Roland Rick

Another way...
1. Right-click Recolour adjustment and select Refine Mask
2. Switch OFF Matte edges
3. Change Output to Selection and click Apply
4. Create Levels adjustment
Edit:
or CTRL+Click Recolour thumbnail to get selection then add Levels Adjustment

@Roland Rick
Nothing happens when you offer the levels adjustment to the recolor adjustment because it makes no sense to adjust the levels of the recolor adjustment.
All adjustment layers have a built-in mask, as you know; however, you do not need to use that built-in mask to dictate where your adjustment gets applied selectively.  You can add a mask to the adjustment layer that behaves just like a regular old mask on a pixel layer and sits in the adjustment layer as a child of the adjustment layer.  In your case, let's say you want to change the color of the insect's eyes with a Recolor adjustment - apply the Recolor Adjustment layer in the layer stack, tweak the settings and then - INSTEAD of painting on the built-in layer mask, ADD a mask to the Recolor adjustment layer just like you would with a pixel layer mask.  That mask should appear as a child of the Recolor Adjustment.  Cool.  Even easier, OPTION (ALT) - Click on the add mask button to add a mask that is all black so you can hide the adjustment by default and then just paint with white to reveal the Recolor adjustment on the eyes.  
OK, so far so good.  Now, you decide you want to add some extra adjustment to the same exact region - for example, your Levels adjustment, again, just to the eyes.  Add the Levels adjustment to the stack and make the tweaks to the eyes.  Of course, this affects everything in the stack below the Levels adjustment.  Select the Levels Adjustment and the Recolor adjustment and make a new Group out of those two layers.  Because the mask you created for the eyes is a regular mask and not the built-in mask, you can just drag the mask out of the Recolor layer and drop it onto the Group icon.  Now it masks the entire group.  It does not matter if you offer it to the group folder thumbnail (a clipping mask) or to the Group text (a regular mask).  It will act the same.
If you do not want to group the adjustments and use a single mask applied to the group folder, you can just select the mask in the Recolor layer and copy it (CMD-C) and paste it (CMD-V) and then drag that new copy of the mask to the Levels layer, if you want each adjustment to have its own copy of the mask applied.  In PS, you would just hold down OPT and drag a copy of an existing mask on an adjustment layer to a new adjustment layer - AP does not offer this shortcut as far as I know.  Bottom line - add a mask to an adjustment layer, instead of using the built-in mask, and then you don't need to mess with creating spare channels and targeting the alpha channel of each adjustment layer's built-in mask.
Even with the added mask applied to the adjustment layer, you can paint on the built-in mask to add to the selective application of the adjustment.  This is similar in PS to applying an adjustment layer, adding a mask, painting on the mask and then adding just that single layer to its own group so you can add another mask to the group. 
This was a very wordy description for a very easy and quick process, but it gets to the heart of the issue, which is that Affinity Photo's masking and layer structure behaves differently than Photoshop's, and reprogramming muscle memory from PS to AP takes some effort - I'm still trying to undo decades of PS thinking and wrap my head around AP's different process.
Have fun!
Kirk
Here are some tutorials that will help:
 
 

Hi @Roland Rick,
Thanks for spotting this. I logged it with our developers. 

Oh, yes, I support this idea fully 
 

Ahhh, I assumed, the ring function of tablet is an origin function, but it is trivially assigned to the keyboard commands...
 
By the way: important functions should not be fixed to keys you an only reach by US or UK keyboards. With German or Swiss-German (and I assume many else) [ and ] can not be reached directly, and Shift+Alt+5 ( [ ) and Shift+Alt+6 ( ] ) never work.
 
The problem is: todays programmers assign the ASCII code to the functions instead of the so called SCAN Code. The scan code defines the geographical position (!!!) of a key on the keyboard and is always the same key code - whatever for keyboard and language settings are used.
 
While editing a photo, I do not use ö (the key position of [ on US keyboard) and ä (the key position of ] on US keyboard) for typing text and the keys can "automatically" be used for de-/increase brush size.
 
Back in 1986 I learned this becoming an auto didactic software developer. Why is today no one working with scan codes??? What would avoid a lot of work at customer/user side, by being forced to first redefining the keyboard shortcuts for my language and keyboard or working with an US keyboard.
 
ASCII code is a pain in the a?? for keyboard controlled functions. Use scan code. Makes MANY things MUCH easier. ;)
 

 

High guys
This two things I am really hardcore missing in Affinity Photo:
Layer on/off flip-flop command, Cmd+, in Photoshop R key for "rotate canvas", like in Photoshop, this is like handling a piece of paper - or not if missing. This two points are - at least to me - 80% of my workflow. And I am pretty sure I am not the only one. Exactly that I use permanently is missing  please check the video and sorry the bad English, was not my day today 
Cheers,
Roland
 
 

High guys
This two things I am really hardcore missing in Affinity Photo:
Layer on/off flip-flop command, Cmd+, in Photoshop R key for "rotate canvas", like in Photoshop, this is like handling a piece of paper - or not if missing. This two points are - at least to me - 80% of my workflow. And I am pretty sure I am not the only one. Exactly that I use permanently is missing  please check the video and sorry the bad English, was not my day today 
Cheers,
Roland
 
 

High guys
This two things I am really hardcore missing in Affinity Photo:
Layer on/off flip-flop command, Cmd+, in Photoshop R key for "rotate canvas", like in Photoshop, this is like handling a piece of paper - or not if missing. This two points are - at least to me - 80% of my workflow. And I am pretty sure I am not the only one. Exactly that I use permanently is missing  please check the video and sorry the bad English, was not my day today 
Cheers,
Roland
 
 

Hi chris_to,
Welcome to Affinity Forums
The max document size allowed is 256.000 x 256.000 pixels.

Emojis do not show up in Artistic Text. I tried with Helvetica, which is a Unicode font and should work for that, shouldn't it? However, I also tried with the Emoji font itself and also the "Pictographs" from macOS "Show Emoji & Symbols", the pictographs are partially showing up correct but not all of them. 
Please see attached video.
All the best,
Roland
 
Affinity_Designer_171_Emoji_Artistic_Text.mov

Oh, yes, I support this idea fully 
 

I have several file export settings defined in my own presets. I'd like to move these export presets around per preset to other systems and other Affinity software on the same machine and make copies and backups of them.
I've noticed there's a file_export_options.dat file in the user-folder somewhere within AppData, but that doesn't seem to be made for (compatible) distribution and exchanging. Also with this file it's obviously impossible to export a single filepreset alone to move that to a different system or another Affinity application.
Also because that *.dat-file is a binary without some Affinity recognisable extension, like pallets have for example, it's clear these are not made to exchange and we never know if using them on a different system (or newer version of Designer/Photo/Publisher with maybe more settings added to the program) have them running without problems or crashing the system. If these were xml's or json's that would be a lot easier for us to have faith in compatibility and we would be able to edit them at least, but they are not so it's on our own risk now to move these files around, which I don't really like and we're obviously not meant to do that.
So I would like to see a way to export a preset to a file, like *.afFilepreset or json or xml. And to be able to import this preset from file in another Affinity application. That way we can create our preset once and copy them to other systems and Affinity products on the same machine. So we have the same presets everywhere and don't need to toggle on those settings on and off on all machines and software.
I put this in the Affinity Designer forum, but the same goes for Affinity Photo and Affinity Publisher. It would be great if we could also move these presets around from Designer to Photo and Publisher (on the supported file-types ofcoarse)

Ahhh, thanks, that's the workflow I was looking for. It can be done by Channels, just not directly by right click and finding this in a pop up menu. Thanks for help!
I want to do this if I decide to apply the exactly same mask in a later point in time not only to the initial adjustment layer but also to other ones.
 

Not sure exactly why you want to do it this way but try this....
Select your black and white adjustment layer in the Layers panel
Click on the Channels panel
You should see an item called Black & White Adjustment Alpha
Right click on that and select Create Mask Layer
A new Mask Layer is created which you can use to mask other adjustment layers
 

Hi Roland Rick,
There is no way to do this I'm afraid. I will move this post to the Feature Requests section.
Thanks
Callum

The Artistic Text Tool does not display Emoji characters. Please add this to the ATT, thanks
Please see also the attached video, maybe I do something wrong, if so, I appreciate any help and hints.

Artistic Text Tool 2018-05-25 09-14-54.mp4 Cheers,
Roland

Hi Roland Rick.
This is to delete global clone sources that you have added yourself rather than the files used in a focus merge
Thanks

Affinity Photo Help: Layer clipping

.

Regarding the “rubberband (path preview)” feature mentioned earlier in this thread, I think the original requester had the following feature in mind, Ben. 
I would love to see this too …
 

Rubberband-Feature.mov

Oh, and maybe you could also consider adding Tunni lines to path handles … I mean, while you’re at it … 
Tunni-Lines-B.mov
Tunni-Lines-A.mov

I face the same problem also. First, sources are there. But if you have to discontinue work and iMac goes to sleep, after wakeup, files in sources are lost and you must start over, what is quite annoying.

Ok so right when it's done focus merging (which took over 5 minutes) it shows the Sources Studio, but if you close it somehow when you open the Sources Studio again all the sources are gone and to get them back you have to re-focus merge the entire image all over again.

If it is exit data it should not be there 
 
Sorry, funny typo

This bug only happens when the vector mask is nested and below the filter. Moving the mask to above the filter renders it correctly.
 
Roland Rick,
There's no way to snap the vector mask to the filtered area - you have to do it manually because the filter doesn't create any references points/nodes for the snap to jump to.