iconoclast
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Posts posted by iconoclast
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The basic thing is, that the image you want to recolour must have some kind of RGB (or even Lab, CMYK...) color space. It will of course not work with a greyscale color space. Then you must be aware of that you can't recolour black or white. To be able to recolour this both "colors", you need to darken/lighten them at least a little bit.
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Hi ssthakran!
You could doubleklick on the page you want to go to in the Pages panel.
Another option is to hold the middle mouse key and drag the working space with the mouse.
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1 hour ago, NotMyFault said:
I think a different interpretation better matches was is happening.
The maximum blur filter takes the brightest color within the blur radius and applies it to all pixels within the radius. This is executed for every pixel individually.Radius actually means a quadratic area (not circle).
To check, use an rectangle of 2 px over a darker background.
Maximum blur of 1 px increases the size to 4px (1 in every 4 directions).
As I said, I'm not really sure about that. Funny thing, I know this kind of filters since I learned Photoshoping, so for about twenty years. I didn't use them very often, and I never asked myself what they are exactly doing and how. But you may be right, because the more you drag the sliders to the max, the more even complex curvy shapes become blocky structures. Filters that are for subtle use only. As the most filters are.
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29 minutes ago, NotMyFault said:
I can’t follow the last sentence. My earlier post gives an example where it perfectly works with shades of grey.
To be honest, I'm not really sure about this point. I don't really understand what I see, f.e. on my attached screenshots. It seems like pixels of each single grey value are replaced by pixels of the opposite grey value: 10% by 90%, 20% by 80%, 30% by 70% and so on. But it needs the hard difference between the values. Because in my example it affects only vertical. Is this what you meant?
My Test-Image:
The "Schatten vergrößern"-Filter applied to it:
The "Lichter vergrößern"-Filter applied to it:
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2 minutes ago, NotMyFault said:
Giving a good name is really difficult. It definitely is technically a blur filter in my view, and it will enlarge areas with higher lightness values (or higher alpha).
The inverse effect could be a side effect if you deal with partially transparent layers. The affects the alpha channel, too. It then widens any area, even if the area itself is black, and the background is white.
So be careful about layer structure / nesting.
Unfortunately when used as nested filter on alpha, other bugs may play into the game.
Yes, it is not always easy to find the best name for an even simple function. I think the name of a filter or function should tell what it does, if possible. User friendly. This filters may somehow blur in a technical point of view, but to call it "Blur" is a little bit confusing, I think, because the effect doesn't look blurred. In my opinion, the german denotations fit very well to what they do.
But you are right concerning the behaviour of the filters with transparencies. It makes sense and I don't believe that it is a bug. You just have to remember that you need black and white for this filters, because they replace white pixels by black ones and vice versa. If there isn't black or white, it can't work as intended. Probably only a 1-Bit-Operation that can't handle any colour and alpha channels.
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Hi Dan!
In my understanding those two filters are not made for bluring. I know similar filters from GIMP, called "Erweitern" and "Erodieren". The first one increases light areas by adding light pixels and decreases the dark ones simultaneous. The other one does the opposite thing. But both without bluring. As far as I remember, Photoshop has something like that too. I think the two filters in Photo are made for the same tasks.
I made some additional tests, and my problem of yesterday evening may have had to do with the alpha channel. I'm not sure and will have to do some more tests, but the images I tested it with yesterday may possibly have been only black on transparency. That seems to behave different.
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Hi NotMyFault!
Sorry, but as I tried to make a screenshot of this issue some minutes ago, everything worked as it should. Seems that it was only a temporary problem. I made several tests yesterday evening, and it was always as I described above. But today all seems to be okay. Weird!
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Hello!
Some minutes ago I noticed that the denotations of the Live Filters "Schatten vergrößern" (increase Shadows) and "Lichter vergrößern" (Increase Lights) are interchanged, at least in the german version of Affinity Photo. Both do exactly the opposite of what they promise. Not a big issue, but worth to be fixed some day, I think.
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I don't really know, but I'm afraid you can't convert Artistic Text into Frame Text or vice versa. As far as I remember, this was asked here in the forum before, and it doesn't work.
You could copy and paste the text to Artistic Text or convert it into curves. But I think this is not what you want to do.
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1 minute ago, JeremyTankard said:
Hi, Unfortunately it doesn't behave like this.
I edited my post a minute ago. You work with Frame Text, right? I'm afraid it will only work with Artistic Text.
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Hi Jeremy,
this should work with the "Transformation" panel, I think. To increase a group f.e. 50%, type "*150%" into the field for width or hight (after you closed the chain symbol) and press Enter.
Edit: But in case of text, it will only work with Artistic Text, not with Frame Text, if I'm not wrong.
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Color is a much more complex topic than most people think. In fact there are two different kinds of color mixing: the colors of light and body colors (the colors of objects). The first one is the more important one, because without light even objects wouldn't have any color. The colors of objects are only a part of the light colors that are reflected from their surface. The other light colors are absorbed by the surface.
As we know since Isaac Newton, the white daylight consists of light beams of all colors. The colored light beams add each other to white light. So this kind of color mixing is also called "additional color mixing". If light falls on objects, they only reflect a part of the light, depending on the characteristics of their surface. For example, if an object only reflects blue and absorbs red, yellow and other colors, it looks blue. Because in this case colors are subtracted, it is also called "subtractive color mixing".
The basic colors of additive color mixing are red, green and blue (RGB). The basic colors of subtractive color mixing are cyan, magenta and yellow (CMY). So those are also the basic colors in printing. Because you can't mix real black with cyan, magenta and yellow (in the best case only a dark grey), in printing also an additional color is used. The so called "Key color": black. So you get four colors: cyan, magenta, yellow and black = CMYK. The white comes from the paper you are printing on.
RGB (the light colors) has much more colors than CMYK (the body colors). Because of this, the colors of the CMYK-Colorspace are always less brilliant than the ones of RGB. So it makes a difference if you watch your images in RGB or CMYK on screen.
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For Designer, right? Think some people would need this information.
Very nice! Thank you!
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I worked for a record company for some years in the past. Journalists who wrote bad about our artists became banned from sampling with new products and giveaways. I think that often had some impact. Even on the small concerts, we sometimes arranged for the press only, one could observe that many of the journalists were more interested in the cold buffet than in the music. Seems that they finally are only somehow human. Why should IT-journalists be different?
However, I think an advertisement should be labelled as what it is. As far as I know this is applicable law at least in Germany. Even there may be many ways to prevent it.
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Yes, it's an elaborate technique and even economical. By the way, it is also the basic principle of four-color printing.
- aenimanu and William Overington
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I suggest that he didn't use yellow because ochre was the color of the painting ground (so to say the canvas). Like you use white in watercolors only in case of emergency as opaque white. Normally the white comes from the paper.
- aenimanu and William Overington
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39 minutes ago, firstdefence said:
Illustrators texture sections for the brushes are all vector and can be expanded if necessary for modification. Like I've said before Illustrators brushes are more sophisticated which is understandable considering Illustrators lineage and age.
Yes of course, and they bought Macromedia Freehand years ago and integrated parts of that into Illustrator. Hope they will not take over also Affinity some day!
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That sounds very good. As far as I understand, the vector parts that go for the texture can't be modified as curves, right? So this might be the important point and the key to my misunderstanding. In that case they probably don't blow up the file size like I suggested, because there isn't too much data.
I'm sure, the Affinity devs are already fiddling on a similar solution in their dark chambers. In my opinion, the brush engine of Designer needs some improvement anyway, even it is already usable as it is. But I would like to have a little more capabilities there. Looking forward for upcoming sensations!
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11 minutes ago, Designer1 said:
I tried the new version of Inkscape, it offers a very good vectorisation of PNG. Inkscape is a very good and free software.
Yes, that is exactly the app I use to autotrace with. Really good, but still with some limitations. Especially the color management should become better, I think.
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OK, as far as I understand, there is in fact a core curve that defines the way of the stroke. Wouldn't make sense without it, I think. The texture is defined by groups of vectors that are aligned to the core curve. Right? That would in fact be cool, if it doesn't blow up the file size to astronomical dimensions. I made the experience f.e., that when I autotrace complex texturized objects, that I get a vast number of nodes, and because every node causes data, in such cases quite often the software crashed or freezed.
But anyway, thanx, this made it a lot clearer to me!
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Hm, to install a trial version of Illustrator is not an option for me too. But I still wonder if those vector strokes, created with the only true vector brushes, can be modified. And how do those strokes affect on the file size? Are there only the well known advantages of vector graphics or also disadvantages? That's still not clear to me.
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1 minute ago, Designer1 said:
This is really an embarrassment for Affinity Designer. Yes, in Illustrator the real vectors are brushes.OK, that's interesting. Can vector brush strokes in Illustrator be modified? I mean, do they have a core vector or so to modify the way of the stroke itself - without modifying the texture? Can't imagine clearly how that works.
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in Pre-V2 Archive of Affinity on Desktop Questions (macOS and Windows)
Posted
Page click should normally work. Don't know why it doesn't in your case.
Another suggestion: If you press the space bar, the cursor should change to the Hand symbol temporarily, and you should be able to drag the workspace then with the mouse - like with the middle mouse key.
Edit: In my Windows version there are also small buttons on the bottom left of the user interface, to scroll from side to side.