Wosven

We would certainly need such exposition here in France, to remind people and especially politics how important it is and they shouldn't destroy it like they are doing piece by piece...

We had a big storm two nights ago, lost power for 7 hours. Another one is coming in an hour or so, so I better type this fast.
I decided to try something new and make a LUT filter with the color that is half-way between orange and orange peel. Those are quintary colors, so I wanted to squeeze a sixtary color from them. I am not aware of any official name for it, so I just called it Orange Juice. I made five LUTs using that color. Here is the basic OJ (the one with TF at the end of its name in the enclosed .zip):

Here is the one with HF in its name:

Here is the Xtreme version of same (HX):

And here are ZF and ZX:


OrangeJuice.zip

I thought I would have a go at this!
The process using effects or adjustment layers is pretty straightforward but getting very mixed results. largely the smoothing of the pixels after the automation is applied.
 
The outline function in fx would have been ideal but tended to follow the pixel anti-aliasing a bit to closely!.

A smoothing method was a bit more convoluted but gives you some extra options to create the outline shape:

1. Duplicate the original px layer and remove the Fx
2. Select Adjustment Layers and apply Threshold (100%) to covert colour image to black (Use this a lot for creating textures and exporting for vector conversion!)
3. Control-Click to select layer (fill with colour!)
4. Select > Grow/shrink (add px; outline 20px)
5. Add Px Layer and fill with white (Make sure still selected)
6. Select > Feather (2px) or Smooth (2px) to smooth out edges
 

Was a bit convoluted but was just an experiment really, photoshops antialiasing is good and clean, maybe affinity need to work on that a bit, good to know you got a positive result.
Yep, people are very helpful on this forum, a lot of very knowledgeable people, with generous natures. 

Thanks for everyone's help! Didn't expect to get so many people to try hard to help me with that. 😁

@Trevor A,
You've got the good old Cobian backup 11 that do the job. 

Speechless comes to mind. Stunning, gorgeous, well thought out and thought provoking. This piece does what every public installation of this sort of work is meant to do. Make the observer stop, look, read, engage, and ultimately enjoy. If I'm understanding this correctly, you created and or finished this entirely with the Affinity suite, yes? Superb job and proves once again that adobe is stale and overpriced. I truly wish I could see this in-person and walk through this magnificent piece!

In your previous post the screenshot shows a footnote with the title of the work in italics, except for the “e” in the word “sueño”.

Everyone has their own preference I guess. Fortunately PS has the option for you to change it. Perhaps the answer for Affinity would be to also have more options in the app preferences, or have the cursor change to an alternate cursor for certain tools when caps lock is on - also like PS. 

Here a version without text, only the background flatten as a layer. I hope that'll help once pasted in the other document.
290145625_Bookcover_notext.psd
The file use also LUT as live filters, it would be nice also in AP!

Yes, good point, but even if I add the radius to the Outer Shadow there’s still a discrepancy between the shadow and the outline.
See attached video where the green is the outline of a duplicated layer; you can see that the shapes of the green outline and the black shadow don’t match, no matter how I try and get them to.
2021-07-28 09-55-50.mp4

Yes.
Original article in French https://www.rocketprojet.com/29-bugs-informatiques-catastrophe/
Article translated into English https://translate.google.com/translate?sl=auto&tl=en&u=https://www.rocketprojet.com/29-bugs-informatiques-catastrophe/

@Trevor A,
You've got the good old Cobian backup 11 that do the job. 

No. Wosven is referring to this method:
 

A link to the video is more helpfull:
 
You can do this in a "reverse" way in AP:


 
Or:

(...)

I've been working on an exhibit on the social mouvement in Belgium since the beginning of the industrial revolution.It's a long project started in september 2020, delayed many times due to the covid and finally released in june 2021.
The content is partly inspired by a comic book I relaesed in january 2020 on the Belgian social security system history.
Done on Adobe, and as so many people I just wanted to quit.
So I finally played with Affinty on the hard side, directly on big size filed for final production. The stress was High, very high ! I messed up a little with Publisher but finally get my way through the learning curve and, oh boy, I loved the export persona option. It saved my day !
Here is the pictures off the exhibition in Dison, near Verviers, the drowned town in southern part of Belgium.
 

'Secret of the desert'. Vector drawing created in Affinity Designer. Original is 6 x larger - 183 x 103 cm - showing much more detail. Work in progress (update July 16 2021) - stage sequence:
https://communicats.blogspot.com/2021/07/desert-scene-vector-drawing.html
Included in the above blog entry are 100% vector support drawings, like the Saluki hunting dog, the skull, the flower the armed guard and the Arabian sword as well.
At this point my computer is barely capable of rendering the image. Although I consider it still to be a work in progress (I intend to vectorize everything in this image), I feel I am forced to put this drawing aside for the time being, while I am looking for options to render the drawing at a reasonable pace.
 

 

I think you have found the least complicated solution in the latter technique, as clunky as that is. The only other option I can think of is adding nodes to the curves below and breaking at those points. 
You can always group the shapes and duplicate the group first and work on the duped group and turn off the original group as a kind of back up before adding nodes and breaking at those points.
Example sketch...

 

One of the popular filters in film and video making is Bleach Bypass, so called because it was achieved by skipping the bleach step in film developing (in the lab, that is). Nowadays, film is rarely used, but here is my impression of that effect, and the LUT I made for it:

Bleach Bypass.cube

And here I was trying yet something different, interpolating the image against a grayscale LUT, trying to find a combination that would bring out human skin and hair regardless of the color of the skin or hair (I mean natural color), while subduing other colors. Much to my surprise, using the raspberry color  got me right into the middle of the range of skin colors. So, here it is,

TF-Skin.cube

Last night I was thinking I should try something new: Use my 48-color filter technique in the opposite way, i.e., instead of interpolating an existing LUT against one of the default LUTs, maybe I should interpolate it against another LUT, or perhaps interpolate one of the defaults against a LUT (which is not the same as interpolating a LUT against a default, kind of like 2-1 is not the same as 1-2).
I added that ability to my software, then tried various combinations all day long. While doing that I found one of my LUTs from 2019, similar to the dichromatic LUT I already showed here, but this one has increased contrast and even some saturation to deal with with the loss of both in the original dichromatic due to it being an optical illusion. The one I found I had called Dichromega:

I then interpolated it against the default but was not happy with the result, so I tried the aforementioned opposite (interpolated the default against it) and that looked better. I only did it with the six primary and secondary colors, then converted it and the six interpolations into the .cube format and compressed the result in the enclosed zip file.
Dichromega.zip

Here is another one. Suppose we turn all colors in an image 90 degrees, and only after that do we apply the 48 color filters I have been playing with all this time. If we then load, say, the emerald filter, will it let the emerald colors through, or the colors that were close to the emerald in the original picture but have since been modified by the 90-degree-LUT?
Before you look at the picture, here is a hint: The filter is applied to the original 90-degree LUT, not to the image produced by that LUT. It is sort of like a painter holding a palette on which he normally has eight inks, black, white, red, green, blue, cyan, magenta, yellow. He uses his brush to mix any desired color from the eight inks. But today someone has swapped the six inks other than black and white with some other inks, but he does not notice it (maybe he is a computer or some kind of robot that just does what he is programmed to do). So he keeps mixing his colors as usual, in the same proportion of the eight inks as he always does for this painting.
And that is what happens when we apply a filter to an existing LUT, which represents his palette, albeit modified.
OK, so here is the emerald filter applied not to the original image but to the palette (LUT) that had all its colors rotated by 90 degrees:

90Degrees.zip

Just having a little more fun today to make an example how a lot of math can be squeezed into a simple LUT:

So what is the math I mentioned?
Well, first we take the red, green, and blue values of each pixel. We then convert them from the RGB color space to the YCC color space using the current Rec. 2020 method for that (YCC was originally created for color TV, so they could transfer the old monochrome signal Y to those who only had a B&W TV set, while adding the two C channels that can be used to convert that B&W signal to color). After that conversion, we rotate the C and C (generally called chroma) by the angle of 17 degrees. We then interpolate the result with an unrotated chroma, so we effectively end up with only 11% of the 17 degrees (in other words, the chroma is now rotated by about 1.78 degrees). After that we multiply the chroma by 0.7231, which cuts down the saturation to 72.31% of its original. We then stretch the Y channel to the span from the black of -0.05 (instead of the original 0) to the white of 1.1 (instead of the original 1). This increases the contrast by 15% and the brightness by 10%. Then we convert everything back from the Rec 2020 YCC color model to the RGB color model.
And instead of doing all that math for every single pixel, we now have a simple LUT which is much easier to apply to each pixel than all that complicated math.
ChromaFun.cube

Oh, I always forget to mention that some of these LUTs, especially in the Liebestraum collection are very strong (especially the dark blue ones), but you can always make them look good by using the strength slider (I believe Affinity Photo calls it the lowering of the opacity of the adjustment layer).
By the way I see my pet peeve in Affinity help. It claims a LUT works a matrix. Not true! The word matrix has a very specific meaning in mathematics, as does a look-up table. And they are not the same. Just because both have columns and rows does not make them even close to being the same. Some effects are indeed produced by a matrix, but they are a different thing. A matrix represents a linear function or a set of linear functions. Generally, they are used to solve sets of linear equations with multiple variables. A look-up table represents an interpolation or a set of interpolations. When I was in high school back in the Sixties, there were no personal computers, so we had entire printed and bound books of look-up tables for the trigonometric functions (and other LUT books for logarithms and such). A sine, cosine, tangent, etc, none of those are linear functions. Neither are logarithms. As such, they cannot be defined by a matrix. But they sure can be approximated very closely by those look-up tables.
So come on, Serif! You have the famous University of Nottingham nearby, consult with its mathematicians before making such wild claims in your help documentation.