{"id":155444,"date":"2022-12-18T00:16:02","date_gmt":"2022-12-18T00:16:02","guid":{"rendered":"http:\/\/carconfort.ro\/index.php\/2022\/12\/18\/affinity-designer-hide-bounding-box-free\/"},"modified":"2022-12-18T00:16:02","modified_gmt":"2022-12-18T00:16:02","slug":"affinity-designer-hide-bounding-box-free","status":"publish","type":"post","link":"https:\/\/carconfort.ro\/index.php\/2022\/12\/18\/affinity-designer-hide-bounding-box-free\/","title":{"rendered":"Affinity designer hide bounding box free"},"content":{"rendered":"

Looking for:<\/font><\/h2>\n

Affinity Designer: Hiding the Blue Outline on Selected Objects? – Graphic Design Stack Exchange<\/p>\n

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Adobe Illustrator is a vector graphics editor and design program developed and marketed by Adobe Inc. Originally designed for the Apple Macintosh , development of Adobe Illustrator began in Along with Creative Cloud Adobe’s shift to monthly or annual subscription service delivered over the Internet , Illustrator CC was released.<\/p>\n

The latest version, Illustrator , was released on October 26, , and is the 25th generation in the product line. Adobe Illustrator was reviewed as the best vector graphics editing program in by PC Magazine. Development of Adobe Illustrator for the Apple Macintosh began in [2] shipping in January as a commercialization of Adobe’s in-house font development software and PostScript file format.<\/p>\n

Adobe Illustrator is the companion product of Adobe Photoshop. Photoshop is primarily geared toward digital photo manipulation and photorealistic styles of computer illustration , while Illustrator provides results in the typesetting and logo graphic areas of design. Early magazine advertisements featured in graphic design trade magazines such as Communication Arts referred to the product as “the Adobe Illustrator”.<\/p>\n

Illustrator 88, the product name for version 1. Byte in listed Illustrator 88 as among the “Distinction” winners of the Byte Awards, stating that with it Adobe had “pulled ahead” of previously industry-dominant competitor Aldus FreeHand.<\/p>\n

Early versions of the software did not support working in preview mode and users needed to have two windows open on their desktop in order to have a live preview of their work. One window would show the work in progress and the other window would show a preview of the work in progress. Although during its first decade Adobe developed Illustrator primarily for Macintosh, it sporadically supported other platforms.<\/p>\n

The first version of Illustrator for Windows, version 2. The next Windows version, version 4. Note that there were no versions 2. And there was no version 6 for Windows. Version 4 was, however, the first version of Illustrator to support editing in preview mode, which did not appear in a Macintosh version until 5. Version 6 was the last truly Macintosh version of Illustrator.<\/p>\n

The interface changed radically with the following version to bring consistency between Mac and Windows computer platforms. The changes remained until CS6 when some small steps were taken to restore the app to a slightly more Mac-like interface.<\/p>\n

With the introduction of Illustrator 7 in , Adobe made critical changes in the user interface with regard to path editing and also to converge on the same user interface as Adobe Photoshop , and many users opted not to upgrade. Like Photoshop, Illustrator also began supporting plug-ins, greatly and quickly extending its abilities. With true user interface parity between Macintosh and Windows versions starting with 7.<\/p>\n

Adobe bought Aldus in for Page Maker. As a result, Macromedia acquired Free Hand in from its original developer, Altsys , and continued its development through Illustrator Version 9 included a tracing feature, similar to that within Adobe’s discontinued product Streamline.<\/p>\n

Illustrator CS aka version 11 , released by Adobe for Mac and Windows in October , was the first version to include 3-dimensional capabilities allowing users to extrude or revolve shapes to create simple 3D objects. It was the last version for the Mac which did not run natively on Intel processors. Live Trace allows for the conversion of bitmap imagery into vector art and improved upon the previous tracing abilities. Live Paint allows users more flexibility in applying color to objects, specifically those that overlap.<\/p>\n

Instead, Adobe would provide tools and support to ease the transition to Illustrator. Illustrator CS3 included interface updates to the Control Bar, the ability to align individual points, multiple Crop Areas, the Color Guide panel and the Live Color feature among others.<\/p>\n

CS3 was released on March 27, CS4 was released in October It features a variety of improvements to old tools along with the introduction of a few brand-new tools acquired from FreeHand. The ability to create multiple artboards is one of CS4’s main additions from Freehand. The artboards allow you to create multiple versions of a piece of work within a single document.<\/p>\n

Other tools include the Blob Brush, which allows multiple overlapping vector brush strokes to easily merge or join, and a revamped gradient tool allowing for more in-depth color manipulation as well as transparency in gradients. CS5 was released in April Along with a number of enhancements to existing functionality, Illustrator CS5’s new features include a Perspective Grid tool taken from FreeHand, a Bristle Brush for more natural and painterly looking strokes and a comprehensive update to strokes, referred to by Adobe as “Beautiful Strokes”.<\/p>\n

The app had many of the features of Adobe Illustrator, yet it was a free download. This allowed professionals to sketch and ideate “on the go” and allowed anyone to access world-class vector drawing capabilities. As a result, Facebook and social media posts appeared from all over the world with vector drawings from Adobe Ideas from pros and novices alike. Version CS6 was the 16th generation of Adobe Illustrator. Adobe added many more features and several bug fixes such as a new user interface, layer panels, RGB codes, and color ramp to increase performance.<\/p>\n

CS6 was released on April 23, This version the 17th was the first to be only sold in a subscription-based service model, in line with the other software in the formerly called Creative Suite. As part of Creative Cloud, this version brought improvements in that subject such as color, font and program settings syncing, saving documents to the cloud, and integration with Behance a creative collaborative network , as well as other features such as a new touch-compatible type tool, images in brushes, CSS extraction, and files packaging.<\/p>\n

Starting with version 1. John Warnock desired a Renaissance image to evoke his vision of PostScript as a new Renaissance in publishing, and Adobe employee Luanne Seymour Cohen, who was responsible for the early marketing material, found Venus’ flowing tresses a perfect vehicle for demonstrating Illustrator’s strength in tracing smooth curves over bitmap source images.<\/p>\n

Over the years the rendition of this image on Illustrator’s splash screen and packaging became more stylized to reflect features added in each version. The image of Venus was replaced albeit still accessible via easter egg in Illustrator CS The CS4 icon is almost identical, except for a slight alteration to the font and the color which is dark gray. The CS5 icon is also virtually the same, except that this time the logo is like a box, along with all the other CS5 product logos, with the “Ai” bright yellow.<\/p>\n

CS6 changed it a bit to a brown square with a yellow border and yellow lettering, and in CC the colors were upgraded to a sharper tone and thinner borders. Compatibility with Inkscape : [18] Inkscape’s native format is SVG Scalable Vector Graphics , which is supported by Adobe Illustrator, but the two implementations are not fully compatible.<\/p>\n

A sidebar that appears at the left of the screen with a variety of tools to select, create, and manipulate objects or artworks in Illustrator. These tools can be selected as following: drawing, typing, painting, reshaping, slicing and cutting, symbolism, moving and zooming, and graph. A small triangle has the option to view or expand some hidden tools by holding down the mouse button on the triangle.<\/p>\n

Some examples of basic tools in Illustrator are selection tools, paintbrush tools, pen tools, pencil tools e. Selection tools are used to the layout, adjust, and organize the artwork by selecting, positioning, and stacking objects accurately. Moreover, selection tools can group, lock or hide, and measure objects. There are different types of brushes: calligraphic, scatter, art, pattern, and bristle.<\/p>\n

Pencil tools allow the user to draw and edit freehand lines. Illustrator Draw is a free-form vector drawing app for Android and iOS users. Drawings made with the Illustrator Draw app can be exported to the desktop programs of Adobe Illustrator. From Wikipedia, the free encyclopedia. Vector graphics editor from Adobe Inc. Adobe Inc. October 26, Retrieved October 29, Retrieved December 4, September 20, Archived from the original on October 20, January The Nelson Group, Inc.<\/p>\n

Archived from the original on May 30, Retrieved April 26, April 15, Retrieved February 11, October 18, Archived from the original PDF on May 24, Retrieved February 8, November 7, Adobe Systems. December 5, Archived from the original on December 19, Retrieved December 29, John Nack on Adobe.<\/p>\n

Adobe Blogs. May 16, Retrieved July 19, Retrieved September 5, Archived from the original on January 3, Veerle’s blog. Archived from the original on December 7, Retrieved December 6,<\/p>\n

 
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\nMake striking double exposures and learn key layer skills in Affinity Photo | Digital Camera World – People also downloaded these free PDFs
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The Brangwens had lived for generations on the Marsh Farm, in the meadows where the Erewash twisted sluggishly through alder trees, separating Derbyshire from Nottinghamshire. Two miles away, a church-tower stood on a hill, the houses of the little country town climbing assiduously up to it. Whenever one of the Brangwens in the fields lifted his head from his work, he saw the church-tower at Ilkeston in the empty sky.<\/p>\n

So that as he turned again to the horizontal land, he was aware of something standing above him and beyond him in the distance. There was a look in the eyes of the Brangwens as if they were expecting something unknown, about which they were eager.<\/p>\n

They had that air of readiness for what would come to them, a kind of surety, an expectancy, the look of an inheritor. They were fresh, blond, slow-speaking people, revealing themselves plainly, but slowly, so that one could watch the change in their eyes from laughter to anger, blue, lit-up laughter, to a hard blue-staring anger; through all the irresolute stages of the sky when the weather is changing.<\/p>\n

Living on rich land, on their own land, near to a growing town, they had forgotten what it was to be in straitened circumstances. They had never become rich, because there were always children, and the patrimony was divided every time. But always, at the Marsh, there was ample. So the Brangwens came and went without fear of necessity, working hard because of the life that was in them, not for want of the money. Neither were they thriftless.<\/p>\n

They were aware of the last halfpenny, and instinct made them not waste the peeling of their apple, for it would help to feed the cattle. But heaven and earth was teeming around them, and how should this cease? They felt the rush of the sap in spring, they knew the wave which cannot halt, but every year throws forward the seed to begetting, and, falling back, leaves the young-born on the earth.<\/p>\n

Their life and interrelations were such; feeling the pulse and body of the soil, that opened to their furrow for the grain, and became smooth and supple after their ploughing, and clung to their feet with a weight that pulled like desire, lying hard and unresponsive when the crops were to be shorn away.<\/p>\n

The young corn waved and was silken, and the lustre slid along the limbs of the men who saw it. They took the udder of the cows, the cows yielded milk and pulse against the hands of the men, the pulse of the blood of the teats of the cows beat into the pulse of the hands of the men.<\/p>\n

They mounted their horses, and held life between the grip of their knees, they harnessed their horses at the wagon, and, with hand on the bridle-rings, drew the heaving of the horses after their will.<\/p>\n

In autumn the partridges whirred up, birds in flocks blew like spray across the fallow, rooks appeared on the grey, watery heavens, and flew cawing into the winter. Then the men sat by the fire in the house where the women moved about with surety, and the limbs and the body of the men were impregnated with the day, cattle and earth and vegetation and the sky, the men sat by the fire and their brains were inert, as their blood flowed heavy with the accumulation from the living day.<\/p>\n

The women were different. On them too was the drowse of blood-intimacy, calves sucking and hens running together in droves, and young geese palpitating in the hand while the food was pushed down their throttle.<\/p>\n

But the women looked out from the heated, blind intercourse of farm-life, to the spoken world beyond. They were aware of the lips and the mind of the world speaking and giving utterance, they heard the sound in the distance, and they strained to listen. It was enough for the men, that the earth heaved and opened its furrow to them, that the wind blew to dry the wet wheat, and set the young ears of corn wheeling freshly round about; it was enough that they helped the cow in labour, or ferreted the rats from under the barn, or broke the back of a rabbit with a sharp knock of the hand.<\/p>\n

So much warmth and generating and pain and death did they know in their blood, earth and sky and beast and green plants, so much exchange and interchange they had with these, that they lived full and surcharged, their senses full fed, their faces always turned to the heat of the blood, staring into the sun, dazed with looking towards the source of generation, unable to turn round.<\/p>\n

But the woman wanted another form of life than this, something that was not blood-intimacy. Her house faced out from the farm-buildings and fields, looked out to the road and the village with church and Hall and the world beyond. She stood to see the far-off world of cities and governments and the active scope of man, the magic land to her, where secrets were made known and desires fulfilled. She faced outwards to where men moved dominant and creative, having turned their back on the pulsing heat of creation, and with this behind them, were set out to discover what was beyond, to enlarge their own scope and range and freedom; whereas the Brangwen men faced inwards to the teeming life of creation, which poured unresolved into their veins.<\/p>\n

Looking out, as she must, from the front of her house towards the activity of man in the world at large, whilst her husband looked out to the back at sky and harvest and beast and land, she strained her eyes to see what man had done in fighting outwards to knowledge, she strained to hear how he uttered himself in his conquest, her deepest desire hung on the battle that she heard, far off, being waged on the edge of the unknown.<\/p>\n

She also wanted to know, and to be of the fighting host. At home, even so near as Cossethay, was the vicar, who spoke the other, magic language, and had the other, finer bearing, both of which she could perceive, but could never attain to. The vicar moved in worlds beyond where her own menfolk existed.<\/p>\n

Did she not know her own menfolk: fresh, slow, full-built men, masterful enough, but easy, native to the earth, lacking outwardness and range of motion. Whereas the vicar, dark and dry and small beside her husband, had yet a quickness and a range of being that made Brangwen, in his large geniality, seem dull and local. She knew her husband. As Brangwen had power over the cattle so the vicar had power over her husband. What was it in the vicar, that raised him above the common men as man is raised above the beast?<\/p>\n

She craved to know. She craved to achieve this higher being, if not in herself, then in her children. That which makes a man strong even if he be little and frail in body, just as any man is little and frail beside a bull, and yet stronger than the bull, what was it?<\/p>\n

It was not money nor power nor position. What power had the vicar over Tom Brangwen\u2014none. Yet strip them and set them on a desert island, and the vicar was the master. And why\u2014why? She decided it was a question of knowledge. The curate was poor enough, and not very efficacious as a man, either, yet he took rank with those others, the superior. She watched his children being born, she saw them running as tiny things beside their mother. And already they were separate from her own children, distinct.<\/p>\n

Why were her own children marked below the others? It was not money, nor even class. It was education and experience, she decided. It was this, this education, this higher form of being, that the mother wished to give to her children, so that they too could live the supreme life on earth.<\/p>\n

For her children, at least the children of her heart, had the complete nature that should take place in equality with the living, vital people in the land, not be left behind obscure among the labourers. Why must they remain obscured and stifled all their lives, why should they suffer from lack of freedom to move?<\/p>\n

How should they learn the entry into the finer, more vivid circle of life? So fair, so fine in mould, so luminous, what was it that Mrs. Hardy felt which she, Mrs.<\/p>\n

Brangwen, did not feel? How was Mrs. All the women of Cossethay talked eagerly about Mrs. Hardy, of her husband, her children, her guests, her dress, of her servants and her housekeeping. The lady of the Hall was the living dream of their lives, her life was the epic that inspired their lives. In her they lived imaginatively, and in gossiping of her husband who drank, of her scandalous brother, of Lord William Bentley her friend, member of Parliament for the division, they had their own Odyssey enacting itself, Penelope and Ulysses before them, and Circe and the swine and the endless web.<\/p>\n

So the women of the village were fortunate. They saw themselves in the lady of the manor, each of them lived her own fulfilment of the life of Mrs. And the Brangwen wife of the Marsh aspired beyond herself, towards the further life of the finer woman, towards the extended being she revealed, as a traveller in his self-contained manner reveals far-off countries present in himself.<\/p>\n

And why is a man more than the beast and the cattle that serve him? It is the same thing. The male part of the poem was filled in by such men as the vicar and Lord William, lean, eager men with strange movements, men who had command of the further fields, whose lives ranged over a great extent.<\/p>\n

Ah, it was something very desirable to know, this touch of the wonderful men who had the power of thought and comprehension. The women of the village might be much fonder of Tom Brangwen, and more at their ease with him, yet if their lives had been robbed of the vicar, and of Lord William, the leading shoot would have been cut away from them, they would have been heavy and uninspired and inclined to hate.<\/p>\n

So long as the wonder of the beyond was before them, they could get along, whatever their lot. And Mrs. Hardy, and the vicar, and Lord William, these moved in the wonder of the beyond, and were visible to the eyes of Cossethay in their motion.<\/p>\n

About , a canal was constructed across the meadows of the Marsh Farm, connecting the newly-opened collieries of the Erewash Valley. A high embankment travelled along the fields to carry the canal, which passed close to the homestead, and, reaching the road, went over in a heavy bridge.<\/p>\n

So the Marsh was shut off from Ilkeston, and enclosed in the small valley bed, which ended in a bushy hill and the village spire of Cossethay. The Brangwens received a fair sum of money from this trespass across their land. Then, a short time afterwards, a colliery was sunk on the other side of the canal, and in a while the Midland Railway came down the valley at the foot of the Ilkeston hill, and the invasion was complete.<\/p>\n

The town grew rapidly, the Brangwens were kept busy producing supplies, they became richer, they were almost tradesmen. The homestead was just on the safe side of civilization, outside the gate. The house stood bare from the road, approached by a straight garden path, along which at spring the daffodils were thick in green and yellow. At the sides of the house were bushes of lilac and guelder-rose and privet, entirely hiding the farm buildings behind. At the back a confusion of sheds spread into the home-close from out of two or three indistinct yards.<\/p>\n

At first the Brangwens were astonished by all this commotion around them. The building of a canal across their land made them strangers in their own place, this raw bank of earth shutting them off disconcerted them. As they worked in the fields, from beyond the now familiar embankment came the rhythmic run of the winding engines, startling at first, but afterwards a narcotic to the brain. Then the shrill whistle of the trains re-echoed through the heart, with fearsome pleasure, announcing the far-off come near and imminent.<\/p>\n

As they drove home from town, the farmers of the land met the blackened colliers trooping from the pit-mouth. As they gathered the harvest, the west wind brought a faint, sulphurous smell of pit-refuse burning. As they pulled the turnips in November, the sharp clink-clink-clink-clink-clink of empty trucks shunting on the line, vibrated in their hearts with the fact of other activity going on beyond them.<\/p>\n

She was a slim, pretty, dark woman, quaint in her speech, whimsical, so that the sharp things she said did not hurt. She was oddly a thing to herself, rather querulous in her manner, but intrinsically separate and indifferent, so that her long lamentable complaints, when she raised her voice against her husband in particular and against everybody else after him, only made those who heard her wonder and feel affectionately towards her, even while they were irritated and impatient with her.<\/p>\n

She railed long and loud about her husband, but always with a balanced, easy-flying voice and a quaint manner of speech that warmed his belly with pride and male triumph while he scowled with mortification at the things she said. Consequently Brangwen himself had a humorous puckering at the eyes, a sort of fat laugh, very quiet and full, and he was spoilt like a lord of creation. He calmly did as he liked, laughed at their railing, excused himself in a teasing tone that she loved, followed his natural inclinations, and sometimes, pricked too near the quick, frightened and broke her by a deep, tense fury which seemed to fix on him and hold him for days, and which she would give anything to placate in him.<\/p>\n

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\nAffinity designer hide bounding box free
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Home Discussions Workshop Market Broadcasts. Change language. Install Steam. Store Page. Garry’s Mod Store Page. It is only visible to you. If you believe your item has been removed by mistake, please contact Steam Support. This item is incompatible with Garry’s Mod. Please see the instructions page for reasons why this item might not work within Garry’s Mod.<\/p>\n

Current visibility: Hidden. This item will only be visible to you, admins, and anyone marked as a creator. Current visibility: Friends-only.<\/p>\n

This item will only be visible in searches to you, your friends, and admins. All of the console commands avialible for Garry’s mod, over commands packed in this one guide! This item has been added to your Favorites. Affinity designer hide bounding box free by. Outerspace Offline. Languages: English. Guide Index. Garry’s \u0427\u0438\u0442\u0430\u0442\u044c \u043f\u043e\u043b\u043d\u043e\u0441\u0442\u044c\u044e<\/a> Commands Part V. Server Hosting. Affinity designer hide bounding box free this guide i will be defining all of the console commands and explaining what they do.<\/p>\n

You can jump to any section you would like, the commands may be listed multiple times due to the different ranks. Please check out this user created online version!<\/p>\n

Usage: 1: Constantly draw lines from NPCs to \u0443\u0437\u043d\u0430\u0442\u044c \u0431\u043e\u043b\u044c\u0448\u0435<\/a> actbusy nodes theyve chosen to actbusy at. Currently selected hull size is written to the screen. First call displays the nodes for the given network as green objects. Player takes damage but wont die. Force the engine to flush an entity packet. Cannot be set while connected to a server. Set to 0 to disable.<\/p>\n

Some entites will also display entity specific overlays. When turned on processing of all message will stop. Fish become immobile and unresponsive. Helps spot open seams in geometry. Clears the font list so affinity designer hide bounding box free be forced to re-create the font next time. Player becomes invulnerable. Set to 1 to see text printouts of the spawning.<\/p>\n

Will not reload materials and will affinity designer hide bounding box free affect perf. Will cause a material reload upon change. Only works on dedicated servers. Use multiple times to access all four corners. Set to zero to leave edit mode. Useful for finding stray areas missed when Place Painting. Useful for data collection and testing.<\/p>\n

Place mode allows labelling of Area with Place names. Items can be entindexes or part of the indentifier of one or more bots. Player becomes hidden to NPCs. Draws \u0432\u0437\u044f\u0442\u043e \u043e\u0442\u0441\u044e\u0434\u0430<\/a> X on top of each memory. Randomly denies creation of particles. Red affinity designer hide bounding box free ignore all damage. Must restart for change to take affect. Is a floating point value. Use -1 to disable it. The default is ClientScheme. Otherwise only the player may trigger it.<\/p>\n

Does not affect autosave triggers. Prevents speed hacks. Used to provide extra information to clients when theyre browsing for servers. Separate tags with a comma. Set to \u043f\u0435\u0440\u0435\u0439\u0442\u0438 \u043d\u0430 \u0441\u0442\u0440\u0430\u043d\u0438\u0446\u0443<\/a> name of the DLL without the extension. Thanks for reading through this guide, i hope it helped all of you and hopefully informed and tought new people some commands.<\/p>\n

You can use this for any server and to help tech and better your admins on using commands. To anyone needing game hosting I am posting a premium hosting provider who has been open for over a year now. With dedicated servers, game hosting, web hosting, cloud hosting, and more at affordable prices.<\/p>\n

Fotoso 11 Jul pm. PixelWizard 22 Jun pm. Ghost 3 May pm. Looking to make affinity designer hide bounding box free separate key bindings. SuperMonocle 24 Mar pm. I’ve been trying to figure out how to find out what an entity is with commands. SlenderMare 2 Mar am. Share to your Steam activity feed.<\/p>\n

You need to sign in or create an account to do that. Sign In Create an Account Cancel. All rights reserved. All trademarks are property of their respective owners in the US and other countries. Some geospatial data on this website is provided by geonames. View mobile website.<\/p>\n

 
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\nGet creative with composites in Affinity Photo | Digital Camera World
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\u0412 \u0442\u0430\u043a\u043e\u043c \u0441\u043b\u0443\u0447\u0430\u0435 \u0435\u043c\u0443 \u043d\u0435 \u043d\u0443\u0436\u043d\u043e \u0431\u0443\u0434\u0435\u0442 \u043f\u0435\u0440\u0435\u0434\u0430\u0432\u0430\u0442\u044c \u043f\u0430\u0440\u043e\u043b\u044c \u043a\u043e\u043c\u0443-\u0442\u043e. \u0412\u043e\u0437\u043c\u043e\u0436\u043d\u043e, \u043e\u043d \u0440\u0430\u0431\u043e\u0442\u0430\u043b \u0432 \u043e\u0434\u0438\u043d\u043e\u0447\u043a\u0443. \u0421\u0442\u0440\u0430\u0442\u043c\u043e\u0440 \u0445\u043c\u044b\u043a\u043d\u0443\u043b. \u041c\u044b\u0441\u043b\u044c \u0421\u044c\u044e\u0437\u0430\u043d \u043f\u043e\u043a\u0430\u0437\u0430\u043b\u0430\u0441\u044c \u0435\u043c\u0443 \u0434\u043e\u0441\u0442\u043e\u0439\u043d\u043e\u0439 \u0432\u043d\u0438\u043c\u0430\u043d\u0438\u044f.<\/p>\n","protected":false},"excerpt":{"rendered":"

Looking for: Affinity Designer: Hiding the Blue Outline on Selected Objects? – Graphic Design Stack Exchange Click here to Download                                                                      …<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[201],"tags":[],"class_list":["post-155444","post","type-post","status-publish","format-standard","hentry","category-bez-rubriki"],"_links":{"self":[{"href":"https:\/\/carconfort.ro\/index.php\/wp-json\/wp\/v2\/posts\/155444","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/carconfort.ro\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/carconfort.ro\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/carconfort.ro\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/carconfort.ro\/index.php\/wp-json\/wp\/v2\/comments?post=155444"}],"version-history":[{"count":0,"href":"https:\/\/carconfort.ro\/index.php\/wp-json\/wp\/v2\/posts\/155444\/revisions"}],"wp:attachment":[{"href":"https:\/\/carconfort.ro\/index.php\/wp-json\/wp\/v2\/media?parent=155444"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/carconfort.ro\/index.php\/wp-json\/wp\/v2\/categories?post=155444"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/carconfort.ro\/index.php\/wp-json\/wp\/v2\/tags?post=155444"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}