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How To Create Dotted Lines with Affinity Designer
1, Best Affinity Designer Free Brush Downloads from the Brusheezy community. Affinity Designer Free Brushes licensed under creative commons, open source, and more! Mar 20, · Make your digital artwork and designs spring to life and save time with this huge set of Affinity Designer brushes! The set speeds up the drawing process giving strokes varied thicknesses and a more life-like look. But don’t just take my word for how effective these are, here’s what customers are saying – Download these free Estimated Reading Time: 1 min. Jul 11, · Note: Affinity Designer has three work environments, referred to as “personas”. By default, Affinity Designer is set to the draw persona. To switch from the draw persona to the pixel persona or to the export persona, you have to click on one of the three icons located in the top-left corner of the main ted Reading Time: 7 mins.
Drawing lines in affinity designer free download
Her speciality is digital graphics. This is a sponsored post. It was July when Serif Europe launched the amazing software that many designers and illustrators like me are using now as their main tool for professional work. In this article, I would like to walk you through just some of its very user-friendly main tools and features as an introduction to the software and to show you how we can create a nice flat vector illustration of a Volkswagen Beetle.
The illustration will scale up to whatever resolution and size needed because no bitmaps will be used. I will also explain some of the decisions I take and methods I follow as I work. We will see how to work with the Pen tool to trace the main car outline, how to break curves and segments, how to convert objects into curves, and how to use the wonderful Corner tool. Of course, along the way, you will also learn some helpful keyboard shortcuts and commands.
By default, Affinity Designer is set to the draw persona. To switch from the draw persona to the pixel persona or to the export persona, you have to click on one of the three icons located in the top-left corner of the main window. You can start working in the draw persona and switch to the pixel persona at any time, when you need to combine vectors and bitmaps.
Apple had some of the best examples of skeuomorphism in its early iOS and app designs, and today it is widely used in many industries, such as music software and video games. As you can imagine, illustrations on these systems were also affected by the new design currents, and illustrators and designers started creating artwork that would be consistent with the new times and needs. A whole new world of flat icons, flat infographics and flat illustrations opened in front of our eyes.
I am providing the source file for this work over here , so you can use it to explore it and to better follow along as we design it. If you do not yet have a copy of Affinity Designer, you can download a trial. If you want to learn more on the topic, check the following two resources:. Also, remember that you can change this setting at any time. One of the things I use a lot in Affinity Designer is its ability to import the colors contained in an image and creating a palette from them.
From all the images it found, I chose one that I liked and copied it into Affinity Designer in my recently created canvas. You can copy and paste the image to the canvas directly from the browser. We can now get rid of that reference image, or simply hide it in the Layers panel. We will be using this palette as a guide to create our artwork with harmonious colors. Interface: Before we continue, I will present a quick overview of the main sections of the user interface in Affinity Designer, and the names of some of the most used tools.
The next thing is to create a background. For this, go to the tools displayed on the left side, and select the Rectangle tool. Drag it along the canvas, making sure to give it an initial random fill color so that you can see it.
The fill color chip is located in the top toolbar. To straighten the gradient and make it vertical, place your cursor over one of the ends and pull. When you are near the vertical line, press Shift : This will make it perfectly vertical and perpendicular to the base of the canvas. Click now on the color chip, and an additional dialog will open. Repeat this action with the other color stop in the gradient dialog, and input this value: E1C Double-click on it to rename it, and then lock it by clicking on the little lock icon in the top-right corner.
The next thing we need to do is look for an image that will serve as our reference to draw the outline of the car. From the images I found, I selected one of a green Beetle and copied and pasted it into my document. Next, in the side toolbar, select the Pen tool or press P , zoom in a bit so that you can work more comfortably, and start tracing a segment, following the outline of the car in the picture. Give the stroke an 8-pixel width in the Stroke panel.
The Pen tool is one of the most daunting tools for beginners, and it is obviously one of the most important tools to learn in vector graphics. While practice is needed to reach perfection, it is also a matter of understanding some simple actions that will help you use the tool better. As you trace with the Pen tool in Affinity Designer, you will see two types of nodes: squared nodes appear first, and as you pull the handles, they will turn into rounded nodes.
Select the Pen tool, click once, move some distance away, click a second time a straight line will be created between nodes 1 and 2 , drag the second node this will create a curve , Alt -click the node to remove the second control handle, then proceed with node 3, and so on.
In fact, Affinity Designer makes it really easy to amend segments and nodes, so tracing a rough line to start is just fine. What we need now is to make all of those rough lines look smooth and curvy.
First, we will pull the straight segments to smoothen them, and then we will improve them using the Corner tool. Click the Node tool in the side toolbar, or select it by pressing A on your keyboard. Now, start pulling segments to follow the lines of your reference picture. You can also use the handles to help make the line take the shape you need by moving and pulling them accordingly.
With the Node tool A , you can both select and move nodes , but you can also click and drag the curves themselves to change them. Once all of the segments are where we need them, we are going to smoothen their corners using the Corner tool shortcut: C. This is one of my favorite tools in Affinity Designer.
The live Corner tool allows you to adjust your nodes and segments to perfection. Select it by pressing C , or select it from the Tools sidebar. The method is pretty simple: Pass the corner tool over the sharp nodes squared nodes that you want to smoothen.
If you need to, switch back to the Node tool A to adjust a section of a segment by pulling it or its handles. Click on the stroke color chip beside it and input Create now a shape with the Pen tool, and fill it with black The exact shape of the new object that you will create does not really matter, except that its bottom side needs to be straight, as in the image below.
We need to put the wheels in place next. In the Tools, pick the Ellipse tool, and drag over the canvas, creating a circle the same size as the wheel in the reference picture. Click Shift as you drag to make the circle proportionate. Additionally, holding Ctrl Windows or Cmd Mac , you can create a perfect circle from the center out.
Note: If you need to, hide the layers created thus far to see better, or simply reduce their opacity temporarily. Choose a random color that contrasts with the rest. I like to do so initially just so that I can see the shapes well contrasted and differentiated. When I am happy with them, I apply the final color. Zoom into your wheel shape. Press Z to select the Zoom tool, and drag over the shape while holding Alt key, or double-click on the thumbnail corresponding to it in the Layers panel.
A new circle will be placed on top of the original one. Select it. Repeat three times, reducing a bit more in size each time, to fit your reference. This will happen from your third smart-duplicated shape onwards. So, we have our concentric circles for the wheel, and now we have to change the colors. You can select a color and modify it slightly to adapt to what you think works best. We need to apply fill and stroke colors.
Remember to give the stroke the same width as the rest of the car 8 pixels except for the innermost circle, where we will apply a stroke of Now we want to select and group all of them together. Duplicate this group and, while pressing Shift , select it and drag along the canvas until it overlaps with the back wheel.
Name the layer accordingly. We need to trace the front and back fenders. We have to do the same as what we did for the main bodywork. Pick the Pen tool and trace an outline over it. Once it is traced, modify it by using the handles, nodes and Corner tool. I also modified the black shape behind the car a bit, so that it shows a bit more in the lower part of the body work.
Now we want to trace some of the inner lines that define the car. For this, we will duplicate the main yellow shape, remove its fill color and place it onto our illustration in the canvas. Press A on the keyboard, and click on any of the bottom nodes of the segment. You will see now that the selected node has turned into a red-outlined squared node. Click on it and pull anywhere.
As you can see, the segment is now open. Click the Delete or Backspace key Windows or the Delete key Mac , and do the same with all of the bottom nodes, leaving just the leftmost and rightmost ones, and also being very careful that what is left of the top section of the segment is not deformed at all.
I use this method for one main reason: Duplicating an existing line allows for a more consistent look and for more harmonious lines. Select now the newly opened curve, and make it smaller in such a way that it fits into the main yellow shape when you place them on top of one another. In the Layers panel, drag this curve into the yellow shape layer to create a clipping mask. The reason for creating a clipping mask is simple: We want an object inside another object so that they do not overlap i.
Not doing so would result in some bits of the nested object being visible, which is not what we want; we need perfect, clean-cut lines.
Note: Clipping masks are not to be mistaken for masks. Masks, on the other hand, display a small vertical blue stripe beside the thumbnail. Then, I applied a bit more Corner tool to soften whatever I felt needed to be softened. Finally, with the Pen tool, I added some extra nodes and segments to create the rest of the inner lines that define the car.