One of the key elements is Illustrator’s Envelope Distortion tool, allowing text to be twisted and skewed intelligently to fit specific spaces.Īffinity Designer allows vectors to be skewed to match faces of customisable isometric grids (Image credit: Beth Crane) Illustrator is integrated with Adobe Fonts, allowing users to preview Adobe fonts in situ before downloading them, and in the program itself, Illustrator possesses text editing abilities that Affinity Designer simply doesn’t have. Illustrator has a lot of additional features that are text based, and considering the importance of text in graphic design, for many this will be the match point. Vector lines can be modified either by clicking and dragging or by using vector point levers, depending on your goal. The key element of any vector software, the node editor, is both relatively similar and fairly simple for both nodes can be added either individually and specifically with the pen tool or in a more freehand manner with the straightforwardly-named freehand tool. Whereas Illustrator relies on its mainstay of drop-down numerical boxes, Affinity Designer’s sliders are a more intuitive way to determine sizing, whether you’re determining the appropriate stroke width or layer transparency.īoth programs have the ability to customise their toolbar, meaning you can be rid of the tools you don’t use and prioritise the ones you use the most, and both have the ability to make simultaneous changes across all instances of similar objects in Illustrator, this is called Global Editing, whereas in Affinity Designer you can designate an object, such as a logo, as a Symbol, giving you the opportunity to automatically copy across any changes made to all instances of it. One of the more intuitive elements of Affinity Designer’s user interface is the use of sliders to control sizing and zooms. Generally, the tools I use to combine the different passes are Blend Modes in the Layers Panel and some colour adjustments.Īfter this, to add more character to the scene, I use the Vignette filter and the Depth of Field alongside some pixel layers with additional colouring and extra effects created with brushes.įor the final look and feel of the image, I use the Tone Mapping Persona, where I usually make some adjustment to the colouring (saturation/vibrance), some tone compression along with detail extraction to add some extract details from the smoke and the atmospherics.Affinity Designer's Workspace (Image credit: Beth Crane) Furthermore, the Mist pass can help when masking the extra smoke and the fog that I usually add afterwards using brushes. Sometimes, it helps with the lighting when the light source comes from behind. The ‘Mist’ pass allows me to control the levels of mist and the depth of the scene. Usually, I use the Multiply or Overlay blend modes. The AO and Shadow pass allow me to further control the lighting and the shadows in the scenes. For these scenes, the basic passes among others are: Ambient Occlusion (AO), Shadow, Mist, Environment and the Beauty pass. When I render a scene, I always take as many passes as possible to control it. The live effects in Affinity Photo work like very powerful video processing applications and is very easy to change them every time you want, until you achieve the final image. I love the live filters and live effects, and along with the Tone Mapping and Develop Persona is the main reason I use Affinity Photo every time with my renders. Why do you choose Affinity Photo for your post processing?Īffinity Photo to me is a powerful application with some very good post processing tools.
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