Danbieranowski
Well-known member
I have no idea what that means but great! Lol
Tayda UV Printing
- Thread starter dmnCrawler
- Start date
In Affinity Designer, it is called "Subtract" -- LAYER/GEOMETRY/SUBTRACT. You are subtracting, cutting out, the top curve path from the bottom curve path. Once you do, you'll end up with a modified curve path on the bottom. The top is still retained so you will need to hide it or delete it to see the results. Hope this helps.
benny_profane
Well-known member
Affinity Designer Tutorial - How to use Boolean Operations and Geometry Tools
I made a tutorial all about Boolean Operations in Affinity Designer, have fun!
forum.affinity.serif.com
Danbieranowski
Well-known member
OK so I've been messing around with this, and it seems like the main modes we would want want are Layer>Geometry>Divide for the color layer, and Layer>Geometry>Add for the white layer.
Let me know if I'm wrong on this!
Here's why I think that:
Here's our art for our super cool pedal. Blue square, green circle, text on top that has been converted to curves.
If I select all of these items and I select Layer>Geometry>Add, it creates one contiguous layer, all the same color. This would be used to compile a consistent RDG_White layer under our artwork if we were printing on a non-white enclosure. In this screengrab I used Add, then I applied the RDG_White color.
For our non-RDG_White layer, the reason I chose Divide is because it separates or removes the overlapped curves where necessary (note the curves).
My results for any other option but Divide don't preserve all of the design. Instead they cut different colors or parts out entirely. It seems like Divide is the only one that retains all of my colors and such, but still carves out the spaces that would account for color overlap.
At least that's my experience with testing right now.
Let me know if I'm wrong on this!
Here's why I think that:
Here's our art for our super cool pedal. Blue square, green circle, text on top that has been converted to curves.
If I select all of these items and I select Layer>Geometry>Add, it creates one contiguous layer, all the same color. This would be used to compile a consistent RDG_White layer under our artwork if we were printing on a non-white enclosure. In this screengrab I used Add, then I applied the RDG_White color.
For our non-RDG_White layer, the reason I chose Divide is because it separates or removes the overlapped curves where necessary (note the curves).
My results for any other option but Divide don't preserve all of the design. Instead they cut different colors or parts out entirely. It seems like Divide is the only one that retains all of my colors and such, but still carves out the spaces that would account for color overlap.
At least that's my experience with testing right now.
cooder
Well-known member
Thanks for all the finding out and sharing of info@
I'm just at the starting point of this learning curve and currently short in time, but I'm chewing little by little through this Affinity tutorial which is quite good. Hope this helps anyone trying to get a general handle on Affinity designer:
I'm just at the starting point of this learning curve and currently short in time, but I'm chewing little by little through this Affinity tutorial which is quite good. Hope this helps anyone trying to get a general handle on Affinity designer:
SYLV9ST9R
Well-known member
I just got a black matte sand with white print, and id does look like a bit of a grayish hue if I compare it to the white print on black matte I did earlier. So yes, I think the double pass would be a good option, if it equals super crisp white.
Edit: that said, it still looks very good and more on the white that the gray side.
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finebyfine
Well-known member
can you post a pic when you have time?
SYLV9ST9R
Well-known member
Here it is, I had forgot to mention that there is a matte gloss coat over it. Design from one of my first build, decided to try the Informant once again to decide between it and the Muroidea.
The print really catches the light, so I found it looked a bit more white in the photos than in reality. You can see the hue difference between the white cardboard it's on. It's subtle, but for people wanting pure white, the second coat will be worth it for that pristine look I guess.
Untro
Active member
Seconding to @wayni208, big ups to OP @steelplayer for posting the Affinity sale way back in 2020 which just so happened to be on sale again this month, as well as @dmnCrawler for the misc parts .svg! I was trying to learn Gimp and banging my head against the wall, I've never done anything like this before. Lucky for me, I'm stuck in a covid hotel in QTAIN, so I had plenty of time to learn Affinity and am having an absolute blast with it. Got designs done for a Unison, Grand Orbiter, Ghost Echo and Bit Commander (I'll let you guess which is which), which are waiting patiently, naked and all boxed up at home. Definitely gave me something to look forward to this crummy week!
SYLV9ST9R
Well-known member
If you just have white, it's pretty straightforward. You would put all your design in one layer ("WHITE").I would sooooo love to order black matte enclosures with white printing from Tayda....but I'm just too stupid to understand the layer things
The only thing is that you have to use the "RDG_White" color instead of white in your design (referenced in this thread).
finebyfine
Well-known member
A couple came in the mail recently. Will edit if I can snag decent pictures of the second.
This is a cream enclosure with a gloss varnish on everything. I shouldn't have varnished the large black space, I don't like the effect it has on the text there. The gloss varnish is suuuper cool on transparent line-art and is definitely gonna be something I play around more with. The print streaked a bit on the large solid black space but is a little less noticeable in person but I'll probably steer away from large solid fills in the future.
This is a cream enclosure with a gloss varnish on everything. I shouldn't have varnished the large black space, I don't like the effect it has on the text there. The gloss varnish is suuuper cool on transparent line-art and is definitely gonna be something I play around more with. The print streaked a bit on the large solid black space but is a little less noticeable in person but I'll probably steer away from large solid fills in the future.
Danbieranowski
Well-known member
That looks fantastic! I haven't experimented with any gloss over the top yet, as I like matte finishes, but this does look real good.
Here's another example of a full color print on a white enclosure:
finebyfine
Well-known member
That's an awesome print, matches the vibe of the pedal so well. Creepy shit all around.
I generally prefer matte finishes too but after seeing how glossy tayda's matte black (the regular version, not the sand) I figured I'd just lean into it. The other one I got is a similar simple design on a black glossy enclosure w/ a matte varnish layer and the matte layer really dulled the colors out
Danbieranowski
Well-known member
Yeah the gloss makes the colors pop for sure. I think it provides a lot of extra protection for the art as well.
SYLV9ST9R
Well-known member
Wanted to try the emboss on a similar black block (acting as a fake metal plate) as @finebyfine's design, but forgot to add the gloss extra to my order
It does seem to add a layer of protection which would have been good. Well, next time...
finebyfine
Well-known member
Wanted to try the emboss on a similar black block (acting as a fake metal plate) as @finebyfine's design, but forgot to add the gloss extra to my order
Someone's gotta try black on black with one of top coat layer options before I do, I'm such a sucker for that look, eg
dmnCrawler
Well-known member
Then emboss is thick and looks really protective.
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