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Everything posted by h_d

  1. I would use a Recolour Adjustment Layer nested into your lines layer. It leaves the lines untouched and let you change the colour repeatedly. You may have to increase the lightness a bit. Adjustment turned off: Adjustment turned on:
  2. It takes a bit of setting up, but you can do it with a macro and a batch job. Open one image. Create a new pixel layer, create your signature on that, then Cut the pixel layer. Display the Macro panel and the Library panel. (View-Studio-Macro, View-Studio-LIbrary). If you haven't already got one, use the Library panel to create a new category. Click the Record button. Paste the layer, Flatten the image. Click the Stop button in the Macro panel. Click the Add to Library button in the Macro panel. Give the Macro a name and add it to your new category. Close your image without saving. From the File menu, choose New Batch Job... These are the settings I used: Click Add at the bottom of the left-hand panel and choose the files you want to process. In the top right-hand panel, specify where and how you want to save them. Under Available Macros, choose the category you created earlier. This will display the name of the macro you just recorded (mine is called Paste & flatten). Click Apply so that its name appears under Applied Macros. Once you're happy, click OK and let Photo do the work. 10 photos took just a few seconds - they don't even open on screen. A couple of thoughts: If you choose Save Into and specify a destination folder, the original images should remain untouched. The macro I suggested will paste whatever you happen to have cut or copied last, so you'll have to do a single cut or copy of your signature layer immediately before running the batch job.
  3. Not sure if this is what you want but... Use the rectangle tool to create a rectangle layer above your image layer, extend the shape to a square whose sides are a little bit larger than the diameter you want your gradient. Place the centre of the square where you want the centre of your gradient to be. Set the fill to radial gradient, choose a strong colour at the left end of the gradient fill pop-up, set the opacity of the right end to 0. Use the Gradient tool and the sliders in the fill panel to adjust according to taste... Screen Recording 2019-11-20 at 22.40.49.mov
  4. It's a bit hard to work out what you're trying to do, but if you set Minimum and Maximum letter spacing first, then you can adjust preferred: Screen Recording 2019-11-20 at 08.31.26.mov
  5. Sounds like a job for Autoflow. There are instructions in the help files, but basically you draw one text frame, paste in all your text, then shift-click the Text Flow button (red triangle) on the right-hand side of the frame. Publisher will automagically create new pages and frames to accommodate your text.
  6. TBH I would post this as a new topic with a new title - it's likely to get more notice that way, and people with Aperture experience (ie not me ) may well chime in.
  7. If you search for "Canon tethered" on the Mac App Store there's an app called "DSLR Assistant" which claims to offer tethered Canon shooting. I haven't used it myself, but there's a free 14-day trial. Might be worth a spin, check your model for support though. (UK App Store, don't know about others.) Bon appetit!
  8. Thanks for the explanation @Lagarto Am I right in thinking that you're applying these calculations only to the Magenta output channel, and is there any reason for that? I was applying my own solution to the Magenta output channel (to equate to Rubine Red) and to the Yellow output channel (to equate to PMS 116 C). As far as I can see, given the image I chose, this doesn't result in an No doubt what I was doing was incorrect, though.
  9. If you close the image, Photo will ask if you want to save it. Just choose Don't Save. The active layer is the one with the blue highlight. (Or red in my case). To make a layer active, you click on it and you can then edit it. The checkboxes set the visibility of the layer, not if it's active. A layer can be invisible but still active, or vice versa. In the video below, I'm making each layer in turn active by clicking on and highlighting the layer. Then I'm turning off and on the Boat layer's visibility using the checkbox. Screen Recording 2019-11-17 at 17.46.41.mov All the best, H
  10. You can edit styles and then save them as default. They will then be applied to all new documents:
  11. If you want Affinity Photo to display what the image might look like with M swapped for PMS Rubine Red and Y swapped for another colour (let's say PMS 116C), I think you can approximate this using a Channel Mixer adjustment layer. First you need to know the CMYK values for the two replacement colours. Luckily Pantone supply these on their website. Rubine Red C is C0 M100 Y24 K4. 116C is C0 M10 Y98 K0. Open the image, call up a Channel Mixer. With the Output Channel set to CMYK Magenta, dial in the CMYK values for Pantone Rubine Red C. Now set the Output Channel to CMYK Yellow, and dial in the CMYK values for Pantone 116C. Hope this helps...
  12. Maybe try a New Focus Merge? EDIT: With a Live Stack Group in your layers list, you can change the blending to achieve what you want:
  13. Hey @SF Charter Boat You've overwritten the Background layer with the gradient tool, so you have a few options: Close, don't save, re-open, start again. Undo repeatedly until you can see the boat. Start again. Or track back in the History panel, start again. And remember - don't use the gradient tool while the Background layer is active.
  14. Or try shift-click on the selected object. Or Cmd-D (Mac) - presumably Ctrl-D (PC)
  15. It's because you're running the gradient tool over the Background (boat) layer. You need to have the Grad layer selected and run the gradient tool over that. If you use the gradient tool on the boat layer you will lose the image.
  16. Can I just check that what you're seeing is like this: Both layers locked, both layers checked, white "Grad" layer, "Background" layer showing a thumbnail of the boat? Grad layer highlighted (mine is red, yours is blue). If not, please could you post a screen shot? If yes, read on... Think of the layers as sheets of paper or plastic, stacked one above the other. Your "white screen" - the top layer, Grad layer - is lying on top of your boat picture, which is why you can't see the boat. Don't worry, that's where it needs to be. You are going to make changes to the Grad layer so that it acts as a sort of filter over the image of the boat. To do this, first you need to unlock it. Click the padlock and its icon will disappear. The Grad layer is now editable. Good. Now, to get used to the idea, try temporarily hiding and showing the Grad layer by unchecking the box next to its name. If you hover your mouse pointer over this box you'll see a popup that says "Is visible". Like this : Screen Recording 2019-11-16 at 17.06.29.mov When you've tried this, end up by making sure that the Grad layer is selected (shown by my red highlight, yours is blue) and visible. Now try changing the Blend Mode of the Grad layer. Hold down on Normal and scroll through the options: Screen Recording 2019-11-16 at 17.10.20.mov As per my original post, I would now suggest setting the blend mode of your Grad layer to Colour Burn. This is like changing your white, translucent sheet of paper into a clear sheet of plastic. Then try dragging the Gradient tool on the Grad layer: Screen Recording 2019-11-16 at 17.19.37.mov Hope this gets you further...
  17. Hi @SF Charter Boat Sorry I wasn't clear enough - video attached. Screen Recording 2019-11-15 at 11.23.54.mov You change the blend mode of the active layer (Normal, Colour Burn etc etc) in the pull-down above the layer list - see @R C-R's screen grab and the video. By "'upper" layer I meant the top layer in the layer list - the layer I named "Gradient". The coloured blobs on the ends of the gradient line determine where the gradient starts and ends. Once you've drawn the gradient, as long as you still have the gradient tool selected, you can position either end wherever you like - it's a matter of aesthetic judgement. As far as I can see, moving the little marker in the middle of the gradient line does nothing (I think it ought to adjust the mid point - wonder if this is a bug...) Once you've accomplished Step 3, then unchecking and checking the "Gradient" layer in the layer list will hide and show the effect, to compare it with the original image.
  18. Here's one way of approximating a graduated ND filter. I'm sure there are others. 1) Create a new pixel layer above the background layer. I renamed mine to Gradient. 2) With the Gradient layer active, select the Gradient tool and drag it from the bottom to the top (hold down the Shift key to keep it vertical). This will give a white-to-gray gradient on the upper layer, and your boat will be temporarily obscured. 3) Change the blend mode of the upper layer to Colour Burn . 4) With the gradient tool still selected you can now start refining the effect with various settings. For example, you can move the top and bottom handles of the gradient slider up and down to make the gradation more or less defined. You can even drag the handles outside the image, although if you bring them too close together you will get a noticeable line. If you click once on either of the gradient handles you can then change its colour in the Colour panel. Changing the grey to black will give a very strong result. Other colours may get you some pretty nightmarish results: You can tone the results down by adjusting the Opacity of your Gradient layer: You can also experiment with different blend modes, and you can refer back to the original image by temporarily hiding the Gradient layer: Once you're happy, save this file in .aphoto format (so you can edit it later) and then export to your preferred final image format (.jpg etc). Hope some of this helps!
  19. Make sure snapping is on, then using File - Place... you can drop another image on top of the first one. This creates a new layer on the fly, and you can drag out the second image as you place it to align exactly with the first one. Assuming of course that the x-y dimensions of the two images are in proportion.
  20. The crabs say hi...
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