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Singapored

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About Singapored

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  1. Singapored

    iPad update data loss

    Oh bless! It’s happened again! This time I lost about an hours work. I had Chrome and AP open... was working on AP, moved to chrome for around ten minutes, and when I moved back, my work was gone. Affinity must have crashed. Or something. Sure, I saved as suggested. But am I really obliged to do this every time I move away from the app? I’m on an iPad Pro, with fully updated everything. I’m getting to know AP, and enjoying the way it works. But this is a bummer.
  2. Singapored

    iPad update data loss

    So... it looks as if the system update convinced Af that it was in a fresh install situation. Or something. ‘Save’ and ‘really save’? This is news to me. I shall have to start adjusting my workflow accordingly.
  3. Singapored

    iPad update data loss

    Well... I closed the file. Following this I started a new document, using the camera to acquire an image. Surely closing a document and staring another would have saved that document. By the way... that new document I started is completely missing. No trace of it at all. The whole effect is as if my file collection was returned to a state three days old. This is confirmed by the history state.
  4. Singapored

    iPad update data loss

    After updating to ios 12, I lost a significant amount of work. I had been working on a major commission piece. Saved it multiple times by closing the app. After updating to ios12, I find the latest version of that file is at least three days out of date. Multiple versions out of date. May not sound much, but it represents a huge investment in time on my part. Don’t know if this is an iOS bug, or related to affinity either way, I Will move operations to a different app until I am more confident of data security.
  5. The day that I see Affinity align a keystroke to flow, is the day that I abandon Photoshop. Till then, unfortunately, AP will always be my second fiddle.
  6. You can edit the gradient with the fill tool... but no easy way to invert the direction other than manually.
  7. Singapored

    Adjusting Flow in Photo

    Been waiting for this since Affinity was introduced. It is the only thing stopping me from moving permenently to it. Cant imagine it taking more than a few lines of code to implement.
  8. Any move on this? The inability to quickly adjust flow is now the only impeding me from moving to affinity permanently. I also teach Photoshop, and introduce Affinity as a cheaper alternative. I would love to teach Affinity instead, but for matte painting (which I teach) the flow value is extremely important.
  9. I've been playing with Affinity Photo for some time now. I really like many aspects of its workflow, and judge them superior to PS's. However, as someone who teaches digital illustration and matte painting, it sadly won't be replacing PS yet. Reasons as follows: 1) I frequently require the flow rate of a brush to be super low. This is especially important for when I clip a layer blend layer to a content layer (e.g. a multiply to locally darken an object). The brush in AP behaves oddly when the flow is set low. By rights, even with such a low flow rate, it should build up to black. However, instead I can only get a dark grey. 2) The preceding point is not a deal breaker: maybe something I could get used to. But the lack of ability to set the flow with a keystroke makes painting difficult. Sure, Opacity can be set with number keys, but for blended painting this isn't enough. The brush is where all the action is, and a brush can be expected to have its values changed several times a minute. 3) The lack of ability to set the default BG/FG colours to black and white. In PS this is served by the 'D' key. For masking (super vital in matte painting) this is important. Without it, it is too easy to accidentally be using a very dark grey instead of a black, which can really screw things up. On the plus side: 1) The texture options of the brushes are great. I love the fact that many stamps can be loaded into a single brush. This makes the creation of natural textures a lot easier. 2) The Perlin noise is great. Absolutely miles better than PS's poxy little Clouds filter. I love the fact that It scales so nicely. It reminds me of Nuke's noise node. Again, this is great for natural textures. I find myself using photo textures far less. 3) The Mesh Warp tool is great. Its workflow took a bit of getting used to (it does not automatically act upon selections) but makes sense.
  10. I think that in order for Affinity to make significant inroads into education, the help function should receive a significant overhaul. I speak from experience: many years teaching Photoshop in Universities and schools. I also was involved in the development of the help function of a well known app (NDA... sorry no details). Specifically, I believe that the help for specific tools should be brought much closer to the tool. Good examples in this regard are Maya and Nuke. Both of these place the help function directly in the tool... a link which takes the user directly to the relevant page of the help manual (in a browser). Also worth a mention is MODO's 'Activate Help' feature. By activating this, each menu item turns into a link... to the help page for that item.
  11. I'm going crazy here. Affinity photo is (for me) in almost every way the perfect replacement for Photoshop. The ONE SINGLE THING stopping me from switching is the ability to change the flow of the brush using a keystroke. I have taught digital painting for one million years (almost), and have a very successful course. My teaching website is here: http://opticalenquiry.com/photoshopThis is the single issue stopping me from recommending Affinity Photo to my students as a replacement for Photoshop. C'mon. It can't require much. Just a few lines of code, surely?
  12. "AP currently works the way you described... :huh:" Actually it doesn't. PS has a 'Brush Presets' panel. It also has a 'Tool Presets' panel. Though covering similar features, they are distinct. When I am painting across different layers, each layer requiring a different color, the 'Tool Presets' is the only way to go. AP's 'Brushes' panel is like PS's 'Brush Presets' panel. Pretty much not usable in the aforementioned scenario. The issue is that a brush is what might be called a volumetric entity. Its properties extend in multiple directions: size, color, softness etc. I used to be a real (i.e. oil) painter. A simple set of 3 brushes, could be handled in multiple ways in order to get a variety of usage behaviors from them. Getting the same kind of flexibility from any existing digital solution is nearly impossible. In order to serve all my needs I would have to make an unwieldily amount of presets. ​I present the problem, not the solution. My tick box idea would probably be too clunky to work.
  13. Fair enough. I agree it would be a nice feature. I can image it being useful in many situations. I have seen something like it in high end compositing applications, but no where else. But these apps seem to be leading the field in image editing. Illustrator's Roughen effect does something like it, thought it does not look exactly like a fractal.
  14. I attach a link to an experiment. I managed to produce a coastline fractal thingy using Perlin noise then curves. Alternately use Hard Mix blend mode instead of curves. Both versions are shown. I then flattened and used Detect Edges, then inverted. This will give you a bitmap line. For a vector, just flatten and take to Illustrator and use Live Trace. This will give you paths. Or paste as a channel into PS and then convert to paths. http://opticalenquiry.com/files/COAST_LINE.afphoto.zip
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