Jump to content

Max P

  • Content count

  • Joined

  • Last visited

Reputation Activity

  1. Thanks
    Max P reacted to IPv6 in Improve "color replacement" brush   
    Working on art there is quite a common task to replace colors with brush, and there is dedicated tool for that - "Color replacement brush"
    Unfortunately in its current form it is very limited... and most of time (cases) not usable, quite non-predictable. for example it simply not working at all on low-saturated areas.
    Besides, more common task is to replace not color, but hue/lightness/saturation separately.
    It would be helpful, if this brush worked as usual (normal) brush with just one tweak - "auto-opacity". Opacity should be calculated on-the-fly from RGB/LAB-distance between sampled color and color under brush (with selectable falloff - linear, quadratic, cubic). That way replacement would be really predictabe and controllable

    Would be great to have separate option/switch to replace only luminance/hue/saturation too
  2. Like
    Max P reacted to Gunny in Request: Numeric values in Curves adjustment   
    Unfortunately the Curves dialog still misses any information about the numeric value of the selected point (input value / output value). It's really hard to set the points to their exact positions without seeing the numbers. =(
    (I found similar request from 2016 in "Older Feedback" so it seems it's been abandoned.)

  3. Thanks
    Max P reacted to StuartRc in Vector Assets: Camouflage   
    Vector Assets: Camouflage
    Added some vector assets based on Camouflage consisting of:
    1. Mesh (10)
    2. Composites (7)
    3. Textures 01 (10)
    4. Branch (10)
    5. Plants:Leaves (32)
    6. Plant:Forms (11)
    7. Textures 02 (10)

    With the exception of Composites detailing has been removed.
    samples as below:
    Vector Assets Camouflage_01.pdf

    Vector Assets Camouflage 02.pdf

    Vector Assets Camouflage 03.pdf

    Vector Assets Camouflage 04.pdf

    Version 01: 6 categories and 43 Vector Assets in 6 Categories
    Version 02: Categories and 90 vector Assets in 7 Categories
    vectorAssets - Camouflage 01.zip
    vectorAssets - Camouflage.zip
  4. Like
    Max P reacted to VectorVonDoom in Yellow Winged Darter Dragonfly, play along (AD)   
    It's as much how long it takes as ability, perhaps more so. You aren't going to finish one as a rainy Sunday project. But as far as ability goes it's like a lot of things, the thought of it is often worse than actually doing it.  You're not using many tools so even if you're a beginner there's not much to learn.
  5. Like
    Max P reacted to VectorVonDoom in Yellow Winged Darter Dragonfly, play along (AD)   
    Transferring images to canvas has been around since the early pin hole camera obscura's. Vermeer later used a lens based camera obscura for his works. Going in to the 1960's some photorealistic artists used projectors to project a slide on to their canvas. So the idea isn't new it's just that the way you go about it has changed.  
    Now having said that there are still varying degrees of talent involved, my way is at the bottom end, it's more technique and patience than anything artistic, whereas  just tracing outlines and doing the rest yourself is at the other end. My stuff is more like the Adobe Illustrator vector mesh illustrations, which you don't see so much these days, except it's done with just the pen tool.
    Not everyone will like it and some will think it's cheating or just tracing so nothing clever. But then I never say it's art or clever and often say anyone can do it, it's just for fun. So play along if you like.
    The Subject
    I saw a huge dragonfly fly past me last week when I was out cycling and it's something I've thought about doing before but I've never got around to it. So I thought that would be a good one to do next, it's fiddly with all the mottling and colour blends and the depth of field on a macro shot makes it even more so. I had a look for a decent size reference photo and came across this, it's not the same sort as I saw but it looks good. Unfortunately when you zoom in it has lots of artefacts but just gives you more work so that's ok (I think). The million trillion hairs will be fun (nope).
    Below is how I’m starting this project. Sometimes I do the background last rather than first if it's a simple one or I don't know what to use but it's basically the same process for anything.
    So the first thing I do are any adjustments I think it needs like levels or curves, just like any photo. Then  depending on the size I enlarge it, I use Photoshop's Preserve Details Enlargement option, I don't know what that would be in AP but someone probably will. So for this one I doubled the size to just over 5kx3k
    I personally don't use the built in AD snapshots, I backup to another drive. It's up to you but, for example, if the file became corrupt so do your snapshots (correct me if I'm wrong).
    Tools , Toolbar and Panels
    I turn Tools and Toolbar off (not the context toolbar as you will use that sometimes) to give me a bit more space. I'm only using Pen (P), Move Tool (V), Node Tool (A) and Colour Picker Tool (I) so I use the keyboard shortcuts.  The only two panels I have are Colour and below it Layers. 
    I also have Edit>Preferences>User Interface>Show Selection in Layers Panel checked. So that when you click on an object it's shown in the layers panel rather having to scroll through to find it. Although it doesn't always work.
    Create The AD Document
    Open the image in AD. I rename the photograph layer to Photo as I call my background group Background. For this I set the File>Document Setup>Colour>Colour Format to RGB/16 but sometimes I leave it at the default RGB/8. Then save it as a AD file.
    You soon get used to how much blur you need to use, so how much for a little bit up to how much to blend it in. Obviously it varies depending on resolution. One thing is you do need a blur on the edges or when it’s on the background it will look like it’s been out out and stuck on. Sometimes it might be only a tiny bit but do you do need some.
    Create The Background
    It's just a blurry background, You can either try and copy the photo or do it a bit differently but it makes sense to keep the light and dark areas in the same places. I didn't like the light green band across the top so basically got rid of that and added a few bits of brown. It might need some little adjustments at the end.
    I created a rectangle with snapping temporarily turned on (that's about the only time I use it unless I add a border) and a bit of a left to right gradient using the dark colours from the photo. I then created the shapes in a sub-group, I set the group to 100px blur and then the individual objects to 100px blur too. I think it's just my imagination but I thought it showed less banding than just setting the group to 200px blur. So you you could just do that instead.
    Oh remember to lock you groups.

    The Reed
    I created the reed shape, I added a little bit of brown to the basic gradient as it was bit blown out and bright in the photo. I'll add few bits of detail every time I want a break from the main image.
    I never do it as one big object I break it in to parts. I decided to start with the abdomen to make sure I could get it looking anything like the photo. I wasn't sure how best to manage the objects in this part but decided to do a group per segment and under there a group for the details and a group for the basic colour bands.  I created the main shape filled with a gradient colour picked from the darkest part from each segment.  
    So for my first test segment the basic background gradients looked like this at which point you think it's never going to work but it will

    Then you add as much detail as you want or need. It perhaps doesn’t look like much but it takes me quite a time.


    If you flip the dark fill over to stroke (with the background and reed turned off) then you can see how well it blends in with the photo, or doesn’t. You can then also toggle the segment and see if you’ve missed any obvious highlights or shadows.

    I might do the head next then move on to the near side legs but at this rate it's not going to be for a while.
    So that should be enough to get you started if you really want to try it out. I'll try and upload the AD file if anyone's interested even though there's not a load in it (I just tried but it kept failing). 
  6. Like
    Max P got a reaction from Alfred in How to create mask for transparent?   
    OK thank Alfred understand
    One solution juste mine   open this file 
    I made a B&W  extract off the Color layer,
    I select the sky with Threshold ajustment ( more faster in my case )
    Merge B&W with This Threshold obtain a layer
    Drag it on  duplicate Background layer (Original color version)
    I  obtain a layer with a Kind of mask, this layer have  internal properties,  in this layer you can make any adjustment local
    Protection against global adjustment as long as it remains in this layer or is not isolated by a Group
  7. Thanks
    Max P reacted to IPv6 in Unreliable "Rasterize layer", partial rasterization   
    Yes, squares appear after rasterization. They shouldn`t - since there is no squares BEFORE rasterization.
    Rasterization is the process of converting group (in this case) into single layer with all nested effects without alteration.
    It`s a flattening process, it should keep all pixels the same. But with this file you can see that group flattening altering some pixels, making squares.
    In this case rasterization/flattening applies inner effects only partially. Live effect over half  of the group pixels just thrown away, dropped. Which should not happen

    This is not rendering issue, since before rasterization all pixels computed properly (so no squares)

    Image (gradients) indeed "random" - i ripped group structure from work document and flooded layers with gradients... just to demonstrate issue
  8. Thanks
    Max P reacted to Multi4G in Affinity Photo: TOP 6 NEW Functions in 1.7 Update - You need to know this   
    Best NEW Functions in 1.7 Affinity Photo Update. Find out the most useful new features added to the Photo Editing Software from Serif.
    Get the FREE Brushes here:
    OR Get 17 Brushes for ONLY 5$: https://gum.co/MJZT  
    OR Get 27 Brushes for ONLY 10$: https://gum.co/UTHqY
    Full Live Stream (recording):
    Brush Functions Explained (without SubBrushes)

    Support me on Patreon: 
    Follow me on:
    Join us on Reddit:
  9. Like
    Max P reacted to Multi4G in Affinity Photo: Epic Clouds Tutorial - Shape Clouds - Create God Rays   
    Easy guide to create dramatic clouds and god rays from any cloudy sky. I will show you how to use blend ranges, blend modes and masks to make clouds stand out. This beginner tutorial shows you some easy techniques to make a sky look impressive and still keep the natural feel and colors. 

    Support me on Patreon: 
    Follow me on:
    Join us on Reddit:
    Photo used: https://pixabay.com/photos/cloudy-clouds-sky-weather-4164534/
  10. Like
    Max P got a reaction from John Rostron in Subtle Sharpening   
    fine, not agressive,
    tested on pictures with many elements, it allows to bring out certain details, including colorically with subtlety
  11. Like
    Max P got a reaction from John Rostron in Subtle Sharpening   
    fine, not agressive,
    tested on pictures with many elements, it allows to bring out certain details, including colorically with subtlety
  12. Like
    Max P reacted to Affinidesigner in Subtle Sharpening   
    Here is a macro for AP Photo that I created for a subtle sharpening that does not cause image to become grainy. Take it, try it, and tell me what you think! NW
    Subtle Sharpening.afmacro
  13. Thanks
    Max P got a reaction from John Rostron in Saturate a photo using subtract mode   
    @ john  sorry , english is not so evident for me. 
    I try the macro with only one  background layer,  I send you the file.  1.7 Version I hope it's good.  Say me if you want a 1.6 version.
    usually modulate  opacity on the color layer or the duplicate is enough.  L layer with curves  for correct the global images or part must be use in some cases.s
    it's ok for me and I understand  your comment.
  14. Like
    Max P got a reaction from John Rostron in Saturate a photo using subtract mode   
    In a precedent  thread  about Saturation  mask  you have propose the Mode L*a*b* for this.
    This message incitate me to explore it, as you said  at this time, it's more easy more logic
      My 1.7  macro lab  Lab .afmacros
    Process use
    I tried The image of John
    Click on the macro
    You have Luminance L  and Color  (ab) at this point nothing new compare with background desactivate this last  one
    Duplicate color layer  put in saturation mode and made groupe Multiply mode
    adapt with opacity,  Big effect..
    eventually use Luminance layer curve , here not use perhaps local correction on over lumonosity on white  inflorescence,  here white is not color)
    here not use perhaps local correction  for the "over luminosity" on white  inflorescence , here white is not color

  15. Like
    Max P got a reaction from DM1 in LAB color Lightness decoupling and use   
    here is my file Lab 2.odt   with the  good link. I see  my pdf have some problem about it...
  16. Like
    Max P reacted to voidsea in Please add HSLuv support to color sliders   
    In my projects, I'm largely relying on CIELAB colors.
    But the LAB sliders alone are really hard to scroll along Hue.
    Then I found this variant of LAB: HSLuv. It would greatly save my time dealing with CIELAB colors.
    Details and sample implementations can be found at http://www.hsluv.org/
  17. Like
    Max P got a reaction from dmstraker in Saturation Mask   
    A very interesting exchange ...
    'What makes a good photo good?" 
    I am  sensitive to the influence of landscape picture painting and found this interesting link  https://www.davemorrowphotography.com/color-theory-photography 
    Dave, I finally saw no difference with Tony Kuyper's approach explained in his second page about saturation, a regret Photo is not compatible with his  panels
  18. Like
    Max P got a reaction from unni in Luminosity mask macros - conventional method   
    I also saw these pages, but I had trouble extrapolating with the last page and uses the  blend range  for make it.
    I want to try different methods and have the necessary perspective
    I regret the impossibility of scripts with Affinity Photo, and the opportunity for improvement by third parties. one day perhaps...
    thanks for your explanation and the detail...  I have to use it

  19. Like
    Max P got a reaction from wigglepixel in Tutorial on Color Models, Color Spaces and Color Profiles (two-part)   
    Very Good Thank

Important Information

These are the Terms of Use you will be asked to agree to if you join the forum. | Privacy Policy | Guidelines | We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.