a slower processing
text and the viewing device will need the used fonts installed for it to be time.
viewed correctly. Lanczos 3—complex algorithmic resampling which gives the best
• Longer text spans—when selected, text is placed relative to previous results but with the longest processing time. Available as
lines of text (therefore producing smaller file sizes and simpler file 'separable' and 'non-separable'; the latter gives marginally better
structures). If this option is off, text is placed with absolute coordinates. results, but is slightly slower than 'separable'.
• Use hex colours—when selected, colours in the exported file are
expressed as RGB Hex values (therefore reducing file size but less
human-readable). If this option is off, colours are exported as standard To save custom settings as a preset:
RGB values. 1.Set the export options as desired.
• Flatten transforms—when selected, transformed objects are 'fixed' in 2.Click Panel Preferences, and select Create preset from the pop-up
the exported file. This allows for the file to be viewed more accurately menu.
across applications. If this option is off, objects remain dynamically 3.Enter a name and click OK.
transformed to allow for more flexible editing.
The new preset is added to the end of the Preset pop-up menu and is also
• Use tile patterns—when selected, rasterized areas may be converted to
accessible from the Export dialog.
a vector shape with a filled bitmap to give smoother, sharper edges.

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 You can delete and rename custom presets by selecting the
appropriate option from the Panel Preferences pop-up menu.

___________________________________________________________________
SEE ALSO:
Exporting using Export Persona
Slices panel
Document setup

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3 Options
The following options are available in the panel:

Slices panel • Resolutions—select 1x, 2x, and/or 3x options to set whether the export
includes standard (1x) and/or retina versions of the export area.

• Page—indicates that the export area is the entire page.

• Slice—indicates an export area drawn with the Slice Tool.

• Slice (from item)—indicates an export area created from an artboard,

layer, group or object.
• Thumbnail—visually indicates the area to be exported.
• Filename—displays the name for the export area. Type directly in the text
box to set your own file name. If a name has not been set, unique names
are suggested.

Export defined areas to a universally recognized raster image format using • Active/Inactive—when checked, the area is exported when Export
the Slices panel. Selected is clicked at the bottom of the panel.
About the Slices panel • Export—exports the area represented by the panel item.
Once an export area has been defined, the Slices panel allows you to
export the area as an image. • Delete—removes the panel item and corresponding export area from
the page. The Page panel item cannot be deleted.
• Continuous—when selected, slices are re-exported automatically if the
content within the slices are modified. This option becomes available
once Export Selected has been clicked and an export folder selected.

• Export Selected—exports all active panel items.

On the Slices panel, a warning icon will display next to the

Resolutions check boxes if an export resolution is chosen which is
too high for some export areas.

On the Layers panel, a similar warning icon displays on any

pixel layer that has a resolution lower the chosen export resolution.

___________________________________________________________________
SEE ALSO:
Exporting using Export Persona
Export Options panel
The Slices panel showing export areas in the document.
Layers panel (Export Persona)
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4 Options
The following options are available in the panel:

Layers panel (Export • Edit All Layers—allows selection of objects across all layers (rather
than the current layer).

Persona) • Create Slice—creates a slice from the selected artboard, layer, group
or object in readiness for export.

On the Layers panel, a warning icon will display on any pixel

layer that has a resolution lower the chosen export resolution.

In the Slices panel, a similar warning icon appears next to the

Resolutions check boxes.

___________________________________________________________________
The Layers panel in Export Persona lets you create slices from entire SEE ALSO:
artboards, layers, groups or selected objects.
Exporting using Export Persona
About the Layers panel
Slices panel
The Layers panel in Export Persona gives you the option of selecting an
artboard, layer, group or object and then creating a slice from which a Layers panel
single raster image is exported.

The Layers panel showing layers in the current document.

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15

Design Aids
1 To save history with a document:
1.From the File menu, select Save History With Document.

Using undo, redo and 2.In the Saving With History dialog, click Yes to accept the conditions
discussed in the dialog.

history 3.Save your document.

Saving your document's history with your document may

significantly increase the size of your project file.

You can switch off the save history feature by repeating step 1 of

the procedure above.

To set the History panel preferences:

It's easy to revert changes to a file when you've either made a mistake or if 1.In the Affinity Designer menu, click Preferences…
you simply don't like the result. 2.Click Performance.
Any edits you make to your document are stored in the History panel. You 3.Drag the Undo Limit slider left to reduce the number of stored changes,
can then use this, or standard quick keys, to undo an edit. You can also right to increase the number of stored changes.
redo an edit which you have recently undone.
4.Click Close.

A document's history can be saved along with the document, so ___________________________________________________________________

earlier edits can be returned to even if the document is closed and SEE ALSO:
reopened. History panel
Save
To undo or redo a change:
Do one of the following:
• In the Edit menu click Undo to go back one step, or Redo to redo the
step previously undone.
• Use the shortcut keys ⌘+Z to undo, or ⌘+⇧+Z to redo.
• On the History panel, click one of the entries in the list to jump to that
state.
• On the History panel, drag the slider left to undo a change, right to redo
a change.
To return to root:
• On the History panel, drag the slider to the farthest position to the left.

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2 To restore a snapshot:

Using snapshots
1.From the Snapshot panel, select a snapshot from the list.
2.Click Restore Snapshot.

To create a new document from a snapshot:

1.From the Snapshot panel, select a snapshot from the list.
2.Click New Document from Snapshot.

To delete a snapshot:
1.From the Snapshot panel, select a snapshot from the list.
2.Click Delete.
___________________________________________________________________
SEE ALSO:

Snapshots are great for storing your current work at any point in time, much History panel
like a freeze frame. You might do this in advance of carrying out more
complex operations where you might need to restore back to a previous
point in time (if things don't go to plan!).
If you're experimenting with different approaches, you can also create
different snapshots for each approach which lets you explore, compare and
evaluate each in turn. You then have the option to choose a preferred
snapshot to continue working from.
Compared to reverting edits step-by-step using the History panel,
snapshots let you define a stage in your session from which you can restore
from.
If needed, you can also take your snapshot to a new document.
About the Snapshot panel
The Snapshot panel, hidden by default, can be switched on via
View>Studio when the Draw Persona is active.

Snapshots are saved with your document and are available to be

used in future sessions.

To create a snapshot:
• From the Snapshots panel, click Add Snapshot.
The snapshot, showing date and time, is added to the panel.

153
3 • Zoom out to see larger grid divisions.
At all zoom levels the grid shows as grid 'blocks' further split into grid

Grids subdivisions.
To create fixed square or rectangular grids:
1.From the View menu, select Grid and Axis Manager.
2.Uncheck Use Automatic Grid.
3.Set the Spacing and Divisions for the first and second axis. Keep
Spacing the same on both axis for a square grid.
4.Click Close.
To create a fixed angular grid:
• As for fixed square/rectangular grids, but set the Angle for either axis.

To set isometric angles, set First and Second Axis to 30° and 150°,
respectively.
A non-printing, non-exporting grid can be displayed in order to help you to
lay out objects accurately.
To change document units:
Do one of the following:
• With either the View Tool or Zoom Tool selected, choose a unit of
measurement from the pop-up menu on the context toolbar.
• From the File menu, select Document Setup, and in the dialog choose a
unit type from the Document Units pop-up menu.
___________________________________________________________________
SEE ALSO:
The grid is overlaid over your page to help you align objects.
Snapping
Grids can be automatic or fixed—the former (as default) changes the
frequency of grid subdivisions as you zoom in/zoom out, the latter always Projections
keeps the grid frequency constant (irrespective of zoom level). Zooming
Grids work best when combined with snapping, in particular when the Snap Zoom Tool
to Grid option is enabled. They can be based on any document unit, shown
when switching on the rulers.
To show or hide grid:
• On the View menu, select Show Grid.

To adjust automatic grid spacing:

With the Zoom Tool selected, do one of the following:
• Zoom in to see smaller grid divisions.

154
4 Drawing on projection grids
Once in a specific mode and plane set you can create line and shape

Parallel projections drawing using the Pen Tool or pre-designed geometric shapes.
For pen drawing, use the Pen Tool's Polygon or Line Modes for straight line
segments. For geometric shapes, skew shapes to fit your grid.
About snapping controls
Grids work best when combined with snapping (switch on via top toolbar),
in particular when the Snap to Grid option is enabled from the Snapping
button's pop-up menu. Object handles snap precisely to any grid line and
line intersections.
Grids can be based on any document unit, shown when switching on the
rulers.
About custom grids
If you're looking beyond the projection mode presets such as isometric you
can customize the grid to your liking.
Affinity Designer makes use of a highly customizable projection grid,
perfect for UI/game design, digital design modellers, and mock ups. To set your projection grid:
1.From the View menu, select Grid and Axis Manager.
2.Uncheck Use automatic grid.
3.Click Advanced to access projection grids.
4.From the Mode pop-up menu, select a project mode, e.g. Isometric.

The Grid and Axis Manager is also ideal for laying out
two-dimensional fixed grids as well as projection grids.

To create plane sets:

• On the dialog, check Create Plane set.
You can then cycle between planes on demand to design on top, side, or
front of your drawing.
Isometric and Triangular grids. To jump between planes:
About parallel projections • Press the ' key.
Plane sets can be enabled so you can design on front, side and top planes; To customize your projection grid:
each plane can be toggled into by using a single key modifier.
1.From the Mode pop-up menu, select a projection mode of Square
Instead of the commonly used isometric projection grid, a choice of other Custom or Triangular Custom.
project grid presets can be selected (e.g., dimetric, triangular); you can
even create custom projection grids with options for grid sizing, custom 2.Do one of the following:
aspect ratios, and gutters for more advanced use. ๏ Uncheck Uniform to make the grid rectangular or triangular
(acute-angled) by setting Spacing and Gutter options.
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 ๏ Check Fixed Aspect Ratio and adjust the Aspect Ratio to set
proportional spacing between axis.
3.Adjust Angle values for each axis.
4.Check Create plane set to configure the Up axis.
___________________________________________________________________
SEE ALSO:
Draw lines and shapes
Draw and edit shapes
Grids
Snapping
Rulers

156
5 To show or hide guides:
• From the View menu, select Show Guides. A check mark is displayed

Guides next to the menu item when the guides are visible.

If guides are hidden, any new guide created by dragging from a

ruler will automatically make all guides viewable again.

To remove guides:
Do one of the following:
• With the Move Tool selected, drag the guide off the page.
• From the View menu, select Guides Manager. Click to select the value
for the guide you want to delete and then click the button.

When creating or moving objects, you can snap to guides.

Guides are non-printing, non-exporting lines that float over page objects
and assist with their positioning. They can be created either by dragging ___________________________________________________________________
from a ruler or in the Guides Manager.
SEE ALSO:
Snapping
Dynamic guides
Rulers
Margins

To add a guide:
Do one of the following:
• Drag from either the horizontal or vertical ruler which can be switched on
via the View menu.

• From the View menu, select Guides Manager. Click the button for
either horizontal or vertical guides.
To move a placed guide:
Do one of the following:
• Drag the guide with the Move Tool when you see either or .
• From the View menu, select Guides Manager. Double-click on the figure
you want to edit and type a new position into the value field. (Note that
you do not need to type the units.)

157
6 To change page margins:
1.From the default context toolbar or File menu, select Document Setup.

Margins 2.Check Include margins.

3.In the dialog, do one of the following:
๏ Set the Left Margin, Right Margin, Top Margin, and Bottom
Margin.
๏ Click Retrieve Margin from Printer to automatically set margins to
the settings of your desktop printer.
To hide/show margins:
• From the View menu, deselect/select Show Margins. A check mark is
displayed next to the menu item when the margins are visible.
___________________________________________________________________
SEE ALSO:
Page margins allow you to design with printing in mind. Snapping
Guides

Page margins give an indication of the extent of the page that will be
printed when using a desktop printer. Design elements positioned outside
the margins may not be printed.
Margin positions can be customised manually or using the settings of an
installed printer. They are non-printing and non-exporting.

Margins can also be used for snapping to when creating or moving

objects.

If you intend on exporting your design, rather than printing it

directly, you can design with complete freedom from margins. If
this is the case, you may wish to switch off the margins.

158
7 • From the File menu, select Document Setup, and in the dialog choose a
unit type from the Document Units pop-up menu.

Rules Changing the units will automatically change the units on

displayed rulers.

___________________________________________________________________
SEE ALSO:
Guides

Rulers are useful when you need to accurately place objects or guides in
the Document View.

The point where 0 appears on each ruler is called the ruler origin.

To show or hide rulers:

• From the View menu, select Show Rulers. A check mark is displayed next
to the menu item when the rulers are visible.

To change document units:

Do one of the following:
• With the Zoom Tool selected, choose a unit of measurement from the
pop-up menu on the context toolbar.

159
8 • When drawing curves with the Pen Tool. If snapping options on the tool's
context toolbar are enabled, nodes or control handles can be snapped to

Dynamic guides
other nodes. To help this, dynamic guides show while dragging nodes or
handles. Snapping and guide behaviour is completely independent of the
'global' Snapping option on the main toolbar.

Dynamic guides are intelligent guide lines which automatically appear when
moving and aligning objects or nodes.
Dynamic guides appear automatically in two instances:
• As you drag objects to help you align and resize objects to existing object
edges, centres, vertices, and page elements (e.g. page margins). These
___________________________________________________________________
guides display in red when aligning horizontally and in green when
aligning vertically. SEE ALSO:
Snapping
Pen Tool
Guides

You'll only see them when snapping is enabled, and when your snapping
preset has the Snap to object bounding boxes option checked.

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9
Rotating and resetting the canvas functions are mappable to

Rotate Canvas
custom keyboard shortcuts; see Customizing Shortcuts for more
information.

___________________________________________________________________
SEE ALSO:
Grids
Snapping
Rulers

Rather than rotating the document, you can rotate the canvas instead,
which is akin to physically rotating your working space. This allows you to
view your document from a different angle without manipulating its layout.

Using a trackpad device allows you to intuitively rotate the canvas

using gestures.

Rotating the canvas:

1.From the View menu, select Rotate Left or Rotate Right. The canvas
will be rotated in 15 degree increments.
2.From the View menu, select Reset Rotation to reset the canvas back to
its original rotation.

Being able to rotate the canvas is beneficial for a number of

applications:
• Brush and fine detail work
• Product design (for example product box/packaging layouts with
content at 90/180 degree angles)
• Tablet-assisted design (drawing at angles)

161
10
For web graphic development, you may wish to use Force Pixel

Snapping
Alignment. This complements any active snapping settings.

To activate/deactivate snapping:
• Click Snapping on the main toolbar.
To temporarily override snapping:
• Press the ⌥ while you're positioning an object. Snapping won't occur
while the is depressed.
Snapping presets
A powerful and comprehensive set of snapping options are available to
you. To make snapping setup quick and easy, one of several snapping
presets can be chosen which group recommended snapping options
according to how you plan to work.
Snapping simplifies the positioning of new and existing objects by
'magnetizing' moved or resized objects to other objects or page elements. To select a snapping preset:

Snapping causes images, brush strokes, lines, shapes, and selection areas 1.Click the Snapping option's arrow.
to align to nearby grid lines, guides, margins, or spreads, or any 2.From the Preset pop-up menu, select a preset.
combination of these. You'll also be able to snap to object bounding boxes,
key points on shapes, and to an object's geometry. To customise a snapping preset:
To help understand snapping behaviour, coloured dynamic guides and 1.Click the Snapping option's arrow.
target nodes display when you snap to objects. The colours used are: 2.Select a preset on which to base your new snapping options.
• Red line: Object snaps to target horizontally. 3.Check individual options on/off to override the current preset's options.
• Green line: Object snaps to target vertically. The options will be in effect immediately.
• Yellow node: Object snaps to target horizontally and vertically.
• Purple node: A curve's node snaps to a shape's key points. To save as a custom preset for future use:
1.Click the button adjacent to the Presets pop-up menu.
Dynamic guides work in conjunction with snapping to provide a 2.Select Create preset.
visual aid when aligning.
The custom preset is in effect immediately.
Snapping options
Creating a new object or hovering over an existing object Individual snapping options can be switched on or off to suit your needs,
designates it as a snapping candidate; only up to six objects are drawing style, and the project you are working on. The preset that you
allowed. Only the active snapping candidates can be snapped to. initially adopted will be customised in the process.
The following options are available from the pop-up dialog:
• Screen tolerance—controls the distance you have to be to an object
before snapping occurs.

162
• Enable snapping—when checked, objects will snap to specified criteria. • Snap to margin—when checked, content snaps to page margins (if
This must be selected to change other options. switched on from the View Menu).
• Presets—Select a preset which is a grouping of snapping options for ๏ Include margin mid points—when checked, content snaps to
specific ways of working. vertical or horizontal centre of the page margin. This option is only
๏ Page layouts—for designs to be printed, where snapping to placed available if the above option is selected.
guides, margins, and spreads is important. • Snap to object bounding boxes—when checked, objects can be
๏ Page layouts with objects—as above but with additional aligned based on its bounding box.
object-to-object alignment. ๏ Include bounding box mid points—when checked, objects snap to
๏ Object creation—perfect for simple object-to-object alignment to vertical or horizontal centre of a target object. This option is only
bounding boxes and their midpoints, plus for some shapes to key available if the above option is selected.
points. Key points are automatically added points on some objects, ๏ Snap to gaps and sizes—when checked, arrows represent matched
e.g. where a shape's corner is made rounded, key points are placed gaps between snapping candidates and matched horizontal and/or
at the start and end of the rounded corner. vertical sizes.
๏ Curve drawing—the setup for non-geometric use (i.e., drawing with • Snap to shape key points—when checked, objects can be aligned to
the pen/pencil/brush tools). key points on shapes, such as the start and end of a rounded corner.
๏ UI design—for UI/web design for pixel accuracy when using
• Snap to object geometry—when checked, objects can be snapped to
snapping to fixed guides and grid. object vertices and not simply to the bounding box or key points. Vertices
• Only snap to visible objects—when checked, only visible objects are are object corners or intersections, such as the points of a star, within a
snapped to. shape's bounding box.
• Show snapping candidates—when checked, highlights the active • Snap to construction lines—when checked, objects can be snapped to
snapping candidates, i.e. objects that can be snapped to by prior interior and exterior angles. Construction lines are displayed emanating
selection or hover over. from the snapping candidate. This option is only available if the above
• Show snapping hints—when checked, displays potential snapping option is selected.
candidates when objects are near by. ๏ Project on axis—when checked, additional construction lines will be
• Force pixel alignment—identical to the Toolbar option—see Force Pixel displayed along the horizontal and vertical axis. This option is only
Alignment. available if "Snap to object geometry" is also selected.
๏ Move by whole pixels—identical to the Toolbar option—see Force
Snapping always snaps to the currently set measurement unit as
Pixel Alignment.
defined in File>Document Setup.
• Snap to grid—when checked, content snaps to a line grid (if switched on
from the View Menu). Not available when using Force Pixel Alignment.
• Snap to guides—when checked, content snaps to guides (if switched on You can also access the above settings from the Snapping
from the View Menu). Manager via the View menu.
• Snap to spread—when checked, content snaps to the edge of the page
(ignoring margins).
๏ Include spread mid points—when checked, content snaps to
vertical or horizontal centre of the page. This option is only available
if the above option is selected.

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___________________________________________________________________
SEE ALSO:
Force Pixel Alignment
Dynamic guides
Grids
Guides
Margins

164
11 To activate/deactivate Force Pixel Alignment:

Force Pixel Alignment

• Click Force Pixel Alignment on the Toolbar.

To activate/deactivate Move By Whole Pixels:

• With Force Pixel Alignment active, click Move By Whole Pixels on the
Toolbar.
To temporarily override snapping:
• Press the ⌥ key while you're positioning. Snapping won't occur while the
is depressed.
___________________________________________________________________
SEE ALSO:
Snapping

Force Pixel Alignment will snap objects, nodes and handles, and pixel
selection areas to full pixels when created, moved or modified. If this option
is off, objects and selections can occupy partial pixels.

Force Pixel Alignment is particularly useful for web graphic

development.

Move By Whole Pixels

In addition to Force Pixel Alignment, the Move By Whole Pixels option
allows you to constrain the movement of objects, nodes and handles to
whole pixels.
Move By Whole Pixels is particularly useful for repositioning an object by a
particular pixel distance while also maintaining the relevant partial pixels an
object occupies.

If you deactivate Move By Whole Pixels but have Force Pixel

Alignment active, moving an object which occupies partial pixels
will also transform it marginally.

Force Pixel Alignment complements any active snapping settings.

165
12 To change Assistant Manager settings:
1.From the View menu, click Assistant Manager.

Assistant Manager 2.Select options from the relevant option's pop-up menu.
To switch off alerts or the Assistant Manager completely:
1.From the View menu, click Assistant Manager.
2.Uncheck Alert when assistant takes an action or Enable assistant,
respectively.
___________________________________________________________________
SEE ALSO:
Painting brush strokes
Erasing
Retouch
Using adjustment layers
The Assistant Manager manages alert messages that pop up on your Creating pixel selections
screen that affect layer behaviour.
When you perform pixel painting (or erasing) on vector layers, or when
applying adjustments to selections, alert messages inform you that Affinity
Designer has performed an action that you need to be aware of. This is as a
result of the last operation you performed. Assistant Manager cannot only
decide the default type of action to take, but switch alerts on or off once
you've decided on your chosen default action. Several types of operation
can lead to different actions.
• Painting with no layer selected: In Pixel Persona, you can choose to
create a new pixel layer for your brush strokes using 'Add new pixel layer
and paint'; 'No action' means that no pixel painting is allowed. If a vector
layer is selected, a new pixel layer is created above the vector layer. If a
pixel layer is selected, your brush stroke is added to the pixel layer.
• Erasing from vector layers: In Pixel Persona, the option lets you choose
to erase on a created pixel mask over your vector object, immediately
rasterize the vector layer and erase directly on it, or take no action.
• Other brushes on vector layers: For retouching pixel brushes (e.g., Burn
brush, Smudge brush, etc.), any applied brush stroke rasterizes the
vector layer by default. You can change this behaviour by selecting 'No
Action' which doesn't convert the layer or apply the stroke.
• Adding adjustment layer to selection: In Pixel Persona, if you've
created a selection, any adjustment applied to the selection can be
added as a new adjustment layer or made a child adjustment layer in the
current layer.

166
16

Layer effects
(FX)
1
By working with duplicate layers, blend modes and masks, it's

Using layer effects

possible to obtain a great degree of control over the effects that
you generate.

To apply layer effects:

1.Select the layer that you want to apply the effect to.
2.On the Effects panel, select the checkbox of the effect that you want to
apply.
3.Adjust the settings as desired—options vary for each effect.
4.If required, select any other effects and adjust the settings.
To edit layer effects:
1.Select the layer that you want to edit.
2.On the Effects panel, click the arrow to expand the options for the effect
Layer effects can be applied to either selected objects or the entire layer, to you want to edit.
add more creativity to your design. 3.Adjust the settings as desired—options vary for each effect.
Available layer effects: 4.If required, repeat for any other effects.
• 3D Effect To edit layer effects (Layer Effects dialog):
• Bevel/Emboss
1.Click the button on the layer entry in the Layers panel.
• Colour Overlay
2.In the dialog, click on the label of the effect that you want to edit.
• Gaussian Blur
3.Adjust the settings as desired—options vary for each effect.
• Gradient Overlay
4.If required, repeat for any other effects.
• Inner Glow
• Inner Shadow You can also access the Layer Effects dialog via Layer > Layer
• Outer Glow Effects.
• Outer Shadow
• Outline
If you create a set of layer effects that you want to use again you
Layer effects can be applied to any layer object (or layer) from either the can save time and effort by saving them as an Object Style. This
Effects panel or dialog. way they can be applied to any new layer object with a single
click.
When a layer has one or more effects applied, an icon appears
to the right of the layer’s name in the Layers panel.

168
___________________________________________________________________
SEE ALSO:
Styles
Styles panel
Layer blending

169
2 • Depth—sets the depth of the effect. This can be linked to Radius or set
independently.

3D Effect • Soften—blurs the shadows and highlights.

• Profile—defines how the light is applied and sculpts the ridges, valleys,
and bumps that are shaded in the process.
• Remove Profile—returns the profile to the default setting where light is
applied evenly.
• Diffuse—sets the amount of diffuse colour reflected from the object's
surface when lit by the Light source. A high setting will give a matt
appearance, while a low setting will give a gloss appearance.
• Specular—sets the intensity of specular colour reflected from the
object's surface when lit by the Light source. A high setting will give a
gloss appearance, while a low setting will give a matt appearance.
• Shininess—sets the amount of specular colour reflected from the
object's surface when lit by the Light source. A high setting gives
The 3D effect is used to create the impression of a textured surface.
sharper highlights, while a low setting will give widespread highlights.
• Specular colour—sets the specular colour. Click the colour box to
choose the colour from the pop-up panel.
• Ambient—sets the intensity of ambient light.
• Ambient light colour—sets the colour of the ambient light. Click the
colour box to choose the colour from the pop-up panel.
• Light source—select a light source from the pop-up menu. You can then
adjust the settings below for the selected light source.
• Add—applies an additional light source to the effect.
• Remove—deletes the selected light source. If there is only one light
source it cannot be removed.
• Direction—represents the position of the light source, shadow or
Before After
gradient. Click or drag to adjust the direction (and set the Azimuth and
Settings Elevation automatically).
The following settings are shown on the Effects panel: • Azimuth—defines the direction of the light source, shadow or gradient.
Opacity—controls the transparency of the effect. • Elevation—defines the 'height' of the light source.
• Radius—controls the extent of the effect. • Colour—sets the colour of the selected light source. Click the colour box
to choose the colour from the pop-up panel.
• Layer Effects—provides access to the Layer Effects dialog for more
advanced settings and controls. • Scale with Object—when selected (default), the effect scales in
proportion to the object if the object is resized. If this option is off, the
The following advanced settings can be adjusted in the Layer Effects effect's scale remains unchanged when the object is resized.
dialog:

170
• Fill Opacity—sets the opacity of the layer contents without affecting the
applied effects.
To apply a (custom) profile:
1.Click the Profile thumbnail.
2.In the pop-up panel, choose one of the Standard profiles.
3.(Optional) Click on the curve to add a node, drag to shape the curve.
4.Select the Linear checkbox to create a sharp curve or deselect to create
a smooth curve.
5.Click away from the pop-up panel to apply the profile.
___________________________________________________________________
SEE ALSO:
Using layer effects

171
3 • Layer Effects—provides access to the Layer Effects dialog for more
advanced settings and controls.

Bevel/Emboss By default, you'll apply a Pillow Emboss effect when using the
Effects panel. For an inner/outer bevel and a basic emboss effect,
use the Layer Effects dialog.

The following advanced settings can be adjusted in the Layer Effects

dialog:
• Type—sets an Inner bevel, Outer bevel, Emboss or Pillow emboss effect.
Select from the pop-up menu.
• Depth—sets the depth of the effect. This can be linked to Radius or set
independently.
• Soften—blurs the shadows and highlights.

The Bevel/Emboss effect is used to add rounded edges and shadows to • Profile—defines how the light is applied and sculpts the ridges, valleys,
give a 3D impression. and bumps that are shaded in the process.
• Invert—reverses the effect of the lighting profile.
• Remove Profile—returns the profile to the default setting where light is
applied evenly.
• Direction—represents the position of the light source, shadow or
gradient. Click or drag to adjust the direction (and set the Azimuth and
Elevation automatically).
• Azimuth—defines the direction of the light source, shadow or gradient.
• Highlight—sets the blend mode, colour and opacity for the highlight.
Blend mode defaults to screen.
• Shadow—sets the blend mode, colour and opacity for the shadow.
Blend mode defaults to multiply.
• Scale with Object—when selected (default), the effect scales in
Before After
proportion to the object if the object is resized. If this option is off, the
Depending on the type of bevel or emboss set, the rounded-edge might be effect's scale remains unchanged when the object is resized.
inside or outside an object, convex or concave, and may include a shadow.
• Fill Opacity—sets the opacity of the layer contents without affecting the
For all bevel/emboss effects you can adopt a preset or custom profile that applied effects.
defines the bevel/emboss edge.
To a preset or custom profile:
Settings
1.Click the Profile thumbnail.
The following settings are shown on the Effects panel:
2.In the pop-up panel, choose either:
• Opacity—controls the transparency of the effect. ๏ one of the Standard profile thumbnails.
• Radius—controls the extent of the effect.
172
 ๏ A custom profile: Click on the curve to add a node, drag a node or
portion of the curve to shape it.
3.Select the Linear checkbox to create a sharp curve or deselect to create a
smooth curve.
4.Click away from the pop-up panel to apply the profile.
___________________________________________________________________
SEE ALSO:
Using layer effects

173
4 The following advanced settings can be adjusted in the Layer Effects
dialog:

Colour Overlay • Blend mode—changes how the effect interacts with content below the
current layer.
• Scale with Object—when selected (default), the effect scales in
proportion to the object if the object is resized. If this option is off, the
effect's scale remains unchanged when the object is resized.
• Fill Opacity—sets the opacity of the layer contents without affecting the
applied effects.
___________________________________________________________________
SEE ALSO:
Using layer effects
Gradient Overlay

The Colour Overlay effect is used to apply a solid colour on top of any
existing colours.

Before After
Settings
The following settings are shown on the Effects panel:
Colour—sets the colour of the effect. Click the colour box to choose the
colour from the pop-up panel.
Opacity—controls the transparency of the effect.

Layer Effects—provides access to the Layer Effects dialog for more

advanced settings and controls.

174
5 The following advanced settings can be adjusted in the Layer Effects
dialog:

Gaussian Blur • Scale with Object—when selected (default), the effect scales in
proportion to the object if the object is resized. If this option is off, the
effect's scale remains unchanged when the object is resized.
• Fill Opacity—sets the opacity of the layer contents without affecting the
applied effects.
___________________________________________________________________
SEE ALSO:
Using layer effects

The Gaussian Blur effect is used to create a pleasing, smooth blur using a
weighted average.

Before After
Settings
The following settings are shown on the Effects panel:
• Radius—controls the extent of the effect.
• Preserve Alpha—when checked, object edges are not subject to
blurring.

175
6 The following advanced settings can be adjusted in the Layer Effects
dialog:

Gradient Overlay • Type—determines the gradient type used. Select from the pop-up menu.
• Gradient—sets the colour gradient. Click the gradient thumbnail to edit.
• Scale—defines the spread of the gradient separately for the X (horizontal)
and Y (vertical) axes.
• Offset—defines the start and end points of the gradient. This is set
separately for the X (horizontal) and Y (vertical) axes.
• Angle—defines the direction of the light source, shadow or gradient.
• Scale with Object—when selected (default), the effect scales in
proportion to the object if the object is resized. If this option is off, the
effect's scale remains unchanged when the object is resized.
• Fill Opacity—sets the opacity of the layer contents without affecting the
applied effects.
The Gradient Overlay effect is used to apply a colour gradient on top of any ___________________________________________________________________
existing colours. SEE ALSO:
Using layer effects
Colour Overlay
Gradient editing

Before After
Settings
The following settings are shown on the Effects panel:
• Opacity—Controls the transparency of the effect.

• Layer Effects—provides access to the Layer Effects dialog for more

advanced settings and controls.

176
7 The following advanced settings can be adjusted in the Layer Effects
dialog:

Inner Glow • Blend mode—changes how the effect interacts with content below the
current layer.
• Intensity—determines how much the radius of the effect is blurred.
• Centre/Edge—determines the origin of the effect.
• Scale with Object—when selected (default), the effect scales in
proportion to the object if the object is resized. If this option is off, the
effect's scale remains unchanged when the object is resized.
• Fill Opacity—sets the opacity of the layer contents without affecting the
applied effects.
___________________________________________________________________
SEE ALSO:
Using layer effects
The Inner Glow effect is used to add a colour border to the inside of an Outer Glow
object. It can be set to the edge or centre of the object.
Inner Shadow

Before After
Settings
The following settings are shown on the Effects panel:
• Colour—sets the colour of the effect. Click the colour box to choose the
colour from the pop-up panel.
• Opacity—controls the transparency of the effect.
• Radius—controls the extent of the effect.

• Layer Effects—provides access to the Layer Effects dialog for more

advanced settings and controls.

177
8 • Offset Tool—drag on the object to set that angle and offset
simultaneously.

Inner Shadow • Angle—defines the direction of the light source, shadow or gradient.

• Layer Effects—provides access to the Layer Effects dialog for more

advanced settings and controls.
The following advanced settings can be adjusted in the Layer Effects
dialog:
• Blend mode—changes how the effect interacts with content below the
current layer.
• Intensity—determines how much the radius of the effect is blurred.
• Scale with Object—when selected (default), the effect scales in
proportion to the object if the object is resized. If this option is off, the
effect's scale remains unchanged when the object is resized.
• Fill Opacity—sets the opacity of the layer contents without affecting the
The Inner Shadow effect is used to add a diffused shadow to the inside of applied effects.
an object.
___________________________________________________________________
SEE ALSO:
Using layer effects
Outer Shadow
Inner Glow

Before After
Settings
The following settings are shown on the Effects panel:
• Colour—sets the colour of the effect. Click the colour box to choose the
colour from the pop-up panel.
• Opacity—controls the transparency of the effect.
• Radius—controls the extent of the effect.
• Offset—changes the distance between the layer content and the effect.

178
9 The following advanced settings can be adjusted in the Layer Effects
dialog:

Outer Glow • Blend mode—changes how the effect interacts with content below the
current layer.
• Intensity—determines how much the radius of the effect is blurred.
• Scale with Object—when selected (default), the effect scales in
proportion to the object if the object is resized. If this option is off, the
effect's scale remains unchanged when the object is resized.
• Fill Opacity—sets the opacity of the layer contents without affecting the
applied effects.
___________________________________________________________________
SEE ALSO:
Using layer effects
Inner Glow
The Outer Glow effect is used to add a colour border to edges. Outer Shadow

Before After
Settings
The following settings are shown on the Effects panel:
• Colour—sets the colour of the effect. Click the colour box to choose the
colour from the pop-up panel.
• Opacity—controls the transparency of the effect.
• Radius—controls the extent of the effect.

• Layer Effects—provides access to the Layer Effects dialog for more

advanced settings and controls.
179
10 • Offset Tool—drag on the object to set that angle and offset
simultaneously.

Outer Shadow • Angle—defines the direction of the light source, shadow or gradient.

• Layer Effects—provides access to the Layer Effects dialog for more

advanced settings and controls.
The following advanced settings can be adjusted in the Layer Effects
dialog:
• Blend mode—changes how the effect interacts with content below the
current layer.
• Intensity—determines how much the radius of the effect is blurred.
• Fill knocks out shadow—when checked (default), if the object's fill is
semi-transparent, the option prevents the effect from showing through
the fill and contributing negatively.
• Scale with Object—when selected (default), the effect scales in
The Outer Shadow effect is used to add a shadow to edges. proportion to the object if the object is resized. If this option is off, the
effect's scale remains unchanged when the object is resized.
• Fill Opacity—sets the opacity of the layer contents without affecting the
applied effects.
___________________________________________________________________
SEE ALSO:
Using layer effects
Inner Shadow
Outer Glow

Before After
Settings
The following settings are shown on the Effects panel:
• Colour—sets the colour of the effect. Click the colour box to choose the
colour from the pop-up panel.
• Opacity—controls the transparency of the effect.
• Radius—controls the extent of the effect.
• Offset—changes the distance between the layer content and the effect.

180
11 The following advanced settings can be adjusted in the Layer Effects
dialog:

Outline • Blend mode—changes how the effect interacts with content below the
current layer.
• Alignment—sets the position of the outline. Select from the pop-up
menu.
• Fill style—sets the type of fill applied to the outline.
• Scale with Object—when selected (default), the effect scales in
proportion to the object if the object is resized. If this option is off, the
effect's scale remains unchanged when the object is resized.
• Fill Opacity—sets the opacity of the layer contents without affecting the
applied effects.

The Fill style includes the Contour type. Contour applies a

gradient fill which runs from the inner to the outer edge of the
The Outline effect is used to add a coloured outline to objects. stroke width.

___________________________________________________________________
SEE ALSO:
Using layer effects
Gradient editing

Before After
Settings
The following settings are shown on the Effects panel:
• Colour—sets the colour of the effect. Click the colour box to choose the
colour from the pop-up panel.
• Opacity—controls the transparency of the effect.
• Radius—controls the extent of the effect.

• Layer Effects—provides access to the Layer Effects dialog for more

advanced settings and controls.

181
17

Adjustments
1 • Vibrance
• White Balance

Applying adjustments Adjustments are applied to your image from the Layers panel and most
include customizable settings alongside general adjustment options.
Adjustment layers only affect objects in the layer which are below them.
Alternatively, you can make an adjustment a child of an object, thereby
affecting that object only.
Some adjustments (i.e., Curves, Levels, or Channel Mixer) can be made in
any colour space independently of the document colour space.
Settings
The following general settings are available from all adjustment dialogs:
• Delete—closes the dialog and deletes the adjustment layer, removing the
adjustment from the image.
• Merge—merges the current adjustment layer with the layer immediately
There are a range of adjustments which can be applied to your design as a below it in the layer order.
new layer for creative or corrective purposes. • Reset—reverts all dialog settings to default.
Available Adjustments: • Opacity—how see through the adjustment layer is.
• 3D LUT • Blend mode—changes how the applied pixels interact with existing
• Black and White pixels on the layer below. Choose mode type from a pop-up menu.
• Brightness and Contrast
Not all adjustments have a dedicated dialog or customizable
• Channel Mixer
settings.
• Colour Balance
• Curves
To apply an adjustment:
• Exposure
1.On the Layers panel, do one of the following:
• Gradient Map
๏ Select a layer to add the adjustment as a child of the layer. It will
• HSL
affect all objects on the selected layer, depending on the
• Invert adjustment's position within the layer stack.
• Levels ๏ Select a layer object/group to add the adjustment which affects that
• Posterize object/group only.
• Recolour 2.Click Adjustments and select an adjustment from the pop-up menu.
• Selective Colour 3.If a dialog appears for the adjustment, follow the steps below:
• Shadows/Highlights i. Adjust the settings in the dialog.
• Soft Proof ii. Close the dialog.
• Threshold

183
 Adjustments are also available from the Layer menu's New
Adjustment sub-menu.

___________________________________________________________________
SEE ALSO:
Using adjustment layers

184
2 • Red Major—If results aren't as expected, uncheck the option to flip an
incorrect Blue-Green-Red XYZ matrix back to a correct Red, Green, Blue

3D LUT
XYZ matrix.
• BGR—when selected, inverts hue values while maintaining saturation and
lightness values set by the LUT.

The following types of LUT files are available: *.3dl, *.csp, *.cube,
and *.look.

___________________________________________________________________
SEE ALSO:
Applying adjustments

The 3D LUT adjustment allows you to emulate image colours used in a

variety of media platforms.

Before and after adjustment applied.

A 3D LUT (look-up table) remaps pixel colour values based on a defined
XYZ matrix. This allows you to quickly replicate the appearance of various
types of media, such as reproducing the cold, blue tone attributed to
science fiction and horror movies.
Settings
The following settings can be adjusted in the dialog:
• Load LUT—sets the LUT used in the adjustment. In the pop-up dialog,
navigate to and select a file, and click Open.

185
3
You can also create black and white images using the HSL,

Black and White

Gradient Map, and Threshold adjustments.

Settings
The following settings can be adjusted in the dialog:
• The sliders control the lightness value of the named colour areas of the
image. Drag the slider to the left to darken areas of the named colour,
drag the slider to the right to lighten them.
• Picker—allows you to drag on the image to modify the adjustment. The
initial click will identify the predominant colour, dragging left will darken
areas of the identified colour while dragging right will lighten them. The
corresponding slider will be updated.
___________________________________________________________________
SEE ALSO:
Convert a colour image to monochrome while maintaining full control over Applying adjustments
how individual colours are converted.
Recolour adjustment
HSL adjustment
Gradient Map adjustment
Threshold adjustment

Before and after adjustment applied.

This adjustment comes with a handy Picker setting which identifies the
predominant colour of a selected area and adjusts the relevant slider
automatically.

You may wish to apply a colour tone, such as sepia, to the

resulting greyscale image. To do this, you could use a Recolour
adjustment.

186
4 • Contrast—controls the tonal range of the image. Drag the slider to the
left to decrease the contrast between dark and light areas, drag to the

Brightness and Contrast

right to increase it.
• Linear—by default, the adjustment prevents shadow and highlight
clipping by modifying pixels relative to their original lightness value. When
selected, this option modifies pixels using absolute values and clipping
may occur.
___________________________________________________________________
SEE ALSO:
Applying adjustments
Levels adjustment
Curves adjustment
Shadows/Highlights adjustment

Adjust the values in the shadows and highlights, and the overall tonal
range, of images.

Before and after adjustment applied.

You can also adjust the tonal range of images using the Levels
and Curves adjustments.

Settings
The following settings can be adjusted in the dialog:
• Brightness—controls the lightness/darkness of the image. Drag the
slider to the left to decrease brightness, drag to the right to increase it.

187
5 • The sliders control the contribution of the named colour to the selected
output channel. Drag the slider to the left to decrease the level of the

Channel Mixer
named colour, drag the slider to the right to increase it.
• Offset—controls the overall influence the selected output channel has on
the image as a whole. Drag the slider to the left to decrease the output
channel's contribution, drag the slider to the right to increase it.

Modifying the alpha channel produces a keying/matting effect.

___________________________________________________________________
SEE ALSO:
Applying adjustments

Adjust the colour of individual channels to produce effects not easily

achieved with other colour adjustment tools.

Before and after adjustment applied.

Adjustments can be made in any colour mode, regardless of the

document's current colour mode.

Settings
The following settings can be adjusted in the dialog:
• Output Channel:
๏ Select a colour mode from the first pop-up menu.
๏ Specify a single colour channel to apply the adjustment to, including
the layer's alpha channel. Select from the second pop-up menu.

188
6 ___________________________________________________________________
SEE ALSO:

Colour Balance Applying adjustments

The Colour Balance adjustment provides a way to modify the contribution

of particular colours to a set tonal range.

Before and after adjustment applied.

Settings
The following settings can be adjusted:
• Tonal Range—determines the tones to be adjusted. Select from the
pop-up menu.
• The sliders control the balance of the named colours in the selected
Tonal Range. Drag the slider toward the colour you wish to emphasise.
• Preserve luminosity—if this option is off (default), the adjustment
ignores the original lightness value of pixels. When selected, the
adjustment modifies pixel colours with respect to their original lightness
value.

189
7 Settings
The following settings can be adjusted in the dialog:

Curves • Select a colour mode from the first pop-up menu.

• Specify a single colour channel to apply the adjustment to, including the
layer's alpha channel. Master (the default choice) applies the adjustment
to all channels. Select from the second pop-up menu.
• Picker—allows you to drag on the image to modify the adjustment. The
initial click will place a node on the curve in relation to the pixel selected.
Dragging up will lighten the image while dragging down will darken it. The
curve graph will update accordingly.
To adjust a curves graph:
On the curves graph, do any of the following:
• In the dialog, click Picker and then drag up or down on the page.
• Drag the curve adjust the tonal range of the image.
Adjust the colour, tone and alpha channels with the curves adjustment, • Click on the curve to add additional nodes.
either on individual channels or by adjusting the master curve.
• Click to select a node and then press the ⟵ to remove it.

In general:
• Drag the curve downwards to correct overexposure.
• Drag the curve upwards to correct underexposure.
• Create a gentle S-shape by adding nodes (see above) and
dragging the curve in opposite directions to correct washed out
images.

___________________________________________________________________
Before and after adjustment applied. SEE ALSO:
Applying adjustments
Adjustments can be made in any colour mode, regardless of the
Levels adjustment
document's current colour mode.
Brightness and Contrast adjustment
Shadows/Highlights adjustment
You can also adjust the tonal range of images using the Levels
and Brightness and Contrast adjustments.

190
8 ___________________________________________________________________
SEE ALSO:

Exposure Applying adjustments

Curves adjustment

Correct highlight and shadow detail.

Before and after adjustment applied.

Settings
The following settings can be adjusted in the dialog:
• Exposure—controls the highlight/shadow levels of the image. Drag the
slider to the left to increase shadows, drag to the right to increase
highlights.

In general:
• Drag the slider to the left to correct overexposure.
• Drag the slider to the right to correct underexposure.

191
9 ___________________________________________________________________
SEE ALSO:

Gradient Map Gradient editing

Applying adjustments
Recolour adjustment
Black and White adjustment

The Gradient Map adjustment maps the equivalent greyscale range of an

image to a specified colour gradient. This provides an effective (and
creative) way of recolouring an image.

Before and after adjustment applied.

Settings
For dialog settings, see the Gradient editing topic.

To create a black and white image, ensure the gradient contains

only greyscale values.

192
10 • Saturation Shift—controls the intensity of the colours in the image. Drag
the slider to the left to decrease colour intensity, drag to the right to

HSL
increase it.
• Luminosity Shift—controls the overall brightness of the image. Drag the
slider to the left to decrease brightness, drag to the right to increase it.

Why two spectrums for Hue Shift?

The upper spectrum represents pixel colours in the original
image, using cyan as a mid-point. This spectrum is not a slider
and cannot be adjusted.
The upper spectrum is a reference for the colour shift of image
pixels when the lower slider is adjusted. Before adjustment, the
spectrums are identical.
If, for example, you drag the slider to the right the green section
of the lower spectrum will soon lie under the cyan mid-point. All
Fine-tune the colours in your image, or even completely change them, by cyan pixels in the image will now appear green. All other pixels in
modifying the hue, saturation and luminosity (lightness). the image will all shift to an equal degree, e.g. blue will become
cyan, and green will become orange.

To create a desaturated (black and white) image, position the

Saturation Shift slider to the far left.

___________________________________________________________________
SEE ALSO:
Applying adjustments
Recolour adjustment
Before and after adjustment applied.
Black and White adjustment
Settings
The following settings can be adjusted in the dialog:
• Channel—alter all colours at once (Master) or choose an individual
colour set (eg Yellows).
• HSV—when checked, uses the Hue Saturation Value (HSV) model instead
of Hue Saturation Lightness (HSL). The Saturation and Luminosity sliders
behave differently between the two models.
• Hue Shift—controls the colour tint of pixels in the image. Drag the lower
slider to shift the colours through the spectrum. (See note below.)

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SEE ALSO:

Invert Applying adjustments

Levels adjustment

Create a negative image by inverting all colour channels.

Before and after adjustment applied.

This adjustment has no customizable settings.

You can use Invert as part of the process of making edge masks
and to apply sharpening and other adjustments to selected
areas of an image.

For more control in creating a negative-style (inverted) image,

you can use a Levels adjustment.

194
12 • Specify a single colour channel to apply the adjustment to, including the
layer's alpha channel. Master (the default choice) applies the adjustment

Levels
to all channels. Select from the second pop-up menu.
• Black Level—determines the range of pixels in the image considered to
be pure black. Drag the slider to the right to include pixels in the range
(thereby increasing shadows), drag to the left to exclude pixels (thereby
reducing shadows).
• White Level—determines the range of pixels in the image considered to
be pure white. Drag the slider to the left to include pixels in the range
(thereby increasing highlights), drag to the right to exclude pixels (thereby
reducing highlights).
• Gamma—determines the distribution of mid-tone pixels in the image.
Drag the slider to the left to redistribute pixels towards the black point,
drag to the right to redistribute towards the white point.

To create a negative-style (inverted) image, position the Black

Adjust the tonal values and colour balance of an image by setting the black
Level slider further to the right than the White Level.
point, white point, and gamma. Adjusting the levels affects the pixel
distribution within an image.

Holding ⌥ whilst modifying the Black Level or White Level

provides a realtime clipping preview.

___________________________________________________________________
SEE ALSO:
Applying adjustments
Curves adjustment
Brightness and Contrast adjustment
Shadows/Highlights adjustment
Before and after adjustment applied.
Invert adjustment
Adjustments can be made in any colour mode, regardless of the
document's current colour mode.

Settings
The following settings can be adjusted in the dialog:
• Select a colour mode from the first pop-up menu.

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SEE ALSO:

Posterize Applying adjustments

Creates large, flat areas of colour or tone in your images.

Before and after adjustment applied.

Settings
The following settings can be adjusted in the dialog:
• Posterize Levels—controls the number of coloured areas produced and
the complexity of the resulting image. Drag the slider to the left to
decrease the number of coloured areas (thereby simplifying image
layout), drag to the right to increase coloured areas (thereby giving a
more complex image layout).

The number displayed in the dialog represents the level of

complexity rather than the number of resulting colours.

196
14
Creating black and white and sepia images:

Recolour • To create a desaturated (black and white) image, position the

Saturation slider to the far left.
• To create a sepia image, position the Hue slider anywhere
around the orange section of the spectrum and position the
Saturation slider anywhere left of the centre.

___________________________________________________________________
SEE ALSO:
Applying adjustments
Black and White adjustment
HSL adjustment

Create a monochrome image using the full spectrum of colours.

Before and after adjustment applied.

Settings
The following settings can be adjusted in the dialog:
• Hue—controls the colour tint applied to the image. Drag the slider to shift
the tint through the spectrum.
• Saturation—controls the intensity of the image's colour. Drag the slider
to the left to decrease colour intensity, drag to the right to increase it.

197
15 Settings
The following settings can be adjusted in the dialog:

Selective Colour • Colour—determines the colour to be adjusted. Select from the pop-up
menu.
• Relative—when selected (default), colour is added or subtracted in
proportion to the amount of that colour present in the source pixels,
giving a more natural effect. If this option is off, colours are added or
subtracted based on the absolute percentage specified, regardless of the
how much of that colour is present in the image.
• The sliders control the levels of the named colour in the selected Colour.
Drag the slider to the left to decrease the level of the named colour, drag
the slider to the right to increase it.
___________________________________________________________________
SEE ALSO:
Applying adjustments
The Selective Colour adjustment provides a way to subtly adjust and
enhance colours in your image on an individual channel basis. It makes a HSL adjustment
useful tool for colour balance corrections.

Before and after adjustment applied.

This adjustment produces subtle effects. Even at the extreme

ends of the adjustment, you shouldn't see many artefacts or
saturated pixels. If you intend to make extreme adjustments,
such as completely recolouring pixels, then the HSL adjustment
will be more suitable.

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SEE ALSO:

Shadows/Highlights Applying adjustments

Brightness and Contrast adjustment
Levels adjustment
Curves adjustment

Adjust the lightness of the shadows and highlights in your image.

Before and after adjustment applied.

Rather than applying a lighting adjustment to your entire image, making it
lighter or darker, this adjustment affects the image's shadow and highlight
areas and surrounding pixels.
Settings
The following settings can be adjusted in the dialog:
• Shadows—controls the lightness of image shadows. Drag the slider to
the left to darken shadow areas, drag to the right to lighten them.
• Highlights—controls the lightness of image highlights. Drag the slider to
the left to darken highlight areas, drag to the right to lighten them.

199
17 • Black point compensation—when selected (default), the design's black
point is adjusted to honour the current contrast within the current proof

Soft Proof
profile. If this option is off, the design's black point is not adjusted and
image contrast may not be honoured.
• Gamut check—when selected, RGB colours without a CMYK equivalent
will display as grey.
___________________________________________________________________
SEE ALSO:
Applying adjustments
Export Persona
Export
Print

Preview the effect of creating an output for a specific colour space or

device.

Before and after adjustment applied.

This adjustment allows you to preview different output options for your
design. However, it does not affect the final print or export of your design. It
is always non-printing and non-exporting. You will need to replicate the
options of the soft proof at the print or export stage.
Settings
The following settings can be adjusted in the dialog:
• Proof Profile—determines the colour profile used. Select from the menu
or use the up/down arrow keys to cycle through options.
• Rendering Intent—sets the visual purpose for applying the adjustment.
Select from the pop-up menu.

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SEE ALSO:

Threshold Applying adjustments

Black and White adjustment

Create a two-tone, black and white image from greyscale or colour images
based on a pixel intensity threshold.

Before and after adjustment applied.

Any pixels lighter than the threshold are converted to white; any pixels
darker than the threshold are converted to black.
Settings
The following settings can be adjusted in the dialog:
• Threshold—controls the transition point between pixels being converted
to black or white. Drag the slider to the left to convert more pixels to
white, drag the slider to the right to convert more pixels to black.

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19

Vibrance

Adjust the intensity of subtle colours in your images while minimising the
over-saturation (clipping) of more intense colours. Skin tones are also
preserved to retain a natural appearance.

Before and after adjustment applied.

Settings
The following settings can be adjusted in the dialog:
• Vibrance—controls the intensity of colours in the image. Drag the slider
to the left to reduce colour intensity, drag the slider to the right to
increase colour intensity.
___________________________________________________________________
SEE ALSO:
Applying adjustments

202
20 ๏ Drag the cursor across the image to sample all pixels under the
cursor. The averaged colour from those pixels is used.

White Balance ๏ Press the ⌥ key and drag to sample under a rectangular marquee,
again using the averaged colour of those pixels.
___________________________________________________________________
SEE ALSO:
Applying adjustments

Remove unwanted colour casts or to give your design a warmer or cooler

feel.

Before and after adjustment applied.

Settings
The following settings can be adjusted in the dialog:
White Balance—controls the 'temperature' of the design. Drag the slider to
the left to cool the design (by adding a blue tint), drag the slider to the right
to warm the design (by adding an amber tint).
Tint—tints the design either towards magenta or green.
Picker—allows you to sample the page to set the white point on which the
white balance will be calculated. You can sample using one of the following
methods:
๏ Click to sample a pixel under the cursor.

203
18

Workspace
1

Interface Visual Reference

PERSONA TOOLBAR

Pixel
TOOLBAR

TOOLS PANELS

Persona
PANEL

STATUS BAR

Draw Export
Persona Persona

205
2 Document View
The document view, shown by default, shows the page that you are

At a Glance working on.

Menu bar
The Menu bar organizes commands in menus and shows the commands
appropriate to the Persona that you are currently working in. Shortcut
menus provide a short cut to commands that are also found in the standard
menus.
Persona toolbar
Hosts the current Personas available in Affinity Designer. The active
Persona's icon appears in colour.
Toolbar
The Toolbar hosts some of the most commonly used commands and
functions for the active Persona. Like menus, it's also fully customizable.
The workspace is designed to make drawing easy, with all of the tools you Context toolbar
need at your finger tips. If you've worked with graphic design applications The Context toolbar contains the commands and options that are specific
before, you'll find that many of the commands and options will be familiar to the active tool.
to you.
Tools panel
Within Affinity Designer, each active Persona has its own workspace layout,
The Tools panel contains the tools that you will need when working on your
tools and panels. These are visible when the Persona is selected. However,
projects. The tools contained inside the panel change according to the
the fundamental concept of the workspace is common to all Personas.
Persona that you are currently working in. The Tools panel can either be
docked or free-floating (Separated mode only) depending on your
preference. It can also be customised.
Studio panels
These panels contain settings that support your document design and
active tool. Some panels may change to reflect the Persona that you are
currently working in. Panels can either be docked or free-floating
depending on your preference. Their layout can be customised.
Status bar
The status bar at the bottom of the active document view provides useful
information such as hints and shortcuts for the current tool or operation.

The default document view and workspace (Draw Persona active).

206
___________________________________________________________________
SEE ALSO:
About workspace modes
Toolbar
Context toolbar
Customizing the Toolbar

207
3 Operations shortcuts

Keyboard shortcuts Action

Constrain the movement of an object
Key

⇧-drag
horizontally, vertically or diagonally
Select multiple objects ⇧-click
Select overlapped object ⌥-click
Reset Selection Box .
Change opacity for selected layer (or Brush tools numeric keys (4=40%,
in Pixel Persona) 43=43%, etc.)
Erase with Pixel Tool (Pixel Persona only) ⌘

Switch between Stroke/Fill (or Colour 1/Colour 2)

X
colour selectors (Colour and Swatches panels)
Swap Stroke/Fill (or Colour 1/Colour 2) colour
⇧X
You can quickly access common tools and commands using your selectors
keyboard. Many of the shortcuts are the same as those that you use in Set No fill on Stroke/Fill (or Colour 1/Colour 2) / (International and selected
other apps (such as ⌘C to copy). You'll find many of the shortcuts listed colour selectors keyboards only)
next to menu items (and in the list below).
Modify attribute listed on a panel or dialog Drag attribute text label
For complete flexibility, you can customize keyboard shortcuts to your own
Toggle Snapping ;
way of working.
Action (Curve drawing) Key
Edit line or brush strokes as you draw/paint ⌘

Creates cusp node (sharp corner) ⌥-drag control handle

Snap a line's control handle to 45° intervals ⇧-drag control handle

Action (Transforming) Key

Rotate in 15° intervals ⇧-drag
Rotate around opposite corner ⌃(ctrl)-drag
Cancel a sizing, moving, or creating operation esc
Resize vector objects, maintaining aspect ratio ⇧-drag from a corner handle
Resize an object from its centre ⌘-drag from a corner handle
Mirror shearing ⌘-drag
Nudging arrow keys
Nudging (10x measurement units) ⇧-arrow keys

208
Action (Painting) Key Tool shortcuts

Increase/decrease brush width (Pixel Persona

][ Action (General and Draw Persona) Key
only)
Decrease/increase brush width with on-screen Gradient tool G
⌃(crtl)⌥-drag (left/right)
readout Transparency tool Y
Decrease/increase brush hardness with on- Move tool V
⌃(ctrl)⌥-drag (up/down)
screen readout (Pixel Persona only)
Node tool A

File shortcuts View tool H

Corner tool C
Action Key Pen tool P
New Document ⌘N Pencil tool N
New From Clipboard ⌥⇧⌘N Zoom tool Z
Open Document ⌘O Vector Brush tool B
Close Document/Close App (when no Rectangle, Ellipse, and Rounded Rectangle tools
⌘W M
documents open) cycle
Switch Document ⌃(ctrl)⇥ Artistic Text tool and Frame text tools cycle T

Save ⌘S Action (Pixel Persona only) Key

Save As ⇧⌘S Pixel Brush B
Export ⌥⇧⌘S Erase Brush E
Document Setup ⇧⌘P Selection Brush W
Print ⌘P Marquee Selection tools cycle M
Freehand Selection tool L
Dodge and Burn tools cycle O
Flood Fill tool G

Action (Export Persona only) Key

Slice Tool S
Layer Select tool L

209
Edit shortcuts Text shortcuts

Action Key Action Key

Undo ⌘Z Bigger text ⌘>
Redo ⇧⌘Z Smaller text ⌘<
Paste Style ⇧⌘V Precise bigger text ⌘>
Paste without Format ⌥⇧⌘V Precise smaller text ⌘<
Paste Inside ⌥⌘V Tighten ⌥←
Loosen ⌥→
Object control shortcuts
Tighten More ⌥⌘←

Action Key Loosen More ⌥⌘→

Bold ⌘B
Group ⌘G
Italic ⌘I
Ungroup ⇧⌘G
Underline ⌘U
Duplicate ⌘J
Show Character ⌘T
Move to Front ⇧⌘]
Show Typography ⇧⌘T
Move Forward One ⌘]
Superscript ⌃(ctrl)⌘+
Move to Back ⇧⌘[
Subscript ⌃(ctrl)⌘-
Move Back One ⌘[
Align Left ⌘{
Lock ⌘L
Align Centre ⌘|
Unlock ⇧⌘L
Align Right ⌘}
New Pixel Layer ⇧⌘V
Justify Left ⌥⌘|
Convert to Curves ⌘↵
Increase Paragraph Leading ⌥↓
Decrease Paragraph Leading ⌥↑
Precise Increase Paragraph Leading ⌥⌘↓
Precise Decrease Paragraph Leading ⌥⌘↑
Special Characters ⌃(ctrl)⌘Spacebar
Spelling Options ⇧⌘;
Line Break ⌃(ctrl)↵
Non Breaking Space ⌥Spacebar
En Dash ⌥-
Em Dash ⌥⇧-

210
View shortcuts Section shortcuts

Action Key Action Key

Zoom In ⌘+ Select All ⌘A
Zoom Out ⌘- Deselect ⌘D
⌘0 (or double-click View Tool Invert Pixel Selection ⇧⌘I
Zoom to Fit
icon) Select Next ⌥⌘]
Zoom to Selection ⌘0 Select Previous ⌥⌘[
⌘1 (or double-click Zoom ⌃(ctrl) (Marquee and Free
(Zoom to) 100% Add to selection
Tool icon) Hand Selection tools)
(Zoom to) 200% ⌘2 ⌥ (Marquee and Free Hand
Remove from selection
(Zoom to) 400% ⌘3 Selection tools)
(Zoom to) 800% ⌘4 Move selection in 1-pixel increments arrow key
(Zoom to) Print Size ⌘8 Move selection in 10-pixel increments ⇧arrow key
(Zoom to) Pixel Size ⌘9 Selection from layer ⌘-click layer thumbnail
Hot key zoom in Spacebar⌘
Workspace shortcuts
Hot key zoom out Spacebar⌥
View tool H Action Key
Hot key panning Spacebar
Show/Hide Studio ⇧⌘H
Scroll vertically up/down Mouse scroll wheel
Show/Hide Toolbar ⌥⌘T
Scroll horizontally left/right ⇧key+Mouse scroll wheel
Toggle UI ⇥
Toggle Full Screen ⌃(ctrl)⌘F
Hide Workspace ⌘H
Show Rulers ⌘R
Show Guides ⌘; Misc shortcuts
Show Grid ⌘'
Action Key
Grid Plane cycle
Outline view mode ⌘Y Preferences ⌘,
Pixels view mode ⌥⌘Y Hide Affinity Designer ⌘H
Pixels (Retina) view mode ⌥⇧⌘Y Hide Others (applications) ⌥⌘H
Toggle Split View , Draw Persona ⌥⌘D
Switch between views ⌘` Pixel Persona ⌥⌘P
Export Persona ⌥⌘E
Media Browser ⌘⇧M
Curves (Adjustment) ⌘M
Black and White (Adjustment) ⌥⇧⌘B
211
4 Separated mode
Separated mode has no containing frame. The panels (or panel groups) and

About workspace modes toolbars are floating, and each open document has its own view (although
you can still create groups). This can be especially useful if you have more
than one screen as it allows the biggest possible work area. It also means
that you can work on a single document and have duplicate views open at
the same time!

Not everyone works in the same way. Affinity Designer accommodates this
by having two different modes that you can choose from: Normal and
Separated mode. Each mode's workspace layout can be customised to suit
your design needs. This is especially useful as different Personas use
different panels.
Normal mode Your preferred mode and customised layout will be remembered
When Affinity Designer first opens, it will run in Normal (single window) between sessions.
mode. This means that all panels and view will be neatly docked together
so that all controls are at your finger tips and easy to find. To change to Separated mode:
Normal mode is customizable. You can rearrange Studio panels and panel • From the Window menu, select Separated Mode. This menu item lets
groups, or undock them to have floating panels. you toggle between the Normal and Separated mode.
Full-screen view
Regardless of which layout mode you choose to work in, you also have the
option of full-screen view. In this view, Designer is effectively maximized to
its own desktop, giving you every available pixel to work with. In Separated
mode, this means that you can be working on several documents at a time,
each having their own full-screen desktop!

The Menu bar is not visible in full-screen view. However, it

remains accessible by moving the pointer to the upper edge of
the screen.

212
 When in Full-screen view, you cannot switch between Normal and
Separated mode. You must choose which mode you wish to work
in before entering Full-screen view.

___________________________________________________________________
SEE ALSO:
Customizing the workspace

213
5 Order:

Toolbar
• Move to Back—repositions the selected object(s) at the bottom of
the layer. Alternatively, repositions the selected layer(s) at the bottom of
the Layers panel.

• Back One—moves the selected object(s) down one position in the

layer. Alternatively, moves the selected layer(s) down one position in the
Layers panel.

• Forward One—moves the selected object(s) up one position in the

layer. Alternatively, moves the selected layer(s) up one position in the
Layers panel.

• Move to Front—repositions the selected object(s) at the top of the

layer. Alternatively, repositions the selected layer(s) at the top of the
Layers panel.
The Toolbar hosts commonly used tools and functions to keep them at your
fingertips. Options are placed in logical groups to improve ease of use. The above options are also available from the Layer menu's
Arrange sub-menu.
Settings
The following options are available from the Toolbar.
Transforms:
Defaults:
• Flip Horizontal—flips the selected object(s) left to right.
• Synchronize defaults from selection—the default settings are
updated to those of the currently selected object. • Flip Vertical—flips the selected object(s) top to bottom.

• Revert defaults—synchronized defaults are reverted to saved • Rotate Clockwise—rotates the selected object(s) to the right by one
defaults. If an object is currently selected, its attributes revert to the 90° increment.
default settings.
• Rotate Anti-clockwise—rotates the selected object(s) to the left by
Viewing mode:
one 90° increment.
• Pixel viewing mode—activates Pixel mode to display vector designs
as individual pixels. The above options are also available from the Layer menu's
Transform sub-menu.
• Retina pixel viewing mode—activates Pixel (Retina) mode to display
vector designs as individual pixels.
Align:
• Outline drawing mode—activates Outline mode to display design as
paths only. • Arrange—displays a pop-up dialog allowing you to align and
distribute selected object(s).

214
Snapping:
• Insert inside the selection—when selected, new objects are added
• Force Pixel Alignment—when selected (default), vector content will inside the current selection.
snap to full pixels when created, moved or modified. If this option is off,
vector content can occupy partial pixels. If all target options are off (default), new objects are added above
the currently selected object(s).
• Snapping—when selected, selected objects will obey the snapping
rules defined by the current snapping options. If this option is off (default),
___________________________________________________________________
snapping is disabled.
SEE ALSO:
• Snapping options—customise settings from the pop-up menu.
Customizing the Toolbar
Operations:
Object defaults
• Add—creates a new object from the sum of the selected objects. Viewing
• Subtract—removes sections from the lowest object based on the Ordering objects
overlap with objects higher up in the selection. All other selected objects Transforming objects
are discarded. Snapping
• Intersect—creates a new object from the overlapping sections of
selected objects.

• Divide—splits object areas into separate objects; the object from the
intersecting area retains the colour of the upper object.

• Combine—merges selected objects into a composite object with

transparent area where filled regions overlap.

New objects adopt the properties of the lowest object in the

selection.

The above options are also available from the Layer menu's
Geometry sub-menu.

Insert Target:

• Insert behind the selection—when selected, new objects are added

below the currently selected object(s).

• Insert at the top of the layer—when selected, new objects are

added at the top of the layer.

215
6

Persona Toolbar

The Persona toolbar hosts the current Personas available in Affinity

Designer.
Settings
The following options are available from the Toolbar:

• Draw Persona—switch to the specialized vector design and art

environment.

• Pixel Persona—switch to the specialized pixel adjustment

environment.

• Export Persona—switch to the specialized export environment.

The active Persona can also be switched by accessing the top

Affinity Designer menu.

___________________________________________________________________
SEE ALSO:
Toolbar
View

216
7

Context toolbar

The context toolbar always updates to show the options available for the
currently selected tool, making it quick and easy to tailor the settings as
you design.
In Normal mode, the context toolbar appears below the Toolbar and
immediately above the document view. In Separated mode, the context
toolbar floats and can be placed anywhere on your screen.
Each time you select a new tool, the context toolbar shows the commands
and options relevant to the selected tool.
In some cases, the commands shown by the context toolbar change
depending on selection type and the active Persona. For example, the
Node Tool context toolbar will show different options for a shape than it will
for a standard vector object made from curves.

The toolbar is always visible, even in full-screen view. It cannot be

turned off as the toolbar is essential for most tools.

___________________________________________________________________
SEE ALSO:
About workspace modes

217
8

Design Tools

Available design tools:

• Move tool
• Node tool
• Corner tool
• Pen tool
• Pencil tool
• Vector Brush tool
• Gradient tool
• Transparency tool
• Place Image tool
• Vector Crop tool
• Pixel
• Erase Brush tool
• Flood Fill
• View tool
• Zoom tool

218
 • Reset Selection Box—after reshaping, rotating, or shearing the shape,
Move Tool this option resets the selection box to vertical.
The Move Tool allows you to select objects on your page. Once selected, • Convert to Curves—converts the selected object into a series of
the Move Tool allows you to move, rotate, and resize your selected object. connected lines and nodes.
• Ungroup—splits selected group into individual objects for focussed
Tool shortcut key: V
manipulation.*
• Lock Children—when checked, any child object(s) of a selected
ungrouped object cannot be altered when the selected object is
The Move Tool and Artboard Tool are grouped together on the
transformed. Great for maintaining the size, position and aspect ratio of a
Tools panel. Click the triangle in the bottom-right of the displayed clipped picture when resizing its parent object.
icon to access the alternative tool.
*Nested groups can be created when an existing group is part of a
Settings selection being grouped. If these nested groups are ungrouped,
The following settings are available on the context toolbar when no objects the previously grouped objects remain within their original group.
are selected: To split a nested group into individual objects (removing all
previous groups), from the Layer menu, select Ungroup All.
• Document Setup—displays a pop-up panel for adjusting document
settings.
___________________________________________________________________
• Preferences—provides access to the Preferences dialog for advanced
application settings. SEE ALSO:
• The following settings are available on the context toolbar when multiple Selecting objects
objects are selected:
• Align Horizontal—align objects according to Left or Right edges, or by
Centre.
• Align Vertical—align objects according to Top or Bottom edges, or by
Middle
• Group—converts selected objects into a group for easier selection and
modification.*
Context toolbar options update depending on the object selected. Settings
may include the following:
• Fill—click the colour swatch to display a pop-up panel to update fill
colour.
• Stroke—click the colour swatch to display a pop-up panel to update
stroke colour.
• Line style and brush type—click to display a pop-up panel to set the
Width and line style or brush type.
• Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.

219
 Node Tool
The Node Tool is used to edit existing lines and shapes.
Settings
The following settings can be adjusted from the context toolbar:
• Convert—converts the selected node into a Sharp, Smooth, or Smart
node.
• Action—Manipulates the curve(s):
๏ Break Curve opens the shape at the selected node.
๏ Close Curve joins the start and end nodes to create an enclosed
shape.
๏ Smooth Curve modifies a line or shape, by adding and removing
nodes, to make it more aesthetic.
๏ Join Curves connects two separate curves together to make one
curve. Curves need to be both selected with the ⇧ key using either
the Node Tool or ⌘ key as you draw.
๏ Reverse Curve lets you draw from the opposite end of the curve—
The start node becomes active, ready for further drawing.
• Snap—Controls node snapping:
๏ Snap to selected curves—will snap any node you drag to any other
node on any selected curve.
๏ Snap off-curve nodes—will align a dragged control handle to an
adjacent node.
๏ Snap all when dragging—will snap multiple selected nodes, when
dragging, to a "target" node on selected curves.
These options are independent of the global snapping options.
___________________________________________________________________
SEE ALSO:
Edit vector lines and shapes
Draw and edit shapes

220
 Corner Tool
The Corner Tool rounds sharp corners on geometric shapes or on closed
shapes, drawn with the Pen tool.
Rounded corners are created by dragging from a sharp corner node
inwards or outwards to form a ring around which the rounded corner will be
shaped. The more you drag, increasing the radius, the more pronounced
the corner.

Tool shortcut key: C

Settings
• The following settings can be adjusted from the context toolbar:
• Fill—click the colour swatch to display a pop-up panel to update fill
colour.
• Stroke—click the colour swatch to display a pop-up panel to update
stroke colour.
• Width—the line thickness in pixels. Type directly in the text box or drag
the pop-up slider to set the value.
• Corner Type—offers a choice of corner types that you can round a
corner with. Choose from None, Rounded (fillet), Straight (chamfer),
Concave (scallop), or Cutout.
• Corner Radius—sets the distance from the sharp node to the rounded
corner.
• Bake Corners—converts the rounded corner back to curves. The
created corner will no longer be editable if this option is selected.
___________________________________________________________________
SEE ALSO:
Cornering shapes
Draw and edit shapes
Edit vector lines and shapes
Converting objects to curves

221
 Settings
Pen Tool
The following settings can be adjusted from the context toolbar:
The Pen Tool is used to precisely draw lines and shapes.
• Mode—switches between Pen, Smart, Polygon and Line mode (see
above).
• Convert—converts the selected node into a Sharp, Smooth, or Smart
node.
• Action—Manipulates the curve(s):
๏ Break Curve opens the shape at the selected node.
๏ Close Curve joins the start and end nodes to create an enclosed
shape.
๏ Smooth Curve modifies a line or shape, by adding and removing
Tool shortcut key: P nodes, to make it more aesthetic.
๏ Join Curves connects two separate curves together to make one
It has four modes, Pen mode, Smart mode, Polygon mode and Line curve. Curves need to be both selected with the ⇧ key using either
mode, which are available to select in the context toolbar. Each mode the Node Tool or ⌘ key as you draw.
changes how the line is drawn. ๏ Reverse Curve lets you draw from the opposite end of the curve—
The start node becomes active, ready for further drawing.
Pen mode
• Snap—controls node and control handle snapping:
The most powerful and precise mode used to create bézier lines and
shapes with smooth or sharp corners and nodes. ๏ Snap to selected curves—will snap any node you drag to any other
node on any selected curve.
Smart mode ๏ Snap off-curve nodes—will align a dragged control handle to an
Easily create flowing lines and shapes by clicking and placing nodes. adjacent node.
๏ Snap all when dragging—will snap multiple selected nodes, when
Polygon mode
dragging, to a "target" node on selected curves.
Used to draw straight lines with sharp nodes and shapes with straight
• Use Fill—When checked, the concave area of the line is filled with the
edges.
currently set fill colour (from Colour panel) as you draw.
Line mode ___________________________________________________________________
Used to draw single-segment straight lines. SEE ALSO:
Draw and edit shapes
Edit vector lines and shapes

Pen Mode, Smart Mode, Polygon Mode, Line Mode

222
 Pencil Tool
With the Pencil Tool you can create a hand-drawn look by drawing
freehand, variable width, lines as if you were drawing on paper.
As you draw, nodes are created automatically and can be edited with the
Node Tool.
Its variable width lines can be controlled either by velocity—most useful
when drawing with a mouse—or by pressure—for use when drawing with a
pressure sensitive tablet.
Adjusting the tool's appearance
Line styles are applied using the Stroke panel.

Brush strokes can be applied to lines drawn by the Pencil Tool.

Simply select the drawn line and then select a design from the
Brushes panel.

Settings
The following brush settings can be adjusted from the context toolbar:
• Stroke—the colour of your brush. Click the colour swatch to select from
solid colours, a picked colour, colour gradients or from your preset or
custom colour swatches.
• Width—the line thickness in pixels. Type directly in the text box or drag
the pop-up slider to set the value.
• Controller—controls whether the brush is sensitive to real pressure
('Pressure') or speed of mouse movement ('Velocity' or 'Inverse Velocity').
Select 'None' to use neither.
• Use Fill—When checked, the concave area of the line is filled with the
currently set fill colour (from Colour panel) as you draw.
___________________________________________________________________
SEE ALSO:
Draw and edit shapes
Edit vector lines and shapes
Node Tool
Brush tools
Pen Tool
Stroke panel

223
 • Colour—the colour of your brush stroke. Click the colour swatch to
Vector Brush Tool select from solid colours, a picked colour, colour gradients or from your
The Vector Brush Tool is available in Draw Persona, while in Pixel Persona preset or custom colour swatches.
you use the Paint Brush. The tools function differently depending on the • Width—the brush (stroke) size in pixels. Type directly in the text box or
current working mode.
drag the pop-up slider to set the value.
Its variable width lines can be controlled either by velocity—most useful
• Opacity—how see through the brush stroke is. Type directly in the text
when drawing with a mouse—or by pressure—for use when drawing with a
box or drag the pop-up slider to set the value.
pressure-sensitive tablet.
• More—click to display the Brushes dialog to access advanced brush
Draw Persona
settings.
With the Vector Brush Tool you can create a hand-painted look by painting
• Blend Mode—changes how the stroke's colour interacts with existing
freehand, variable width, lines and shapes as if you were painting on paper.
colours on a layer. Select from the pop-up menu.
The tool paints by scaling or repeating an image along a path (line).
• Controller—controls how the brush stroke responds to various inputs:
As you paint, nodes are created automatically and can be edited with as
๏ Brush Defaults—the brush variance and controller settings stored
you paint with the ⌘ key or at any time with the Node Tool.
with the currently selected brush are used. Click More on toolbar to
The tool uses many of the standard line settings to control the appearance access.
of the applied stroke. Brush types are applied using the Brushes panel.
๏ Automatic—the input device (tablet, mouse) is detected and the
Pixel Persona brush will work automatically with that device, using the brush
The Paint Brush lays down pixels on the page, creating strokes with variance settings but ignoring the brush controller setting. You can
antialiased edges. This creates a natural transition between the stroke and operate devices interchangeably.
the surrounding pixels. ๏ Pressure—brush stroke is only responsive to pressure from a tablet,
Other brush-based tools in Pixel Persona use similar settings to control the using the brush variance settings but ignoring the brush controller
appearance of the applied pixels, although there may be slight variations. setting.
Most brushes use a soft, round brush as their default. Alternative styles can ๏ Velocity—brush stroke is only responsive to speed of mouse
be selected from the Brushes panel. movement.
For the pixel-based Paint Brush, the brush settings on the context toolbar
With any Brush tool selected, you can quickly decrease or include:
increase the size (width) of your brush by holding ⌃(ctrl) and ⌥ • Flow—how fast the pixel brush effect is applied (1% is very slow, 100%
then dragging left or right, respectively. If the Brush tool has a
is immediate). Type directly in the text box or drag the pop-up slider to
hardness attribute, this can be adjusted in a similar way by
set the value.
holding ⌃(ctrl) and ⌥ then dragging up or down.
• Hardness—how hard the edges of the pixel brush stroke are. The brush
appears softer as the percentage decreases. Type directly in the text box
or drag the pop-up slider to set the value.
With any Brush tool selected in Pixel Persona, you can quickly
change the opacity of your brush using numerical keys. For more • Force pressure to control size—Click to control brush stroke size with
information, see the Transparency topic. pressure if using a pen tablet. This overrides brush defaults.
• Wet Edges—builds paint up along the edges of your pixel brush stroke,
Settings producing a watercolour effect.
The following Vector Brush settings can be adjusted from the context • Protect Alpha—when checked, you are not able to paint on the current
toolbar: layer's transparent regions.

224
___________________________________________________________________
SEE ALSO:
Painting brush strokes
Painting pixel brush strokes
Pencil Tool
Pen Tool
Node Tool
Brushes Panel
Stroke Panel
Pressure sensitivity

225
 Gradient Tool
The Gradient Tool allows you to adjust the fill and line colours applied to
vector and text objects.
Although you can use the Gradient Tool to apply solid colours to an object's
fill or stroke, its true power lies in its ability to apply and modify gradients.

You can also apply a gradient to pixel layers, adjustment layers

and layer masks using the Gradient Tool.

Settings
The following settings can be adjusted from the context toolbar:
• Context—allows the adjustment of either the Fill or Stroke colour of the
selected object.
• Type—converts the object's colour type. For example, from None to
Linear.
• Select, pick, and modify the object's solid or gradient colour—click the
colour swatch to display a pop-up panel. See the Colour panel, Swatches
panel, and Gradient editing topics for more information on the settings
available.

• Rotate gradient—rotates the applied gradient by 90°.

• Reverse gradient—the end stops swap places. (All intermediate

stops are also repositioned accordingly.)
___________________________________________________________________
SEE ALSO:
Transparency Tool
Selecting colours

226
 Transparency Tool
The Transparency Tool allows you to apply and edit transparency
gradients to vector and text objects.
Gradient transparencies are represented by a path connected by greyscale
stops. The greyscale value of the stop represents the opacity/transparency
value.
• Black represents fully opaque (100% opacity/0% transparency).
• White represents fully transparent (0% opacity/100% transparency).

The Transparency Tool affects the gradient transparency of an

object only—both stroke and fill are affected equally. It has no
options for colour, as distinct from the Gradient Tool.

Solid transparency can be applied from the Colour panel or

Swatches panel using the Opacity slider. To swap from gradient
to solid transparency, Select 'None' from the context toolbar's
Type pop-up menu, then apply Opacity from either tab to the
selected object.

Settings
The following settings can be adjusted from the context toolbar:
• Type—converts the object's transparency type to None, Linear, Elliptical,
Radial, or Conical.
• Select, pick, and modify the object's gradient transparency—click the
swatch to display a pop-up panel. See the Gradient editing topic for more
information on the settings available.
• Rotate gradient—rotates the applied gradient by 90°.
• Reverse gradient—the end stops swap places. (All intermediate stops
are also repositioned accordingly.)
___________________________________________________________________
SEE ALSO:
Transparency
Gradient Tool

227
 Place Image Tool
The Place Image Tool adds an image to your page at its default or custom
dimensions.
To place an image:
1.Click the Place Image Tool.
2.In the pop-up dialog, navigate to and select a file, and click Open.
3.Do one of the following:
๏ Click to place the image at its default, displayed size.
๏ Drag on the page to set the size and position of the image.
___________________________________________________________________
SEE ALSO:
Place images
Media Browser

228
 Vector Crop Tool
The Vector Crop Tool allows you to remove portions of a selected object
(or grouped objects) non-destructively and to specific aspect ratios. Images
can also be cropped.
To apply a crop:
With the Vector Crop Tool selected, do any of the following:
• Drag a corner handle to apply an unconstrained crop from the selected
corner. Cropping an image from a corner will maintain the image's aspect
ratio.
• Drag from an edge handle to apply a vertical or horizontal crop from the
chosen edge.
To reposition objects within a crop area:
• With the Vector Crop Tool selected, drag within the crop area.

Modifier keys
When using the Vector Crop Tool, the following modifier keys can
be used while applying a crop:
• The ⇧ key constrains the object's aspect ratio during cropping.
You can use this modifier when cropping an image from an edge
handle.
• The ⌃(ctrl) key allows the crop area to be rotated about the
opposite corner to the selected corner.
• The ⌥ key temporarily disables snapping.
• The ⌘ key applies the crop from the centre.
These modifiers can be used in combination.

___________________________________________________________________
SEE ALSO:
Rotating and shearing objects

229
 Pixel
The Pixel tool draws pixel-aligned, hard-edged lines. This is in contrast to
the Paint Brush which may have a slight pixel variance due to its
antialiasing.
Settings
The following settings can be adjusted from the context toolbar:
• Width—the line thickness in pixels. Type directly in the text box or drag
the pop-up slider to set the value.
• Opacity—how see through the brush is. Type directly in the text box or
drag the pop-up slider to set the value.
• Flow—how fast the brush effect is applied (1% is very slow, 100% is
immediate). Type directly in the text box or drag the pop-up slider to set
the value.
• Hardness—how hard the edges of the brush are. The brush appears
softer as the percentage decreases. Type directly in the text box or drag
the pop-up slider to set the value.
• More—click to display the Brushes dialog to access advanced brush
settings.
• Blend mode—changes how the applied pixels interact with existing
pixels on a layer. Select from the pop-up menu.
• Protect Alpha—when checked, you are not able to paint on the current
layer's transparent regions.

Modifier keys
• As you paint pixel strokes, the following modifier key(s) can be
used:
• When pressed, the ⌘ key erases pixel strokes.

___________________________________________________________________
SEE ALSO:
Brush tools
Painting pixel brush strokes

230
 ___________________________________________________________________
Erase Brush Tool
SEE ALSO:
You can erase from any area of your image, including any vector objects,
using the Erase Brush Tool. Erased pixels become transparent. Brush tools

Settings Painting pixel brush strokes

The following settings can be adjusted from the context toolbar: Assistant Manager
Layer masking
• Width—the brush (stroke) size in pixels. Type directly in the text box or
drag the pop-up slider to set the value.
• Opacity—how see through the brush is. 100% opacity erases pixels
completely on the first pass. A lower opacity only partially erases the
pixels.
• Flow—how fast the brush effect is applied (1% is very slow, 100% is
immediate). Type directly in the text box or drag the pop-up slider to set
the value.
• Hardness—how hard the edges of the brush are. The brush appears
softer as the percentage decreases. Type directly in the text box or drag
the pop-up slider to set the value.
• More—click to display the Brushes dialog to access advanced brush
settings.
• Force pressure to control size—Click to control brush size with
pressure if using a pen tablet. This overrides brush defaults.

To use the Erase Brush tool:

1.Use the Layers panel to select the layer that you want to erase from.
2.Click the Erase Brush tool.
3.The tool uses a soft-round brush by default. To use a different brush
style, choose one from the Brush panel.
4.On the context toolbar, change the brush values as desired.
5.Drag within the image to erase pixels beneath the brush cursor.

You can also use the Erase Brush tool to erase from vector
objects. The Assistant Manager will add a mask to the object
which allows the object to be erased while retaining full vector
editing capabilities. (If this isn't the case, the options may need to
be enabled in the Assistant Manager.) If you erase too much of the
vector object, you can add the details back again by editing the
layer mask.

231
 Flood Fill
The Flood Fill tool allows you to fill in areas of your page, selection, or
object with a single click.
The Flood Fill tool works by replacing the colour of pixels on the current
layer with the Fill colour set on the Colour panel. The pixels affected are
determined by the following:
• The colour of the pixel under the tool when you click on your page.
• Whether the pixels are within the same selection area.
• The pixels are directly connected to the clicked pixel or any others that
are affected.
• The tool's Tolerance settings (see below).
Settings
The following settings can be adjusted from the context toolbar:
• Tolerance—sets the range of pixels affected (filled) when a pixel is
clicked. For lower tolerance settings, pixels must be very close in value to
the clicked pixel. For higher tolerance settings, pixel colour can vary
widely from the clicked pixel.
___________________________________________________________________
SEE ALSO:
Gradient Tool

232
 View Tool
The View Tool is used to move the visible portion of your document in the
Document view.
The context toolbar for the View Tool also contains the tools to change the
zoom level of your document.
If you double-click on the View Tool's icon on the Tools panel, the zoom will
be set to 'Fit'.

Tool shortcut key: H

Hot key panning: Spacebar

You can never pan so far that your page disappears out of view,
regardless of current zoom level.

Settings
Zoom settings are changed on the context toolbar.
• Set a zoom level. Select from the pop-up menu.
• Drag the slider to adjust the zoom level.
• Set a unit of measurement. Select from the pop-up menu.
___________________________________________________________________
SEE ALSO:
Pan/Scroll the Document view
Zoom Tool

233
 Zoom Tool
The Zoom Tool is used to change the zoom level of your page in the
Document view.
If you double-click on the Zoom Tool's icon on the Tools panel, the zoom
will be set to 100%.

Tool shortcut key: Z

If you have a track pad, you can use 'pinch to zoom' to zoom in
and out at any time, regardless of tool selection.

Settings
The following settings can be adjusted from the context toolbar:
• Set a zoom level. Select from the pop-up menu.
• Drag the slider to adjust the zoom level.
• Set a unit of measurement. Select from the pop-up menu.
___________________________________________________________________
SEE ALSO:
Zooming
View Tool
Viewing

234
9 • Tear
• Heart

Shape Tools

Available shape tools:

• Rectangle
• Ellipse
• Rounded Rectangle
• Triangle
• Diamond
• Trapezoid
• Polygon
• Star
• Double Star
• Square Star
• Arrow
• Donut
• Pie
• Segment
• Crescent
• Cog
• Cloud
• Callout Rounded Rectangle
• Callout Ellipse

235
 • Show Rotation Centre—displays a movable rotation centre about which
Rectangle Tool the shape can be rotated.
Rectangles are commonly used when drawing and are arguably one of the • Reset Selection Box—after reshaping, rotating, or shearing the shape,
most used shapes in artwork and design. The Rectangle Tool makes it this option resets the selection box to vertical.
extremely quick and easy to draw rectangles and squares.
• Convert to Curves—converts the shape into line segments and nodes
for unlimited editing as curves.
___________________________________________________________________
SEE ALSO:
About geometric shapes
Rounded Rectangle Tool
Default shape before customization. Draw and edit shapes
Customization Callout: Rounded Rectangle Tool
The context toolbar's Single radius option can be used to allow one of
several corner types to be applied selectively to any corner. Once applied,
the displayed red handle can be dragged to control the corner radius.

Two possible outcomes when the options are customized—selective rounded and
mixed corner shapes.
Settings
The following settings can be adjusted from the context toolbar:
• Single radius—when selected (default), allows you to modify all four
corners simultaneously by setting one radius. If this option is off, you can
set each corner radius individually and change corner type.
• Absolute sizes—by default, the corner radius is specified as a
percentage of the object and scales as the object is resized. When
selected, this option allows you to specify the corner radius in units. If the
object is resized, the corner radius remains the same instead of scaling
with the object.
• Corner—sets the style and radius of the rectangle's corners. You can
choose a Rounded (fillet), Straight (chamfer), Concave (scallop) or Cutout
option.

236
 Segment
Ellipse Tool
Callout: Ellipse
An ellipse is a useful object and one that is virtually impossible to create
freehand. The Ellipse Tool takes the hassle out of creating circles and
ellipses.

Settings
The following settings can be adjusted from the context toolbar:
• Fill/Stroke—options to set the shape's fill and line colour, as well as line
weight.
• Convert to Donut—Swaps the ellipse for a donut shape.
• Convert to Pie—Swaps the ellipse for a pie shape.
• Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.
• Reset Selection Box—after reshaping, rotating, or shearing the shape,
this option resets the selection box to vertical.
• Convert to Curves—converts the shape into line segments and nodes
for unlimited editing as curves.

Tool shortcut key: M. This also cycles through to select the

Rectangle and Rounded Rectangle tools.

___________________________________________________________________
SEE ALSO:
About geometric shapes
Draw and edit shapes
Crescent
Donut
Pie

237
 • Absolute sizes—by default, the corner radius is specified as a
Rounded Rectangle Tool percentage of the object and scales as the object is resized. When
The Rounded Rectangle Tool provides an easy way to create rectangles selected, this option allows you to specify the corner radius in units. If the
with rounded corners. object is resized, the corner radius remains the same instead of scaling
with the object.
• Corner—sets the style and radius of the rectangle's corners. You can
choose a Rounded (fillet), Straight (chamfer), Concave (scallop) or Cutout
option.
___________________________________________________________________
SEE ALSO:
About geometric shapes
Draw and edit shapes
Default shape and handle position (in red) before customization.
Rectangle Tool
Tool shortcut : M. This also cycles through to select the Rectangle and
Ellipse tools. Callout: Rounded Rectangle Tool

Tool shortcut key: M. This also cycles through to select the

Rectangle and Ellipse tools.

Customization
The Rounded Rectangle Tool has several options on the shape and on the

context toolbar to enable the radius of the corners to be controlled.

Two possible outcomes when the options are customized.
Settings
The following settings can be adjusted from the context toolbar:
• Single radius—when selected (default), allows you to modify all four
corners simultaneously by setting one radius. If this option is off, you can
set each corner radius individually and change corner type.

238
 Triangle Isosceles, Right-Angled and Equilateral triangles
Create all types of triangles including true isosceles and right-angle • To create an isosceles triangle, set the top point to 50%.
triangles easily with the Triangle shape tool.
• To create a right-angled triangle, set the top point to either 0% or
100%.
• To create a true equilateral triangle (where all three sides are the
same length), use the Polygon shape tool. Ensure that you
constrain the shape with the as you draw, and then set the
number of sides to 3 on the context toolbar.

___________________________________________________________________
Default shape and handle position (in red) before customization.
SEE ALSO:
Customization
About geometric shapes
The Triangle shape tool offers a handle on the shape and options on the
Draw and edit shapes
context toolbar to enable the triangle to be modified.
Polygon shape tool

Two possible outcomes when the option is customised.

Settings
The following settings can be adjusted from the context toolbar:
• Top point—controls the position of the top point of the triangle from left
(0%) to right (100%), with 50% representing a central point.
• Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.
• Reset Selection Box—after reshaping, rotating, or shearing the shape,
this option resets the selection box to vertical.
• Convert to Curves—converts the shape into line segments and nodes
for unlimited editing as curves.

239
 • Convert to Curves—converts the shape into line segments and nodes
Diamond for unlimited editing as curves.
Easily create diamonds, rhombuses and kites with the Diamond shape ___________________________________________________________________
tool.
SEE ALSO:
About geometric shapes
Draw and edit shapes
Polygon

Default shape and handle position (in red) before customization.

Customization
The Diamond has the option on the shape and on the context toolbar to
change the height of the mid-point to create a kite shape.

Two possible outcomes when the option is customised.

Settings
The following settings can be adjusted from the context toolbar:
• Mid point—controls the position of the mid points of the sides of the
shape from bottom (0%) to top (100%), with 50% representing a central
point.
• Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.
• Reset Selection Box—after reshaping, rotating, or shearing the shape,
this option resets the selection box to vertical.

240
 The left point cannot be positioned further to the right than the current
Trapezoid position of the right point, and vice versa.
Easily create trapezoids with the Trapezoid shape tool.
The left point cannot be positioned further to the right than the
current position of the right point, and vice versa.

___________________________________________________________________
SEE ALSO:
About geometric shapes
Draw and edit shapes

Default shape and handle position (in red) before customization.

Customization
The Trapezoid shape has options on the shape and on the context toolbar
to change the position of the top corners. This sets the length of the top
edge (base) and the angles of the lateral sides (legs).

Two possible outcomes when the options are customised.

Settings
The following settings can be adjusted from the context toolbar:
• Left/Right point—controls the position of the top-left/right corner of the
trapezoid from left (0%) to right (100%), with 50% representing a central
point.
• Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.
• Reset Selection Box—after reshaping, rotating, or shearing the shape,
this option resets the selection box to vertical.
• Convert to Curves—converts the shape into line segments and nodes
for unlimited editing as curves.

241
 • Convert to Curves—converts the shape into line segments and nodes
Polygon for unlimited editing as curves.
The Polygon shape tool enables you to create useful multi-sided geometric
shapes. Equilateral triangles
To create a true equilateral triangle (where all three sides are the
same length), use the Polygon shape tool. Ensure that you
constrain the shape with the ⇧ key as you draw, and then set the
number of sides to 3 on the context toolbar.

___________________________________________________________________
SEE ALSO:
Default shape and handle position (in red) before customization. About geometric shapes
Customization Draw and edit shapes
The Polygon has several options on the shape and on the context toolbar Triangle
to enable the number of sides, and the side curvature to be controlled.
Diamond

Two possible outcomes when the options are customised.

Settings
The following settings can be adjusted from the context toolbar:
• Sides—sets the number of sides (and angles) of the polygon.
• Curve—sets the convex or concave nature of the sides of the polygon.
The percentage curve available is determined by the number of sides. For
straight sides, set to 0%.
• Smooth points—applies smoothing to the points of the polygon,
resulting in the appearance of a continuous curve. This only applies when
the curve of sides is greater than 0%.
• Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.
• Reset Selection Box—after reshaping, rotating, or shearing the shape,
this option resets the selection box to vertical.

242
 • Convert to Curves—converts the shape into line segments and nodes
Star for unlimited editing as curves.
The Star shape tool enables you to create all sorts of stars quickly and ___________________________________________________________________
easily. The added controls even makes it possible to add curved sides to
create alternative shapes. SEE ALSO:
About geometric shapes
Draw and edit shapes
Double Star
Square Star

Default shape and handle position (in red) before customization.

Customization
The Star has several options on the shape and on the context toolbar to
enable the number of points, the inner radius (length of points) and the
curvature of the left and right sides of the points to be controlled.

Two possible outcomes when the options are customised.

Settings
The following settings can be adjusted from the context toolbar:
• Curved edges—when checked, the sides of the star's points can be
curved using the Left/Right curve settings.
• Points—sets the number of protrusions on the shape.
• Inner radius—controls the length of the points relative to the centre of
the star.
• Outer circle/Inner circle—sets the roundness at the point's tips or inner
vertices.
• Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.
• Reset Selection Box—after reshaping, rotating, or shearing the shape,
this option resets the selection box to vertical.

243
 • Convert to Curves—converts the shape into line segments and nodes
Double Star for unlimited editing as curves.
The Double Star shape tool enables you to create all sorts of stars quickly ___________________________________________________________________
and easily. The Double Star can have different values for its primary and
secondary points to create a unique appearance. SEE ALSO:
About geometric shapes
Draw and edit shapes
Star
Square Star

Default shape and handle position (in red) before customization.

Customization
The Double Star has several options on the shape and on the context
toolbar to enable the number of (primary) points and the inner radius (length
of points) of the primary and secondary points to be controlled.

Two possible outcomes when the options are customised.

Settings
The following settings can be adjusted from the context toolbar:
• Points—sets the number of protrusions on the shape.
• Inner radius—controls the length of the points relative to the centre of
the star.
• Point radius—controls the length of the secondary points relative to the
centre of the star.
• Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.
• Reset Selection Box—after reshaping, rotating, or shearing the shape,
this option resets the selection box to vertical.

244
 ___________________________________________________________________
Square Star
SEE ALSO:
The Square Star shape tool enables you to create all shapes from crosses
to sunbursts quickly and easily. About geometric shapes
Draw and edit shapes
Star
Double Star

Default shape and handle position (in red) before customization.

Customization
The Square Star has several options on the shape and on the context
toolbar to enable the number of sides and the cutout to be controlled.

Two possible outcomes when the options are customised.

Settings
The following settings can be adjusted from the context toolbar:
• Sides—sets the number of squared points on the shape.
• Cutout—controls the width of all squared points by cutting out the region
between the shape's bounding box and the red shape handle.
• Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.
• Reset Selection Box—after reshaping, rotating, or shearing the shape,
this option resets the selection box to vertical.
• Convert to Curves—converts the shape into line segments and nodes
for unlimited editing as curves.

245
 • Ends—sets the 'head' style on either end of the arrow.
Arrow
• Proportional—For Left or Right ends, when checked (default), the head
The Arrow shape tool makes it easy to quickly add arrows to your design. proportions remain fixed when the arrow is resized. If this option is off,
the head resizes with the design.
• Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.
• Reset Selection Box—after reshaping, rotating, or shearing the shape,
this option resets the selection box to vertical.
• Convert to Curves—converts the shape into line segments and nodes
Default shape and handle position (in red) before customization. for unlimited editing as curves.
Customization • Context toolbar options update depending on the Ends style selected
(see above). Settings may include the following:
The arrow has several options on the shape and on the context toolbar to
enable the body thickness and the shape and size of the arrow head to be • Length—controls the length of the arrow head/tail.
controlled. • A control for the depth and shape of the end style.
• Size—controls the horizontal width of the arrow tail. (When Proportional
is set, 100% represents a perfect circle, square or diamond.)
___________________________________________________________________
SEE ALSO:
About geometric shapes
Draw and edit shapes
Two possible outcomes when the options are customised.
Fixed head proportions option
When Fixed head proportions is selected, if the shape is resized
horizontally, the arrow head retains its proportions and the body shrinks or
stretches.

This example shows what happens when you resize an arrow (A) with (B), and
without (C), Fixed head proportions selected.
Settings
The following settings can be adjusted from the context toolbar:
• Thickness—controls the height of the arrow body.
246
 Convert to Curves—converts the shape into line segments and nodes for
Donut unlimited editing as curves.
The Donut shape tool easily creates an ellipse shape with a hole cut out of ___________________________________________________________________
the centre.
SEE ALSO:
About geometric shapes
Draw and edit shapes
Ellipse Tool

Default shape and handle position (in red) before customization.

Customization
The Donut has the option on the shape and on the context toolbar to
control the size of the hole and completion of the circle.

Two possible outcomes when the option is customised.

Settings
The following settings can be adjusted from the context toolbar:
Hole radius—controls the width of the hole at the shape's centre.
Start/End angle—sets the position of the start/end points relative to 360°.
The greater the difference in the angles, the larger the portion of pie.
Total angle—sets the position of the total angle relative to the start angle.
Invert angles—switches the Start and End angle values. This converts
acute shapes to obtuse (and vice versa) and flips the shape horizontally
and/or vertically.
Close Pie—if the circle is incomplete, closes the shape to create a full
circle.
Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.
Reset Selection Box—after reshaping, rotating, or shearing the shape, this
option resets the selection box to vertical.

247
 • Show Rotation Centre—displays a movable rotation centre about which
Pie the shape can be rotated.
The Pie shape tool makes it easy to create pie shapes, pie segments and • Reset Selection Box—after reshaping, rotating, or shearing the shape,
donuts with segments removed. As the segments are geometrically correct, this option resets the selection box to vertical.
it's easy to create shapes with the exact angle you need for charts and
other uses. • Convert to Curves—converts the shape into line segments and nodes
for unlimited editing as curves.
___________________________________________________________________
SEE ALSO:
About geometric shapes
Draw and edit shapes
Ellipse Tool
Default shape and handle position (in red) before customization.
Customization
The Pie has several options on the shape and on the context toolbar to
enable the start and end angle and the size of the donut hole to be
controlled.

Two possible outcomes when the options are customised.

Settings
The following settings can be adjusted from the context toolbar:
• Hole radius—controls the width of the hole at the shape's centre.
• Start/End angle—sets the position of the start/end points relative to
360°. The greater the difference in the angles, the larger the portion of
pie.
• Total angle—sets the position of the total angle relative to the start angle.
• Invert angles—switches the Start and End angle values. This converts
acute shapes to obtuse (and vice versa) and flips the shape horizontally
and/or vertically.
• Close Pie—if the circle is incomplete, closes the shape to create a full
circle.

248
 • Negate—updates the above settings to give the inverse (opposite) of the
Segment current shape.
The Segment shape tool makes it easy to create an ellipse with a
percentage removed as a section.

• Show Rotation Centre—displays a movable rotation centre about which

the shape can be rotated.
Default shape and handle position (in red) before customization. • Reset Selection Box—after reshaping, rotating, or shearing the shape,
Customization this option resets the selection box to vertical.
The Segment has several options on the shape and on the context toolbar • Convert to Curves—converts the shape into line segments and nodes
to enable the percentage removed from the upper and lower section of the for unlimited editing as curves.
ellipse, and the angle of the ellipse to be controlled. ___________________________________________________________________
SEE ALSO:
About geometric shapes
Draw and edit shapes
Ellipse Tool

Two possible outcomes when the options are customised.

Settings
The following settings can be adjusted from the context toolbar:
• Angle—sets the shape's starting angle.
• Lower/Upper line—controls the position of the shape's two straight
lines. This determines the thickness of the segment.
• Mirror—updates the above settings to give a reversed (flipped) version of
the current shape. 


249
 Negate—updates the above settings to give the inverse (opposite) of the
Crescent current shape. 

The Crescent shape tool can be used to anything from the thinnest 'New
Moon' shape to a full ellipse.

Show Rotation Centre—displays a movable rotation centre about which

the shape can be rotated.
Default shape and handle position (in red) before customization.
Reset Selection Box—after reshaping, rotating, or shearing the shape, this
Customization option resets the selection box to vertical.
The Crescent has two options on the shape and on the context toolbar to Convert to Curves—converts the shape into line segments and nodes for
enable the amount of curve on the left and right side of the shape to be unlimited editing as curves.
controlled.
___________________________________________________________________
SEE ALSO:
About geometric shapes
Draw and edit shapes
Ellipse Tool

Two possible outcomes when the options are customised.

Settings
The following settings can be adjusted from the context toolbar:
Left/Right curve—controls the curve of the left/right side of the shape.
Negative values move the curve to the left, positive values move the curve
to the right.
Mirror—updates the above settings to give a reversed (flipped) version of
the current shape. 


250
 • Reset Selection Box—after reshaping, rotating, or shearing the shape,
Cog this option resets the selection box to vertical.
The Cog shape tool is possibly one of the most versatile shape tools in the • Convert to Curves—converts the shape into line segments and nodes
shape toolset. It's geometrically accurate and has a wide range of for unlimited editing as curves.
customizable control points to allow you to create a wide range of useful
shapes, from cogs to sunbursts! ___________________________________________________________________
SEE ALSO:
About geometric shapes
Draw and edit shapes

Default shape and handle position (in red) before customization.

Customization
The Cog has several options on the shape and on the context toolbar to
enable the number of teeth, tooth and notch size, and inner radius and hole
size to be controlled.

Two possible outcomes when the options are customised.

Settings
The following settings can be adjusted from the context toolbar:
• Teeth—sets the number of protrusions on the shape.
• Inner radius—controls the width of cog's teeth relative to the width of
the shape.
• Hole radius—controls the width of the hole at the shape's centre.
• Tooth size—controls the width of the upper end of the cog's teeth.
• Notch size—controls the width of the lower end of the cog's teeth.
• Curvature—adds a curved edge to cog teeth.
• Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.

251
 ___________________________________________________________________
Cloud
SEE ALSO:
The Cloud shape tool makes it easy to add clouds to your designs.
About geometric shapes
Draw and edit shapes

Default shape and handle position (in red) before customization.

Customization
The Cloud has several options on the shape and on the context toolbar to
enable the number of bubbles and the radius of the bubbles to be
controlled.

Two possible outcomes when the options are customised.

Settings
The following settings can be adjusted from the context toolbar:
• Bubbles—sets the number of protrusions on the shape.
• Inner radius—controls the length of the bubbles relative to the width of
the shape.
• Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.
• Reset Selection Box—after reshaping, rotating, or shearing the shape,
this option resets the selection box to vertical.
• Convert to Curves—converts the shape into line segments and nodes
for unlimited editing as curves.

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 • Tail end position—controls the position of the point of the protrusion
Callout: Rounded Rectangle from left (0%) to right (100%), with 50% representing a central point.
The Rounded Rectangle Callout shape tool provides a quick way of • Tail position—controls the position of the protrusion along the base of
creating a callout or speech bubble in your design. the shape from left (0%) to right (100%), with 50% representing a central
point.
• Tail width—controls the width of the protrusion along the base of the
shape.
• Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.
• Reset Selection Box—after reshaping, rotating, or shearing the shape,
this option resets the selection box to vertical.
Default shape and handle position (in red) before customization.
• Convert to Curves—converts the shape into line segments and nodes
Customization
for unlimited editing as curves.
The Rounded Rectangle Callout has several options on the shape and on
___________________________________________________________________
the context toolbar to enable the size, shape and position of the tail, the
radius of the corners (including the ability to edit each corner separately) SEE ALSO:
and the depth of the callout rectangle to be controlled. About geometric shapes
Draw and edit shapes
Callout: Ellipse
Rounded Rectangle Tool

Two possible outcomes when the options are customised.

Settings
The following settings can be adjusted from the context toolbar:
• Single radius—when selected (default), allows you to modify all four
corners simultaneously by setting one radius. If this option is off, you can
set each corner radius individually to create independent rounded (fillet)
corners.
• Absolute sizes—by default, the corner radius is specified as a
percentage of the object and scales as the object is resized. When
selected, this option allows you to specify the corner radius in units. If the
object is resized, the corner radius remains the same instead of scaling
with the object.
• Radius—sets the radius of the rectangle's rounded corners.
• Tail height—controls the height of the shape's protrusion relative to the
height of the shape.
253
 • Show Rotation Centre—displays a movable rotation centre about which
Callout: Ellipse the shape can be rotated.
Create traditional looking callouts and speech bubbles with the Callout • Reset Selection Box—after reshaping, rotating, or shearing the shape,
Ellipse shape tool. this option resets the selection box to vertical.
• Convert to Curves—converts the shape into line segments and nodes
for unlimited editing as curves.
___________________________________________________________________
SEE ALSO:
About geometric shapes
Draw and edit shapes
Default shape and handle position (in red) before customization.
Callout: Rounded Rectangle
Customization Ellipse Tool
The Ellipse Callout has several options on the shape and on the context
toolbar to enable the size, shape and position of the tail, and the depth of
the callout ellipse to be controlled.

Two possible outcomes when the options are customised.

Settings
The following settings can be adjusted from the context toolbar:
• Absolute sizes—by default, the tail height and end position are specified
as a percentage of the object and scales as the object is resized. When
selected, this option allows you to specify these attributes in units. If the
object is resized, the tail height and end position remain the same instead
of scaling with the object.
• Tail height—controls the height of the shape's protrusion relative to the
height of the shape.
• Tail end position—controls the position of the point of the protrusion
from left (0%) to right (100%), with 50% representing a central point.
• Tail angle—controls the width and position of the protrusion along the
base of the shape.

254
 • Show Rotation Centre—displays a movable rotation centre about which
Tear the shape can be rotated.
The Tear shape tool enables you to create many types of tear or droplet • Reset Selection Box—after reshaping, rotating, or shearing the shape,
shapes quickly and easily. this option resets the selection box to vertical.
• Convert to Curves—converts the shape into line segments and nodes
for unlimited editing as curves.
___________________________________________________________________
SEE ALSO:
About geometric shapes
Draw and edit shapes
Default shape and handle position (in red) before customization.
Customization
The Tear has several options on the shape and on the context toolbar to
enable the ball size, curve, tail position and bend to be controlled.

Two possible outcomes when the options are customised.

Settings
The following settings can be adjusted from the context toolbar:
• Fixed ball size—by default, the elliptical end of the shape scales as the
object is resized. When selected, a new option allows you to specify a
fixed size.
๏ Ball size—controls the curvature of the elliptical end of the shape. A
value of 0% gives the shape a completely flat base.
• Curve—controls the curvature of the edges which connect the elliptical
end of the shape to the point.
• Tail position—controls the position of the point of the shape from left
(0%) to right (100%), with 50% representing a central point.
• Bend—controls additional edge curvature (see Curve above). Positive
values curve both edges to the right (with the left edge affected more),
negative values curve both edges to the left (with the right edge affected
more).

255
 Heart
Create heart shapes with variable lobes with the Heart shape tool.

Default shape and handle position (in red) before customization.

Customization
The Heart shape tool has the option on the shape and on the context
toolbar to enable the height of the lobes to be controlled.

Two possible outcomes when the option is customised.

Settings
The following settings can be adjusted from the context toolbar:
• Spread—controls the height of the heart's lobes.
• Show Rotation Centre—displays a movable rotation centre about which
the shape can be rotated.
• Reset Selection Box—after reshaping, rotating, or shearing the shape,
this option resets the selection box to vertical.
• Convert to Curves—converts the shape into line segments and nodes
for unlimited editing as curves.
___________________________________________________________________
SEE ALSO:
About geometric shapes
Draw and edit shapes

256
10

Text Tools

Available text tools

• Artistic Text Tool
• Frame Text Tool

257
 ___________________________________________________________________
Artistic Text Tool
SEE ALSO:
The Artistic Text Tool allows you to add artistic text to your design.
Working with text
Artistic text, as the name suggestions, is best suited to single, prominent
words (or phrases) or decorative typographical design. Artistic Text
Frame Text Tool
The Artistic Text Tool and Frame Text Tool are grouped together on Text on a path
the Tools panel. Click the triangle in the bottom- right of the
displayed icon to access the alternative tool.

Settings
The following settings can be adjusted from the context toolbar:
• Font—sets the font of the text. Select from the pop-up menu.
• Set text size—type directly in the text box or drag the pop-up slider to set
the value.
• Set text format—click to display a pop-up menu with optional formats for
the selected font, or select Bold, Italic, and/or Underline.
• Set paragraph alignment—select from Left Align, Centre Align, Right
Align, or Justified (with additional pop-up menu options).
• Set leading (distance between text baselines)—type directly in the text
box or select from the pop-up menu.
• Baseline*—sets the position of the text with regard to the path. Type
directly in the text box or drag the pop-up slider to set the value.
• Reverse Text Path*—switches the two end points of the path so text
runs in the opposite direction.
• Character—provides access to the Character dialog for advanced text
settings.
• Paragraph—provides access to the Paragraph dialog for advanced
paragraph settings.

*Available only when text on a path is selected.

When setting the Leading, specifying a unit of measurement (i.e.

mm or inches) will set an Exact distance, while specifying a
percentage will set a % Height based on the text's font size.

258
 Frame Text Tool
The Frame Text Tool allows you to add a text frame which acts as a
container for paragraph text.
Frame text is best suited to working with text which will be presented in
paragraphs with a formalized structure and layout. If you want to present
text in columns, frame text is the ideal solution.

The Artistic Text Tool and Frame Text Tool are grouped together on
the Tools panel. Click the triangle in the bottom- right of the
displayed icon to access the alternative tool.

Settings
The following settings can be adjusted from the context toolbar:
• Font—sets the font of the text. Select from the pop-up menu.
• Set text size—type directly in the text box or drag the pop-up slider to set
the value.
• Set text format—click to display a pop-up menu with optional formats for
the selected font, or select Bold, Italic, and/or Underline.
• Set paragraph alignment—select from Left Align, Centre Align, Right
Align, or Justified (with additional pop-up menu options).
• Set leading (distance between text baselines)—type directly in the text
box or select from the pop-up menu.
• Character—provides access to the Character dialog for advanced text
settings.
• Paragraph—provides access to the Paragraph dialog for advanced
paragraph settings.

When setting the Leading, specifying a unit of measurement (i.e.

mm or inches) will set an Exact distance, while specifying a
percentage will set a % Height based on the text's font size.

___________________________________________________________________
SEE ALSO:
Working with text
Frame Text
Artistic Text Tool

259
11

Selection Tools

• Marquee Selection
• Selection Brush

260
 Marquee Selection
The Marquee Selection tools provide various ways of applying selections to
your image.
The Marquee Selection tools are available in various shapes including
Rectangular, Elliptical, Column, and Row. There is also a Free Hand
Selection Tool for total selection freedom. All marquees are applied by
simply selecting the desired shape and then dragging on your image.
Settings
The settings for each tool vary but may include some or all of the following
settings, which can be adjusted from the context toolbar:
• Mode—select from New, Add, Subtract, and Intersect.
• Refine—click to display the Refine Selection dialog to access advanced
selection settings.
• Feather—reduces the sharpness of selection edges by partially selecting
edge pixels.
• Antialias—if this option is off (default), pixels at the edge of the selection
are opaque. When selected, selection edges are smoothed by applying
transparency to edge pixels.
• Width—sets the width of the Column or Row selection tools.
About selection modes
The four modes available from the context toolbar affect how your selection
develops.
• New—cancels all current selections and creates a new selection.
• Add—adds areas to the current selection. If there is no selection in place,
a new selection will be created.
• Subtract—removes areas from the current selection.
• Intersect—a new selection area is created from the overlap between the
drawn shape and the current selection.
___________________________________________________________________
SEE ALSO:
Creating pixel selections
Refining pixel selection edges
Selection Brush

261
 Selection Brush
The Selection Brush allows you to select a region of your image by
painting.
The Selection Brush functions in a similar way to the other brushes in Pixel
Persona. By simply dragging on your image, you can add or remove
regions from a selection. The selection will grow or shrink depending on the
brush settings.
Settings
The following settings can be adjusted from the context toolbar:
• Mode—sets the way in which your selection develops as you paint:
๏ Add—the brush stroke adds areas to the current selection. If there is
no selection in place, you will create a new selection by painting.
๏ Subtract—the brush stroke removes areas from the current
selection.
• Width—the brush (stroke) size in pixels. Type directly in the text box or
drag the pop-up slider to set the value.
• Snap to edges—selection is expanded to the edges of objects
underneath the brush stroke.
• All layers—if this option is off (default), the selection is only applied to the
current layer. When selected, the selection applies to all layers in your
image.
• Refine—click to display the Refine Selection dialog to access advanced
selection settings.
___________________________________________________________________
SEE ALSO:
Creating pixel selections
Marquee Selection

262
12

Retouch Tools

Available retouch tools:

• Dodge Brush
• Burn Brush
• Smudge Brush
• Blur Brush
• Sharpen Brush

263
 ___________________________________________________________________
Dodge Brush
SEE ALSO:
Dodging is a technique used in photography to control exposure and make
areas of a photo lighter. Brush tools
The Dodge Brush tool allows you to precisely lighten areas of your image, Painting pixel brush strokes
and even limit the effect to just shadows, highlights or midtones. The effect Retouch
is cumulative—the more you paint over an area, the more pronounced the Burn Brush
lightening effect will be.

When using this brush you'll get the best results by using a low
opacity setting and gradually building up the effect.

Settings
The following settings can be adjusted from the context toolbar:
• Width—the brush (stroke) size in pixels. Type directly in the text box or
drag the pop-up slider to set the value.
• Opacity—how see through the brush is. Type directly in the text box or
drag the pop-up slider to set the value.
• Flow—how fast the brush effect is applied (1% is very slow, 100% is
immediate). Type directly in the text box or drag the pop-up slider to set
the value.
• Hardness—how hard the edges of the brush are. The brush appears
softer as the percentage decreases. Type directly in the text box or drag
the pop-up slider to set the value.
• More—click to display the Brushes dialog to access advanced brush
settings.
• Force pressure to control size—Click to control brush size with
pressure if using a pen tablet. This overrides brush defaults.
• Tonal Range—limits the effect to a specific tonal range. Choose
Shadows, Midtones or Highlights from the pop-up menu.
• Protect Hue—when selected, the colour tone remains faithful to the
original hue.

264
 Burn Brush
Burning is a technique used in photography to control exposure and make
areas of a photo darker.
The Burn Brush tool allows you to precisely darken areas of your image,
and even limit the effect to just shadows, highlights or midtones. The effect
is cumulative—the more you paint over an area, the more pronounced the
darkening effect will be.

When using this brush you'll get the best results by using a low
opacity setting and gradually building up the effect.

Settings
The following settings can be adjusted from the context toolbar:
• Width—the brush (stroke) size in pixels. Type directly in the text box or
drag the pop-up slider to set the value.
• Opacity—how see through the brush is. Type directly in the text box or
drag the pop-up slider to set the value.
• Flow—how fast the brush effect is applied (1% is very slow, 100% is
immediate). Type directly in the text box or drag the pop-up slider to set
the value.
• Hardness—how hard the edges of the brush are. The brush appears
softer as the percentage decreases. Type directly in the text box or drag
the pop-up slider to set the value.
• More—click to display the Brushes dialog to access advanced brush
settings.
• Force pressure to control size—Click to control brush size with
pressure if using a pen tablet. This overrides brush defaults.
• Tonal Range—limits the effect to a specific tonal range. Choose
Shadows, Midtones or Highlights from the pop-up menu.
• Protect Hue—when selected, the colour tone remains faithful to the
original hue.
___________________________________________________________________
SEE ALSO:
Brush tools
Painting pixel brush strokes
Dodge Brush

265
 Smudge Brush
The Smudge Brush tool allows you to drag colour around an image, similar
to dragging a brush or finger through wet paint. It can be used to blend
colours and create interesting brush effects.
Settings
The following settings can be adjusted from the context toolbar:
• Width—the brush (stroke) size in pixels. Type directly in the text box or
drag the pop-up slider to set the value.
• Flow—how fast the brush effect is applied (1% is very slow, 100% is
immediate). Type directly in the text box or drag the pop-up slider to set
the value.
• Force pressure to control size—Click to control brush size with
pressure if using a pen tablet. This overrides brush defaults.
• Strength—defines the extent to the smudging. Type directly in the text
box or drag the pop-up slider to set the value.
___________________________________________________________________
SEE ALSO:
Brush tools
Painting pixel brush strokes

266
 Blur Brush
You can use the Blur Brush tool to blur hard edges within an image. The
effect is cumulative so the more you paint over an area, the more
pronounced the blur effect will be. The blur is only applied to pixels on the
currently selected layer and will not affect vector objects.
Settings
The following settings can be adjusted from the context toolbar:
• Width—the brush (stroke) size in pixels. Type directly in the text box or
drag the pop-up slider to set the value.
• Opacity—how see through the brush is. Type directly in the text box or
drag the pop-up slider to set the value.
• Flow—how fast the brush effect is applied (1% is very slow, 100% is
immediate). Type directly in the text box or drag the pop-up slider to set
the value.
• Hardness—how hard the edges of the brush are. The brush appears
softer as the percentage decreases. Type directly in the text box or drag
the pop-up slider to set the value.
• More—click to display the Brushes dialog to access advanced brush
settings.
• Force pressure to control size—Click to control brush size with
pressure if using a pen tablet. This overrides brush defaults.
___________________________________________________________________
SEE ALSO:
Brush tools
Painting pixel brush strokes
Sharpen Brush

267
 ___________________________________________________________________
Sharpen Brush
SEE ALSO:
Sharpening increases the contrast of neighbouring pixels. The Sharpen
Brush tool gives you full control over the areas that are sharpened and has Brush tools
a cumulative affect. You can easily apply clarity and unsharp mask Painting pixel brush strokes
sharpening selectively with a few strokes of a brush! Blur Brush
Settings
The following settings can be adjusted from the context toolbar:
• Width—the brush (stroke) size in pixels. Type directly in the text box or
drag the pop-up slider to set the value.
• Opacity—how see through the brush is. Type directly in the text box or
drag the pop-up slider to set the value.
• Flow—how fast the brush effect is applied (1% is very slow, 100% is
immediate). Type directly in the text box or drag the pop-up slider to set
the value.
• Hardness—how hard the edges of the brush are. The brush appears
softer as the percentage decreases. Type directly in the text box or drag
the pop-up slider to set the value.
• More—click to display the Brushes dialog to access advanced brush
settings.
• Force pressure to control size—Click to control brush size with
pressure if using a pen tablet. This overrides brush defaults.
• Mode—determines the sharpening effect to be applied. Select from the
pop-up menu.
About the sharpening modes
The three modes available from the context toolbar have slightly different
effects on the underlying pixels.
• Clarity—increases local contrast.
• Unsharp Mask—increases contrast of edge pixels.
• Harsh—increases contrast on all pixels.

When using this brush you'll get the best results by using either
low opacity or flow settings and then gradually building up the
effect.

268
13

Export Tools

Slice Tool
The Slice Tool allows you to create and edit export areas so you can select
portions of your page design to be exported as individual graphics.

Available in Export Persona only.

___________________________________________________________________
SEE ALSO:
Exporting using Export Persona
Export

269
14

Panels

Available panels:
• Brushes panel
• Colour panel
• Effects panel
• History panel
• Layers panel
• Navigator panel
• Stroke panel
• Styles panel
• Swatches panel
• Tools panel
• Transform panel
• Character panel
• Paragraph panel

270
Brushes panel • New Textured Intensity Brush—creates a brush stroke based on the
opacity values of a raster image. In the pop-up dialog, navigate to and
The Brushes panel hosts a selection of brush presets which can be select a file, and click Open.
selected for use with the Vector Brush Tool and Paint Brush (Draw Persona
and Pixel Persona, respectively). Any custom brushes you design can be • New Textured Image Brush—creates a brush stroke based on the
saved to your own panel categories. ABR Brush files can be imported and colour values of a raster image. In the pop-up dialog, navigate to and
will be available in their own separate categories. select a file, and click Open.
About the Brushes panel For more information on creating custom brushes, see Creating custom
brushes.
A choice of pre-designed brushes are available as selectable thumbnails.
With the brush tool selected, the selected thumbnail sets the type of brush For pixel brushes:
to be used. Brushes are arranged in categories. • New Intensity Brush—creates a brush stroke based on the opacity
values of a raster image. In the pop-up dialog, navigate to and select a
Draw Persona offers only vector brushes via the Vector Brush Tool; file, and click Open.
Pixel Persona offers pixel-based brushes via the Paint Brush • New Round Brush—creates a brush stroke with a soft, feathered edge.
exclusively.
• New Square Brush—creates a brush stroke with a hard edge.

The panel displays the following: • New Image Brush—creates a brush stroke based on an image. In the
pop-up dialog, navigate to and select a file, and click Open.
• Category pop-up menu. To display brush thumbnails for the chosen
category. For more information on creating custom brushes, see Creating custom
pixel brushes.
• Edit—loads the selected brush in the Editing dialog, allowing it to be
customised and saved as a new brush preset. Switching to the Pixel Persona offers pixel brushes (e.g., spray)
• Brush thumbnails for the current category. instead of vector brushes.

The following options are available from the Panel Preferences menu:
___________________________________________________________________
• Create New Category—adds a new, empty category to the pop-up
SEE ALSO:
menu.
Painting brush strokes
• Rename Category—allows you to rename the currently selected brush
category. Painting pixel brush strokes
• Delete Category—removes the currently selected brush category. Brush tools
• Import Brushes—allows you to import a set of vector or raster brushes, Switching Personas
including those in ABR format. Imported vector brushes will be available Customizing the workspace
in a new Brushes panel category in Draw Persona; imported raster
brushes will be available via Pixel Persona in the equivalent location.
• Export Brushes—allows you to export the currently selected brush
category, ready for sharing with other users.
For vector brushes:
• New Solid Brush—creates a basic, solid vector stroke.

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Colour panel In Pixel Persona, the panel shows colours represented by two solid colour
selectors indicating Colour 1 (Foreground) and Colour 2 (Background).
The Colour panel is used to choose colour for various tools and selected The active colour selector is shown at the front of the two colour selectors.
objects. Choosing a new colour will apply it to the active colour selector.
Here's the colour selectors that you'll see for vector and pixel tools.
A pop-up version of the Colour panel may appear when choosing
colour from within other dialogs.

About the Colour panel

The Colour panel can operate in several colour modes—HSL, RGB, CMYK
and LAB—and has various ways of defining colour—colour wheel (HSL
only), colour boxes and colour sliders. Colour tints can also be applied from The active colour is whichever is shown at the front. In this illustration the active colour
within the panel. selector is: (A) Stroke, (B) Fill, (C) Colour 1 (Foreground), and (D) Colour 2 (Background).
You can quickly switch between colour selectors by pressing the x key.

The following tools change the appearance of the Colour panel:

Gradient Tool: Only one colour selector swatch is shown to

represent the colour of the currently selected stop on the gradient.

Vector Brush Tool: The panel shows Colour 1 and Colour 2

swatches that can be swapped by clicking the adjacent double
arrow.

Using the Colour panel

With the Colour panel, colours can be applied to an object or for use by a
tool in just a few clicks. Opacity and noise are further colour attributes
which can be applied.
To set the colour of a selector:
1.Click the selector you want to apply the colour to. It will show at the front
of the two colour selectors.
Colour panel (HSL colour wheel): (A) Colour 1/Colour 2 (left) or Stroke/Fill colour selectors
with colour 'none' swatch and 'swap' arrow, (B) HSL values, (C) Switch to opacity/noise, 2.Do one of the following:
(D) Panel Preferences (E) Colour picker tool and picked colour swatch, (F) ๏ Choose a colour from the colour model's Wheel (HSL only), Sliders,
Saturation/Lightness control, (G) Hue control, (H) Opacity controls, (J) Noise controls.
or Boxes.
Like the Swatches panel, the Colour panel takes on different appearances ๏ Click the picked colour swatch.
depending on the active Persona and on the selected tool. The large colour
selectors indicate the currently selected colours. ๏ Click the None swatch to make the colour completely transparent (for
the tool, fill or stroke).
In Draw Persona, objects have fill and stroke colour properties. The stroke
colour is represented by the cutout (donut) colour selector. The fill is
represented by the solid colour selector.

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To switch colours between the selectors: •Boxes—Hue, Saturation, Lightness only
• Click the double-headed arrow. The colours switch (but the active swatch ๏ Hue—Drag on the hue slider to set the hue, drag in the box to set the
selector remains the same.) saturation and lightness.
To adjust opacity or noise setting: ๏ Saturation—Drag on the saturation slider to set the saturation, drag
1.Select the toggle button to the bottom-left of the panel. in the box to set the hue and lightness.
2.Drag the slider to set the value. ๏ Lightness—Drag on the lightness slider to set the lightness, drag in
the box to set the saturation and hue.
Colour selection preferences and colour models
•Tint
When choosing colours in the Colour panel, you can choose from various
selection preferences and colour model values. The colour selection ๏ Drag the slider to the left or right to increase or decrease the colour
tint, respectively.
preferences are changed in the Panel Preferences menu.
Using the Colour Picker
Depending on the colour model selected, you can also choose to work in 8 bit,
The picker lets you sample colours within or outside Affinity Designer, then
16 bit or Percentage mode.
use them in your design.
Some of the selection methods allow you to set colour using values other
than RGB. This doesn't change the working colour profile of the document, To use the Colour Picker:
but changes the input values for the colours.
1.Drag the Colour Picker icon to the colour want to sample.
2.Click the selector you want to apply the colour to.
You can specify colour values for RGB, HSL, CMYK and Greyscale
depending on the pop-up menu in the Colour panel. This is not the 3.Click the swatch next to the Colour Picker to apply the colour.
same as the working colour profile. For example, if your working Saving chosen colours for later use
profile is an RGB profile, choosing 100% K (black) from the CMYK
colour model doesn't convert your document to CMYK. Instead Once your colour has been chosen and applied to a tool or object, there are
the colour applied will be an RGB approximation of 100% K several ways to preserve this colour for later use.
(black). However, if you convert or export the document to a
The following options are available from the Panel Preferences menu.
CMYK profile, the 100% K (black) will be honoured.
• Copy Colour to Clipboard as Hex—this calculates the current colour's
Hex value and adds it to the clipboard. This is useful for web developers,
The following colour selection preferences are available from the Panel to standardize on colours between graphics and HTML coding in a web
Preferences menu. environment.

• Wheel—HSL Colour Wheel • Add Colour to Swatch—adds the current colour to the currently loaded
palette in the Swatches panel.
1.Drag on the outer ring to set the hue.
• Add Chord to Swatch pop-up menu—adds a chord of the current
2.Drag in the triangle to set saturation and lightness. colour to the currently loaded palette in the Swatches panel.
• Sliders—RGB, HSL, CMYK, LAB, Greyscale ___________________________________________________________________
1.Select the colour mode from the pop-up menu. SEE ALSO:
2.(Optional) From the Panel Preferences menu, select 8 bit, 16 bit or Selecting colours
Percentage.
Colour Chords
3.Drag sliders or type directly into the value boxes to set the colour values.
Customizing the workspace

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Effects panel
Apply layer effects directly to objects or layers using the Effects panel.
About the Effects panel
Layer effects can be applied to the currently selected object or entire layer.
These effects are also completely non-destructive so you can change them
at any time.
The following controls and effects are available in the panel:
• Fill Opacity—alters the stroke and fill opacity of the object (layer), without
altering the opacity of the applied layer effect(s). This is especially useful
for further exposing the effect when used on artistic text or shapes.
• Gaussian Blur—blurs the object (layer).
• Outer Shadow—adds a shadow behind the object (layer).
• Inner Shadow—adds a shadow inside the object edge (layer).
• Outer Glow—adds a colour glow that emanates from the outside edges
(layer).
• Inner Glow—adds a colour glow that emanates from the inside edges
(layer).
• Outline—adds an outline to the object edge (layer).
• 3D—adds lighting to give a 3D appearance.
• Bevel/Emboss—adds various combinations of highlights and shadows.
• Colour Overlay—applies a solid colour to object (layer).
• Gradient Overlay—applies a linear gradient to object (layer).

More advanced controls for shadows, 3D effects, bevel/emboss,

and overlays are available via Layer > Layer Effects.

___________________________________________________________________
SEE ALSO:
Using layer effects
Styles
Customizing the workspace

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History panel ___________________________________________________________________
SEE ALSO:
The History panel tracks changes and shows each state as a labeled entry
in a list. This allows you to return to earlier points in time quickly and easily. Using undo, redo and history
About the History panel Customizing the workspace
The History panel shows changes that are applied. The oldest state is the
topmost in the list. When edits are made, new states are added to the
bottom of the list.

A document's history can be saved along with the document, so

earlier edits can be returned to even if the document is closed and
reopened.

The History panel showing the actions that have been carried out on the file.
If you click on an earlier state and then make a different change, any states
that originally came after it are deleted.

Unless you choose to save the document's history with the

document, the undo states listed in the History panel are cleared
when the document is closed.

Options
The following options are available in the panel:
• Position—points on the slider represent edits made to a document from
root (creation or opening) on the left to the latest edit on the right. Drag
the slider left to undo a change, right to redo a change.
• State—gives a brief description of the edit made to the document. Click
a state to jump back/forward to that edit.

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Layers panel
The Layers panel lets you create a tiered document that can be designed
more easily by management of layers.
About the Layers panel
Layers are composited together to form your complete design which shows
up on your page.
The panel can be used to build up your design as multiple layers, with each
layer devoted to a particular facet (e.g., lines, shapes, text, adjustments,
etc.).

Artboards are also located on the Layers panel and can be

organized in the same way as layers.

From the Layers panel you can:

• Create or delete layers
• Select artboards, layers, groups and objects
• Arrange and reorder layers and artboards
• Show and hide artboards, layers, groups and objects
• Lock artboards, layers, groups and objects The Layers panel, in Draw/Pixel Persona (left) and Export Persona (right), showing
• Clip objects or layers layers in the current document.
• Apply layer and artboard opacity The panel displays the following:
• Apply blend modes and blend ranges to layers • Opacity—Adjusts opacity of the selected items.
• Create masks • Blend Mode—Changes how the applied pixels interact with existing
• Add layer adjustments and effects pixels on the layer below. Choose mode type from a pop-up menu.
• Create export slices • Blend Ranges—Click to access a dialog for setting the blend ranges,
blend gamma and antialiasing settings for the selected layer.

• Lock/Unlock—Click to lock or unlock selected items to prevent or

allow editing.

• Expand/Collapse—Click to expand/contract the item, revealing

nested content.
• Item—The created artboard, layer, group or object, showing a thumbnail
of contents, the item's name and the type of item (in parenthesis).

• Hide/Show item—Uncheck to hide the item; check to make it visible

again.

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• Edit All Layers—Allows selection and editing of objects across all
artboards and layers (rather than the current layer).

• Mask Layer—Creates a layer mask to reveal a portion of a layer

while the rest of the layer remains hidden.

• Adjustments—Adds an adjustment layer to the current layer for tonal

and colour correction.

• Layer Effects—Applies a layer effect to the currently selected layer.

• Add Layer—Creates an empty new layer above the currently

selected layer.

• Add Pixel Layer—Creates an empty new pixel layer above the

currently selected layer.

• Remove Layer—Deletes the currently selected layer or artboard.

• Create Slice—Creates a slice from the currently selected item in

readiness for export. Only shows in Export Persona.

Hidden layers will not print or export.

___________________________________________________________________
SEE ALSO:
Create layers
Selecting and editing layers
Layer clipping
Layer masking
Layer blend ranges
Customizing the workspace
Layers panel (Export Persona)

277
Navigator panel To switch between viewpoints:
• Ensure Advanced is checked from the dropdown menu on the top right
The Navigator panel lets you zoom into your design and pan around to view
specific areas. You can also add, remove and switch between custom view of the panel.
points, which are saved zoom levels and positions. • From the dropdown menu, select the viewpoint you wish to move to. The
view will automatically change.
• To move between viewpoints sequentially, you can also access Move to
Previous View Point and Move to Next View Point in the View menu.

Adding new viewpoints and moving between existing viewpoint

functions are mappable to custom keyboard shortcuts; see
Customizing Shortcuts for more information.

___________________________________________________________________
SEE ALSO:
Zooming
Customizing the workspace

The Navigator panel with zoom setting of 100%.

Depending on the zoom level, a view rectangle denotes the area currently
visible in the main view.
To zoom into/or out of your design:
Do one of the following:

• Click Zoom In or Zoom Out.

• Drag the slider to change the zoom level.
To pan around your design:
• Drag the view rectangle around in the panel. The main view displays the
areas enclosed in the view rectangle.
To add, remove and rename a view point:
• Ensure Advanced is checked from the dropdown menu on the top right
of the panel.
• With your desired zoom level and position set, click the cog icon and
select Add.
• To rename the viewpoint, click the cog icon and select Rename.
• To remove the viewpoint, click the cog icon and select Remove.

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Stroke panel • Scale with Object—Check to scale both line and shape together when
resizing a closed shape. Uncheck to keep line width constant.
The Stroke panel lets you set the properties of lines and curves, as well as
• Properties—Click to edit the brush used as your Texture Line Style via a
shape outlines and vector brush strokes.
Brush dialog.
About the Stroke panel
• Pressure—Displays your current pressure profile after applying a line or
Every object can take a stroke around its bounding box which can take on brush stroke. Clicking the profile lets you edit the profile and save it for
various properties, e.g. width, colour, opacity, line style, etc. future use.
• Dash—When Dash Line Style is selected, this option allows you to set
the design of the dash (see below for details).
• Phase—When Dash Line Style is selected, this option allows you to set
the starting point of the dash design (see below for details).

To change the line colour, use the Colour or Swatches panel.

About Dash Line Style

For dashed line styles, a Dash number grid appears at the bottom of the
panel which sets the Dash pattern using two number pairs:
The Stroke panel showing properties applied to an object. • The first two values set the size of the initial dash and subsequent space.
The following controls are found on the panel: • The third and fourth values, when set, introduce a more complex dash
pattern by setting a different size for alternate dashes and spaces.
• Style—Select a line style button to change how the line is drawn. Choose
from None, Solid Line Style, Dash Line Style, and Texture Line Style, All values are based on the current line width, e.g. a value of 2 is twice the
respectively. The last option applies the currently selected brush in the line width.
Brushes panel to the stroke.
• Width—Drag to change the width (thickness) of the selected line.
• Cap—Select one of the cap style buttons (Round, Butt, or Square) to vary
the contour of the line end.
• Join—Select one of the join style buttons (Round, Bevel, or Miter) to
determine the contour of the corner where two lines intersect, e.g on the
corner of a shape outline.
• Miter—Sets the length of the extension of Miter joins to create either
sharp or flat corners.
• Align—Select one of the align buttons to control where the stroke is
placed in relation to the object edge, i.e. centred, or on its inside or Dash line style with Dash settings 1,2,0,0 and 1,2,4,2, respectively.
outside. The Phase value allows you to 'shift' the dash line style along so the design
• Draw Behind Fill—Check to hide the inner half of an object's outline begins at a different point in the style's sequence. This can have an impact
behind a closed shape—useful with very small objects or when shrinking on how dash lines display for closed shapes (see below).
outlined text. Uncheck to always reveal the whole line.

279
 Dash line style with Phase settings 0 and 4, respectively.
___________________________________________________________________
SEE ALSO:
Draw lines and shapes
Edit lines and shapes
Colour panel
Swatches panel
Customizing the workspace

280
Styles panel ___________________________________________________________________
SEE ALSO:
The Styles panel lets you apply pre-designed drag-and-drop styles to your
object. Styles
About the Styles panel
Styles are made up of effects, stroke properties, or text attributes and
combinations of these. The Styles panel lets you apply these properties
easily.
You can also save any object's style to the Styles panel for future use.

The Styles panel showing styles in the default category.

The panel displays the following:
• Category pop-up menu. To display style thumbnails for the chosen
category.
• Style thumbnails for the current category.
Settings

The following options are available from the Panel Preferences menu:
• Add Styles category—creates a new style category that you can save
your custom styles into.
• Remove category—deletes the currently active custom category.
• Rename category—renames the currently active custom category.
• Import Styles category—if styles have been previously exported to a file
you can import them using this option.
• Export Styles category—exports the current category, and its styles, to
a file.
• Add Style from Selection—if your object is selected, select this option
to save the object style to the current Styles panel category.

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Swatches panel
The Swatches panel makes it easy to use pre-defined colours, and also to To add a customized registration colour for professional
define, store and reuse your own selection of colours. printing, click Panel Preferences, then select Add Registration
Colour.
About the Swatches panel
The Swatches panel stores your recently used colours and lets you access
a range of pre-defined palettes, each containing solid or gradient fill Preset colour palettes (available from the category list pop-up
swatches. These can be selected for use with various tools and for applying menu) include OSX colour palettes such as Apple, Web Safe
directly to objects. You can also create and store your own swatches as Colours, System, and Crayons.
custom colour palettes either for the document, application or system-wide
(globally). To list swatches by name instead of thumbnail, click Panel
As well as accessing palette, you can create global and spot colours, and Preferences, then select Show as List.
make colours overprint. Your registration colour can also be customized.
Colour selector swatches
In Draw Persona, objects have stroke and fill properties. The stroke colour
is represented by the cutout colour selector swatch (A below). The fill is
represented by the solid colour selector swatch (B below).
Here's the swatches that you'll see for vector and pixel tools.

The selected swatch selector is at the front. In this illustration the selected colour selector
swatch is: (A) Stroke, (B) Fill, (C) Foreground (Colour 1), and (D) Background (Colour 2).

Swatches panel: (A) Colour 1/Colour 2 (left) or Stroke/Fill colour selectors with colour The active swatch is whichever is shown in front of the other.
'none' swatch and 'swap' arrow, (B) Colour picker tool and picked colour swatch, (C) You can quickly switch between swatch selectors by pressing
Category list, (D) category colour palette swatches, (E) Panel Preferences, (F) Opacity the x key.
control, (G) Recently used colours, (H) None, Black, and White swatches, (J) Add current
fill to palette, (K) Add current colour to palette as a global colour, (L) Registration colour.
Swatches thumbnail - missing original picture :-(
These swatches change appearance for some vector tools.
Global colour (A) Spot colour (B), Overprint (C).
Like the Colour panel, the Swatches panel has different states depending • Gradient Tool: When selected, only one colour selector
on the active Persona and on the selected tool. The large colour swatch swatch is shown to represent the fill only.
selectors indicate the currently selected colours.
• Vector Brush Tool: When selected, the panel shows
The Swatches panel also shows None, Black, and White swatches, recently
foreground and background swatches that can be swapped by
used colours and an opacity control. Swatches are organized into colour
clicking the adjacent double arrow.
palettes by category.

282
Working with palettes Generating a palette from document
The ten most recently used colours are automatically added to the panel on You can generate a palette from the colours used throughout your
a temporary basis. You can permanently store custom colours and document.
gradients that you use most often in any of the palettes or you can create
custom palettes to host them. To generate a palette from document:
• Click Panel Preferences and choose an option from Create Palette from
Although you can add colours to any of the pre-defined palette Document.
categories, we recommend that you always create your own. A new palette is created (named after the document) using all the colours
currently in the document.
The following types of palette exist within Affinity Designer: Sharing custom palettes
• Document—these palettes are saved within the current document. You can also share custom colour palettes for use by other Affinity users.
• Application—these palettes are saved within Affinity Designer. These To export a colour palette:
palettes are available to any Affinity Designer document.
1.Choose the palette you want to export from the palette pop-up menu.
• System—these palettes are saved to your operating system. These
palettes are available within Affinity Designer and other applications 2.Click Panel Preferences and choose Export Palette from the menu.
installed on your system. 3.Type a name for the exported file, choose the disk location you want to
• PANTONE®—these palettes are based on PANTONE® Colours. These save it to and click Save.
palettes are available to any Affinity Designer document. To import a colour palette:
Saving and deleting custom colour palettes 1.Click Panel Preferences and select a palette type from the Import
Palette sub-menu.
To create a new palette:
2.Locate the file you want to import and click Open.
• Click Panel Preferences and choose an Add Palette option.
The newly imported palette will now be available to choose in the palette
pop-up menu.
From Panel Preferences, you can also rename and delete the
selected palette.
Using the above method you can also import palettes from Adobe
applications (such as Illustrator, InDesign and PhotoShop) using an
To save a colour or gradient to a palette: Adobe Swatch Exchange file (*.ase).
1.On the Swatches panel, select a palette from the palette pop-up menu.
2.Do one of the following: Setting default palettes
๏ ⌃(ctrl)-click an object, then from the pop-up menu, click Add to Any palette can be set as the default used for specific colour formats. For
Swatches and choose to add colour from fill, stroke or both. example, you can set RGB/8 documents to have a different default palette
to CMYK/8 documents.
๏ Select Add current colour to palette. Use the Stroke/Fill colour
selector to target the colour. To set a default palette:
To delete a saved swatch: 1.On the Swatches panel, select a palette from the palette pop-up menu.
• ⌃(ctrl)-click the swatch you want to remove and choose Delete Fill from 2.Click Panel Preferences and choose a colour format option from the Set
the pop-up menu. as Default for from the pop-up menu.

283
___________________________________________________________________
SEE ALSO:
Selecting colours
Colour panel
Colour chords
Global colours
Spot colours
Customizing the workspace

284
Tools panel
The Tools panel contains the tools available in the active Persona.
The Tools panel is presented vertically to the left of your workspace.
In Separated mode, the panel floats instead of being fixed to the left of the
workspace. If it is placed within the bounds of the document window, the
Tools panel will move when the document window is moved. If it is placed
outside of the document window, it will remain in its fixed position until it is
manually dragged elsewhere.
The panel can be customised to add or remove tools to suit your way of
working.
___________________________________________________________________
SEE ALSO:
Customizing the Tools panel

285
Transform panel • S—Shear. Shears the object (layer) by a specified number of degrees in
relation to the selected anchor point.
When selected, an object (or layer) can be easily moved, resized and
sheared by adjusting the values in the Transform panel. All transform measurements are in relation to the ruler's zero point,
and display in the currently set measurement units.
When used in conjunction with the Node Tool, selected nodes can
The number of decimal places allowed can be set via Affinity
be positioned or scaled precisely using the Transform panel.
Designer>Preferences>User Interface.

About the Transform panel ___________________________________________________________________

The Transform panel places objects (or layers) precisely. All transforms are SEE ALSO:
carried out in relation to a defined anchor point—corner, edge midpoint or
centre—allowing the selected object or layer's position, width, height, Customizing the workspace
rotation angle and shear to be adjusted. Rulers
Transforming objects
Rotating and shearing objects
Node Tool

The Transform panel showing settings applied to an object.

The following controls are found on the Transform panel:
• Anchor point selector—transforms are carried out from the selected
anchor point. Click on an anchor point to select.
• X—Horizontal position. Increasing the value moves the selected object
(layer) to the right.
• Y—Vertical position. Increasing the value moves the selected object
(layer) down the page.
• W—Width. Adjusts the object (layer) width in relation to the selected
anchor point.
• H—Height. Adjusts the object (layer) height in relation to the selected
anchor point.

• Link—when enabled, width and height are adjusted in proportion to

each other, maintaining the current aspect ratio. When deselected, they
can be adjusted independently.
• R—Rotation. Rotates the object (layer) by a specified number of degrees
in relation to the selected anchor point.

286
Character panel • Background colour—sets the colour appled behind the selected text
(i.e. creating a highlight effect). Select from the pop-up panel.
The Character panel allows you to apply local formatting to individual
Underline and Strikethrough
letters, words, sentences and paragraphs as well as entire stories.
• Underline—select whether the text has No Underline or a single or
About the Character panel
double underline.
The Character panel is unique in providing the ability to:
• Underline colour—sets the colour of the text underline. If this is set to
• List typefaces within particular collections (including Missing Fonts). 'None', the underline colour will match the Font's colour. Select from the
• Apply double underline or strikethrough as well as controlling their colour pop-up panel.
independently of text colour. • Strikethrough—select whether the text has No Strikethrough or a single
• Set kerning and shearing. or double strikethrough.
• Apply horizontal and vertical scaling. • Strikethrough colour—sets the colour of the text strikethrough. If this is
set to 'None', the strikethrough colour will match the Font's colour. Select
from the pop-up panel.
Positioning and Transform
• Tracking—controls the spacing between characters.
• Baseline—controls the position of the bottom of text characters. Positive
values lower the baseline, negative values raise the baseline.
• Kerning—controls the kerning (distance) between characters. Auto will
automatically kern characters by default. Positive values give expanded
kerning, negative values give condensed kerning.
• Horizontal Scale—stretches the characters and spacing width with
regard to point size.
• Shear—controls the extent of text slant. Positive values will tilt text to the
left, negative values will tilt text to the right.
• Vertical Scale—stretches the characters with regard to point size.
Typography
• Standard Ligatures—applies any available typeface ligatures to the
selected text.
The Character panel.
• Contextual Alternatives—applies any alternative typeface designs
The following panel options are available: available for glyphs depending on their relative position within a word or
• Collection—sets the typefaces which are accessible via the panel. Select with respect to neighbouring glyphs.
from the pop-up menu. • Ordinals—automatically applies a superscript to letters which are part of
• Typeface—sets the typeface for the selected text. Select from the pop-up an ordinal number.
menu. • Fractions—dynamically converts fractions into a single glyph.
• Size—controls the point size of characters.
• Superscript—converts text characters to superscript, i.e. characters are
• Font—controls which typeface style is applied to the selected text. set higher than neighbouring characters and font size is decreased.
• Font colour—sets the colour of the text. Select from the pop-up panel.
287
• Subscript—converts text characters to subscript, i.e. characters are set
lower than neighbouring characters and font size is decreased.
• All Caps—displays all selected text as upper case (or small caps, if Small
Caps option selected).
• Small Caps—displays lower case letters as miniature upper case.
• Language
• Choose a language (for spell check and reference purposes). Select from
the pop-up menu.
___________________________________________________________________
SEE ALSO:
Character formatting
OpenType font features
Paragraph panel

288
Paragraph panel • Justified Centre—as with Justified Left, however, the last line of a
paragraph is centre aligned.
The Paragraph panel allows you to control the position and flow of
• Justified Right—as with Justified Left, however, the last line of a
individual paragraphs or entire stories.
paragraph is right aligned.
About the Paragraph panel
• Justified All—as with Justified Left, however, the last line of a paragraph
The Paragraph panel is unique in providing the ability to: is justified regardless of length (sometimes known as Force-Justified).
• Control the amount of vertical space between paragraphs. Spacing
• Apply left and right indentations as well as indents for first lines only. • Paragraph Leading—controls the distance between text baselines
• Create multiple tab stops set at different distances—giving you the ability (vertical gap between lines) within the paragraph. Select from the pop-up
to have irregular spacing when tapping ⇥ several times. menu. Options include:
• Adjust the behaviour of justified text—giving you control over how the ๏ Default—sets the line spacing to the font's default (i.e. single).
app calculates spacing between letters and words to allow text to be ๏ Exactly—sets a fixed spacing (other text attributes are ignored for
flush along both left and right margins.
line spacing purposes). This can be adjusted using the presets in the
pop-up menu.
๏ % Height—sets spacing based on a percentage of the text's size.
This can be adjusted using the presets in the pop-up menu.
๏ At Least—sets a minimum spacing (actual line spacing may increase
depending on other text attributes). This can be adjusted using the
presets in the pop-up menu.
๏ Multiple—controls line spacing as a portion of the default. This can
be adjusted using the presets in the pop-up menu.
• Before Paragraph Indent—controls the vertical gap which precedes the
paragraph.
• After Paragraph Indent—controls the vertical gap which succeeds the
paragraph.
• First Line Indent—controls the indent applied to the first line of the
paragraph.
• Left Indent—controls the left indent applied to the entire paragraph
The Paragraph panel. (excluding the first line).
The following panel options are available: • Right Indent—controls the right indent applied to the entire paragraph.
• Left Align—sets the paragraph alignment to adhere to the left margin. Tab Stops
• Centre Align—sets the paragraph alignment to be equidistance from the • Default tab—controls the standard horizontal space added before a
left and right margins. character when a tab (⇥) is inserted.
• Right Align—sets the paragraph alignment to adhere to the right margin. • Add New Tab Stop—adds an additional tab stop position.
• Justified Left—sets the paragraph alignment to both the left and right • Delete Selected Tab Stop—removes the selected tab stop.
margins. The last line of a paragraph is left aligned. • Tab stop alignment—sets the alignment of the selected tab stop.

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• Tab stop leader—sets the characters displayed which indicates the
selected tab stop.

See the Paragraph formatting topic for more information.

Justification
• Desired Letter Spacing—sets the preferred tracking (spacing between
letters) within words when a paragraph has a justified alignment.
• Minimum Letter Spacing—sets the minimum tracking allowed.
• Maximum Letter Spacing—sets the maximum tracking allowed.
• Desired Word Spacing—sets the preferred gap between words.
• Minimum Word Spacing—sets the minimum gap allowed.
• Maximum Word Spacing—sets the maximum gap allowed.
___________________________________________________________________
SEE ALSO:
Paragraph formatting
Character panel

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15

More

• Changing the UI appearance

• Preferences
• Expressions for field input

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Changing the UI appearance
Affinity Designer has a dark User Interface. This makes it easier to
accurately view and edit the colours in your designs. However, you can
make the interface darker or lighter if you prefer.
To change the lightness of the UI:
1.Choose Affinity Designer > Preferences.
2.Click the User Interface label.
3.Drag the sliders to set the Background Grey level and/or UI Gamma
level.
4.Uncheck Use hardware OpenGL if you don't want to take advantage of
hardware-accelerated 3D rendering.
5.Uncheck Lines in points if you want line widths to be expressed in
physical measurement (e.g., mm) instead of typographic points.
___________________________________________________________________
SEE ALSO:
About workspace modes
Customizing the workspace
Customizing the Toolbar

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Preferences • File recovery interval—choose the behaviour of the application's
autosave.
Preferences comprise a series of miscellaneous options that are applied
• Choose whether to use hardware OpenGL and/or only integrated GPU.
across your application. They can be used to set up your own way of
Try the opposite of the default settings if you are experiencing
working.
performance issues.
General options
User Interface options
• Choose whether to restore the last session when launching application.
• Background Grey Level—controls the greyscale level of the page
• Choose to retain clipboard items on application exit. background.
• Choose to open PSDs with editable text objects. • UI Gamma—adjusts the contrast of the user interface.
• Select whether to show or hide file extensions. • Font UI Size—optionally increase the font size of UI text.
• Choose whether to create SVGs when copying objects for better • Tooltip Delay—set the length of time before a tooltip appears when
cross-platform interaction.
hovering over a UI element.
• Language—Sets the UI language independently of the operating system.
• Decimal Places for Unit Types—controls the number of decimal places
Select from the pop-up menu.
allowable for each document measurement unit.
Colour profiles options • Locks (or keeps unlocked) an imported image as a background layer.
• You can set up your default RGB, CMYK, Greyscale and LAB colour • Choose whether line width (thickness) displays in points or in the
profiles for use in future documents. Select from the pop-up menus. document's measurement units.
• Rendering Intent—Choose the rendering intent for your images. Select • Choose whether text is expressed in points or in the document's
from the pop-up menu. measurement units.
• Choose whether to apply black point compensation when opening an • Choose whether the brush cursor display a preview of pixels to be
image. placed.
• Choose whether to convert an opened file colour space to the working • Overlays a cross-hair over the brush cursor for better targeting.
space and also choose whether to warn that this has occurred.
• Makes icons display in greyscale.
• Choose whether to receive a warning when a working profile is assigned
to an unprofiled image. Tools options
Performance options • Tool Handle Size—makes selected layer content's bounding box
handles and curve nodes (and handles) smaller or larger.
• RAM Usage Limit—allows you to set your preference for optimizing
application performance for your projects. • Choose whether ⌃(ctrl)+click displays context menus (alternative to
right-click with a multi-button mouse).
• Disk Usage Warning At—choose the limit at which you are warned
about disk usage. • Enable or disable the Force Touch context menu; when enabled, the
menu is accessed by a strong-press on a Force Touch-compatible
• Undo Limit—choose the history length you are able to access. trackpad.
• View Quality—choose the way in which the image displays during • Choose whether the middle mouse button will allow scrolling or zooming.
modifications. Select from the pop-up menu.
• Move Tool Aspect Constrain—controls the default constraining
• Choose whether to dither gradients, when working on projects, to speed behaviour when resizing objects using the Move Tool. Select from the
up performance. pop-up menu.
• Choose a clipping option for optimizing performance. • Create Text with Blend Gamma—controls the default blend gamma
applied to text on creation.
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• Nudge Distance—sets the nudge amount by which an object is moved
when using the arrow keys. Select measurement units from the pop-up
menu.
• Modifier Nudge Distance—sets the amount by which an object is
moved when using the arrow keys along with the ⇧ key.
Keyboard Shortcuts options
• Use these options to define your own keyboard shortcuts. See the
Customizing keyboard shortcuts topic.
Miscellaneous options
• Your current Fills, Brushes, Object Styles, User Defaults and Fonts can be
reset to factory defaults.
To set preferences:
• From Affinity Designer menu, select Preferences.

To navigate to particular preference options, use the arrow keys,

pop-up menu or search facility at the top of the dialog.

Apple System Preferences allow you to control elements of the

Affinity User interface such as scrollbar behaviour.

___________________________________________________________________
SEE ALSO:
Object defaults
Colour management
Customizing keyboard shortcuts

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Expressions for field input Expression
Expressions for field input xposition (x) X position
Instead of adding absolute values into input fields, you can add yposition (y) Y position
expressions. These allow you create new values based on percentages, use width (w) Width
mathematical symbols, and base an input value on another field's value.
height (h) Height
The expressions presented in brackets can be used as alternative, rotation (r) Rotation
often shortform, versions of the expression. shear (s) Shear

Sizing expressions Mathematical expressions

Use when document resizing or transforming via the Transform panel. For general use throughout the user interface.

Expression Expression

+=20 Increase value by 20. pi (Pi,PI,π) For pye

-=20 Decrease value by 20. phi (Phi,PHI,gr,GR,φ) For golden ratio
*=50% (*=0.5) Decrease by 50% (half size). root2 (rad,rt) For Pythagora’s constant
*=2 Double size. e Euler’s constant
*=1.2 20% bigger.
/=2 Divide by a half.
Relational scaling based on other input value.
2*w Example is entered into Height box to set height
to double the width.
Relational scaling based on other input value.
w/2 Example entered into Height box to set height to
half the width.
Scales based on addition of other input value.
w+20 Example entered into Height box to set height as
width plus 20 pixels.
Scales based on subtraction of other input value.
w-20 Example entered into Height box to set height as
width minus 20 pixels.

Transforming expressions
Use when moving, scaling, rotating or shearing objects via the Transform
panel.

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Page expressions
Use when sizing and positioning content using the Transform panel in
relation to the page (spread).

spreadwidth (sprw,sw,pw) The width of the current spread

spreadheight (sprh,sh,ph) The height of the current spread
spreadleft (sprl,sl,pl) The position of the left edge of the current spread
spreadright (sprr,sr,pr) The position of the right edge of the current spread
spreadtop (sprt,st,pt) The position of the top edge of the current spread
The position of the bottom edge of the current
spreadbottom (sprb,sb,pb)
spread
marginsizeleft (mgnszl,msl) The size of the left margin on the current spread
marginsizeright
The size of the right margin on the current spread
(mgnszr,msr)
marginsizetop (mgnszt,mst) The size of the top margin on the current spread
marginsizebottom The size of the bottom margin on the current
(mgnszb,msb) spread
The position of the left margin on the current
marginleft (mgnl,ml)
spread
The position of the right margin on the current
marginright (mgnr,mr)
spread
The position of the top margin on the current
margintop (mgnt,mt)
spread
The position of the bottom margin on the current
marginbottom (mgnb,mb)
spread
designareawidth The space between the left and right margins on
(areawidth,aw) the current spread
designareaheight The space between the top and bottom margins
(areaheight,ah) on the current spread

___________________________________________________________________
SEE ALSO:
Document setup
Transform panel
Draw and edit geometric shapes

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16

Customize

• Keyboard shortcuts
• Workspace
• Tools panel
• Toolbar

297
Customizing keyboard shortcuts 5.Press your chosen keyboard key(s) to assign. This adds the new shortcut
or overwrites the assigned shortcut.
While the default keyboard shortcuts broadly follow industry standards and
common use in other applications, it's possible to customize your keyboard If your chosen shortcut has already been assigned, a warning
shortcuts exactly to your liking.
You can customize shortcuts on an application-wide or on a per-Persona triangle ( ) shows next to the shortcut. To resolve, assign a
basis. Shortcuts can be customized for tools, menu items, panel switch different shortcut.
on/off, and tool operations, either being added as new shortcuts or
replacing existing shortcuts.
You can optionally save your customized shortcuts to a file (.affshortcuts) Some shortcuts show a symbol ( ) next to them. This indicates
that can be shared with other users or backed up for safe keeping. that the shortcut is shared between several tools. Hover over the
Available settings are as follows: symbol to see other tools.
• Persona—The pop-up menu sets the Persona for shortcut customization.
• UI Element—The pop-up menu displays the menus, commands and To delete a keyboard shortcut:
operations for the currently selected Persona. A Miscellaneous category
groups shortcuts for commonly performed operations and lets you switch • Click the cross-hair at the end of the shortcut entry.
on/off panels via shortcuts. ___________________________________________________________________
• Apply to all—If checked, the shortcut applied to a UI element is shared SEE ALSO:
across every Persona. If unchecked, you can uniquely assign a custom
Keyboard shortcuts
shortcut to work just within the currently selected Persona in the initial
Persona pop-up menu. Preferences
• Ignore Modifier—Lets you create shortcuts using a single letter Personas
designation instead of using keyboard modifiers.
• Reset—All customized shortcuts are reset back to default.
• Clear All Shortcuts—All default and customized shortcuts are removed.
• Load—Loads a previously saved .affshortcuts file. This will overwrite your
current keyboard shortcut allocations.
• Save—Saves the current set of shortcuts to a .affshortcuts file for sharing
or backup.
To assign (re-assign) a keyboard shortcut:
1.From the Affinity Designer menu, select Preferences.
2.Select the Keyboard Shortcuts tab.
3.From the initial two pop-up menus, filter shortcuts by Persona and then
by UI Element, respectively.
4.From the lower shortcut list, click in the box (containing empty or existing
shortcut) at the end of a shortcut entry for the shortcut you want to
change.

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Customizing the workspace
Each Persona's workspace can be customised to fit your individual way of
working.
To hide/show a panel:
• From the View menu, click the panel name on the Studio flyout. To show
again, click the panel name again.
• To hide/show all panels:
• From the View menu, click Toggle UI (⇥).
• To collapse a panel group:
• Double-click on the active panel label.
• To expand a panel group:
• Click on the label of the panel that you want to view.
• To move a panel:
• Drag the panel label to its new position, either:
๏ As a free floating panel.
๏ As an item in an existing panel group.
• To resize a panel:
• Drag any corner of a panel.
• To dock a panel:
• Drag the panel label to a panel group.
• Drag the panel label to an area of the studio. A highlight indicates where
the panel can be docked.
• To move a panel group:
• Drag the panel group to a new position, either:
๏ As a free floating panel group.
๏ As new items in an existing group.
• To dock a panel group:
• Drag the panel group to another panel group.
• Drag the panel group to an area of the studio. A highlight indicates where
the panel can be docked.
To reset the Persona's workspace:
1.Select the Persona that you want to reset the workspace for.
2.From the View menu, click Studio > Reset Studio.

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Customizing the Tools panel
The Tools panel can be docked or floating, on show or hidden, depending
on your preference.
The Tools panel can be customised to fit your individual way of working. By
removing tools, you can slim down the Tools panel and add available tools
when needed.
To dock/undock the Tools panel:
• From the View menu, select Dock Tools.
To show/hide the Tools panel:
• From the View menu, select Show Tools.
To remove/or add a tool:
1.From the View menu, select Customise Tools.
2.Drag a tool icon from the Tools panel into the flyout, or vice versa.
3.Click Close.
To reset the Tools panel:
1.From the View menu, select Customise Tools.
2.From the flyout, click Reset.
The Tools panel is reset back to its default.
To set the number of columns on the Tools panel:
1.From the View menu, select Customise Tools.
2.From the flyout, select from the Number of Columns pop-up menu.
If the number of columns is two or more, the Tools panel will also display
colour selectors. These are similar to those which appear on the Colour
panel and Swatches panel.

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Customizing the Toolbar
The Toolbar organizes some of the most commonly used commands and
functions in each Persona to keep them at your fingertips. The Toolbar can
be customised to fit your individual way of working.
To show/hide tool group labels on the Toolbar:
1.Choose View > Customise Toolbar.
2.From the dialog's Show pop-up menu, select Icon Only or Icon and
Text.
To hide/show the Toolbar:
Do one of the following:
• Choose View > Show Toolbar.
• Use the shortcut keys ⌥⌘T.
To customise the Toolbar:
1.Choose View > Customise Toolbar.
2.Drag the items from the dialog to the Toolbar.
3.Remove items by dragging them off the Toolbar and onto your Document
view.
To reset the Toolbar:
1.Choose View > Customise Toolbar.
2.Drag the default set item to the Toolbar. This will revert the Toolbar back
to its original settings (removing any custom buttons).
___________________________________________________________________
SEE ALSO:
About workspace modes
Toolbar

301
19

Appendix
1

System requirements

The minimum system requirements are as follows:

• Intel processor with 64-bit support.
• Mac OS X Lion (10.7.5) and above.
• 2GB RAM
• 325MB of available hard-disk space*
• 1280 x 768 display
* additional free space required during installation (cannot install on a
volume that uses a case-sensitive file system or on removable flash storage
devices)

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2
1 Multi-page files can be imported, with each page being placed on its own

Import and export file layer. Switch on a hidden page's layer to view its content.
2 Multi-page Freehand files open with each page concatenated onto a
single page. Add file extensions .fh10 or .fh11 in Finder to import. Text
formats import is not supported.
3For a comprehensive up-to-date list, see Supported Develop (RAW)
cameras. This is valid for Affinity Designer and Affinity Photo equally.

Affinity Designer is capable of opening many raster and vector file formats
directly. Designer also imports PDF and Adobe PSD files, and exports a
range of raster file formats and the PSD file format.

File type Import Export

Adobe Illustrator (AI) x1

Adobe Freehand (10 and MX) x2

Adobe PhotoShop (PSD) x x

BMP x
EPS x x
GIF x x
JPEG x x
J2K,JP2 x
JPEG-XR/JXR (WDP/HDP) x
PDF x1 x
PNG x x
RAW x3

SVG x x
TGA x
TIFF x x
WEBP x

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3

Contacting us

Website: affinity.serif.com
Facebook: facebook.com/macaffinity
Twitter: @MacAffinity
Instagram: instagram.com/macaffinity

305
4 FontForge © 2000,2001,2002,2003,2004,2005,2006,2007,2008 by George
Williams.

Copyrights Portions of this software are copyright © 2008 The FreeType Project
(www.freetype.org). All rights reserved.
Anti-Grain Geometry - Version 2.4 Copyright © 2002-2005 Maxim
Shemanarev (McSeem)
iMedia Browser Framework Copyright © 2005-2010 Karelia Software et al.
© 2015 Serif (Europe) Ltd. All rights reserved. No part of this Help system
may be reproduced in any form without the express written permission of
Serif (Europe) Ltd.
Affinity Designer © 2015 Serif (Europe) Ltd. All rights reserved.
Licensing
For a full list of licensing agreements, please view the licensing document in
the app's package at:
Contents/Resources/licenses.rtf
The following trademarks and copyrights are acknowledged:
Trademarks
Serif is a registered trademark of Serif (Europe) Ltd.
Affinity is a registered trademark of Serif (Europe) Ltd.
Apple, App Store, iPhone, and iPad are registered trademarks or service
marks of Apple Inc.
“Adobe” and “Photoshop” are either registered trademarks or trademarks
of Adobe Systems Incorporated in the United States and/or other countries.
Copyrights
ICC Colour Profiles © 2006 Adobe Systems Incorporated. All rights
reserved.
PANTONE® Colours displayed in the software application or in the user
documentation may not match PANTONE-identified standards. Consult
current PANTONE Colour Publications for accurate colour. PANTONE® and
other Pantone trademarks are the property of Pantone LLC. ©Pantone LLC,
2010.
Pantone LLC is the copyright owner of colour data and/or software which
are licensed to Serif (Europe) Ltd. to distribute for use only in combination
with Affinity Designer. PANTONE Colour Data and/or Software shall not be
copied onto another disk or into memory unless as part of the execution of
Affinity.
Extensible Metadata Platform (XMP) Copyright © 2006 Adobe Systems
Incorporated. All rights reserved.

306