Mr. Photo 1.6 Download

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Imposed sheets from the ‘Elegance’ project Tips on preparing your artwork for print We asked John, The ESP Operations Manager, about some tips when submitting artwork to prepress What are the most common challenges you find with submitted print artwork? “ Poor Quality—low-resolution images, no bleed, no embedded fonts, spreads when single pages are required. With bound covers, single pages where spreads are required (with spines); when roll folded—we need spreads with allowance for roll folding (reduce each panel).

Nov 17, 2017 Mr. Photo on Software Informer. Share your experience: Write a review about this program. 1.6 free download; Mr photoshop windows software.

Often this is not done. Missing or incomplete cutter guides (when used).” What the best advice you could give designers and artists if they plan to create artwork for print? “ Ensure you use high-quality images and ensure you create bleed where necessary.

Convert PMS colours to CMYK—unless these are required as a special colour. Complex Illustrator graphics cause massive issues—view in keyline to see complexity and flatten or convert to raster image to resolve. Also, flatten all PDFs – no layers, and of course embed all fonts.“ CMYK and PDF/X4 all the way then? Although PDF/X4 itself can cause issues (everything is locked down and some systems don’t like it).” Should a user worry about CMYK colour profile choice?

Presto Mr Photo 1.6

“ Not at all, but we would always recommend a scatter proof produced on a litho press rather than trying to compare colour to that seen on screen.” Proofing Prepress is also responsible for proofing, which takes the ripped output as would appear on the plate but, instead, creates a bound hardcopy print which is sent to us for proofing. This unique white-cover workbook (bottom left of iMac below) is much sought after here at Serif HQ! We also receive a scatter proof of the cover (the sheets) along with an electronic PDF for on-screen proofing (on screen).

The Affinity team all check these proofs carefully, and when we are happy we tell the printers to proceed with our print run. Stage 2: Platesetting and proofing When the proofs have been signed off by us, the printers can then start platesetting. Platesetting involves chemically etching rectangular aluminium plates with artwork for each colour, i.e. Cyan, Magenta, Yellow, K (Black); one set of plates is etched for the front sheet and one set for the back sheet. Heidelberg Speedmaster lithographic offset printer with five printing units (in right-to-left paper feed order) – K (black), Cyan, Magenta, Yellow, and coating/infrared dryer. Spot colour printing unit not shown Loading plates Each printing unit contains several cylinders, the most notable being the Plate, Blanket and Impression cylinders. The term “offset” means that the Plate cylinder (housing a plate rolled around it) doesn’t come into direct contact with the paper to be printed on.

Instead, the ink is transferred to a Blanket cylinder which is sandwiched between Plate and Impression cylinders and then pressed onto the fed paper. Rollers supply water and ink to the Plate cylinder.

Two print passes are needed, one for the top of the sheet using front plates, and one for the back using back plates. Each front colour plate is loaded and wrapped around the plate cylinder on the respective printing units on the litho printer. Stage 4: Printing and Inspection Printing begins, with a keen eye on ink flow rates at the control station. Here, we’re looking at paper stock being added to the printer, the control centre (showing the fifth spot ink and C, M, Y, K inks) and the finishing unit showing stacked printed output. Once the ‘front’ print run using front plates is complete, the interim single-sided paper stack is physically ‘flipped’ and offered back to the printer again, once the ‘back’ plates have been loaded.

233 plates and 455,000 sheets of paper were used in this print run of our German language Affinity Photo Workbook. It took 65 hours to print—ESP run sheets through their sheet-fed presses at 18,000 sheets an hour. Stage 5: Finishing When the printing is complete we are left with printed double-sided paper stack ready for finishing. It goes on to be folded, gathered, and PUR bound, with the bound book being consolidated with its cover. The journey doesn’t end there Once we get a delivery date confirmed from the printers, the work starts at Serif HQ to get the book to you. Maree Moran, who sorts out the ordering and distribution of our Workbooks, ensures that all the cartons and pallets containing the final printed Workbooks will be up labeled correctly. She then lets Adam Frith (our warehouse manager), know of their impending arrival.

As we can only ship to some countries from our warehouse in Nottingham (UK) without incurring too many costs for you guys, we also send some stock to Amazon to both sell and distribute for us. Maree lists the Workbook on Amazon UK, Amazon DE, Amazon US and Amazon CA (Canada), and arranges stock to be sent to the depots for each country.

When the stock is shipped to Amazon US and CA, it will then be distributed to smaller depots around those countries to further reduce the customer shipping costs. Maree will also monitor this stock and top it up when needed.

When Adam receives the stock in the warehouse, he splits it further into pallets for Amazon. Depending on the country, he may also need to add another barcode sticker and label up the boxes and cartons as per the requirements of the division of Amazon he is shipping to. Adam also will send out the workbooks individually that are ordered directly from us and sent from our warehouse. Adam takes the first delivery of Affinity Photo Workbooks The final furlong All thats left for us now to do is to get the book listed on our own store and get our Affinity Photo Workbook webpage up on We also prepare an email to send to you and some announcements on our social media channels to let you know when the Affinity Photo Workbook is ready to buy. Big thanks go to Ash, Neil, Steven, Rob, Mel, Duncan, Joe and John for this.

And now it’s ready for you to enjoy! We really hope you will enjoy reading and working through the Affinity Photo Workbook, we all really enjoyed making it and are very proud of the result. The Affinity Photo Workbook is now available to buy from the Affinity Store. • • • November 23, 2017 We are proud to announce the launch of the official Affinity Photo Workbook, our first ever guide to Affinity Photo on macOS and Windows. Painstakingly put together over many months, the long-awaited Workbook teaches you everything there is to know about Affinity Photo and mastering its powerful tools and capabilities. To celebrate the release of this stunning book we are offering a 25% introductory discount for the first week of launch.

This means until Thursday, 30 November you can purchase a copy for £27.99 / 32.99€ / $36.99 (+ shipping and handling). Beautifully presented in hardback and printed across 488 full colour pages, the Affinity Photo Workbook combines the vast knowledge of our own in-house experts with exciting contributions made by renowned digital artists and photographers from around the world. Rather than an A-Z manual, it’s designed to inspire users to create their own unique work in Affinity Photo, by taking inspiration from some amazing projects and advice. And because it focuses on professional skills and techniques, the Affinity Photo Workbook will still be completely relevant even when updated versions of the app become available. The Affinity Photo Workbook is split into five easy to follow chapters: • Chapter 1: Interface Tour Helps you get to grips with every tool, persona, option and panel in Affinity Photo. You’ll also learn how to customise your workspace and shortcut keys to maximise productivity. • Chapter 2: Core Skills Covers all the basic techniques you need to know, including adjustments, layers, masking, developing RAW images and creating super-accurate selections.

• Chapter 3: Enthusiast Projects From the challenges of urban photography to the secrets of HDR, you’ll dive into some high-end techniques with six easy to follow projects. • Chapter 4: Commercial Projects Focuses on the high-end skills needed for top level fashion retouching, landscape panoramics, print design and food retouching. • Chapter 5: Creative Effects and Techniques Explores the power of macros, creating custom brushes and working on compositions with 100s of layers. Once you’ve finished this chapter you will be an Affinity Photo expert! We’ve also included five keyboard shortcut cheats sheets in the back of the book to help boost productivity. They contain shortcuts for both the macOS and Windows version of Affinity Photo and can be torn out and kept aside for easy reference.

The launch offer must end Thursday, 30 November, so don’t miss out. Purchase your copy now for just £27.99 / 32.99€ / $36.99 (+ shipping and handling)..

• • • November 14, 2017 In August, we asked you to ‘’ in the hope that we could feature real-life work from our users in our marketing materials for the we launched recently. Well, we were blown away by the thousands of high quality submissions we received from all over the world, and more than a little humbled once again by your support. In total we have licensed 72 artworks by amazing independent designers, photographers and illustrators who use Affinity. These images have been featured in our 1.6 campaigns as in-app samples, in our marketing videos and on our website.

We feel very passionate about our creative community and paying creatives properly for their work, so we are proud to say that each artist has received $300 per image we have used too. Massive thanks go to the following featured artists and photographers! Affinity Photo for iPad is compatible with the iPad Pro 9.7-inch, 10.5-inch and 12.9-inch, iPad Air 2, iPad 2017, and optimised for Apple Pencil. • • • September 18, 2017 TOM LUDD is a 22-year-old freelance graphic designer who – despite his relatively young age – has been practising his craft for eight years and accepting commissions since 2014. Alongside running a one-man design studio, Tom runs the Designers’ League; a Facebook community of more than 7,000 designers and creatives from all over the world.

Tom’s latest work is a design for the beautiful Letterpress Calendar, the crowd-funded project by French designer Fabien Barral, of Mr Cup Studio. Fabien recruited 13 designers and gave each an inspirational phrase to incorporate into their design. For Tom – a former Adobe student ambassador – it was the perfect opportunity to show what he can do in Affinity Designer, the Apple Award-winning vector graphics editor from Serif.

“I discovered Affinity Designer simply by chance online, and snapped it up when it was first released. I played about with it a few times after that but I only really started to use it when my subscription to Adobe had ended. From there I decided to switch to Affinity full-time. The first thing that really grabbed me about Affinity Designer was the sheer speed of the software and how intuitive and fun it was to create inside of.

So many features that I love, especially the Symbols tool which I will go into a little more depth below. This software is truly the only other alternative for a professional designer and the price makes this a purchase to buy regardless, even as a backup – there is no excuse!

For the Letterpress calendar, Fabien contacted me asking me if I was interested in creating a piece. He simply gave me some details and provided the quote “If everything has already been done, try doing it even better” to be included in my piece. I was given free rein on it – one of those rare occasions I couldn’t pass! Here’s a sort of step by step guide of some of the techniques I used in Affinity Designer to create pieces like this. Setting up your workflow With my work, I almost always use a grid, because this allows me to quickly and accurately check the spacing of my lines and keep things contained. With the calendar piece, I was fitting a lot of detail into small framing so had to make sure it was all equal from the start, to ensure any further detailing I make isn’t off (this really saves a lot of headache). Using the snapping feature Another feature I love using is the ability to snap to the grid, this makes precise line work very easy, I find this helps streamline the process and speeds it up, leaving you added time to experiment.

I work almost always in mono-line and with an aim for the piece to have the utmost precision, as it can make or break a piece of work. You don’t want to let down a great concept by having sloppy execution, and Affinity Designer easily matches any other software for its precision, with the ability zoom in over 100 million per cent.

Building your basic frame (3.1) (3.2) It helps to build a basic frame that all your detailing will settle inside as this will help you plan out the rest of your piece. Usually I use a square or circle and build into it, adding in smaller frames and filling in the inners with hatching. This is easily done in Affinity Designer by holding cmd / ctrl and dragging in the direction you wish to duplicate and then pressing CMD / CTRL + J repeatedly depending on how many you need. You don’t just have to use hatching, you could make smaller repeating patterns, but be careful you don’t go too complicated else it may be lost in print. Using the rotate and duplicate tool to add detail(s) Another technique I used in this piece was the process of rotating and duplicating an object around a circle, this adds some great detail and was how I easily repeated the dots around the vine inside the border of my piece. The more you can ease your process, the more time you can spend playing. Adding pattern work quickly using the symbol tool (5.5) The symbol tool from Affinity Designer is a genius feature that helps speed my workflow up massively, I’m able to create an object and then mirror it in real-time in another area of the art board, as many times as I wish by duplicating it.

This allows for incredibly quick patterns and illustrations and allows me to quickly see whether a concept will work without putting too much time into it. It totally makes you work in a different way and you will come up with visuals you would have a hard time thinking up without it. Preparing your work for print (6.1) When preparing this piece, I had made sure to group up specific segments of the piece as pictured in the gif below, this helped me massively when coming to export this piece as there was a whopping 4,578 separate objects. From there I was able to easily expand the strokes and then use the pathfinder tool to ensure all details would be kept and that it would print optimally.” (gif) The finished design • • • August 30, 2017 Created within a two-week deadline period for Wizard Jam 4, The Bear’s Black Heart by Big Bad Studios involves players in a race against hunger and increasing cold as you find food and interact with a host of characters. Everybody you meet has unexpected replies to the choices you make and both their and your actions can be a little nutty sometimes!

Can you reason with Eric the Actor? Can you seek directions from David Bowie’s ghost? There’s been massive interest in the game since YouTube ‘big beast’ Markiplier put out a.

Here, Bob Byrne of Spanish/Irish game developers Big Bad Studios, explains how they used to create characters for the game – up against an incredibly tight timescale. “We decided to take part in Wizard Jam, a yearly challenge where you have two weeks to create a game from scratch. The only stipulation is that the game title must be selected from an existing list.

We chose ‘The Bear’s Black Heart.’ Step 1: Pencil sketches As always, I began by working up pencil sketches. This was my first game jam but I’d completed the comic artist equivalent a few times, for example 24hr Comics Day, which is essentially doing a month’s work in one day. Same deal though, you’re given a title and off you go. Having a hard deadline with no real negative consequences unlocks something inside you.

For artists or designers who struggle with procrastination these projects are invaluable. I figured it also gave me an opportunity to really test drive Affinity Designer v1.5. I’d been playing with it on and off but after this project I’m entirely sold on it for all design work including print and UI stuff. Step 2 – Character Design I had no idea what the gameplay style would actually be but when Abban (my gamedev partner) showed me his Unity prototype I knew the character would be physically small on screen, so he needed to be bold and chunky. Having his heart on his stomach like the Care Bears was too obvious so I developed the ‘jar bear’ idea with some sketches in Affinity Designer.

Previously in other apps I would break out the Wacom tablet and do some sketches but I quickly realised that the Pen tool in Affinity Designer is so smooth and intuitive that I just used my mouse. I jumped the gun and made a sprite sheet, although in the end we decided to use Spine instead. No harm though as it only took a few minutes to reposition and pose him to make this sprite sheet, he is mostly made up of Symbols and Styles so if needed, I could re-style him directly no problem. Because in Affinity the Export Persona is only one click away, I didn’t have to fret about targeting different sizes and remaking the sheet if changes were required. Trying to do all that in Photoshop would make my heart sag. Step 3 Environments and assets Once the character looked solid I created some tileset environment tests. Everything was created in one Affinity Designer document; by using Artboards there’s no danger of getting lost in a mess of files and I can keep working at a fast pace the clock was ticking on this project.

In Affinity Designer, the Symbols feature makes mocking up environments and creating final game assets so easy. The trees in the game are actually just one leaf! Check out how I can change every instance of leaf Symbol in a few clicks. Then to create the Winter and Autumn variations I just used Layer Adjustments to change the tone.

It’s ideal for rapidly making and testing a tileset for your game. Here’s one of the final tilesets we used: I also had to create a bunch of Non-Playing Characters, Title Screen, Icon and promo screenshots. The NPC’s were fun and I wanted to continue making them but, yeahtick-tock! Step 4 – Affinity to Spine In Affinity Designer 1.5 you can now export for Spine JSON, which was another massive time saver. And I must say it was genuinely painless getting the model rigged and ready from Affinity to Spine. If time permitted, we would have liked to add blinks and animation on the liquid bubbles and so on, but again we had a looming deadline on this. Step 5 – Title screen and Icon App iconsthe bolder and stronger the better.

Plus we needed something which doubled as the icon and Title Screen. This is the best thing about working fast and lean; you need to be economical with everything and, most of the time, simplicity is the best. Decisions have to be taken without hesitation. That wonderful green glow gradient is just a simple Style which you can create by right clicking on any shape and hitting Create Style.

Again, I used Symbols in Affinity Designer, just in case I needed to edit fast or even reuse his arms on a different character. Download Adobe Premiere Pro Cs6 32 Bit Portable Cd here. The two-week deadline approached very fast as we juggled real life and work stuff. We spent all day Sunday before the bell rang making the actual game content and promo stuff like the screenshots and video, which you can view.

It was a long night. My eyes were stinging from screen time (and brandy!). But we did it and it the game has been well received so far. We were blown away to see the Markiplier ‘Let’s Play’ video and the response has been amazing. We’re definitely going to use the bear again in our new game ‘Woodland Run’. All in all, a great experience and I recommend any kind of similar ‘imposed deadline projects’ to everyone. Not just for games but anything in the creative field.

Affinity Designer Affinity Designer is shaping up to be the weapon of choice for increasing numbers of game developers. I honestly couldn’t have gotten this amount of work done in such a short window without it. It’s got export for Spine, silky smooth Raster and Vector tools, a Constraint Tool for resizing UIs to different screen dimensions, plus improved versions of all the standard features which you have come to expect from other design apps. At a competitive one time price, it’s more than worth a look for pro and even casual game developers.” Find out more info on or check out the game.

• • • August 18, 2017 There’s great news today for owners of Affinity Photo for iPad – and for anyone considering buying it. Not only have we just pushed out the latest free update to our professional photo editing app for iOS, we’ve also decide to keep the price lower in the App Store. Since Affinity Photo for iPad was unveiled during Apple’s WWDC keynote in San Jose, in June, reviewers and customers around the world have acclaimed it as a game-changer for professional photo editing on the move. We launched at the discount price of £19.99 / US$19.99 / 21,99€ for what we intended to be an introductory period at around 30 per cent off the planned full retail price.

Since launch, we’ve been blown away by the response – sales have been beyond our wildest predictions. But because it was a genuine world first for fully-featured professional apps on iOS, there was really no precedent we could use to judge the right price for an app of this quality. Now we’ve had chance to assess the response, and settled on a price which is not only value for money for our customers, but also sets a benchmark for the price of high-end, professional apps on iPad in the future. That means we’ve decided to keep the full price point of Affinity Photo for iPad permanently at £19.99 / US$19.99 / 21,99€ ( subject to App Store regional variations). What’s more, today Affinity Photo for iPad has received another update, bringing new features as well as the quick, reactive bug fixes that our customers have come to expect.

The update, free to customers, strengthens the compatibility between the desktop and mobile versions of the app. If you set up and save macros in Affinity Photo on Mac or Windows, you can now play them back on iPad. (The ability to record new macros on the iPad itself will be in a future update.) Our super-talented developers are working constantly to make the most of the iPad’s unique Metal graphics technology, allowing users to work easily on large super-high-resolution photographs, or complex compositions with potentially thousands of layers. Affinity Photo already brought unrivalled capability to work on huge images with incredible speed when retouching, applying effects or adding adjustments. To do this type of work on iPad is something that no-one has ever attempted before, and we are learning all the time how we can squeeze every ounce of power from the device. This latest update raises the bar again with big performance increases – it’s now faster, smoother and more productive than ever. Other changes include UI improvements, improved PDF and vector export and better integration with the Apple Photos app.

Please see below for a fuller list. Affinity Photo for iPad is compatible with the iPad Pro 9.7-inch, 10.5-inch and 12.9-inch, iPad Air 2, iPad 2017, and optimised for Apple Pencil. For more information go to.

Full list of updated features continues below Additions and improvements in v1.6.4: •Macro studio import and playback. Supports interactive playback. •Significant improvements in performance for large or complex documents. •Even better HDR merge of RAW images. •Increased maximum size of the liquify brush tools.

•One-press switching between button menus (e.g. Document, command menus). •Improved loading of images from photo library (now shows all user albums/folders).

•Use “Place Image” to place original images from Photos. •Powerful adjustment previews. •Enhanced selection refinement. •Improved PDF and vector export. •Better TIFF loading, including support for malformed 8bit grayscale TIFFs. •Dismiss font size chooser by pressing return.

•Focus Merge can now use RAW sources. •Show progress when committing a refined selection.

•Metadata available when creating a document from the camera. •Export LUT added to document menu. •Convert to Curves added to command menu. •Wet edges can now have a custom interpolation spline. •Pinch gesture support for grouping / ungrouping layers in the layers studio.

Trovare Crack E Seriali more. •Passthrough blending for groups. •Icon improvements, especially in text studio. •Selection marquee tools support extra-finger-constrain. •Improved reading of DPI from files. •Exposure adjustment now operates in stops, not% and has wider range. •Arrow tool has more options. •Paragraph leading UI improvements.

•New option to dither gradients in preferences (defaults to ‘on’). •Significantly smoother pan / zoom. •Directional lights in the lighting filter can now be directed using on-canvas handles. •Smart selection brush improvements. •Adjustments / filters preview react to changes in canvas size.

•Further memory management and localisation enhancements. •Numerous fixes and stability improvements. • • • August 8, 2017 We have some great news for all our Affinity Designer users out there! Until Friday, 18 August the price of the official Workbook will be discounted by 40%, making it just £22.99 / 26.99€ / $29.99 (+ shipping and handling) –. Bound in a hardcover, and printed across 448 full colour pages, the Workbook contains a wealth of stylishly illustrated instructions, guides and expert tips to help you make the most of Affinity Designer’s huge feature set and vast design capabilities. You’ll learn from the experts with some fantastic projects created just for the Workbook by top artists and designers including Paolo Limoncelli, a leading UX designer and illustrator from Italy.

His contribution, The Whittler, teaches valuable raster and vector techniques, plus how to create unique brushes using Affinity Designer. Other guest illustrators include Romain Trystram, Kevin House and our own Creative Director Neil Ladkin. You’ll gain a rare insight into each designer’s workflow, from concept to finished product, and with links to download all the sample files you can easily follow along with each amazing project. The Workbook also includes a huge reference of every tool and panel, plus a detailed core skills section for brushing up on fundamental design techniques. And, to help boost your productivity we’ve also included four keyboard shortcut cheats sheets in the back of the book which you can pull out and keep aside for easy reference!

The Workbook has received some great reviews from both Affinity Designer users and the press − it’s currently rated 4.5/5 at and 4.3/5 at Amazon UK, while Creative Bloq have said: ‘Once readers reach the end of the book, they’ll have a wealth of technical knowledge under their belts and prove that they can combine their vector graphics skills to create fully rounded design projects such as product and packaging designs, posters, and press-ready documents. With clear explanations and an even clearer layout, the Affinity Designer Work Book looks set to make the already popular software even more accessible.’ The discount must end Friday, 18 August, so order now to get the Affinity Designer Workbook for £22.99 / 26.99€ / $29.99 (+ shipping and handling)..