EmmaW reacted to Mensch Mesch in FLOWER POWER Brushes
I've created a little collection of some flower brushes for AP and AD (Pixel Persona). Hope you like it.
You can download the brushes here: FLOWER-POWER-by-MENSCH-MESCH.afbrushes.zip [12.3 MB]
Unzip the downloaded zip-file. Install the FLOWER-POWER-by-MENSCH-MESCH.afbrushes file in your brush panel.
Keep on drawin'
EmmaW reacted to D3moN in Brushes for technical drawings (fashion design)
after hours of looking for a tutorial to manage how this works, I've found one that showed me how to create a brush (in a way I could understand :D).
This morning I got the time to test it. Et voilà it worked.
I could create these brushes which I had in illustrator before.
But nevertheless, reglico I thank you so much for your time.!
I attched the brushes I made this morning. So if someone is interested in using them, go for it.
EmmaW reacted to AnnieW in CTSR Lines: Vector brushes with simple repeating patterns
I was in need of lines with dots and triangles for a project. I started creating a few lines and then I encountered a whole bunch of problems with repeating patterns in the Texture Intensity Brushes in the Designer Persona. My triangles got squished, my squares became rectangles and I went into full pitbull mode and did not sleep until I understood what went wrong. These are my work arounds if you’re struggling with squished or otherwise deformed repeating patterns: https://forum.affinity.serif.com/index.php?/topic/101575-textured-intensity-brushes-and-body-repeat/&tab=comments#comment-545105.
With the work arounds in mind I’ve created a set of brushes with repeating patterns that hardly show any deformation*. I was on a roll, so I created 114 in 9 families. I won’t use all, so feel free to use them. They're nice for stamps and borders and such. Enjoy!
*) When using these brushes on a tightly curving curve or a sharp corner they of course do deform. Experiment with the brush setting for Corners to find the best solution for your project.
The brushes all contain a centred line (in 3 widths, S, M and L) and repeating shapes and stripes above or above and below. The brushes with stuff above the line, but not under are therefore not vertically centred on the stroke. In the stripey families I added 3 lines with a different center point, those are marked with a suffix ‘mid’. They are symmetrical, the 'mid' version is vertically centred on the whole stroke.
When you import the brush files you’ll see that a few of the brushes in the round families have different heights from the other brushes. The sources of these brushes have a different width height ratio (see the post linked above for the reason why). I added them to the brush files with a height that by default fits to the brushes with the standard height of 80px.
Lines CTSR examples.pdf
lines CTSR - pointy L.afbrushes
lines CTSR - round L.afbrushes
lines CTSR - stripey L.afbrushes
lines CTSR - pointy M.afbrushes
lines CTSR - round M.afbrushes
lines CTSR - stripey M.afbrushes
lines CTSR - pointy S.afbrushes
lines CTSR - round S.afbrushes
lines CTSR - stripey S.afbrushes
EmmaW reacted to StuartRc in Pattern Brush Packs
Project Brush Set 20 Pattern Brush Sets
Updated the brush set to version 2
Changes/improvements as below
1. Removed old versions redundant now..
2. All nozzles are now vector based replacing previous raster versions (as much as possible)
3. Replaced some of the older Base Patterns with some organics (set 04)
4. The old brush set was appearing darker and less intense with 1.7/1.8 update...I have fixed that with this version!
5. Updated the Sample sheets to latest layout (included ref to updated/new patterns).
6. Organised the sets into groups of 30 (Group 01 x4)
7. Added a generic set of brush Nozzles for texture variation (These are repeated across all sets)
8. Included sample sheets of base patterns
9. 19 new base textures
Archived the Older Brush set and updated Library information
Pattern Brushes Set 01
Vector Base Textures Set 01
ProjectBrush - Pattern Set 01.zip
Pattern Brushes Set 02
Vector Base Textures Set 02
ProjectBrush - Pattern Set 02.zip
Pattern Brushes Set 03
Vector Base Textures Set 03
ProjectBrush - Pattern Set 03.zip
Pattern Brushes Set 04
Vector Base Textures Set 04
ProjectBrush - Pattern Set 04.zip
EmmaW reacted to RNKLN in Small set of Assets: Droplets
This morning I was playing a little bit and created a set of droplet assets. Then I thought: "why not share them on the Affinity Forum?". So, here they are.
To install them, make sure the Assets panel is visible (View - Studio - Assets). From the little menu icon that is visible on top of this panel, select "Import Assets…".
EmmaW reacted to Andy05 in Classic engraving effect (copperplate engraving) for Affinity Photo
I had to edit some images for a client, who wanted to embed them into some kind of bank notes. The motives on them used to be classic copperplate engravings. So I created some macros for AP, some of which I want to share with the community.
The image needs to be square format (it will get resized to 3000 x 3000 px) The image needs to be flat (only 1 layer) The styles provided in this post need to be added prior to starting the macro I got an error message when trying to upload the files (probably due to their size, hence some google cloud links:
Engraving Styles (2.2 MB) - https://drive.google.com/file/d/1aHP4golVVLoidsw_aLs_EcMltfsM3oIu/view?usp=sharing
Engraving Macros (1.8 MB) - https://drive.google.com/file/d/1mMbZFTd-fLDuACyRCa7bne7cd0wksYUu/view?usp=sharing
EmmaW reacted to smadell in Paint by Numbers
I am attaching an Affinity Photo macro that turns a photo into a “Paint by Numbers” image. The attached file is a macros category, and should be imported through the “hamburger” menu at the top right of the Library panel. The category can also be imported into the iPad version of Affinity Photo, although there is one important limitation (more on this later).
When you use the macro, it creates a Group called “Paint by Numbers Effect.” All of the changes are inside of this group, so you can turn it on and off simply. Once you look inside the group, you will see multiple layers. From bottom to top, these are:
1) Original Image - Merge Visible
This is a “merge visible” version of your photo. It includes all of the editing you may have done up until that point.
2) Posterization Adjustment
This is a Posterize adjustment layer, and is meant to reduce the number of colors/tones used in the effect.
This is a separate layer, created (in part) by using a Detect Edges filter. It provides outlines for the areas of color. This mimics the outlines that were present on the Paint by Numbers boards we used as kids.
4) Normalize Colors
This is a copy of the original Merge Visible image, and has its blend mode set to Color. This is used to reset the posterized colors to more natural ones.
5) Adjust Brightness & Contrast
This is a finishing adjustment, and can provide a better final effect.
* * * * * * * * * * * * * * * * * * * *
Once you click the macro, you will be presented with a default version of the effect. A dialog box allows you to set a number of parameters. As you change each of these parameters, the Paint by Numbers effect is updated. You are asked:
Posterize - How Many Colors?
The default value is 4, but values between 3 and 6 generally give good results. If your image is a portrait, judging the final result by looking at what the different values do to the subject’s face is a good idea.
Outlines - Adjust the Opacity
The default is 50%. Adjust this upward to make the outlines more prominent; adjust it downward to make the outlines less obvious. Set to 0 to make them go away entirely.
Finish - Adjust the Brightness
Finish - Adjust the Contrast
The default is 10% brightness, and 20% contrast. Adjust these up or down to give you final effect the desired finish.
When you click Apply, the effect is finalized. Obviously, you can manually change any of the settings after the fact. However, you should know that while the number of posterization levels for the image is non-destructive, the originally chosen number is also used to create the outlines, and this is a destructive change. Although you can change the posterization level after the fact, it is not advisable to do this. The outlines might no longer line up with the individual areas of color.
Also, for some reason, the iPad version of Affinity Photo handles the macro pretty well but will not allow you to change the number of posterization levels before finalizing the effect. It is baked in at 4 levels. You can change this after the fact, but (as above) the number of levels in your posterized image may not match your outlines very well.
Here is the macro in action. The original image is top left; the parameters dialog is shown in its default state, and then changed during the course of the macro; the final effect is shown top right
As always, I am one person with one computer and have not tested this in every possible scenario. Try it and, if you like it, keep it and enjoy it. This forum has provided me with so many good ideas and answers to questions; this macro is my attempt to “pay it forward.”
[Note: Credit where credit is due. I am indebted to Dave Straker, whose recent YouTube video gave me some excellent ideas for this macro. Dave’s channel is called “InAffinity,” and is a steady source of helpful information. Thanks, Dave!]
Paint by Numbers.afmacros
EmmaW reacted to Anand Kumar in Affinity Photo - Macro Bundle 1 (15 Styles) | Architecture Edition
UPDATED DOWNLOAD LINK**
** click on the image to direct download.
EmmaW reacted to smadell in Add Film Grain (free macros)
Adding grain to a photo is a nice way to emulate vintage images, especially older black and white photos. It has always bothered me a bit that Affinity Photo does not include a mechanism to introduce grain, other than to use the “Add Noise” filter. While adding noise is nice, it adds such a fine amount of variation that it is often quite literally unnoticeable.
I have admired the Film Grain effect that is available in other software, such as Nik’s Silver Efex. These filters can often vary grain size and intensity; sometimes grain can be added to shadows, midtones, and highlights in differing amounts.
What I’ve attached is an .afmacros file called Film Grain. This is a macros Category and should be imported into the Library panel. It includes two macros. The first is called Add Film Grain - simple. It allows the user to add grain with 2 parameters – intensity and size.
Grain - Intensity
The grain intensity defaults to 100%, but can be set to any value between 0 and 100. At 0% intensity, the grain effectively disappears. To understand intensity, think “contrast.”
Grain - Size
The size slider accepts values between 0 and 1, with the default being 0.2. The appropriate value will differ based on the image being treated, and the same perceived size might need higher values when the overall dimensions of the image are larger. Also note that values above 0.8 are rounded down to 0.8 (and this forms an effective upper limit to the slider). This is done primarily because the math breaks down at higher values.
The second macro is called Add Film Grain - by tonal range. It includes the same intensity and size parameters, but also lets the user set opacity levels for highlights, midtones, and shadows separately.
Grain Opacity - Highlights, Midtones, and Shadows
There are three separate sliders for highlights, midtones, and shadows respectively. Each defaults to 100%, but can be set to values between 0 and 100. While the “simple” macro creates a single Film Grain layer, the “tonal range” version creates a group containing 3 layers, one each for the three tonal ranges. The Grain Opacity sliders simply vary the opacity of the corresponding layers within that group.
When each of the macros finishes, the Blend Range for the result (the Film Grain layer in the case of the “simple” macro, and the Group in the case of the “tonal range” macro) is set to diminish the effect of the grain on the highlights slightly. This is an aesthetic choice on my part, and I think you will agree. However, you can set the Blend Range to anything you might like, as desired.
* * * * * * * * * * * * * * * * * * * * * * * *
For most users, the “simple” macro will be enough. It lets the editor vary the Intensity of the grain and also the Size. I have always liked adding grain that was a bit larger, because it becomes more noticeable.
For other users, the “tonal range” macro will allow you to add some additional nuance to the grain, by letting you emphasize grain in the shadows, midtones and highlights. Do this by first setting a global Intensity and Size, and then adjusting the opacity of the 3 tone ranges as desired.
* * * * * * * * * * * * * * * * * * * * * * * *
Here are samples of the two macros, along with the settings as applied. The differences between the two results is quite subtle, but might be worth the effort in some cases.
* * * * * * * * * * * * * * * * * * * * * * * *
As with all the macros I have posted, I have tested these on one computer under a limited number of conditions. I cannot guarantee anything, but I have no reason to think they will not work for you just as they have for me. The macros are free, with the suggestion to “pay it forward.” As you become more proficient, be sure to share your experience and your work with others.
By the way, happy holidays to everyone. Here’s hoping that 2021 is a more positive, uplifting year than 2020. And maybe, just maybe, we’ll be able to ring in 2022 in a crowd without any masks!
EmmaW reacted to spinhead in free grass brushes
I made a set of 8 similar grass brushes for my landscape doodling and thought someone else might find them useful. First time making and sharing brushes, so feedback on usefulness and improvements is welcome, even solicited.
EmmaW reacted to Carajp in Fujifilm film simulation LUTs I've created, if anyone wants them
I've just spent all day (!) creating a set of Affinity LUTs for all the Fujifilm film simulations. I have a shiny new X-S10 but I shoot in RAW so Affinity doesn't give me them. The free version of Capture One reads my camera and has all of them, but I just can't get away well with the interface (when I wanted to use a film simulation, I was doing a basic develop in C1, applying the LUT and exporting to Affinity as a TIFF, which was a bit of a faff). So I used 'Infer LUT', and a lot of patience etc to create LUTs for Affinity. I then checked them out by independently developing RAW files on both C1 and Affinity to end up with a base result where I couldn't tell the difference on my monitor (which is very colur accurate), as sometimes exporting a file from C1 gave me a completely different-looking picture on Affinity. (If you're thinking that this has been a headache, you're dead right!) This was to check the accuracy of my LUTs. First of all, I wanted LUTs so they'd be easier to use on Affinity and secondly, I have hundreds and hundreds of RAW files from my Fuji X-A7 - and C1 does NOT offer me the film simulations on that, so I had no other way of using them if I wanted to.
So here's the thing. I obviously can't tell you how it comparies to in camera, but I can say the film simulation end result on Affinity is very nearly identical to the end result on C1 without the need to use C1. The only difference I can see is a slight variation in green which is visible but not great (and generally I preferred the Affinity LUT version). I also have literally no idea if they work equally well on ALL Fuji sensors/cameras because I've only just this second realised I haven't even tested them on the X-A7 raw files.
I did have a set of LUTs previously that I know I downloaded from this forum posted by some kind soul. But I found they didn't work well for me (this was my X-A7 days, but I found the same with the X-S10 files); very intense and, even with opacity turned well down, they didn't seem to match JPG film sim shots very well.
I'm actually very nervous writing this post. I'm relatively new to Affinity and this is the first post I've made on the forum and I don't know how people are going to respond to a random stranger offering gifts!
Oh, and if you're a n00b like me, the film simulations have to be applied with a LUT layer from the Photo Persona. I try and do a fairly neutral develop just to make a reasonably toned and exposed picture and send it over to Photo Persona, add the film sim LUT and then make any further changes I might want. No idea if that's the best way, it's just the one I figured out.
EmmaW reacted to StuartRc in inkBrush - Vector Paint Sample Set [Project Set 12]
True..but don't need to if just painting (raster)..can get a bit more control and mix the two types of brushes...+ can use them to create ink outlines with shading;then back fill with colour.. suppose it depends on the effect/s you are tying to achieve...
A bit like this one (ongoing!)
EmmaW reacted to StuartRc in Crazy Brush and Assets Library
A. Updated list with new brush sets | styles and Seamless Patterns
B. Fixed some broken links
C. Added new brushes and assets to list
1. Renamed 'Poison Brush Set' to Undergrowth....much larger than the original now!
2. Added new Vector Base texture Set similar to 'Render' and used as template for completely new vector brush set [Mushroom | Grass | Rocks | Moss | Leaves]
3. Added Set of Monochrome styles based on patterns used for updating the set
4. Added 30 Seamless Vector Patterns (with square Mask)
5. Updated to 1.7 Brush Engine
6. Re-worked most of the raster nozzles (all vector Nozzles)
7. All vector brushes are new using only vector objects and removing any blending/Transparency
Project Brush 16:Grunge
Updated to new layout sample sheets
Added a new set of 30 Vector Brushes using same method as 'Undergrowth' (All vector based nozzles and named as Raster Versions)
Project Brush 19: #inktober Inker
Added new set of Brushes (to build a single set that could be used for Inktober)....consequently larger than usual with 60 Brushes.
21 line art/inking brushes supported with a collection of Organic painters | Micro Patterns | Texture Painters | Basic Comic Patterns
EmmaW reacted to BadOia in Affinity Designer Vector Brushes
I have created 2 sets of vector brushes.
The first set is free with over 200+ repeating pattern brushes included.
The second set is 500+ vector brushes for Affinity Designer. This set is comprised of all the brushes I have made that ended up
being of some use. It is split between 13 sets. I plan to add on to these. There is a wide range of brushes here & while I am obviously biased
I do feel it is an amazing deal when compared to many other sets I see for sale.
Both sets can be found here:
Let me know if you have any questions about either pack.
EmmaW reacted to 276ccm in Vintage scroll frame (assets)
I’m thinking of making a pack of vintage/scroll frames, as assets..
can be a quick way to making ideas for vintage signs, sign painting etc..
i have been sketching some frames (as you can see in background) and now vectorizing them, so they can be edited..
Maybe it’s not necessary to make them as assets, but just figured out how it works :-)
Would anyone be interested in a pack like this? :-) What do you think?
EmmaW reacted to Nils Holgersson in Brushpack
Free Brushes for Affinity Photo.
Frost and Ice
Sky and Cloud
Light Effects 1
Light Effects 2
I'm looking for free glass styles, colored and clear. Does anyone have any? wish you a nice day.