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David Edge

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Everything posted by David Edge

  1. So how do people print real books? I'm producing small runs of artist's books so it's not something I can leave to a printing company.
  2. In the Book printing model I can only have one sheet per signature. I'm hoping this is a bug. What I'd expect to happen (although I have no experience of other software) is that Book would be a collection of booklets for pp1-12; 13-24 etc (for three sheets per signature).
  3. "And does anyone know the difference in "Book" versus "Booklet" in that setting?" In "booklet" it produces a single signature, that is to say if you print 12 pages on three sheets of paper you can simply fold the bundle in half, staple and lo! you have a booklet. Now what you would hope for in Book is that it would print multiple signatures as that's how a book is bound - basically a stack of booklets sewn together. So if you had three sheets of paper per signature in would print pages 1-12 in the first stack of three, 13-24 in the next. Unfortunately AP seems to assume there is but one sheet per signature so you get pages 1-4 on one sheet (printed 4-1-2-3), 5-8 on the next, so it's a book, but with only one sheet per signature.
  4. Thanks Gabriel A most peculiar limitation (in terms of using images for multiple purposes) but glad to know I'm not missing something simple. ta d.
  5. I've tried file, export and the export persona. The document I'm starting with is 26679 x 2000 px (yes, long and thin) at 300.
  6. I'm used to exporting objects from CaptureOne at their target dpi - so if I export a file at 105mm wide at 720dpi I know it will read into an A6 portrait 720dpi file in Affinity Designer at full size (say). Exporting files from Affinity Photo though they seem to go out at 300dpi and need resized on import. Am I missing something - ie a way to set the dpi at output? Using the latet version of AP and AD on Mac 10.13.5
  7. Aha! Thank you. It doesn't seem to be listed so thanks for rescuing me. d.
  8. I can't find the video tutorial where James aligns and merges two photos of an abandoned milk float in a grotty old shed. I'm trying to do something similar and the approach there is more suitabe than HDR. Can anyone tell me what it's called? d.
  9. Excellent, thanks Gabe. That will keep me out of mischief for a bit!
  10. Thanks Gabe That's certainly a pragmatic way of sorting this image. Is there a way of doing the making the colour of something converge, effectively I suppose brushing in the hue without affecting saturation or lightness? d.
  11. I have a photo of two bands of ceramic tiles that are lit by mixed light so the colour shades from warm to cool across its width. I'd like to equalise the colour across the bands while preserving the texture and shading. I'm sure there's a terribly simple solution, but it's eluding me!
  12. Drag and drop of characters from Apple Colour moji doesn't seem to work although I can see that there might be a problem with non-black fonts.
  13. I haven't checked preferences for the simple reason it turns itself on and off seemingly at random. The trackpad works perfectly with all other applications all the time; it's just hit and miss with Affinity. So I think something inside Affinity is deciding whether it wants to cooperate with pinch/spread to zoom and canvas rotate.
  14. Well you could have knocked me down with a feather! I had no idea anybody was still using mice. Yes, it's an A1339 Trackpad. It works brilliantly for zooming and canvas rotation. Until it doesn't.
  15. It's a feature that usually works perfectly well in the Mac desktop apps; and then just stops working and you need to use Cmd+ and Cmd- which is a right PITA. I haven't worked out why it switches itself off.
  16. Ah, well, we don't have Designer 1.6.1 for Mac yet. I'll give it a day or two and if it doesn't turn up for Mac file a bug. But then it's Photo I'm having the problem with
  17. Thanks Chaps Well as files are always rendered before delivery I'll go for import as text; indeed that's what I have set. I think it may be a post-1.6 problem. I've edited another two and while it doesn't get itself into as much of a mess as before, in each case it loses the fill layer below the object on save and re-open. Perhaps one for the bugs forum?
  18. V_kyr Well, that's how I always do it and normally it works - Edit With Affinity Photo creating a 16-bit PSD, add the layers and save. Then any further non-destructive adjustments in Capture One are applied to a flattened version of what's in the PSD, but if I then Open With Affinity Photo I have my layers back with the file open in Affinity and can edit again,and when I go back to Capture One the non-destructive edits will be applied over. But always the PSD contains layers that remain editable in Affinity. Now I could imagine that I had inadvertently flattened the PSD inside AP, but why does the file have a black background (ie edited) when viewed in and exported from Capture One; but is unedited in Affinity Photo? Alfred - thanks, good point - I do stick to photographic manipulations when exporting to PSD and do any text in Affinity Design. But a useful reminder
  19. I have a file exported to PSD from Capture One. I edited it in Photo, cut out an object, put a black fill layer behind it and saved it. The preview of the file in Finder shows it correctly with a black background. If I export it from Capture One it renders correctly with a black background. However if I open the file again in Photo to change the fill layer to black all I have is the original pixel layer with its original messy background and a transparent layer inside it. It exports as it looks - messy background. So I have a PSD file that Affinity Photo has edited, but cannot read and that Capture One can read but not edit. Any ideas?
  20. Thanks MEB; well two suggestions to add to the "things to get to grips with" list there. One final question then; it seems the best solution for me is to use the selector tool in Quick Mask mode and then refine with the paintbrush; is there an easy way to flip the paintbrush between black and white? Toltec: If an object has been shot on black velvet and has dark bits these may merge into the version shown on solid black and you can get away with some imprecision in masking. If a version is made from the same mask with a white background then these bits scream out and need re-edited. And vice versa if shot on white; a mask that works when there's a white background looks bad on black. I'm realising though that by cycling round the quick mask (show as white / overlap / black) I can preview these so can make a single cutout. So getting close
  21. Thanks MEB - so there's no way of refining a mask with a red overlay while retaining control? No way of setting the sliders in 'refine mask' that will stop it trying to outsmart me? Or no way of releasing a mask perhaps and displaying it as an overlay? I admit it's partly my inexperience, but I can't be the first person ever to have wanted to mask a museum object in different ways for white background (records) and black background (publicity). d.
  22. I think I'm still missing something here. I have a mask sitting nested into the image. This is because I'm producing one version of the object with a black fill and one with a white fill and the mask that works for one doesn't necessarily work for t'other so I need to edit it. However while I can edit the mask with a brush, I can't get any view of the mask other than hard black an white. In Overlay mode I could see what I was doing, now I can't.
  23. Oh my goodness me, Toltec! You're right - that is so much easier - I can achieve in ten seconds what was ten minutes work. So the selection brush is optimised for photographing contre-jour meerkats while quick mask is more suitable for nineteenth-century African models of a half-naked Queen Victoria. Sorted! d.
  24. I'm working for a museum and cutting objects out to merge them on a single image with a scale. I've followed the instructions to select using the select brush; refine the selection; create a mask and then further refine the mask. I find refine mask unpredictable in what it selects and doesn't (even being careful with modifiers and border / smoothing / feather). I have stumbled on edit mask which actually does what I was expecting refine mask to do - ie reliably change the mask in accordance with where I put the brush. Am I missing something, or is refine mask just buggy? d.
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