smadell
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Posts posted by smadell
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You’ve split your image into a High Frequency and a Low Frequency layer. So far, so good. You’ve applied a black mask to the low frequency layer, which will make it completely transparent. This is as it should be.
The reason that your screen shows complete transparency is that your high frequency layer is turned off. Click the checkbox next to the layer (in the Layers panel) and you should see the High Frequency layer instead of a blank screen.
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4 minutes ago, CH Trippe said:
there's always a learning curve
Ain’t that the truth!
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You must have been using a really small brush to select just the outline! Nevertheless, I'm glad you figured it all out.
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Is there any chance that you had the Option key pressed when you clicked on the "New Mask" button? If you did, you would get the results you've shown. (Choosing New Mask with the Option key pressed is the equivalent of choosing "New Empty Mask" from the menu.) If not, I too am at a lost to explain what's happening here.
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For completeness sake, I'll attach a macro I've used on occasion to do this. Like the macro above, it creates two Curves adjustment layers, one for dodging and one for burning. Three differences here: (i) I have not attached separate Mask layers, since this is redundant – the Curves adjustment layers already have a built in mask, and I don't see where anything is gained by duplicating this; (ii) I have set the Blend Mode of each of the Curves layers to Luminosity – this keeps them from affecting saturation and hue, and limits them to changing the lightness or darkness of the areas being affected; and (iii) I have changed the Blend Options on each of the layers, so that (at least in theory) the Burn adjustment layer should preferentially affect the darker areas, and the Dodge adjustment layer should preferentially affect the lighter areas – this is the technique one might use for dodging and burning portraits, for instance.
One other thing: when using any form of dodge and burn, I typically use a brush that (i) has a soft edge, so 0% hardness; and (ii) has 100% opacity but only about 1-2% Flow. This way, I know I can eventually build up to a 100% effect, but I only do so very slowly because of the low flow rate.
NB - this is an .afmacro file, so import it through the Macro panel, NOT through the Library panel.
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Sorry, but no one seems to have mentioned the (to me, at least) most obvious answer. Apply a blur using a Live Filter layer, invert the live filter layer (which makes its embedded mask completely black), then paint the blur effect back in where it's wanted. This is completely non-destructive, can be made as strong or as weak as one likes, can be turned on and off at will, can be modified with opacity and/or blend modes, and (best of all) it's so damned easy!
- R C-R, GarryP, Reid Walley and 1 other
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Mesh Warp is another possibility. Start in "Source Mode" and map the mesh to the existing light beam. Switching to "Destination Mode" can straighten the line.
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8 hours ago, William Overington said:
From the story. If the narrator of the story dreams, does the "someone else" experience that dream?
I will leave the "meaning" of the story to the reader. I can tell you that, although I have not read a great many of Phillip Dick's works, I have always enjoyed his themes. Chief among them, how do we know that we are real, and are we defined by our own memories (two of the questions in those stories that became "Blade Runner" and "Total Recall")?
8 hours ago, William Overington said:Regarding tracking. I did not know the term in relation to typography
To me, tracking is just "plural" kerning – instead of changing the space between two letters, this is the wholesale changing of space between larger tracts of text.
As to the questions about font choice and negative tracking, these were based on my subjective opinion of the "look" of the typeface. I found Perpetua to be rather formal and it seemed to fit the story, which had a philosophical bent. The negative tracking was applied because, without it, the text just appeared too "airy."
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Or, to be completely non-destructive, put the “outlines” layer above the posterized photo layer, then set the Blend Mode of the outlines layer to Multiply. This will get rid of the white entirely without erasing anything.
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I doubt that you've found a bug. Maybe this will help...
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Visions of sugarplums danced in my head. Merry Christmas to all (and to all, a good night).
NB - for those who want to know these things, the font is Perpetua 21 points with -10% tracking.
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24 minutes ago, MikeW said:
Looks like Warnock Pro.
You're absolute right, MikeW. The font is Warnock Pro.
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William...
I wish you had asked sooner. I trashed the original document in which the "troll story" was written, and I just don't remember the font that I used. Sorry!
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Somebody make it stop!
- William Overington and PaulEC
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I stumbled upon your (ultra) short science fiction stories – what a fascinating idea. I just had to try. Here's my contribution. For info's sake, this is a 6x4 inch page with 1/4-inch margins all around. The font is ITC Korinna, and the paragraph was set to justified (both left and right, and vertically). The word count was done in Nisus Writer Pro, my word processor of choice.
- mpowell and William Overington
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Here's what (I assume) you are trying to do.
Open your photo (in my case, it's the "Dragon Photo"). Draw a Rounded Rectangle as a new layer – use the Shape tool to do this. The rounded rectangle should be a layer above the photo. Now, drag the photo onto the rounded rectangle layer until a blue rectangle appears just below the rectangle layer in the Layers panel. You have just "clipped" the photo to the rounded rectangle. The result is shown below.
As an aside, the "magic selection" tool is probably the "Selection Brush" and the reason it failed is more than likely that your initial rounded rectangle is a vector object, and the Selection Brush will only work on a Pixel object.
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Maybe this?
https://player.vimeo.com/video/130966523
Also, here is a link to the “old” video tutorials
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1] On YouTube, search for “Affinity Revolution.” Ezra Anderson and his wife do a lot of free tutorials, including some beginner videos.
2] Also onYouTube, look for InAffinity. It’s a channel from Dave Straker (dmstraker on this forum). Loads of good stuff in 4-8 minute chunks. Sometimes a little nerdy, but really good info. Also free.
3] Simon Foster’s courses on Udemy.com are well-regarded. Most of them are not free, but there is a beginner series that is free.
4] Prior to version 1.7, Serif had well over 100 video tutorials that they deprecated and replaced with the current ones. I think they are still available online, but I’m not sure where. Maybe someone else can chime in here.
5) Many (perhaps most) of the online Photoshop tutorials can be duplicated in Affinity Photo, with a few notable exceptions (like “smart objects”).
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You can adjust saturation (as well as Hue and Luminance) for the entire photo, but also for individual colors (Red, Yellow, Green, Cyan, Blue, Magenta) with the HSL Adjustment. You can also choose one of the color ranges and click the "Picker" button, then choose a color directly from your photo; you can change hue, saturation, and luminosity for that specific color as well.
In the picture below, I've clicked on the Reds color range. Any changes made to Hue, Saturation, and Luminosity will only affect that color range.
You can also use the Split Toning adjustment to add color to shadows and/or highlights. Alternately, use the Selective Color adjustment to modify specific colors, or to modify the color quality of the Whites, Neutrals, and/or Blacks.
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I used the Selection Brush and clicked once in the middle of each eye to select the irises. With the selection active, I added (i) a Black and White adjustment, in which I darkened the green component; and (ii) a Levels adjustment, in which I raised the Gamma. Here's the result. Also, a very quick fix...
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James...
Please do not apologize for your "wall of text" – it was incredibly helpful. This is exactly the answer I was hoping to get! In response to your questions, I am definitely looking at a 27" monitor, and am considering a slew of upgrades (including a faster CPU, an SSD instead of a Fusion drive, and an increased amount of RAM - probably from Other World Computing, which I've used before). Based on the current offerings, the maxed-out 27" iMac can have its graphics card upgraded to a Vega 48, with 8GB of VRAM, and this is actually the option (from the current line) that I was considering.
Also, as you mention, Apple is certainly likely to refresh its iMac lineup sometime next year. This is the reason for the 6-month time frame. (I'm also waiting for another software company to release its database software in 64 bits, since their program is one I use every day for some important issues.)
Your comments make me quite likely to look at an upgraded graphics card when I get a new machine. They also seem to explain some of the bottleneck that seems to be occasionally present when I turn on Metal on my current machine (whose Radeon R9 M395 has only 2GB of VRAM).
Thank you again.
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I think it is fair to conclude, then, that performance improvements will be felt more from (i) a more powerful CPU; (ii) a fully solid state drive; and (iii) more RAM. After that, a more powerful GPU may provide better performance (and experience) but on a more marginal basis. This is what I suspected, and I appreciate the help of v_kyr and carl123 in confirming those suspicions. Thank you, all.
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I have read those comments, too, carl123. Do you think it’s fair to say that, with an upgraded GPU Affinity Photo may not actually BE that much faster but might FEEL much faster because of the smoother, better screen experience? (I should add that “feeling” faster is an admirable goal, and one which in and of itself could justify a faster graphics card.)
Why wont AP record some steps in a macro
in Pre-V2 Archive of Affinity on Desktop Questions (macOS and Windows)
Posted
When you're recording macros, I have found it quite helpful to try to limit most of my steps to menu selections (when possible). There are a lot of things that macros can do, but can only do if called from menubar choices.
A good example is creating a 50% grey layer for Dodge & Burn (for instance). If you create a new layer and try to fill it by choosing a color from the Colors palette and using the Flood Fill tool, you will fail; however, if you create a new pixel layer and choose Fill… from the menu, choosing 50% grey from the dialog box that opens, AF will record that series of steps just fine and will remember the 50% grey value inside of the macro.