iconoclast

OK, this would be a case for a global operation, I think. Not retouching by hand. You could try the method I was talking about. But I'm not sure if the result will be good, because the relation between the size of the image and the size of the texture is not very good. Just try it.

Hi voitek! I suppose, it is just a zoomed excerpt of the photo, right? Usually textures like this and Moirés can be removed if you scan the image with a higher resolution (e.g. 1200 ppi or 2400 ppi) and then blur it carefully, using the Gaußian Blur). But only as much as affordable. After that you can reduce the resolution to 300 ppi and resharpen the image a bit. But again: only as much as affordable. But be aware that this method also removes all details that are nearly at the size of the texture details. Another, more complicated way is to retouche the image by hand, using the Clone, Repair... Tools.

On the right side: "Protect Alpha". I see, it's not ticked. So what about the colour you are painting with? Black on black will of course not cause visible results. I checked it with on my PC, and it worked corrctly. Deactivated Alpha only doesn't cause this problem. Another idea: is there possibly a hidden selection somewhere on that document? In that case, you can only paint inside the selection.

Hi eobet! Take a look at the context bar at the top of the GUI. Is Transparency locked (the checkbox on the very right side)? Or is black selected as foreground colour?

I can't test it at the moment, because my PC is off, but if you have the layers selected, you want to keep, you should be able to group them and move the group to the top or bottom of the layers stack. After that, it should be easy to select the rest and delete it. After that you can ungroup the layers, if needed and wanted.

Another idea. Probably bullshit, but just to be safe: as we can't see the top of the layers stack on the screenshot: is there possibly a Softproof layer with some kind of colour profile that could have caused the problem? And by the way, I agree with NotMyFault - I don't think that your files are damaged.

OK, so possibly the colour depth?

In opposite to RGB,which is a colour space for colours of light, CMYK is a colour space for body colours (colours for print). CMYK colour spaces contain less different colours than RGB colour spaces. So if you export a CMYK image as a PNG or JPEG, which don't support CMYK, the image will be converted to RGB automatically, and the colours will change at least a little bit. As I tested it on my computer, the effect was very small, but in fact the PNG was a bit more saturated than the CMYK original. The strength of the effect may be defined by the certain colours you chose. But I'm not really sure if this could be the reason for your problem. As an additional information: for professional printing, colours always must be converted to CMYK. But usually you should do that well controlled to prevent unwanted changes of the colours. You can see if your original image is CMYK if you open "File" > "Document Settings" Colour". There must be a drop down menu called "Colour Settings" or so.

Could it somehow have to do with CMYK colourspace. I ask because you said that the problem doesn't occur if you export as PNG and JPEG, which don't support CMYK.

Even my very old Wacom Bamboo Pen & Touch is much better for some things like retouching, painting and drawing than a mouse. But of course a graphics tablet with a display is even better, because you see what you do where you do it.

Thanks for that very promising stuff! Looks great!

Hi LaraF! Ärgerliche Sache. Ich persönlich empfehle immer Publisher und auch andere Layout-Programme wie InDesign, Quark XPress usw., nur zum Layouten zu benutzen und die Texte vorher unformatiert in einem Text-Editor oder Office-Programm zu schreiben, als Textdatei (Dateiendung *.txt) zu speichern und dann in Publisher zu laden. *.txt, weil das Format keine Formatierungen speichert. Formatierungen führen nämlich öfter mal zu Problemen beim Laden von Texten in Layout-Programme. Und formatieren kann man in Publisher auch viel besser als in Office-Programmen und Text-Editoren. Das Schreiben von längeren Texten in Layout-Programmen macht, nach meinen Erfahrungen, auch manchmal Probleme. Dafür sind sie ja eigentlich auch nicht gemacht. Ein professioneller Workflow wäre jedenfalls die Fotos vorher in Photo zu bearbeiten, Grafiken in Designer zu erstellen, Texte in einer Office-App zu schreiben und das alles dann in Publisher zusammenzuführen. Das ist in der Regel auch die wirtschaftlichere Herangehensweise. Ich wünsche Dir natürlich alles Gute für Deine Masterarbeit.

There is at least a Fibonacci Spiral option in the Spiral Tool (Shape Tool, at the bottom of the list). Don't know if you noticed it. You will find the Fibonacci option in a drop down menu in the context bar of the tool. Nice tool, this Spiral Tool.

I have a Wacom Cintiq. that works pretty good too with my desktop. Yes, it needs some training. What trainings do you mean? I also think about creating my own better grids for letters, because these ones seem to be a bit limited in some cases. But this bundle is at east a very good inspiration. And it will help in many cases, I think. But I'm still exploring.

I have a somehow similar question: Is it possible to make simultaneous adjustments to handles of different nodes? In my case nodes that are on the exact opposite of a curve object or group, so that I would be able to warp it exactly consistent on both sides. I suppose that it is probably not possible, but it would be very helpful if it was, so I'm asking.