John Rostron

Here is a scenario where I found myself wanting a bit of extra functionality from Affinity.
I have multiple images but I want to export it at multiple widths (e.g. 2400px, 1800px, 1200px) for a web design project. I have a whole folder of images with different size ratios that I need to export at multiple different resolutions with a particular setting in the JPEG output with specific matte and JPEG compression level.
At the moment, these were the options available to me as far as I could see:
Select all the images in the folder and use the Batch Job to export at one of these resolutions at a time (e.g. 2400px or 1800px), but manually selecting the JPEG settings each time since that doesn't save. Open each image individually and use the Export tab to set multiple output resolutions with the JPEG compression levels saved as an Export Setting. What would be ideal if there was a way to merge both these options, where I could set multiple output resolutions in the batch manager for the same output type at a time like in this screenshot

OR the ability to apply the same export persona setting to multiple images simultaneously to process them in the Batch processor.

One issue I've had when applying macros to resizing images using settings like Resize Document is that it will apply the new dimension (even the unspecified height dimension) to all images regardless of their size so images end up losing their width and height ratios and it doesn't work.
I'll have a look at this, thank you.

Thanks for the added details.
That is probably due to the 1.7 bug that forces resampling, combined with the macro-processors by-design behavior that records the final height & width from the image you're using to record the macro. That means you have to use Filters > Distort > Equations to perform image resizing in a macro.

If you are using these images in a website,  then the dpi is irrelevant. What counts is the xizein pixels.
John

If you are using these images in a website,  then the dpi is irrelevant. What counts is the xizein pixels.
John

Project "Artemisa", coming this April 2024.
Get ready to vote soon...

If you are using these images in a website,  then the dpi is irrelevant. What counts is the xizein pixels.
John

I would like to add that when using copy and paste with a macro, only the action should be recorded and not the actual images. It makes no sense to have a macro that will copy from one image and paste into another only to have the same image pasted that was originally recorded with the macro. It totally defeats the purpose of using a macro. Currently, at least as far as I know, there is no way to make a macro that will combine two images. The subsequent use of the macro will always paste the original image into the new document, no matter what 2 images are selected. Why??

You're welcome, John.

If you first create your series of bars using Power Duplicate, you can then use equations on the entire image:
Filter > Distort > Equations
In the Equations box enter
x=x
y=y+150*sin(6*pi*x/w)
Then click on Apply
It should give something like this:

If you first create your series of bars using Power Duplicate, you can then use equations on the entire image:
Filter > Distort > Equations
In the Equations box enter
x=x
y=y+150*sin(6*pi*x/w)
Then click on Apply
It should give something like this:

I originally supported the OP's proposal about Save As. However after a few months further use of Affinity Photo, I now find that Export just comes naturally. It really is just what you are used to. 
I have edited my original posting near the start of this thread.
John

Made with Affinity photo, using the filter "Detect Edges" and framework from Daub Papers "Single Paper" .

Agreed.
 
I have attached a set of macros below created with Affinity Photo 1.6.5.135, including one for 120DPI.
Importing:
1) Ensure the Library panel is active in Affinity Photo by going to [Window > Library].
2) In the Library panel, click the "hamburger" menu in the top-right corner.
3) Select "Import Macros…".
4) Import the below Affinity Photo Macro file.
Macro Set:
DPI (Affinity 1.6.5.135).afmacros
Screenshot:

 

I recorded those dpi-changing macros in V1.6 (I recall), the version before this error crept in. I have recently installed a new computer, so I currently cannot use this old version. When I do, I will record a 120dpi version.
John

If you're looking to adjust the DPI of the images only using batch processing, please use the Macros provided below - 

V2 does not have "passcodes".
You validate the V2 applications using the email address and password for your Affinity Store account.

I originally took photographs of leaf litter on  a woodland floor to use as a background image for one of my woodland websites. Later, I thought it would be nice if I could create a tileable  image for this purpose. This explains the procedure. I am using images of leaves here, but the principle would apply to any discrete image with transparent background.
For this example, I collected about 15 leaves from a Guelder Rose bush in my garden. Now is a good time (November in the Northern hemisphere) because the leaves are a rich variety of colours The Guelder Rose included reds, purples, browns and yellows. 
Freshly gathered leaves may well be dry and are difficult to lay flat. My Guelder Rose leaves were OK, but I had curling problems with some Maple leaves (English Field Maple, Acer campestris). To flatten them sufficiently, I soaked them in water for about an hour and then laid them out on and between sheets of tissue to dry. They need some weight on top, but not too much. I used a few magazines for this. Leave them overnight to dry and flatten. They do not need to be totally flat or dry.
The reason for needing them fairly flat is that I create the image using a flatbed scanner. I lay the leaves on the glass plate and cover with a piece of thickish white card. This helps to flatten them and also provides a nice white background. I also apply some gentle pressure on the scanner lid whilst scanning to help flatten the leaves. I use a Canon MP630 scanner/printer and Vuescan for acquiring the image. After the image is saved, it is automatically loaded into Affinity Photo. Here is an example:

 
I can select each leaf one at a time using the Flood Fill Tool with the Add option and 20% tolerance. Many leaves will be selected at the first click, but a few more clicks may be necessary for others. Once I have a leaf selected, I cut it (Control-X on Windows, or the Mac equivalent). I use Cut rather than Copy since the gap tells me if any significant parts have been left behind, in which case I can cancel the cut.
Once I have cut out my leaf, I then select File > New from Clipboard. This then opens in a new window. Almost always this image need no further editing, but the opportunity is there if needs be. I can then export that image under a suitable name (Guelder Rose 01.png in this case). You need to save as .png  (or .tiff) since you need to preserve transparency.
I do this for the leaves on this scan and then repeat for the rest of the leaves. I am now ready to create my tile.
Firstly I create a new image of 800 by 800px ( more or less if you prefer). I then select the first batch of leaves (six in this case, Guelder Rose 01.png to Guelder Rose 06.png). Each in turn is placed on my image tile (File > Place). At this point I usually rotate the placed image arbitrarily and resize it to about 10-20% of the tile size. After the first set have been placed you need to make  a decision: do you want to proceed destructively or non-destructively? For the next stage you need to create a new pixel layer incorporating the images so far. To do this destructively, just pick Document > Flatten. This merges all your layers into one. Alternatively, you can pick Layer > Merge Visible. This merges all your layers into one, but leaves the other layers below. You may need to hide these. Personally, I use the destructive Document > Flatten.
You are now ready to make the first Affine Transformation. This allows you to to swap the left part of the image with the right part, along a line of your choice. Similarly you can swap the top and bottom parts. To use the Affine transform  pick Filters > Distort > Affine. This opens up a box that allows you to select your division lines as Offset X and Offset Y. I find it easier to select Offset Y first, and then Offset X. You can pick any percentage you like here, but I tend to start with 20% for each. Click Apply. This shows the effect of the Affine transform on a set of six leaves (I cannot remember the % setting here):
Before:  
After: 
Some leaves have been split so that the leaves on the right  have the right parts missing, but they are now seen on the left-hand side. Similarly one leaf is split top and bottom.
We can now repeat the process, adding half-a-dozen more leaves, flattening the image and applying the Affine transform. This time I use 40%. We can repeat this, adding more leaves, to fill in the gaps. Subsequent Affine transformations can be 60% and 80%, but after the first few, I tend to use a split which brings any significant gaps to the centre. Here are a few intermediate steps in my tile:
 
 
For the final image, I have enhanced the contrast a bit and added some sharpening. Here is the final image tiled with itself four times:

I will be putting some more examples of this under the Share Your Work part of the Forum.
John

You have a text style set, with the misbehaving text panel selected, look at the text style panel and select No Style; if you don't see a text style panel go to Window > Text and click on Text Styles to activate the panel into view.

There are two ways of doing this.
Either: Locate the default plugin folder. You can find this from the Photoshop Plugins box. Copy your plugin to this folder.
Or: In the Photoshop Plugins box, Click on Add, then navigate to the installation folder for your  plugin and select the folder where the plugin resides.
Have you done either of these?
John

Or you could have a gradient so that the upper part of the bird is a blue tit and the lower part is a great tit!
John

Hi John, thanks for replying. I had looked through the topaz site and most conversations are revolving around P/s and Lightroom. There are posts about affinity but couldn’t find what I needed to know. I posted here because I couldn’t work out why it wasn’t loading in affinity as a plugin and hoped someone had experience with gigapixel / affinity and as a plugin specifically. 

I got the answer and I'm quite happy to use GAI as a separate app.
 
Cheers
 
 

In another thread in Questions, I have been discussing with others how to write a macro that will resize an image so that the longest side is a fixed value. For example, if I resize a 4000x3000 image to maximum of 800, it will give a 800x600 image. For a portrait image, the image will become 600X800.
After many iterations, I came up with a set of macros included here in a macro library: Resize to fixed max size.afmacros, which is attached here.
This includes five macros:
Resize to 640 max
Resize to 800 max
Resize to 1280 max
Resize to 1600 max
Resize to variable max side
The first four will resize any image to the designated maximum size. The last one includes a parameter which allows you to partly-specify the target size. The default target size is 2000px, but for any other value (up to a maximum of 4000, use the pop-up to adjust. The value of the parameter is the desired maximum size divided by 4000. A convenient way of specifying the final maximum edge size is to enter a fraction. If your target is (say) 800px then, in the parameter box (not the slider), enter 800/4000. If your target is 3200, enter 3200/4000.
I have given technical details of the macro in subsequent messages in this thread.
 
EDIT:
This is a revised version of the macros (as of 2nd November 2018). For details of the changes, see the item below which gives the macro details). The changes were in response to a user who found that if he cropped the image first, the macro did not work.
 
Resize to fixed maximum size.afmacros

Here is a worked example of the procedure described above:
1. Create two blank layers.
2. Add a Perlin.noise filter to each. (I actually created one layer, added Perlin Noise, then duplicated that layer.)

3. Apply the Affine Filter (Filters > Distort > Affine) to the top layer with displacement of 50% for X and Y.

4. With this same layer, use a soft brush to erase the horizontal and vertical hard-meeting area. Erase up to, but not reaching the edges. You can use a broad brush near the centre and a narrow one near the edge.  Because of the Affine filter, the top layer will tile.  (Note that I set the visibility of the bottom layer here to zero to make the erasure clear.)

5. Choose a suitable blend mode to give the effect you prefer. Normal may be OK. (I used Normal here, after setting the visibility of the lower layer to 100%.)
6. Merge the two layers.

It should work because of the randomness of the Perlin effect. To test this, I applied another Affine filter with displacements of 70% and 30%. This brings the edges to the body of the tile. As you can see there is no obvious tiling.

John

The only thing you can do is use one of the macros created/shared by other users that do this, and which were recorded before the (still unfixed) bug appeared in the applications.
Such as:
 

Are you sure about that? I cannot find a "Resize Pixel Art Document" menu item in any of AD's personas or any mention of HQX or XBR anywhere in its UI.