Ldina
-
Posts
188 -
Joined
-
Last visited
Posts posted by Ldina
-
-
I have some questions about the color samplers in the Info Panel of Affinity Photo. I use CMYK samplers a lot when doing critical color work, especially on skin tones.
1. What size is the sampler? (1 pixel, 3x3, 5x5, etc?) I am assuming it is a single pixel sample, but I am not sure. A single pixel can be misleading, so I'd like to use a larger average sample size.
2. Can you change the sample size? If so, how? Will the Info panel sample size be same as what you select using the EyeDropper Tool if you select something other than "point sample"? In other words, if I select a 5x5 sample size with the Eyedropper Tool, with the sampler in the Info panel also be a 5x5 average sample?
3. When selecting various color modes for the samplers (i.e., RGB, LAB, CMYK, HSV), what color space is used to report that data. For example, if I am working on an sRGB document, but wish to set a sampler to CMYK, which CMYK profile is used to report the numbers. A conversion is required from one color space to another to report accurate numbers. Does AP use the default color spaces and rendering intents to do this conversion, or is it some sort of generic table?
Thanks.
-
Thanks, Solly. It really is a spectacular moth.
-
My brother and I used to study butterflies and moths as kids. This one is the gorgeous Cecropia Moth (Hyalophora Cecropia) and has a wingspan of about 5–6 inches (13–15 cm). All done in the Designer Persona, with the exception of the fern background, which is a photo. Happy holidays everyone!
-
Beautiful!
-
Incredible skill, attention to detail and artistry. Color me envious!
-
-
Gabe, thank you for the notification on the Beta release. I downloaded it and will try it out over the weekend.
-
Thanks FrankN.
If TIFF and JPG formats work fine without mysteriously vanishing, I can substitute TIFF for PSD files when I need a transparent background or suitable format for press work that doesn't use lossy compression. That's fine for a simple document, but some of my projects have dozens or hundreds of linked files, most of which are PSD files. No way I'm converting a hundred files just so I can use Publisher. I'm still not sure what to do when I need EPS, AI or other formats.
I may have to stick with InDesign until they get this fixed. Work must go on.
-
Hangman,
Thank you for the clarification. I didn't move the Publisher file or the linked PSD/EPS files. I started with a Package, including an IDML file, exported from InDesign. The package folder had subfolders for Links and Fonts. All my files stayed inside their respective folders. Perhaps there is also an issues with moving assets to different folders, but I don't think that's my case.
Ha...you're right...I didn't notice the negative dpi listed in the Resource manager. I was mostly clicking on the missing files to see the readout. Interesting.
-
Thanks, Hangman.
I didn't move any pSD or EPS files between folders and it still happened to me. They just disappeared. Interesting that you got a "negative dpi". Resource manager always shows my missing files as still linked and "OK" with a 0x0 px file size...at least so far.
-
Fantastic!!! Love it, very striking. 😄
-
Very dynamic...love it!
-
I downloaded and tried out Hasselblad Phocus, which is a nice raw image processor. Unfortunately, on my Mac I have about 60,000 files mostly in DNG format, and features like highlight and shadow recovery, clarity, lens correction, etc, are grayed out and unavailable in Phocus. At least for me, this is a show-stopper. The user guide said this can happen, (see below extract from the Phocus User Manua). I still have a standalone version of LightRoom v6 and it works (so far) on my MacBook Pro and OSX Monterrey (v12.6), so I will continue to use that. LightRoom can handle all these features on the same version of OSX, so I guess it must be the way Hasselblad programmed it. To be fair, it's really designed primarily for Hasselblad cameras, and supports other cameras, but not quite as fully.
"Other (Mac only): This group comprises a list of various formats, both raw and non-raw, proprietary and general. These files are initially read and processed via the integral Macintosh OS X support before they are adopted by Phocus. This means the contents of a folder containing a mix of image-format files can be viewed in its entirety in Phocus.
As these files can contain data that is written differently to Hasselblad files, there can therefore be a restriction on the effect that tools in Phocus could have. In practice this means you should expect the following tools to be inactive: Highlight recovery, Shadow fill, Clarity, Lens corrections, Noise reduction and Scene calibration."
-
Thanks, Mike...you're right and I agree. Since that was a composite with the hand added above the background image, I was trying to find a way to dim down the hand somewhat, so it wasn't so prominent. Lowering the opacity probably wasn't the best solution. Perhaps leaving opacity at 100% and adjusting brightness, saturation, etc, would have been better. I appreciate the feedback.
-
Cheers!! All vectors, except for the spots on the counter top, where I used a brush. (I'm not sure if that's a vector or a pixel based brush. It was a pattern brush, light airbrush, and I think it shipped with Designer v2. I'm not sure how to tell the difference!).
- jmwellborn, BobMoyer, StuartRc and 3 others
-
6
-
What can I say...Incredible!
-
Here's a screenshot of the brass horse casting so you can see what I'm trying to do, without having to download the AfDesign file.
-
I'm struggling with shading the attached Designer v2image and I'm not sure how to proceed. Hopefully, the Native AfDesign file uploads correctly, so people can download and view what I have done so far.
The image is of a brass horse casting with a lot of shiny reflections. I wanted to create a nice version for my wife. I outlined the front horse (nearest to the camera) and left the black outlines showing for now, so they'd be visible. I'm not planning on including the horse in the background, due to the awkward orientation. I stopped partway through, after outlining the major horse components because I realized I lacked a decent strategy for adding in all the complex reflections, shading, etc. I could use some sage advice or guidance from folks on this forum on how to proceed, or even a few examples. I figure if I can achieve a realistic effect on this subject, I will be well on my way to shading other complex subjects.
I hope this is appropriate use of the "Share Your Work" forum. If not, please let me know. BTW, a photograph of the horse casting is on the background layer for reference and can be turned on and off (assuming it downloads intact). I'll also include a JPG of the outlines I have created so far.
Hope everyone has a good Thanksgiving, if you celebrate it. Any help would be much appreciated. Thank you.
Lou
-
Gabe,
Regarding the disappearing PSD and EPS files, I assume you received the Publisher package I uploaded to the Dropbox link you provided. Any progress on this issue?
I have a design project coming up shortly and would like to use Publisher v2 for it, but if this issue isn't resolved I will have to use InDesign or Publisher v1.10.5. I spent a fair amount of time importing the IDML file from InDesign and getting it set up in Publisher v2. Since I cannot open the file in v1.10.5, that leaves InDesign.
Thank you,
Lou
-
I was experimenting with Photo v2 and had fun creating this crystal ball effect. The final image used two photos, one of Aspetuck Reservoir (in Connecticut, USA, taken with a DSLR) and a second one of my hand, which I took with my iPhone, stripped and added before generating the crystal ball effect. This distorted my fingers inside the crystal ball. I needed another un-distorted hand layer for that portion of the hand and wrist that were extending toward the viewer out of the frame. AP has some incredible functionality and tools. Hope you like it.
Lou
- GarryP, jmwellborn, AffinityJules and 2 others
-
5
-
-
Solly, top quality spruce tops can be difficult to find these day. Cedar has a different sound, perhaps a bit more "nasal", but that word doesn't really capture it. I actually began building a flamenco guitar decades ago with a spruce top, Spanish cypress sides and back, ebony fretboard, mahogany neck, etc, and was about halfway through, when I slipped and accidentally ran a chisel through the side of the guitar, while trying to remove a glob of dried glue from the mold (which I also built). The neck, spruce top and sides were already assembled, the sides were steamed and bent into shape, etc. I was probably about 60% complete at that point. I was so disgusted and deflated after that, I abandoned the project. It was actually coming out nicely before that bonehead play. Haha...so it goes. 😖
Glad you liked the changes to the "cedar" top. It made a nice difference and I appreciate the suggestion.
Lou
-
Thanks for the feedback. Here is RevA of my guitar illustration, with some changes based on comments and suggestions.
First, I corrected the string shadows so they are consistent with light direction!
I also played with enhancing the wood grain in a number of ways, not sure this is the best way, but it's what came to mind. The grain was previously a bunch of parallel lines created using power duplicate and a slight warp, then blurred slightly to blend with the color of the cedar top color. First, I reduced the blur so they would stand out more. Second, I I removed the warp and selected some lines sporadically, darkened, thickened, and changed the line pressure to vary the line thickness. This left most grain lines thin, but a smaller number thicker and darker, which is more like the real wood grain. Finally, I created some long, low opacity rectangles that are slightly darker than the top, applied a gaussian blur and reduced the opacity so it was subtle. I copied this rectangle and placed a few on the top, at various widths, to show some variation on color here and there. Finally, I added a slight light-sheen on the guitar top the right side of the guitar, where the light is strongest.
One final minor tweak. The sides of the guitar show slightly below the waist of the guitar body. before, they were too dark, so I brightened them up a bit.
I think these all helped, but I'm sure there is more I can do to make it more believable. It's been a great learning experience for me, and I thank everyone for the suggestions. 😀
Lou
- VectorWhiz, Aammppaa, dannyg9 and 2 others
-
5
-
Thank you, Solly...I agree on finding a way to introduce more irregularity and color variation into the grain of the cedar soundboard of the guitar. I'll experiment and see if I can find a way to do that, other than doing them one at a time. The posted image used the new Warp tool to introduce a slight waviness to the grain so it wouldn't be totally straight, but that is less than convincing. I appreciate your suggestion.
jmwellborn....you caught me! Yes, I noticed (afterwards) that I had the string shadows being cast in a direction contrary to the light. Busted! Hahaha...I'll fix that if I reedit this image, which I probably will. Thanks.
Info Panel - Sampler size and Color space
in Affinity on Desktop Questions (macOS and Windows)
Posted
Psenda, thanks for the links. Unfortunately, the Affinity Help menus are pretty basic, lack examples and details, and don't shed any light on this issue. The Help menus could be much better if they were expanded to anticipate user needs more completely.
Lisbon, thank you for your feedback and the Macro. The Macro does work in Affinity Photo v2.0.3. I tried it out and it is very helpful. Thank you very much. I appreciate it. A point sample is sometimes useful, but most of the time, it is simply misleading since it isolates a single pixel. The 3x3 and 5x5 averages are much more helpful for most of what I do. Serif needs to provide options for different average sample sizes right in the Info Panel. It would also be helpful to specify what profiles are being used for the numbers being displayed.
R C-R, I did some dried testing and have concluded that the numbers reported in the info Panel are based on the current document profile, and whatever other profiles are specified in the default Color Settings for other color spaces. So, if I am working on an sRGB document and selected a CMYK Sampler in the Info Panel, the CMYK numbers will be converted from sRGB to the CMYK profile I have set as my default CMYK in Preferences. In my case, the conversion from sRGB to CMYK will use Coated GRACol 2006 (ISO 12647-2:2004), Relative Colorimetric and Black Point Compensation, since those are my defaults CMYK.
Those converted numbers come closest to the displayed CMYK numbers. I tried a bunch of different CMYK profiles to see which came closest. However, if I use the Mac Colorsync Utility to convert from sRGB to the above CMYK profile, the CMYK numbers differ somewhat from what is displayed in the Info Panel. Perhaps that is because Colorsync uses the Apple default color engine and Affinity Photo is using the Serif color engine. Still, the default profile I selected in Preferences is definitely the closest.
Thank you all for the helpful responses.