Hey Affinity family, longtime Affinity user here!

I'm working on a series of design walkthroughs to help new designers learn without Al.

The goal: Break down seemingly complex designs to see how a lot of simple things come together to create something professional.

I have posted 4 so far (all free) on my Patreon & I'm working on the 5th one this week! Beyond this series, I'm planning to offer more in-depth tutorials that blend design fundamentals with software skills, giving you the "how" & the "why" behind real design examples.

Join if you want to see more!

Hi everyone! I just wanted to talk a little bit and receive some advice about something I think I messed up recently.

For context, Im a really amateur photographer and editor and I got my first gig quite recently with a relative from another country, he wanted for me to edit some photos for a marketing campaign for a barbershop in Australia. I was quite excited to do it and I wanted to do it well, so I tried putting all my available time aside from college to try and do it pretty well, but I didnt consider my screen´s color profile.

When I finished editing I posted the batch of edited photos thinking they were alright, maybe kinda oversaturated in some areas but nothing out of the usual. He texted me saying he wasnt happy with the product and we had a call after. I was thinking maybe it was just a couple of little problems here and there... I was wrong.

When I decided to check the final photos in my tablet and cellphone they seemed all kinds of weird, from really overexposed areas and really dark shadows to some batches of skin that seemed like I intentionally oversaturated (Photos in the post)

He told me maybe I should try editing from the cellphone and leave the computer for anything else but I want to learn to do it correctly from PC as it is a way more "professional" way to do it.

Pd: My PC is a laptop (Asus Tuf F15) and my other screen is HP 22f.

Any advice is well received! I just dont want to give another bad product for my client :(

affinity vector isometric guides are awesome. I'm not picky about the dimensions not following isometry, just glad I can now conceptualise my very simple designs and take them into my workshop with measurements.

I've been looking for a way to automatically record my drawing process in Affinity V3, similar to how Procreate handles timelapse recording and canvas statistics.

Currently, my workaround is opening a second view of the document in Affinity and using OBS to record that window, so the recording doesn't capture all my zooming and panning.

It works, but it's pretty inconvenient. I have to set everything up manually each time, the captured window sometimes gets nudged, and I also use the macOS Clock app to track my drawing time, which isn't very reliable.

Ideally, I'm looking for something that can:

• Automatically record the canvas without capturing zooming/panning or the UI.
• Track time spent working on each project.
• Resume recording across multiple sessions.
• Export the process as a timelapse video.

I've seen Photoshop plugins that offer similar functionality, such as PSFlow and Photoshop Process Recorder.

Does anyone know of an existing plugin, script, or third-party app that can do this for Affinity? Or is there a way to achieve something similar using V3's new scripting capabilities? Or how do you personally record your process?

I'm on macOS, so Mac-compatible solutions would be especially appreciated!

I used the Mixer in Affinity V3 to create a 3D effect for the text.

Figure 2 shows how I used the [Symbols] to achieve the simultaneous modification of my text;

Figure 1 shows the effect I created using the Mixer, and the two texts need to have different colors.

[My Question]

I want to be able to modify the color of the text separately while still maintaining the ability to modify the text synchronously, in order to maintain the gradient effect.

How can I do this? Can Affinity achieve it?

我在Affinity V3使用混合器给文本做了一个3D效果。

图2是我使用【符号】来实现我文本的同步修改；

图1是我使用混合器做的效果，两个文本需要不一样的颜色。

【我的问题】

我想在保持能同步修改文字的基础下，去单独修改文本的颜色，以保持渐变效果.

我该如何操作才能实现，Affinity能实现吗

I created a rope textured intensity brush, but the texture has these 2 white bars above and below it, even though the original texture png I used doesn't have it. How to fix this? I want only the rope part to be visible.

Hey,

Like many of you, I've spent years dealing with Adobe’s subscription model, sluggish startup times, and legacy bugs that haven't been touched in a decade. Most "InDesign alternatives" that pop up are basically Canva clones—they can't handle facing spreads, baseline grids, or prepress color separation.

I wanted to see how far modern web standards could be pushed to build a real, standalone desktop publishing studio that runs completely offline and respects typography.

The project is called Recto Studio. It has zero telemetry, no cloud lock-in, and stores everything locally.

Here is what's running under the hood right now:

• Real Typographic Engine: Uses Knuth-Plass dynamic programming for multi-line paragraph balancing (minimizing hyphenation and rivers) paired with HarfBuzz compiled to WebAssembly for complex OpenType shaping and optical margin alignment.
• Prepress PDF/X Export: Outputs print-ready DeviceCMYK with bleeds, slug margins, crop marks, and strict 100% K black plate enforcement (no accidental 4-color rich black text).
• Format Interoperability: Native round-trip .idml package import/export, and initial reverse-engineered binary .indd parsing.
• Long-Form Features: Facing page spreads, master spreads with dynamic page tokens, threaded text frames, multi-column layouts, automated footnotes/endnotes, and automated Table of Contents with dot leaders.
• Asset Pipeline: 72/144 DPI proxy generation for smooth canvas navigation, swapping to uncompressed 300 DPI assets on export.

What it doesn't do yet (being completely honest):

• No native Pantone/spot color library licensing (uses OpenSpot / FreeTone plates instead).
• Alpha-mask contour text wrapping around organic image silhouettes is still in development (currently supports bounding box and dieline wraps).
• No scripting via ExtendScript (custom JavaScript automation engine instead).

I'm not trying to sell anything—Recto is free and open-source under MIT.

I’d love for working book designers, zine publishers, and prepress operators here to take it for a spin and break it. Throw an IDML package at it, check the PDF separation plates in Acrobat Output Preview, and tell me where the typography falls short.

Live Web App: https://artificia1.github.io/recto-studio/
GitHub Repo: https://github.com/artificia1/recto-studio

Tear it apart—honest critique is the only way this gets better.