I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.
The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.
I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
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The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.
2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.
3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
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The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
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As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros
Using the Reticulated Gradient Map Macro.pdf
Let's go back to school, with some of those common and well known school protractors for measuring in degrees.
... etc.
The protractor assets shared here ...
... are all vector based and do have printed on degree scales. You have to adapt/size the default assets protractor sizes to your document needs and thus scale them up/down so they nearly match your doc measurements.
Note that all protractors are just a bunch of grouped/layered together vector parts (curves and text) thus they can be modified in colorings and the like. Also you should always move & size etc. a whole reused protractor group/layer when needed!
Here is the associated assets file:
protractors.afassets
Have a nice school day!
Hi everyone been enjoying the new version 1.9 I also enjoy using Filter forge and it works quite well with affinity. However applying a filter forge texture is a destructive edit. In Photo 1.9 I have set up a preset for creating patterns it's basically a 600px square document with a transparent background. What I do is add a fill layer and rasterize it. Then I select all (ctrl +A on Pc and I think cmd +A on mac) once I have my selection I go to the filers menu and select Filter forge from the plugins. there are a vast amount of texture filters in the filter forge library to choose from once I have my texture set the way I want it I make sure that seamless tiling is checked on and click apply. Once the filter renders in photo I go to layers> new pattern layer from selection and boom affinity generates a pattern layer ready to use. I like to add my patterns to my assets panel for easy access and the great thing about this is you can clip a texture pattern into text or vector shapes and they remain completely editable.
Perhaps I have this in the wrong place it's not a question but rather a description of how Filterforge can be used to create pattern layers and a destructive filter can now be used in a non destructive way.
If the moderators feel this would be better elsewhere my apologies.
