![]() You can change the brush size by inputting the value in the top toolbar or using the bracket keys. Zoom into the image then adjust the brush size until it just covers the area you want to remove. If this is not changed, nothing will happen as you will be painting on a blank layer. Since we are working on a new layer and not on the image, the setting needs to be changed to Current Layer & Below. The setting that is important and needs to be changed can be found further to the right. The Opacity, Flow and Hardness were all left at 100%. We will be adjusting the size as we work in the image. The size of the brush will depend on the size of the area you want to remove. Next, go to the top toolbar and adjust the Brush settings. This will be placed above the Background image. Create Pixel LayerĪt the bottom of the Layers Panel, click on Add Pixel Layer. You can paint directly on the image but this is a destructive way of working. To access it, click on the small white arrow to open the menu options. Once you have opened your image in Affinity Photo, locate the Inpainting Brush tool on the left side toolbar. If you're not a Plus Member yet, you can sign up for free month of the Gold Plus Membership today! Step 1 - Locate the Inpainting Brush Tool ![]() ![]() It is a great way to quickly remove or repair areas of an image in no time.ĭuring this tutorial we will be using this Brooklyn bridge photo from the Plus Hub. The tool works by gathering information from the surrounding area and replacing it with similar content. I do get carried away with detail and have to be careful to rein that in sometimes as I could quite happily sit there all day adding details etc.Affinity Photo’s Inpainting brush is a highly intuitive tool allowing you to easily remove parts of an image. “This took about three days to create as it’s a complex image. Using the grid made it an easy approach as opposed to having perspective, but it was still a bit tricky getting the lighting etc., correct,” Peter explains. The drawing up took a while to get right as I had to search out the various buildings etc. I love architecture and flying cars, so it felt like a great fit as an idea to show off the isometric route for this piece. “I wanted to create an image that was a fantastical illustration that would be a challenge to create as an isometric. We’ve long admired the sleek vector artworks of Peter Greenwood, and we were delighted when he agreed to give the Isometric Studio in Affinity Designer a whirl to create a commissioned illustration for our 1.8 update. You can check out more of Kevin’s isometric work here. “And, as a bonus, the grid dictating the placement and positioning really gives the work an internal compositional consistency, while at the same time allowing for a different sort of exploration and expression I probably wouldn’t attempt or discover in a non-isometric piece.” This self-imposed or limited framework makes it actually easier not to stray off into unnecessary or timewasting creative side trips,” Kevin explains. By having to adhere, more or less to a grid, you are challenging yourself to come up with new ways of depicting the elements and shapes you need for a successful composition within an isometric structure. I did, however, find sticking to a structured grid format to be sort of creatively freeing. ![]() “Working in the isometric style started many years ago, and I’m not really sure what drew me to it in the beginning. Among other styles, he loves to draw isometrically. Kevin House is an early adopter of Affinity, and you may already recognise his work from our Affinity Designer Workbook.
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