Max P

I was going to simplify it but changed my mind. Have only finished the bottom left and top right of those windows. Still quite a few books window to redraw too. Who knew that bookshops had so many books! Back to using AD v1 as it's just nicer in a number of ways and as my requirements are simple it's no loss.

It's 2023 and we still get frequent request to "edit the alpha channel as normal color channel", and export / import files where the alpha channel is used for e.g. depth information (z-axis) or something else / not for alpha.
I support these feature requests to allow easier editing of alfa channels using all brushes, filters, adjustments etc.
Never the less, it is perfectly possible to do this even today with Affinity Photo, Designer both in V1 and V2.
Opening a file
The key is to separate alpha channel as greyscale layer once you open such a file, and fill the alpha channel to recover RGB pixel values where alpha was 0.
Open a TGA, PNG, TIFF file which contains exactly one RGBA layer. Assuming the layer name is "background"  Use channels panel, click on background alpha, and "create greyscale layer" Use channels panel, click on background alpha, and "fill alpha" Rename the greyscale layer to "alpha" You can now edit the alpha layer with all tools.
Notes:
keep the alpha channel in background always at 100% (if not: channels panel->fill). keep the alpha layer in greyscale (all pixel should have identical values for R and G and B channel for one pixel, do not colorise) (if not->HSL adjustment, set SAT to 0, merge down) In case you want to see the alpha channel acting as traditional alpha channel:
Create a channel mixer adjustment Choose alpha channel (output) Set "red" input to 100% (all color channels should have identical values) set „alpha“ input to 0 Nest channel mixer layer in masking position to alpha layer Nest alpha layer to background layer You can continue to edit both layers individually, but you see a preview of the document using alpha layer as alpha channel.
Exporting the file
To export the file:
unnest the alpha channel layer from background layer, move it to top rasterise to mask The file should have exactly 2 layers: alpha on top (mask layer), background on bottom (RGB channels, alpha filled 100%) Export as TGA, PNG, TIFF etc Closing notes
Gamma is not handled correctly for alpha channel when simply mapping from alpha to color channel or vice versa. RGB channels need gamma correction (normally 2.2), whereas alpha stays linear for rendering. If the difference is critical, you can correct the gamma with help of a procedural texture filter. I have tested the import and export steps repeatedly with TGA files in Photo V1.10, V2.04, V2.1 This method was not invented by me, I simply wrote this tutorial to have a URL which I can use if someone raises questions or feature request concerning this topic.

Attached is a PDF explaining how the key tonal correction tools in Affinity Photo work. I previously had some confusion about exactly what each tool or adjustment did, both in the Photo and Develop Personas of Affinity Photo. My searches made it clear I wasn't alone. For example, what is the difference between Exposure and Brightness in the Develop Persona? I've answered that question and more in the attached PDF.
I spent a full day playing with the main tonal correction tools in the Photo and Develop personas of Photo v 2.0.4. I now understand what each tool does. More importantly, I know which tools I plan to use in each persona and why. This exercise cleared up a lot of confusion for me, so I thought I'd write up my findings and share it. I hope it is clear and helpful. 
Happy editing! 
Tonal Controls in AP.pdf

500 Free Gradient Background.
 

500_Gradient_Backgrounds.zip

Overtones Harmonic Color Grading
Color grading is an art, and it is one that I confess I have not mastered. Nevertheless, it remains inspirational. I have a collection of LUT’s that I occasionally use, but these are “one trick ponies” – you either like the effect or not, but you can’t change them (other than by adding adjustments after the fact).
I took some inspiration from a video about a Photoshop panel called “Infinite Color.” Specifically, there is a portion of this panel that allows the user to color grade photos based on a variety of color harmonies. While the availability of plug-ins and panels is on many a wish list for Affinity Photo, I am submitting these macros which attempt to accomplish something similar.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
I am including a set of macros for color grading images. Each macro is based on a specific color harmony, and they include (i) Complimentary; (ii) Split Complementary; (iii) Triadic; (iv) Square; (v) Tetradic; (vi) Analogous; and (vii) Monochromatic. The chart below should explain the color wheel angles used for each of these harmonies.

The macros are attached as a Macro Category, and can be imported into the Library panel. (Do not try to import them into the Macro panel; this will fail.) The macros were created in Affinity Photo version 1, so you should be able to import them into either version 1 or version 2 of the application. They can also be imported into either version of the iPad app, although in my testing they are still a bit glitchy on the iPad.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
To use the macros, click on the macro that corresponds to the desired color harmony. You will be presented with a number of choices, which can tailor the result as desired. Change the hue by setting the desired angle (using 0 as red on a standard color wheel). You can change the Saturation, Luminance, and overall Strength of the effect within the same dialog box. Click “Apply” when you’ve reached a result you like.
There are two additional macros in the category. “Delete Existing” will look for a group named “Overtones Color Grade” and will delete the group. You should be aware that each of the macros has a “Delete” function among its first steps; if you have tried one color harmony and want to replace it with a different one, you can simply click on the macro for the new harmony and the original color grade will be removed.
“Rename Existing” will also look for a group named “Overtones Color Grade” but will rename it to “Color Grading.” This latter choice allows you to stack multiple harmonic color grades, if you desire.
Shown below is an example. The photo on the left was treated with an Analogous color grade, using the settings shown. The Original and Color Graded versions are noted.

I’ve attached a small PDF file that explains the macros in more detail, and includes images of how they are best used. Keep this as a reference, if you like.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros I have submitted over the years, please remember that I am one person with one computer (and one iPad). This allows me to test on a limited number of images. There is no way to have foreseen all possible scenarios. I believe (but obviously cannot guarantee) that you will be happy with the results.
If you like the macros, please keep them and enjoy them. They are yours to use freely. What I ask in return is simply this: leave a comment below, letting me know if you’re using the macros and (hopefully) that you’re enjoying them. Remember that we users benefit from each other’s knowledge. Never forget to “pay it forward” and contribute to the forum in whatever ways you can.
Have a wonderful 2023. Stay healthy, contented, and fulfilled.
 
Round Two…
The original Zip file that was attached to this post did not actually contain the macros! Oops. I've deleted that zip file and attached the .afmacros file and the pdf as two separate downloads. Hopefully, everything works as it should. (Thanks, @Twolane for letting me know that things got upside-down and backward!)
 
Overtones Harmonic Color Grading.afmacros How to Use Overtones Harmonic Color Grading.pdf

I saw red flowers garden a few days ago, and it felt like an different planet. So I made the garden into a red planet that I felt.
 
 
"Red Planet" speed art : https://youtu.be/vOm1uFa_LMk
 

Hello all, we're proud to announce that alongside the V2 launch of the Affinity apps, we've produced a completely new set of video tutorials to compliment the apps. These tutorials are all produced in-house by our Product Experts team.
We've worked incredibly hard on these videos, and feel they represent a huge jump in both technical and presentational quality. Hopefully you all agree! The old V1 videos—now considered legacy—are still available on YouTube, consolidated into one playlist. The link for this playlist is available at the bottom of this post.
Hope you all find the new tutorials useful!
What's New (Overview of V2)
What's New in Affinity Photo 2 What's New in V2 of Affinity Photo for iPad Basics
Interface Overview Placing Images Transforming Layers RAW Development Resizing and Resampling Undo, Redo and Undo History Cropping Exporting Input Mouse Wheel Scrolling (New: 4/01/24) Aligning, Distributing and Unifying Layers (New: 28/02/24) Advanced
Blend Options: Ranges, Antialiasing and Fill Opacity Non-Destructive RAW RAW Tone Curve Layer States & Queries (Updated: 29/02/24) HDR Merging and Tone Mapping Panorama Stitching Panorama Source Image Mask Tools Liquify Power Duplicate PSD/PSB import, export and smart object functionality Keyboard and Mouse Brush Modifier Tool Cycling Studio Presets Scope Panel Stock Panel Channels LAB Colour Model Stacking: Object Removal Stacking: Long Exposure Emulation Export Persona Focus Merging Batch Processing Macros Luminosity Blend Mode OpenColorIO Setup and Usage HDR PNG Import and Export (New: 28/02/24) Layers
Mask Layers (Updated: 18/01/24) Groups Clipping and Masking Layers Compound Masks Soloing Layers Linked Layers Luminosity Range Masks Hue Range Masks Band Pass Masks Layer Colour Tagging Pattern Layers Pattern Layers for Plans & Diagrams Masking Adjustment & Live Filter Layers Using Fill Layers (New: 11/10/23) Tools
Configuring the Tools Panel Artistic and Frame Text Tools Paint Brush Tool Clone Brush Tool & Sources Panel (New: 12/01/24) Filters and Adjustments
HSL Black and White Invert Adjustment Split Toning Colour Balance Lighting Filter Normals Adjustment Unsharp Mask High Pass Filter Clarity Gaussian Blur Median Blur / Dust & Scratches Procedural Texture: Non Destructive HDR Tone Mapping Displace Filter Haze Removal Recolour Adjustment Vibrance Adjustment Defringe Filter (New: 29/11/23) Astrophotography: Linear Fit Astrophotography: Remove Background (New: 05/12/23) Corrective & Retouching
Inpainting Manual Lens Correction Profiles Transforming Selections Workflows & Techniques
Basic Image Edit Lock Children Layers for Masking (New: 28/02/24) Colouring and Annotating Plan Diagrams Basic Architectural Visualisation Edit Basic Edits with the Develop Persona Elevation Rendering Workflow Archviz Composition Workflow Digital Collage Infrared Emulation Creating Volumetric Light Unassociated Alpha and Alpha Render Passes External Linking for Compositing High Dynamic Range Workflows (best viewed on an HDR supported display or device) Astrophotography: File Groups Moon Processing Workflow (New: 12/10/23) Wildlife Editing Example (New: 15/12/23) iPad Tutorials
RAW Development Adjustment Layers Filters and Live Filters Mask Layers (New: 23/01/24) Exporting Placing Images Command Controller File Management: Loading & Saving  
Legacy V1 Tutorials
Desktop iPad

I don't usually mind sharing, mine really are 100% vector, and as you did say please... 
There are some alternate backgrounds that are turned off. If you want the enlarged one at an angle then you need to do that yourself by turning on that background group and then enlarge & rotate the main image together with the shadow group below it.
Porsche_917K.afdesign

Hi,
It has taken a while to create these Atmosphere, Dust & Smoke brushes.
There are a few mad brushes thrown in, such as the Pink Glitter Motes, but I think they look great and had atmosphere when used in a wood or forest environment. I use them all the time.. You can change the look of the brush dabs/strokes in the Layers panel.
Hope you like them. I'd love to see the stuff you create using them. I enjoy seeing other people's creative work.





DelN's Free Brushes Pt3_Atmosphere Dust & Smoke Brushes.afbrushes DelN's Free Brushes Pt4_Atmosphere Dust & Smoke Brushes.afbrushes

Hi,
As mentioned above, I am attaching the 'step-by-step' guide on how I created my 'Nature' image brushes in Affinity Photo. Its a MS Word document and explains how to create a 'Butterfly' brush in Affinity Photo using multiple images. The process is the same for any image(s) whether butterfly, rock, stones, tree, shrub, moss, lichen. At the end of the tutorial I explain another process to create a 'moss' image brush which uses simple selections that you export individually. There may be other and easier ways to do this, but this is the way I have done it because it is a method I use to create them in Corel Painter. I am not so experienced in Affinity Photo, so I don't yet know where one saves seamless textures that you create to re-use; in Corel Painter, you save them in the 'Patterns' Library. 
The 'step-by-step' tutorial explains...
1.    How to Create a Brush Category
2.    How to Remove the Background from an Image
3.    How to Save the Butterfly as a .PNG (Transparent Background) Image
4.    How to Create a ‘Butterfly’ Brush (Multiple Butterfly Images)
5.    How to Duplicate a Brush
6.    How to Rename a Brush
7.    How to Create a ‘Moss’ Brush using Multiple PNGs
...which are the steps you must take to create your first image brush. You can create an image brush just by selecting a single layer, but you need to convert it to a Pixel layer first. I wanted to explain how to create one by selecting it and extracting it from its background. More complicated, but once you have done it once, you can use the same process to create any image brush. I would advise you to experiment and test out all the different brush settings.
To load the brush category in Affinity Photo 
Save the DelN's Free Brushes.afbrushes file
Locate the location where you saved the file
Open Affinity Photo
Double-click the DelN's Free Brushes.afbrushes file.
An 'Import Brushes' message will be displayed
'Brushes Imported Successfully'
Click OK
Click 'Brushes' tab
Locate new DelN's Free Brushes
Start using the brushes
Please let me know if you found this tutorial useful. I attach the image Moss 01.jpg so you can use the same image. 
It is an image of moss from Pixaby.com https://pixabay.com/photos/the-green-moss-background-green-the-5357422/
I nabbed the butterfly images from the internet. 
I also attach several images of the brush strokes and their brush names in my DelN's Free Brushes.afbrushes.
Also, if you create anything using the brushes I would love to see it...
Enjoy!
 














How to Create a Butterfly Brush_Multiple Butterfly Images.docx DelN's Free Brushes.afbrushes

Chinese zodiac dragon created in Affinity Designer.
 

 
 
Vector wire frame screen dump.
 

I haven’t posted any “artistic filter” macros in a while, and I needed to break my dry spell. So, I tackled an effect that, until now, I’ve never accomplished in a way that I considered satisfactory. Today, I’m posting a Cartoon Effect macro that I’m happy with, and that I think will satisfy some users.
The macro is attached as an .afmacros file, which must be imported into the Library panel of Affinity Photo’s desktop version. It can also be imported into the iPad version (although I have not tested it on my iPad as of yet). Once the category resides in your Library, you can move the macro to a different category if you like – click and drag it to the destination you desire.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
When you invoke the macro, it will create a Group named “Cartoon Effect” and all of the edits reside within that group. Because of this, you can turn the group on and off to show and/or hide the effect entirely. If you look at the contents of the group, you’ll find a reasonably complicated multi-level collection of layers. The important ones are labelled, so you can edit the effect after the fact.
When you click on the macro, you will be faced with a dialog box that allows you to make 6 different choices. As you use these sliders, each change will run the macro again in order to invoke your change. The final effect is written to the image only when you click the “Apply” button. The choices you can make during the macro’s run are:
1) How Many Colors?
This is a Posterize adjustment, and the default value is 3. I’ve found this to be the best value for most images, but feel free to experiment.
2) Adjust Amount of Smoothing
This slider simplifies the edges of the colored areas formed by the Posterization. Higher values will simplify (smooth) the edges more. The default value is 4 px, but this can potentially be turned up quite high. At some point, though, increasing the edge smoothing will make the image unrecognizable. Change this slider as needed, but the practical upper limit is far lower than the slider will allow!
3) Outline Width (keep low, increase only as needed):
Outlines are placed at the edges of the posterized colors. They are black, or shades of grey. This slider allows the user to increase the width of the outlines, as needed. In general, keep the values fairly low (the default value is 1 px). Like the smoothing slider above, once you get above a certain value, the results will be atrocious.
4) Outline Darkness (higher = darker)
This slider defaults to 60% and affects the “blackness” of the outlines created. It corresponds to the Black slider in a Levels adjustment. Values over 90% will start to have an adverse effect on the overall colors of the image, and setting the darkness to 100% will turn the entire image black. Values of 90% or lower are generally OK.
5) Adjust Grey Outlines (higher = darker)
This slider defaults to 0.75, and corresponds to the Gamma slider in that same Levels adjustment. The effect of the slider is to make the grey outlines (those that are not entirely black) either more or less prominent.
6) Adjust Outline Opacity
This slider affects the overall opacity of the outlines. The default value is 100%, and setting this slider to 0% will effectively make the outlines disappear. However, once you have made adjustments to the sliders for outline width, darkness, and grey values, this slider can decrease the overall prominence of the outlines.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
I’ve attached two images below, showing the original photo, the Cartoon Effect settings used, and the cartoon result obtained. You should be aware that this macro may not look great on every single photo, mostly based on the overall complexity of the photo and the number of different colors in the original. Also, smaller photos (in my experience, images of less than about 800 x 800 pixels) don’t end up looking great.


As with all the macros I have submitted, please remember that I am one person with one computer, testing on a limited number of images. There is no way to have foreseen all possible scenarios. I believe (but obviously cannot guarantee) that you will be happy with the results.
If you like the macro, please keep it and enjoy it. It is yours to use freely. I have learned a great deal from the users on this forum, and their continuing generosity helps my ongoing efforts at learning. I encourage you to “pay it forward” and contribute to the forum in whatever ways you can.
Be one of the good guys.
Cartoon Effect.afmacros

Hi,
I have split the free 'Nature' brushes into two, so the file size is not as large (although it is still quite big); it might make downloading the brushes easier.
Some of the brushes are not 'Nature' brushes, but kind of surreal. Images of all the brushes including the brush names.
I hope you like them. I might post more free Affinity Photo brushes if you guys like them...
There's also a step-by-step Word doc on how I created the 'Butterflies' brush, also the 'Moss' brush...
DelN






DelN's Free Brushes Pt1.afbrushes DelN's Free Brushes Pt2.afbrushes How to Create a Butterfly Brush_Multiple Butterfly Images.docx

Painting with watercolor can be very difficult because I was fighting the urge to make it clean and trim. Mimicking the water spread and blots make it even more interesting.

From the Graphical video series -
InstaFilter ( 4 ) Gradients - G.afmacros
Set Fill color to BLACK.
Creates vector gradient ( 2000 x 2000 px ) for easy resizing & rotating.
Enjoy, - T V

I just tried with Krita, l*a*b* (32 bit) L100 seems to be a special case where the terminals a* and b* on the left side have the same colour.
 
I  just learned something, this day
Pauls NotMyFault you were right,   sorry for my previous post
Merry Christmas to you

If you don’t trust Affinity you could use free online tools to convert from LAB to RGB.
Both LAB colors differ only slightly : 0 / 255 / 250 vs 0 / 255 / 255
Looks perfectly ok in Affinity.

the 100 L value will be shifting some of those colours - not sure where your source is from Photoshop gives similar results for me

1938 Alfa Romeo 8C 2900, the Mille Miglia winner that year with its sister car finishing in second place. My last vector one for this year. 
 

Noted on the forum name. I noticed the LAB color settings, but was wondering if there'd be any way to get deeper into it, like LAB filters and LAB gradients. I made a whole thing in python to demo the LAB gradients if anyone's interested
 
sted

This is something that I feel is kind of missing from the effects board. While having both overlay color and the fringe option - one still feels like its missing.
The "Fill-Effect". Having a Fill-Effect would be a huge improvement when thinking of a more non destructive workflow. 
This would be especially helpful for artists that work with outlines and want to reduce the layer count while still maintaining a non destructive workflow.

This fx could come with modes like these:
  - Símple Fill-In which searches the outlines of and object/lines inside of the outest outline and fills the spaces that do not yet have any pixels in them.
- Fill the whole image (fills the whole layer with all the outlines similar to overlay color but also fills any gaps inside the main outline of the layer)
         -> This could help creating black versions of objects for more simplified artstyles, masks or sillouettes)
(- Fill the whole background behind an object - including outlines)


An export fill option would be super helpful here btw - so you are able to just click a few buttons and fill out the whole object without having to fill out each single space on your own.
This would give artists the option to create a backlayer quickly while keeping the outline layer separate if they want to.

Also, if the artist would change an outline the object would still be filled perfectly which would safe a lot lot of time not having to erase background of add new background to the outline.

Please consider adding this. It would make so much so much easier.
Greetings,
Chris

SATURATION MAPS for creative use | InstaFilters Part 3 | Affinity Photo - YouTube  
 
Basic setups for :  
Selective Color Saturation Map - G1.afmacro
Procedural Texture Saturation Map - G2.afmacro
Enjoy - TV

Recent digging into the software has revealed to me that the basic idea / structure is not only already in place, but in use in an obscure place:  It is in the adjustment layers and labeled as "Lens Filter". The filter has a slider named "Optical Density" and it behaves like layer fill, but cannot be accessed unless the "restrictive" adjustment layer is used. This only will allow for single color fill, no gradients or gradient maps will work.
Take a look at that adjustment layer and see what you think.

Nice post.
Never the less, i do not understand the comment about fill layer. Fill Layer always uses the Color Depth of the document, so 8,16,32 is possible.
There are some constraints coming from gradients which use unavoidable "forced dithering", and there is an open bug regarding alpha blending of fill layers (with partial alpha)

Hi all, I'm a bit late to the party, but there is a simple workaround for most blending modes that might help you.
The "additive" ones foremost (add, color dodge, the ones that do the glares and the rays and the glowsies :))

This is what it looks like:

TLDR:
- Make a new layer and fill it with 100% black color. On top of that layer put any layer you want to blend.
- Put both of them in a group and assign the blend mode you want to the group, not the layers in it. 
- If the mode is color dodge, for example, you will notice the black layer disappear. That's good!
- Now adjust the opacity of the layer you put above the black layer (not the group) and... voila!
- Don't touch the background (black) layer or group opacity, they need to stay 100% all the time. (Unless you want to experiment later)
For other blending modes u need white (eg - color burn), 50% gray (vivid light) or none at all. 
Play with them, put a background (the bottom most layer) in a group and fill it with either black, white, 50% gray,
or turn the background off completely. Pick a mode for the group and if the background turns transparent - that's the one u need. 
If you realize you do not need a background - you don't need the group, use the layer alone. 
Notes:
The "background layer" does not need to cover the whole document. It needs to cover as much as the 
layer above it, so you can crop it later. If you merge (rasterize) the group it will blend properly, but 
if you change the opacity again it will break.  I leave them in a group, personally, because you can paint in
details or add layer effects to the layer you want to blend and they blend better.  If you add more layers in this group,
note that they will first blend with each other and then the background, and all of them together under the mode of 
the group - so feel free to experiment. 
The long read:
Coming from someone who can't math to save his life: the problem is the way they are doing color math. 
Not saying they are doing it wrong, it's just that their approach is different because (I assume) they 
are using the GPU to do the work, and also the way their graphics engine works. I do game art mostly 
and I came across this in older game engines. We had glare and sun ray (gradients) assets that where 
transparent PNGs and they blended poorly. To blend properly you need a "full" pixel, not a "see through" one. 
If the pixel is transparent the math goes byebye. Photoshop's fill slider (and layer effects, too) somehow blend 
as if the pixel is not transparent, and yet it changes transparency (I know, but someone that does OpenGL dev, 
for example, can explain this better than I ). 😄
There is a "take transparency data and +black or +white or plus 50% gray" thingie to add to the blend mode code
somewhere and it should behave properly. Yes, say hi to "designer math", haha. 😄
Adobe broke blending modes in Photoshop a few years ago and the same workaround worked there, until they added 
the "Transparency shapes layer" checkbox in layer options, and that helped a lot in certain scenarios. What that actually does,
I have no idea, but it blends with a punch.
Sorry for the long post, hope it helps!
Cheers!