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About kaffeeundsalz

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  1. Hi Mileto, I don't know if I understand your intention correctly, but I assume that you want to create a selection using the Selection Brush Tool. So, to get your options back, please use the menubar and just click View > Show Context Toolbar. Also, if you actually "edit a lot of photos in Affinity" as you say, Designer might not be the perfect application for your purpose. Did you take a look at Affinity Photo?
  2. I don't get this. If you literally cut out a piece of an image, thus deleting the unwanted pixel information, you're right. But why would you ever want to do this instead of using masks?
  3. @toltec Outline will make for pretty much the same result, but the gradient colors are wrong in the OP's screenshot. The gradient fades from white to the same red as the fill of the shape, which kind of gives the illusion of a blur effect around the edge. With gradient set from white to black, the outline effect looks almost identical to your example.
  4. Yes. Nest a Curves adjustment inside the mask as a child layer. Then, in the Curves dialog, choose "Alpha" from the channels dropdown list.
  5. I'd help if you'd provide an example image that shows what you want to achieve. If you mean something like this, it's a bit easier in Photoshop because there is no Stroke Path feature in Affinity Photo, so you'd have to trace the text with a brush by hand. Apart from that, you can basically achieve a very similar look by experimenting with the brush dynamics. My quick attempts weren't quite as convincing as the ones in the video (mainly because the available brushes are different in AP), but I'm pretty confident it can be done with some more effort. In Affinity Designer, you could just apply a vector brush to the text path, but I don't know of any good vector brushes to create that fireworks look. The raster brushes were, again just from what I could do on the quick, more promising in this regard. Sorry I can't be more specific here.
  6. I think what the OP means is that he wants the brushwork of the cloning/healing/inpainting tool on a separate layer. This can be done with the method @barninga describes. The main problem however remains: If you first do some retouching to a separate layer and then afterwards exchange the base image, your brushwork will immediately become visible because it will no longer match the underlying source layer (because you just altered the colors in e.g. an external RAW editor). You'd either have to throw a merged version of your retouched image into the external editor (thus losing the original pixel data) or do all the editing in AP and place some adjustment layers on top of the existing layer stack so they affect the whole composition.
  7. This won't work because if you modify the underlying raw conversion, your image will differ from the previous version in terms of color, brightness and contrast. Thus, the previously created healing/cloning/inpainting layer will no longer match the appearance of the base image.
  8. Even so, it's common practice in graphic design. Always let objects overlap slightly if you want to avoid white gaps between them. If you insist on using strokes for whatever reason, try creating styles for you gradients so you can reapply them faster.
  9. It kind of depends on what transformation you actually want to apply. Individual nodes of a curve can always be manipulated freely with the Node tool. It's also possible to manipulate multiple nodes at once. The question is why you'd want to merge separate objects to a single layer anyway. When you know you want to separately transform them later, just keep them on separate layers and use the grouping functions. In addition to what @gdenby wrote, boolean operators can also be applied non-destructively in Affinity Designer.
  10. It's not, actually. And if you use the History panel like @MEB suggested, it's even the same – a single click. It's just that you don't click an arrow, but a list entry.
  11. Another aspect to consider is: What application do you use to view the exported PDF? I know many PDF viewers that aren't capable of accurately displaying CMYK colors, so this too can be a reason you're not seeing the colors that you expect. As you said before, a flawless color management workflow can be hard to achieve because there are many possible pitfalls along the way. In this case, pay close attention to using the same CMYK profile for both the Affinity Designer document and the exported PDF.
  12. I've often achieved good results by simply repeating the inpainting process multiple times, i.e. painting over the incorrectly filled areas again. If you want more control over the sampled parts of the image, use the Patch tool instead. From my experience, convincing results often require the combined use of multiple tools. For example, I'd often do inpainting as a first step and then use the clone brush tool to do the fine tuning.
  13. Select > Select Sampled Color is similar but with less options than in PS.
  14. Just from what I'm experiencing, this seems to be fixed in Beta 8. Thanks for the fast response.
  15. Generally speaking, Affinity Designer might not be the best choice for replacing colors in pixel images; Affinity Photo has much more suitable tools for this kind of tasks. However, in this special case, it can easily be done in Designer. Just use a Recolor Adjustment.