AffinityJules
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Posts posted by AffinityJules
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Yeah, any one of them could be an album cover, but what they remind me of more than anything else is the Star Gate sequence in 2001 A Space Odyssey. There is a point when the shuttle craft is ferried into the docking station on another planet, and it is there that some very strange colouring occurs with landscapes to make them appear alien. That's what I'm reminded of.
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Looks like there's a Stag going round with its antlers missing.
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I always thought the SELECT button becomes active when a path has been created - how ever big, how ever small.
I'm sure someone will correct me if I'm wrong.
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I think the general answer in here will be a resounding NO! We would not be happy if Serif changed or adopted a different subscription model.
Affinity Designer;
Affinity Photo;
Have both attained the clientele they now enjoy because they do not have a cloud based subscription model. . .plus the fact they're both good bits of kit.
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I'll pass on this one.
This seems strictly for heavy weights.
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Well I'm convinced.
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Makes me want to see the rest of it.
- stokerg and AndyPhotoSJ
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1 hour ago, R C-R said:
This should not be much of surprise if you consider that Photoshop was created 30 years ago (& not by Adobe, who bought it) & has been in development ever since then.
Exactly. How easy people seem to forget this fact and then expect Affinity products to mimic Adobe's on release despite the years that span the two software companies. It takes decades to develop programs fully, and even then it doesn't stop there. Always there exists room for improvement.
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Where did you get the dispersion brush from?
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As far as I understand it 'flow' controls the speed which the paint is applied. Think of it as a spray can, a small press = lower flow rate, and a hard press = higher flow rate.
And all points in between of course.
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7 hours ago, h_d said:
The eyedropper is not the colour picker. Don't click the eyedropper.
To the right of the dropper is a small circle. This is the colour picker:
You drag the small circle over the image to sample the colour you want.
Your chosen colour will then appear in the smaller circle to the right of the eyedropper. The big circle to the left won't change yet.
Now click once on the blob on the gradient that you want to set to that colour. It should now be the largest blob on the gradient line.
Now click once on the small circle. The colour of the selected blob on the gradient line will change to the picked colour, and the large circle to the left of the eyedropper will also change at this point to match the picked colour:
Rinse and repeat.
It's not what I'd call intuitive, but it does work.
Hallelujah!!
Thanks h_d, that went right up my flagpole and now I finally understand how this stupid thing works. I've spent months trying to figure that out - yes really. It got so bad that I avoided using gradients altogether. At times, and to use a clumsy analogy, this program is like learning how to ride a bike, you fall off a couple of times and get all bruised up, but when you get the hang of it - it all clicks into place never to be forgotten.
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7 minutes ago, haakoo said:
Take a look at the hierarchy of the layers
The Can is above the pixel layer containing the gradient.
Select the gradient with the gradient-tool and use its colorpicker to select the colors from the CanSorry, but I'm not getting this at all. To be honest I stayed clear of gradients with this program simply because I do not find them intuitive. Getting back to it. . .I still can't colour pick to use as part of the gradient. I know it's me, but for life of me I can't get it to work.
So it's goodnight from the Transylvanian Brain Surgery.
I've had enough for tonight, maybe tomorrow.
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15 minutes ago, h_d said:
I'd also suggest using a Fill layer for the gradient, rather than a Pixel layer. This will let you return to edit the gradient at a later stage:
That sounds like a good idea but I'm still stuck with trying to sample all the colours that I need to make the gradient. How on earth is it done? If I click on the gradient tool then that makes the screen go all grey, and when that happens I can no longer see the image I need to take a sample from.
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5 minutes ago, MarcinJ said:
There is another colour picker in gradient contex window i use that and can change color
Yes, I see that but it don't work, and with the gradient selected I can't see the picture that I need to sample a colour from. Talk about needlessly complicated.
So. . .to reiterate my first question: how does one go about picking a colour from an image to apply as part of a gradient with the gradient dialogue box open?
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There is another thing about gradients that I can't seem to fathom: with the gradient window open, how on earth do you colour pick from the image? I try to use the eye dropper but all that does is close the gradient dialogue box. Wee-errd.
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I've had a look at that - purely for educational purposes, but the history thing is acting strange and I can't get it back again to the finished picture.
How does it work?
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I'd help if I properly understood how to choose the gradient colour? Each time I select the gradient tool my colour turns to grey. Nothing's that straight forward I'm afraid. But don't despair, I'm sure help is on its way.
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6 minutes ago, firstdefence said:
Knowing how to use the refine option helps a lot, it is an oft ignored part of the selection process, once I got to grips with it, the selections process became a lot easier.
Yes, I'm sure you're right in what you say. The problem I've got is knowing what to get to grips with? I faffed about with that refinement tool and every option that it has available to try and clear away all the crap that seems to adhere itself around my selections, but each and every time it just gets worse around the most important part of the image - namely, the edges. I've used the modifier keys which helps in most cases but even that falls short at times. And like I said, I now default to the pen tool, it might take a bit more time but hey. . .there's no rush and I know how it will turn out when I'm done.
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Personally speaking, I've had mixed results when using the selection tool to cut out an image. The higher resolution the image, the better the result, this would seem to be the golden rule here. I've spent way too long trying to get something right with the refinement tool only to end up frustrated and disappointed with the outcome. More times than not now, and to avoid any further faffing about, I now use the pen tool as a first option to cut an image out - at least that way I know that when I apply 'cut,' 'mask,' or whatever, that picture will be right and exactly how I want it to be.
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Going by your descriptive title, I expected to see something entirely different.
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the electric wave and rock
in Share your work
Posted
There you go!