An overview of the Affinity suite with Ash Hewson

hi I'm ash Hewson I'm the managing director of Serif obviously we find ourselves in a pretty difficult and terrible situation really right now but we thought it might be a good idea during May to run a series of creative sessions for years every day we've got a new artist or designer or creative to to do a session for you guys and hopefully it'll just be an opportunity for you to maybe learn a few tips or tricks or gain some inspiration perhaps even you know a project or two that you can try at home maybe just to wind down the hours right now of course we're all in a situation you know all of Sarah for working in lockdown at the moment many of the artists that are recording these things for us are in the same position themselves so we expect them to be a little bit rough around the edges of course many people don't necessarily have the kits or the studio to work in that they normally would and but hopefully you could kind of forgive us that and you know we'll do the best job that we can now mean my cell phone certainly not a designer and in fact you'll probably tell when I come to actually try to draw something in a minute but I thought actually it would be good perhaps to kind of kick off these sessions with just a little bit of an overview of each of the apps but in particular focusing on some of the workflow advantages that we can give working with all three apps in a way together so that's what I'm going to attempt to do today so I thought actually we'll start just by me showing you affinity designer very quickly now affinity designer is a vector-based graphic design tool so it's called for for creative things like illustrations isometric type designs infographics or branding and packaging designs that sort of thing now because affinity design is primarily a vector-based at all that means activities resolution-independent so if I go onto this example in fact these are all the icons that we use within the app and we designed all of those icons use an affinity designer so if I was to zoom into one of these for example this pencil icon you can see it doesn't really matter how far a zoom in you can't see any pixels it's still razor sharp and that's the one of the benefits of working in vector in fact with affinity designer you can very quickly switch between viewing in in vector or in pixel mode and you can see there's these buttons at the top to allow you to do that so here I can click on pixel view mode and it will show me how this will look at the current document resolution you can also switch that into Retina resolution as well to kind of give you that preview but of course the point is is that actually for something like this like an icon we might need to export this in sort of 10 or 15 or 20 different resolutions for different operating systems different screen sizes that sort of stuff but of course designing in vector means you just design it once and then you can export it as all those different resolutions afterwards of course also working in vector means that everything is very non-destructive so for example this pencil line here at any point I can go back and sort of move any of these nodes around to change the direction in fact I can even have say pixel preview on while I'm doing that and I'm getting a real-time view of how each pixel is actually being contributed to while I'm working and that's a very different way of working than if you're working in a in a purely pixel based environment but also it's worth saying that the real affinity designer as well you basically got like an infinite document space I mean in this example I sort of show you what I mean and I can zoom in here to the top of this spire and you can see I've got like a little character there but I can actually zoom in a little bit further and if I can zoom in a little bit more I mean in fact at this point here maybe just see at the top I'm around 57 million percent zoomed in so you've kind of got this infinite workspace really to work within that song is quite unique with affinity designer Fred if you've ever seen me demo affinity designer before you'll know that I can't not do with them who have shown that feature anyway I'm actually now going to go on and try and design something very quickly in designer so I put this other example here what I'm actually gonna do is work on a a drone delivery service kind of concept so I've got this drone here now what we want to do is design a logo for this dragon now what I'd like to do is sort of add a few more artboards to my to my work here and i can do that by using this artboard tool at the moment this isn't on an artboard so if I click my artboard tool you see that's hop in this context sensitive toolbar here I can say oh when it inserted artboard the size of the document so that's what I'll do first and that now puts that document onto an artboard itself but now also i've done that i can actually draw some other artboards and in fact i'll draw like a rectangular one and also just a a square one there incidentally I've not got snapping on at the moment but if I turn that on you can see I kind of can get some automatic alignment to make that very easy should I wish okay so what I'm going to do is just quickly design a very simple logo on this artboard here and I'm gonna start by drawing a just a rectangle so I draw a had a square so I'll draw a square there now I want to change the color of it now with affinity designer hopefully you can see here on the color wheel you've kind of got two main options in terms of the color that you want to change this this at the moment it's kind of got an orange stroke on it in fact if I go to my stroke panel I just make that bigger so you can see I've got an orange stroke and a sort of a blue II feel actually in this case I want the field to be orange and I can click this button here just to swap them around and in fact I want to get rid of my stroke so I'm go to stroke and then just hit this little Clear button there and then that will remove the stroke all together so that's my first square now what I want to do is create a copy of this so I'm just going to use command C and then command V to create a copy and I'll make my copy not the stroke go to the field and he'll make that black and I want to make this slightly smaller so obviously if I drag the corner I can make this smaller at the moment I'm in total free form resize if I hold shift that means it keeps it to the right aspect ratio and if that's also if I hold command at the same time it's now resizing around Center so I'm going to make it to be in about that position now one of the things with vectors are that's very important to kind of get used to is that you sort of generally when you're designing things apply lots of what's called boolean operations and in this case what I want to do is I want to subtract the black square from the orange square so the way that I do that is select both of them so I'm just going to hold shift and then also select the the rectangle mini fit so now put them both selected and I can apply my boolean operations at the top here so I've got things like add subtract divide etc now I'm just gonna hit subtract and as you can see that's now removed that other square from inside the main one so I'm gonna do something else here as well let me draw another couple of rectangles so I think about that big again I'm going to copy and paste again and I'm gonna put that at a right angle if I'm now gonna select all of these objects or just draw a box around it and I want to align them so they're all at the centre and you can see when I've got a multi selection like this in the context bar I've got my alignment option so I'm gonna do align Center and align vertical and that now make sure they're all aligned and in fact what I want to do again is remove the black rectangles from the bottom shape that I've created and again I can just do that by hitting subtract so this is now sort of the basis of my outline of my logo so now I want to create another shape inside it and this time I'm going to use the COG tool you can find that from the shapes menu on the left hand side so I'm going to choose cog draw out cog in the middle actually want to make that the same color as the rest of it so what I can do here is drag out my color picker on my color wheel I'm holding onto mouse button as I do this choose the color I want that then goes into the well which I can now select and make the cog that color now you'll see with any of our shapes you've got these little nodes that you can sort of move around to to adjust the shape in some sort of way actually here I want to reduce the number of teeth so I can in the context bar again I can reduce the number of teeth in fact with all of our sort of text box dialogues here you can actually just use the mouse roll you can hover over it and just use the mouse roller if you want to change the values so that's what I'm doing here I'm just rolling my mouse to sort of take that down to three teeth in this case and I'm going to reduce that no little bit and perhaps that one to kind of give me like a propeller sort of shape that I want okay so now think I'm going to add some text I'm gonna choose the text tool down here and I'll drag that onto the sort of size that I want and I'll call this propel again I can reposition that I've still with that color in my color world I picked earlier so I can just tap on that to make it that color incidentally we've got loads of it more advanced typography options I could bring up my character panel here for example and adjust the tracking of that text if I just wanted to make it a bit tighter for example and then I sort of make it a bit bigger to sort of align those things better for turn snapping on I should be able to make sure that's perfectly aligned with with both of them that's kind of the basis of my logo now there's just one other thing I just wanted to sort of show you here listen I wanted to I don't know make this propel text have another color inside it and let me just show you if I sort of grab the circle tool I'll just draw an ellipse and I'll make this say some sort of blue color again just using the color wheel now what's quite important with working with affinity all of the apps is getting used to the the layers panel works and the way that we have these different drop zones in fact if I just bring this layers panel out hopefully I could sort of zoom in a little bit let's make this clearer so we've got sort of different drop zones now obviously you can just drag a layer and say in this case I'm going to drop that ellipse beneath the text and you can do that just by dragging along the line of all the thumbnails that are there but we do have another couple of very important drop zones too so alternatively I could actually drag this ellipse and put it inside my text I'll just do that just by dragging on the sort of just to the right of the thumbnail itself and you can see that then basically encloses the ellipse within the text so now as I move that ellipse around it's basically being clipped by the text let me just drag that out again the other drop zone is actually in the middle of the funhouse and now I'm dragging in the middle of the thumbnail and that's now applying that ellipse as a mask to the text and if this applies to any sort of layers whether it be text vectors or you know picks or lays anything you can very quickly clip or add inside or mask other objects just by using these drop science there's quite a nice way of working in fact now I just want to rather than make it a mask I'm gonna leave it sort of inside just so I've kind of got that bit of color at the bottom of my logo right if I just zoom out again so the next thing that I want to do on my third artboard is just create another version of the logo that doesn't have the text I just want to have the the icon of the logo only so what I'm gonna do again I'm shift selecting here to select both of them I'm now going to hit command G to group incidentally I'm on a Mac at the moment so I can st. command C on Windows ease ctrl G etc so now I'm just going to create a copy I'm just gonna hold alt and now I can drag a copy on to this other artboard and I just made it's smaller in this case so I've got a version of the logo now that just has an icon but the last thing I want to say with InDesign at the moment is that these these two icons at the moment are totally independent of each other and now if I was to go back into this Hulk for example and now I'm going to increase the number of teeth that's just changing the one that I've just copied it's not changing the original one at all and of course quite often you might have you know loads of duplicates of the same logo or icon or you know graphic or whatever it might be and but you actually want them to be linked together and so the way that we can do that in a Finity designer let me just leave that copy if I go back to this one is by effectively creating a symbol so here I'm going to go to view studio symbols and that brings up the symbols panel and what now gonna do is create a symbol from that and you can see now it's been added as a symbol and now if I create a copy of it that I bring on some other artboard and let's say I was to go back in and change the number of teeth again you can see that as I'm changing it on one of my symbols it changes across all my other symbols that might be on my document so that's kind of a cool way of kind of keeping multiple objects that you always want to be linked together kind of linked and everything applies to that for us to sort of change the color of this or whatever it's all being changed across all the other instances of that of that object I think what the last thing that I might do here is just change the name of these artboards so that at the moment it's good artboard two in my layers panel I can change that I'm going to change it to logo and this will not change to icon only and that's the main thing I wanted to do in designer I've got my other two artboards now with my logos on so now I'm gonna save this document that's all go file save as I'll put that in this file and I'll call this drone with artboard so now I'm going to go into affinity photo so this is affinity photo I've kind of got this street scene up here and this is actually what I'm going to use to create a composition using that drone design from affinity designer but before I do that I mean obviously affinity photo is predominantly a photo editing tool further editing and enhancing images and so just before I start you know creating a composition or I start by doing a couple of adjustments so the first thing here on this image is that there's a perspective problem you know this building on the right hand side is clearly not straight so I can actually click that with the perspective tool I select that layer on the left hand side of our perspective tool and I can actually say just drag the the corners of these out somewhat to kind of try and get all the buildings a lot more straight but of course also we can add many different adjustments to so on our layers panel you've got the adjustments option here and within here you can find all of the standard adjustment layers that you might be used to working with so in this case I'm just gonna choose an HSL adjustment with our HSL adjustment I can well if I just show you actually here if I change the hue at the moment you can see it's changing the hue of all of the color ranges within me within the picture and in fact what I want to do is just target the trees actually so I want to target the greens so I can click on green and then start adjusting it I might need to expand the range of this as it'll be actually but now you can see as I'm adjusting the the hue it's just affecting the greens in this case making the trees look a bit more automaton now adjustment layers a pretty cool because they're non-destructive and what that means is if you look at my layers panel hues that means I can turn this adjustment off and back on again and I can also apply on some more than one layer at the same time so I've got another layer here of leaves we shall bring in and at the moment you can see that this HSL adjustment is just being applied to the to the trees in the from image of the streets but actually for us to track this HS to the justments at the top you can see now it's actually also affecting the leaves layer it's now both the leaves layer at the top and the trees of the the bottom of both now had that sort of color adjustment incidentally using the same sort of drop zones like I showed you when using affinity designer I could also just kind of clip the HSL adjustment just to be the leaves so now it's just affecting the leaves because I've dropped it inside not affecting the image beneath it anyway let me leave that kind of on top but perhaps one of the really really nice things with affinity photo is that you can actually also apply filter effects in the same way as we do for adjustment layers so again if I was to choose this streets layer here you can see like a little filter button on your layers panel and what I want to choose here actually is a depth of field blur I'm gonna actually change this to a tilt shift and then increase the the radius you can see it's sort of blurring to transparent around the edges but if I just check the server alpha I will sort that out so I'm gonna sort of add a blur a bit of a depth of field but the really sort of unique thing with affinity photo is that you can see that even that even though it's a filter effect even that's been applied as a non-destructive layer so again I can turn that off on again I could actually drag it right to the top of the stack and now you can see it's actually affecting the leaves even if I move the leaves around you can see sort of in the middle of that tilt shift they're not blurred and as I move them up to the top they get more on or blood supplying that that filter live to all the layers that sort of beneath it anyway I'm gonna I don't want the leads to be blurred so I drag it back to the bottom and you could also mask layer effects in the same way that you can do adjustment layers so with that filter effect selected I can again choose my eraser brush and sort of a raise away from it I'll just because I don't want these sort of buildings in the background and the clouds and things like that to be to be blurred and of course you can also do that sort of masking with adjustment layers just should have shown you that before really but if I get that HSL adjustment again you can see that if I get a live nozzle preview you can see as I'm about to erase away from it is turning those trees back to green so I could for example might not make a lot of sense but I could for example make these bushes and the grass underneath it sort of back to green by raising away from that adjustment layer so yeah with a finicky photo by the use of adjustment layers and live filter layers and you kind of really work in this very non-destructive way if that's all so now I just want to sort of maybe not make that quite as blurred as what I've made it but again it's not a problem but it's not a destructive thing I just go back I sort of change it okay so now what I want to do is use this as part of my composition with my drone so the first thing I'm gonna do is place the affinity designer document into my work so I'll just go to file place and I'll find that image game drawing with artboards that's the one that I've just saved so you'll notice here that I don't have to worry about file format or anything like that because the affinity range of apt shares the same file format so I'm not to convert this into a JPEG or a PNG or anything I just literally place it as an AF design file and I don't have to worry about it so I'm going to put my drone on there almost I'm going to create a copy of that just hold alt and drag and the other great thing because we understand the file format you can actually see in the context toolbar at the moment I've also got an option for artboard so the moment I'm seeing artboard 1 which is where I have my Drive but also here I could say show the logo artboard and I'll add my logo down there in fact I'll create another copy now and now I just want the version with the icon only so the thing I want to do here is actually make it look like that logo or that icon of the logo is actually printed on the back of the of the drawings so the way I'm going to do that is with a perspective adjustment and again we can do that non-destructively I can go to my filter effects on my layers panel choose a perspective if I can find it there is and so now I can add a perspective adjustment so something like that perhaps to make it look like that's on the back of the drive now the other thing that I might want to do here is use a blend mode to make it look a little bit more realistic at the moment you can see the back of the drone has actually got a texture whereas my icon isn't taking on any of that texture so what I can do and you can see as you scroll down you can choose different blend modes from the layers panel and as you scroll down you actually get a real-time preview of how each blend mode kind of looks and I think actually in this case I'll just choose a simple overlay blend mode and that sort of just makes it look you know slightly more realistic alright now that I think the next thing that I want to do is actually paint some sort of jets underneath these kind of jets here so what I'm actually gonna do is add a new pixel layer I'm gonna go to my brushes I've actually got a brush that I've already created I'll make this a bit smaller so what a new pixel lay it here and now we're going to paint some sort of jets on now this is kind of where my lack of artistic talent comes in but I'm going to sort of try to create something at this halfway listing now it's event mean this particular brush is actually set to an add blend mode you can see that in the context toolbar at the top and an ADD blend mode is quite nice because as you keep adding to the brush strokes that you've done it actually adds more and more luminance or as the luminance of the brush together if you like and that's why I'm getting a more intense flame in the middle as I paint that versus around the outside so I can kind of get it quite intense there just by going over it over and over again I obviously I've kind of gone over the edge a little bit here so I just choose my eraser again I'm actually just gonna use square brackets now just to make that a bit smaller and I can you know arrays away from the bit that I didn't want to want to paint on obviously I want this on thee and I mean actually that looks a bit sharp in itself somewhat applied blends modes of the whole thing as well perhaps lighten no ously I could paint the other jets in effect in this case I'm just going to hold alt and you know use the same jet that I painted for the first one and add it to the other two jets I can rotate it a bit with this handle here too okay so what else do I wanna do I think I want to find actually I noticed that I've got one of these leaves is actually Clips I'm going to get my razor out just get rid of that one I think I might also just add a quick motion blur to these leaves so again using a light filter layer I can just drag a sort of a motion blur on those like that I think perhaps the final thing is is that I just kind of want to add it maybe a little bit of smoke or some steam or something looks like it's coming out at the bottom of this and what I'm gonna do I'm just gonna go to my stock panel so within stock panel you can search for for anything using unsplash basically so here I'm just going to search for smoke and then hopefully I can find something that's suitable you know perhaps this one and I'll drag this on oh I can make this a bit smaller so yeah I'm just gonna try and line this up with the bottom of that but again here you know quite often things like smoke and fire you know things like that and you'd often see them supplied on stock sites or whatever on like a black background and the way that you kind of in effects get rid of that is again to use a blend mode so I'm going to go back to my layers panel and again you can hover down the different blend modes that's available I think actually in this case I'd probably want something like screen so now effectively that is being has just kind of got rid of that black background and again I can use my eraser a little bit here to you know soften the edges of this Sun wall to kind of you know make it look like it's all blending in a little bit better I think I might we'll just go back to those leaves and sort of move them a little bit maybe up there somewhere yeah and I think they did there you have it it's a very simple sort of quick composition that I've created in a fancy photo but one of the big things that I wanted to show was the fact that it understands the affinity designer file format and you can just simply switch between the different artboards in affinity designer up front from the affinity designer file format so let me just save this I'm gonna save this as triangle composition okay so now the final thing I want to do is just show you a finished publisher very quickly so I'll open affinity publisher we've kind of got this example I think this is actually one of the samples in the at MIDI is one of the samples in the app is this kind of lifestyle magazine and of course this is a sort of thing that you'd use affinity publisher to create things like brochures and magazines posters that sort of stuff anything anything that where you need to lay out text and graphics on the same page together so now let's say I wanted to add another spread in my in this document here I might just add it here what I do is just on my pages menu just right click I'm gonna add pages I'm gonna add two more pages in this case I won't use a master page so now I kind of get a blank spread but now what I want to do is actually adds that composition I created in affinity photo so the first thing I'm to do is just create a picture frame so I could choose my picture frame at all from the left-hand side here draw my picture frame and then I can choose replace image from the context menu at the top and again if I just find the file that I want which is drunk composition that will then place that file that I created an affinity photo within that picture frame and of course I can use the options on the picture frame these little arrows and what-have-you to kind of move move that around within the picture frame now as it happens for the sort of composition I want to create here you know fundamentally I've got the idea that I'm going to put some copy and stuff like this one along the bottom along that white bar but it sort of turned out that now when I've added this file actually this logo that's on my design here just isn't in the right place is being cropped off now ordinarily in any other Creative Suite you'd have to go back so the to the tool you use to create this and then reposition that layer or delete that layer from the composition altogether but in fact again because we understand the file format of all of our apps I can actually select this image or this document and you can see at the top again in the context menu or get in example two I get an option to edit the document so here I can go on edit and you can notice I've not actually left publisher I'm still an affinity publisher but it's actually opens that document in it and all of a sudden I can see all of the layers that I created in affinity photo and they're all available to me to edit an affinity publisher so I can now say move the the logo of that propel logo up and if I go back to my spread big a sheet again gives me an instant view of how that how that new position sort of works within my spread so you know this has kind of been one other that the core principles that we've had with the affinity suite is that yes hopefully you know you'll like each of them in their individual forms and but also that they work together exceptionally well because they all understand each other's file format and it means you never have to worry about exporting us to different different file formats to reimpose in and also it even gives you the option to kind of edit and delete layers and other things in the documents that you bring in to but I did actually just want to show you one final thing with affinity publisher because what the file format element of what we do is you know really cool and we did actually want to take that stage further so you will notice an affinity publisher in the top left hand side there's these three buttons and it's what we call studio link so if you own an affinity designer or you own an affinity photo what we thought would be nice is that when you're working on a layout like this rather than having to keep changing apps altogether and to make it that if you wanted to use the functionality of these other apps you could just simply click on the buttons up here so if I want to use affinity designer I can just click on the designer button and now I'm actually using affinity designer and if I want to use affinity photo I can click on the photo button and now is effectively turned into a Finity photo and in fact you can see all of my tools down the left hand side are everything that I'd normally use an affinity photo pixel selection towards my brush tools dodge burn all that sort of stuff and this is a really powerful way to work so if I was to look on this spread I mean some of these you saw me demo this affinity live you'll notice I'm using the same example for ease but let's say on this spread you know you're working on a spread you placed an image and actually now you decide that you want to remove the background from this image now ordinarily you'd have to go back to a photo editing tool to do that but and I don't have to I can just flick to my affinity photo persona I select the image and that enables me to use my selection brush which is available here on the left hand side I can now do a very quick selection I've also got the ability to refine my selection because again this is all the same tools that you'd find in affinity photo so I'm going to click refine and I'm gonna put that out there's a new layer on my output click apply and then as you can see let's now remove the background and this is really powerful because now I can just flick back to my publisher persona and obviously my publisher persona I've got things like text wrap settings so here I'm actually gonna choose a tight wrap and let me just zoom out a little bit so now you can see that the text wrap is now instantly going around that new sort of cutout image and there's loads of great examples with with this so for example in this layout you know that text that I've put over the top of the image you know it's not as clear as I'd like it to be and again ordinarily you'd have to go to a photo editor you have to you know take this image out into a photo edit it into an editor and but again in publisher you don't have to do that you know as long as you own an affinity photo you can go to the photo persona and choose to apply say a blur and in fact I'll do that in the same way that I was showing you an affinity photo using a filter a light filter are gonna choose a box blur in this case and apply a blur to it again I'll just choose preserve alpha so it goes to the edge now as you can see in this case I'm actually blurring the whole image but as it turns out all I want to do is blur the area underneath the text and of course we can do that you know I could actually go to my designer persona choose the the square box I'm gonna draw a square over the area of the text using those drop zones that I showed you an affinity designer to start with I can now actually use that rectangle and use the drop zone as a mask so now I'm actually using that rectangle to clip my blur so now you can see the blur is actually just under the area of the text and the reason again why this is such a big workflow improvement is that lets say changed the the layout of this text you know I might actually want to stretch it out this way I might want to you know add the scope that's my publisher persona I might want to add an extra column so now this is three columns of text and again of course now my blur is in the wrong place right and ordinarily again I have to go back to my photo editing tour would have to really work out where that blur goes react sporty and even that's very difficult because you couldn't actually see where the text is when you're doing that edit or again here I can just go choose that box I'm using to to mask it and then just change the position of it and it's as simple as that and now the now the year that the blur is underneath the underneath the text in the way that I want it and a couple of examples maybe I think on say this spray you know in affinity designer you've got isometric tools and actually isometric tools can be quite a cool thing to use in in in layout sometimes so let's say I wanted to add these to an isometric plane I can go to affinity designer I've got an isometric panel available to me infinity designer so what I do you have to cut a modified grid there's loads of advanced options but just hit close because it's automatically applied an isometric grid for you when you do that again I'm just going to use shift select here and select all of these cards and you can see I can choose which plane I'm working on I want to work on the top plane and then I could just choose to fit to plane and that then instantly fits all of these items to plane and even if I was to sort of move them around or adjust in the Sun what I'm actually working in that isometric plane so of course I can do that because I'm working in the designer persona of affinity publisher I suppose just one final thing to show you here is another kind of great thing is working in the photo persona he's just simply been able to paint you know if you're working on a layout let's say like this you know you might think oh it's nice maybe to add some sort texture or some other things to it you'd normally only be able to do in a painting application but again let's say I wanted to add some texture to the to the bottom of this so I could just go to my photo persona I'm gonna add a new pixel layer actually I've got these luminance brushes here so I'm gonna choose a luminance brush make that a bit bigger and I'm just gonna paint actually let me put it above that picture I'm just gonna paint some of these kind of by which this is a sort of a flashing again I'm seeing my layout as I'm doing this so I can apply them in the right way the other thing that's nice for this as well is that I've not had to worry about what color space I mean I've not to worry about bleed in fact you know this is a document I think we've bleed and you can flick between a possible zoom into the edge here you can use control W actually to flick between like a preview mode so you don't see the bleed or showing a bleed so this has actually got a three mil bleed on it and you can see even though I didn't even you know could see that bleed when I was painting with that brush it's actually just done it for me is actually painted the bleed on so I still know that's gonna print out well and I've not had to sort of worry about it so yeah so that's just a few things really fear the principles I hopefully that I've explained there in terms of how our apps can work together firstly and very importantly because they share the same file format of course but also the very important feature of Studio lling with affinity publisher which of course is something that really no one has ever has ever done before so I hope maybe you've sort of picked up a few things there if not of course we've got another 30 I think of these sessions coming up and I'm sure you're going to enjoy the lineup of people that we've that we've got and more than anything right now of course I hope and wish yourself in your family the the best of health and to stay safe thank you you

Channel: Affinity

Views: 54,499

Keywords: Using Affinity apps, Affinity apps overview, how Affinity apps improve workflow, Affinity apps, Affinity Photo, Affinity Designer, Affinity Publisher, StudioLink, creating marketing materials, creative software

Id: UVqJIaMlB6E

Length: 41min 0sec (2460 seconds)

Published: Fri May 01 2020