GDPR-354025

What that means is
a. Create a new pixel layer

b. Set the clone source to Layer Beneath (Context Toolbar ).

c. Alt + click to set a source point, (his or her ear).

d. Clone

 
Because the cloned part (the ear) is on a separate layer

You can move it, resize it, rotate it and also adjust the opacity of the cloned layer.

To my simple mind, the raison d’être of the Context toolbar (which has been a feature of Serif software products for lo these many years) is that it strips away a bunch of stuff of which you don’t have to be constantly aware, so that you’re left with a limited set of controls which are relevant to the use of the currently selected tool. So you choose a tool, ask yourself what parameters you might usefully tweak, and instantly find the answer by looking at the options on the Context toolbar.
By default, cloning uses the current layer as both the source and the destination. Cloning to a new layer makes the destination separate.

Whom do you think you should have asked? Or do you mean you should have thought to look for it, perhaps on the Context toolbar where such controls often lurk? 

You can use the Clone tool with the Opacity setting turned down.

But I prefer to Clone onto a new, blank layer and adjust the opacity of said layer., you can even move the cloned contents (or rather, the layer)  around a bit.
If you clone to a new layer, you will need to set the source to Layers Beneath.

P.S. If you are having problems focussing on this, try more coffee 

Considering that the first Affinity app with a Clone Tool was released in 2015, I think maybe you need a lot more than red peppers (??) or coffee to detox enough to focus on what Toltec wrote! 

I feel suitably cowed. 

“When the moon hits your eye
Like a big pizza pie
That’s a moiré!”
 
Sorry ’bout that. I’ll go away and hide now. 

Thank you for just a song at twilight, Alfred. I have put away my vache, catapult, and dudgeon at not being a gifted photo-editor. At least for the evening.

Oh my Gawd! I am not a physicist. (Just thought I would make that clear to the Alfred.)

The mysterious and arcane English word "colour" throws me off...
There has to be a way to tidy up scanned B&W text images. "There has to be" is the Yankee way of saying, "Make it so, Englishmen."
Selective Color, which I suppose is the slightly less intelligent cousin of Channels (?), allowed me to get rid of artifacts in my scanned/microfilmed/photocopied newspaper article. I am not kidding. AND if Dust and Scratches can fix B&W images as well as colOUred (and it did indeed improve if not fix the Dust and Scratches totally) , then smart Affinity people can come up with a tutorial that will allow us to get rid of the "grain" Gabriel referred to describing very accurately the degraded images encountered in ancient newspapers.
Tick-tock, my English potes.
 
 

That is because I started to write about the monitor pixels and then thought I ought to mention the camera sensors first. I thought about additive and subtractive models, but I think that @Guest-354025 would lke us to keep it simple.
John

It is just a matter of definition. Since cameras  have these three types of sensor and computer screen images are based on three types of pixel, then red, green and blue are the primary colours for this system. For many printers, they use inks corresponding to the CMY model, thus yellow would be a primary colour. 
Your interpretation of yellow as a primary colour is probably based on the fact that you can see yellow as one of the colours of the rainbow. The appearance to your eye of the pure yellow light is no different to a mix of red and green light.
John

And I have a bridge to sell you in Brooklyn, pally.  
My dad graduated rather successfully from one of the east coast's better art schools, and even he could not explain to me how Yellow is ever anything but a primary color. It is a lost cause, but thank you for trying. Do not think I haven't noticed that you did not answer my question.

Hi @Guest-354025
Channel tolerance allows you to apply the filter settings to individual channels. It is quite common for scratches to appear in mainly one channel, such as blue.
Won't do much on greyscale images, obviously 
 

Or use the Erase White Paper option in the Filters/Colors menu to quickly remove the white background (second video).

My mistake. I meant white background (as opposed to the black foreground, when dealing with scanned B&W text). John Rostron gave a world-class tutorial yesterday that I will be utilizing soon, it still being early morning here.

You can literally drag and drop a PDF file into the workspace area and it will load, it will come up with this dialogue...

Wow! You should make Youtube videos, it would be easier for you  I will start on this a.s.a.p. when I can return to the project, which I now have to leave again. 
THANK YOU. I suspect I'll still be using the Freehand Selection Tool and Levels because of the unevenness of the text in my project, but I know what I have now will be improved with your steps.
Again, sincere thanks.

I have just been through the Witches and Vampites article and can report more accurately on what I did.
I first opend the cropped article on Wiches and Vampires. This had also been straightened.

I then applied a Levels Adjustment to set the Black and White points:

Followed by a Curves Adjustment to invert and increase the contrast:

It now looked like:

In order to use the FFT filter, I had to export the file and re-open it. I erased the outer part of the FFT spectrum:

Which gave a final image like this:

Not as clean as @gdenby's effort using Dust and Scratches, but the technique may be useful in other cases.
John

I tried the FFT on part of your original image and I also got a blank window. I then tried different colour modes: RGB, Greyscale etc and eventually got a real FFT map. I then erased the outer items from the FFT map, leaving just the central area intact. This went some way to removing the grain, but there was still some left. When I get back to my deskop computer, I will post my result, including the colour mode that worked!
I had previously cut out one article from the page, aligned it  so the text was horizontal and adjusted the levels and contrast so that it was almost black and white. The text was mostly legible but affected by the grain you mentioned.
John

Ah ha! I have disturbed the Alfred Collective and Resistance is Now Futile. 
Well, me and the other hobos in the derelict camp succeeded in saving the file to JPEG, but per John's suggestion I'll change that to PNG, and I will report back. 
Yooz guys are da bomb. 
 

Here you go:

I still think that you should Avoid JPEG. If possible, scan to PNG or TIFF.
John
 

Hi Guest-354025,
What happens when you go to File ▸ Open and select the PDF file in Affinity Photo? It should display a PDF Options dialog where you can chose which pages to load, missing fonts replacements etc. Isn't it displaying for you?

If you wold like to post the problematical pdf file, I would be happy to have a play and give you my recommendations.
John