link text

Steps to create displacements:

a displacement needs 2 objects, one is the "mask" to displace with, and the other is a group of (or a single) shapes to displace.
create the mask object (in this example it is a text). This can be any group of objects, with colors, etc. Call this a mask from now on.
select Object -> Object Options
set a name for the "mask", in the above example it is "displacement"
click on the Role button, and select "More Roles".
here select "Filter Image" (these roles are listed in alphabetical order).
confirm the role, and then confirm the object options.
now create the other object (or group), and lets call this the "shape". In the above example, this is a single Line Grid shape, but any collection of shapes will work here.
open the Shape Effects panel (Panels->Effects->Shape Effects).
select the "shape" object.
in the Shape Effects panel click on the [+] icon in the bottom-left of the panel, and from the menu select Outline -> Displacement.
The Shape Effect panel now contains a "Displacement" effect.
open the effect options with the arrow
here click on the Displace drop down and the "displacement" object (the mask object) should be listed here. Select it.
set the other options, especially Amount and Direction.
using the (...) button at the top-right corner of the effect options popover, you can access more options to experiment with.

Following those steps, I was able to achieve a similar displacement effect using a Filter Image as the displacement source.

The result is partially correct and demonstrates that the feature works. However, I think the current implementation of Object Roles is still very limited.

The main issue is that the Filter Image behaves like a "dead" reference rather than a live object. It doesn't provide the kind of dynamic relationship I was expecting, making it difficult to iterate on the source object without losing flexibility.

Another issue is that the displacement appears to be consistently slightly over-scaled compared to the source image, making it difficult to obtain an exact correspondence between the displacement map and the final result.

Overall, the feature is promising and already usable, but I think the Object Role implementation could be improved considerably to make this workflow more practical.

Since Vectorstyler version 1.3.012
Creating a color palette from a selection of shapes
now also takes duplicate colors into account. You have
to deselect an option in the color palette Menu for that.

Here the Steps:

Open a color palette
Menu > Window > Color Palette

In the color palette, go to
Menu > Options > uncheck " Collect Unique Colors "

Select your objects, which may contain duplicate colors now
go into the Color Palette Panel Menu and choose " Create Palette " >
" Create from Selection "

This feature is very helpful for all kind of color pattern and creating gradients.

Here the related Tutorial for creating multicolor gradients:
https://www.vectorstyler.com/forum/topic/5694/way-to-create-a-multi-color-gradient-from-colors-of-a-color-palette

Here a pic

I wanted to make this tutorial because creating your own alpha maps from scratch is an extremely powerful workflow. It gives you full control over the result—for example, selectively adding blur in certain areas can significantly soften the height transitions, which often look too harsh or artificial when using standard alphas. This level of control is difficult to achieve with downloaded maps, but when you build your own, you can get much cleaner and more refined results.

I also wanted to explore this cross-workflow to show that tools from different ecosystems can complement each other effectively. VectorStyler is especially strong when it comes to creating assets, and since these are vector-based, they can be scaled without loss of quality. If needed, this allows you to generate fully scalable textures depending on the requirements of your model.

For this reason, I recommend combining vector-based tools with 3D workflows, rather than relying too heavily on pre-made assets or buying them online. This approach gives you full ownership over your work—everything you create is unique, fully editable, and can be adapted precisely to the needs of your project.

No me morí con el spammeo intenso, pero hoy pusieron los eventos de un juego, y además, tenía sesión de skincare

Ah, sí, sobre el tutorial, es simple, pero se puede complicar a veces ponerle stroke al frame text, y está bien para realmente, definir que la diferencia es que en el shape text ya tienes el panel de apariencia, mientras que el text frame debes de entrar específicamente

No se me ocurre tanto que hacer ahora mismo en vectorstyler, porque yo creo que me voy a pasar a otro programa que tampoco tiene tanta comunidad, porque muchas cosas que puedes hacer en vector styler, sirven para por ejemplo hacer alphas, entonces, quizás me interesa preparar algunas cosas de 3D, y enseñar como hacer los materiales en vector styler, que realmente es el uso que le doy, esto solo ha sido una intro

Estoy entre aprender python, o seguir con Blender, pero es muy complicado hacer tutoriales de Blender
Yo todavía no he podido entender cómo poder hacer pelo, y hay pocos tutoriales en ciertos apartados de Blender

Un tutorial para hacer un ojo, sí te hace el ojo, pero pocos te hacen las capas del ojo
Y cuando encuentras uno que sí haces las capas, no está hecho para riggeo porque las coordenadas no están preparadadas, y se debe de emparentar

Así que probablemente me pase a riggeo, a pesar de que no me gusta del todo como está diseño el riggeo en Blender, porque se puede hacer, pero me parece mal que justamente un programa que se enfoca tanto en los nodos, sus riggings no estén enfocados a nodos, sino a emparentar manualmente todo, y por tanto, hay que pasar al riggeo en python para que sea reutilizable, y eso es un dramón, porque el repositorio ejemplar es exageradamente largo, así que tal y como está Blender, te obliga a codear, por eso los addons me caen un poco mal
Porque los addons son botones, realmente, muy pocos addons son originales, que sí los hay, pero yo prefiero no poner addons de comodidad, porque te tapan el programa
Yo llegué a avanzar bastante, dentro todo, pero ahora mismo, hay ciertas coas que sí que me están generando dudas, porque en Maya ya está estandarizado, así que me voy a tener que ver todos los tutoriales y cursos de Maya, por lo menos para refrescar ese apartado, y ver si algún día puedo afiliar el pelo, porque está complicándose

Esa es una de las razones, por la que considero que el tema de vectores, aunque no se use tanto, si se usa dentro de la cadena de 3D, lo mejor es que sea completamente editable, porque aunque hagas las cosas por hobby, es mejor complicarse la vida al inicio, que sufrir al final porque todo está rasterizado

Shorcuts:
(+)
Double Click
Icon

Midpoint with selecting point and +

This video covers how to create an editable halftone text effect using a Text Frame in VectorStyler. Unlike other approaches, the Text Frame itself does not allow applying a halftone directly, so the effect must be added through the Effects panel instead.

This workflow keeps the result fully non-destructive, allowing you to preserve the text while still achieving a flexible halftone effect. This video builds on the previous part and continues exploring different methods and limitations when working with halftone in VectorStyler.

This is one way to do it, but I haven't yet found the way to achieve the full halftone panel effect.

In this VectorStyler tutorial, I show you how to use Offset Path to create duplicates of your shapes and generate an outline from those copies, all while learning how to resize objects proportionally without distortion. You’ll see step by step how to expand or shrink shapes evenly, maintain their proportions, and create clean outlines from duplicates.

Hoy no he tenido tiempo para esto, porque he estado de fiesta todo el día, así que no sé, mañana seguiré de fiesta :v
Tengo algunas ideas

Porque recuerdo que una vez abrí el modo view outline en Illustrator, que tiene otro nombre, pero es el comando ctrl y
Y entré en pánico, así que para la pobre alma en desgracia que le toque pasar lo mismo, voy a ir haciendo un tutorial de como salir del modo outline

Otro tutorial para el otro escalado, scale with stroke pal próximo

When creating a simple gradient, you can set
the start and end colors as follows:

Create an object.
For example, create a linear Gradient.
For the colors do the following:

Select the first color with the left mouse button,
then select the second color immediately afterward
with the right mouse button.

Its a simple and fast way to select the colors
of a Gradient.

Buenas :v

This is another tutorial. It’s fairly simple, since it mainly shows how closed shapes work, which isn’t particularly complicated. Still, I tried to include a slightly more challenging case. In this example, you need to align the lines of the polygon so the perspective reads correctly, because the normal blending basically performs a rotation during the transition.

At first, I thought it might be possible to modify the blending point using some kind of transform, since in many 3D programs you usually have more controls for that. But in this case there aren’t that many commands available, and the actual solution turns out to be quite simple.

To add a little extra, there’s also a part showing how to swap one shape with another by copy-pasting a shape on top of the other.

Then I also added a quick example of what the Align option can do. It may or may not produce noticeable changes depending on the case, but it’s there so you can see how it behaves if you’re interested. Honestly, I don’t see a particularly strong use for it in this context, but it’s included so you can try it out.

Hola papus :v

This is a tutorial about Open Paths. I had this idea for a while because it’s a popular effect in Illustrator tutorials, and I wanted to explore it here in VectorStyler.

It’s not the most concise tutorial because I wanted to show most of the visual options. They’re in the documentation, yes, but the official docs can sometimes be hard to visualize.

Some effects might seem like they don’t do anything because they only apply to specific cases. In this tutorial, it’s an Open Path, so certain functions don’t make a noticeable difference. The next tutorial will cover closed shapes, where functions like Align actually have an effect.

I also found another technique for creating a “shape skeleton” for a path, which I’ll cover in a separate linked tutorial. Honestly, linking isn’t that useful in vector design—it’s more relevant for 2D or 3D rigging, and VectorStyler isn’t really built for parent-child setups.

Another tutorial I want to make, not about VectorStyler, is about Strokes in Affinity. Right now there are like forty panels, and most tutorials use the outline mode instead of the real stroke. That will be a separate video too.

This tutorial explains how to create a Concentric Shape Gradient in VectorStyler.

The gradient is built from a mirrored shape, which can cause an issue: when merging the shape, the pivot point (center) may shift away from the geometric center. This creates alignment problems during registration.

I discussed this issue on the VectorStyler Discord community, and Csaba provided the solution: simply reset the center using the Transform panel. That fixed the problem.

The example shown is generic and may not look impressive at first glance. However, I have created specific gradients for each shape, meaning that each registered shape has the exact gradient it needs—this is what I enjoy about using registered shapes.

This tutorial focuses mainly on how to correctly register a gradient and how to understand the different uses.

I use these techniques for my custom material setups in Clip Studio Paint, and it makes a significant difference for brush feel, blending effects, and subtle gradient variations. For my work, even small differences in gradients matter, because they can affect the final result.

I don’t have a tutorial for brushes yet, as I wanted to prepare this gradient tutorial first. Timing is important to plan these exercises properly.

I would also like to create .abr brushes, but since it’s an Adobe format, it’s not possible outside of Photoshop. Most programs support .abr brushes via reverse engineering, but each has its own brush system. When exporting a brush, I cannot always choose the .abr format, which can be limiting.

It would be great to have a GitHub repository or a more universal brush format, because relying on Adobe for compatibility is a shame. A standardized format would simplify cross-software workflows for brushes.

I also want to add that, in this case, I may have made a mistake in choosing a name, because the edges cannot be interpreted properly within VectorStyler, and the result ends up mathematically very harsh.

It would be useful to have an extra adjustment option when registering presets that allows you to control how the edges are interpreted. Usually, the result looks like this:

It’s not entirely bad—you can try to modify it manually a bit. You could make the edges of a gradient smoother, but these sharp points appear in many other types of gradients as well. And in many cases, you don’t actually want this; you might be aiming for something closer to this effect:

I know you can achieve this manually, but sometimes you just want a square with sharp corners that fades outward smoothly. Currently, there’s no way to do this directly in the program.

It would be useful to have an option to choose between gradient modes when registering presets: one for the normal gradient, and another “homogeneous” mode that calculates the steps following a consistent pattern, while respecting sharp edges, producing a result like this:

And that’s my blog for today. I’m preparing more YouTube tutorials, and I hope you enjoy them.

Made a few suggestions related to the creation of multi-colored gradients.
@ericp suggested an additional idea that turned out to already exist in Vectorstyler.

Here the Link:
https://www.vectorstyler.com/forum/topic/5687/alternative-ideas-for-gradient-creation/8

I'm posting this idea here again so that other users can find it too.

Note:
Colors in a color palette can be selected this way
hold Ctrl (Win) and select colors in any order.

Hold Shift key (Win) to select a bunch of colors in
the direction of a line.

The Selectet colors can be dropped via drag and drop
onto a selected object with a Gradient.
.
.
.
Here the Steps for other Users:
.
Create or select an object with a gradient.

.
.
Select the colors in a color palette while holding
down the Shift or Ctrl key (Windows).

Drag the selected colors from the color palette onto the object
with the gradient. The object's fill will change to
a solid color.

.
.

Now, drag the gradient again with the Gradient Tool, and
the gradient will now display the colors you selected.

From time to time, I recreate pieces I've come across.
I found this a useful way to better understand, for example, the tools
and functionality of a program and discover new possibilities.
In this case, of course, all is made in VectorStyler.