-
Posts
6,927 -
Joined
-
Last visited
Everything posted by NotMyFault
-
About the raw files in Affinity Photo
NotMyFault replied to Nadar's topic in Affinity on iPad Questions
Whenever you open a file, Affinity will automatically enter either develop (for RAW) or photo (all other, non RAW) persona. So check the persona. Once you started editing or switching personas it is no longer easy to say with what file type you started. -
Remove Background
NotMyFault replied to GSPS.Wales's topic in Affinity on Desktop Questions (macOS and Windows)
Technically not. I just prefer to create helper pixel layers for selection purposes, and restrict tools to current layer. This helps avoiding numerous traps: selection in image layers in unreliable having many adjustments and filters active slows down selection having a fresh pixel layer avoids all misalignment issues with lower layers in different DPI or rotation it allows me to use tone map persona to further boost local contrast it allows to destructively paint in hard edges as in the example, I sometimes need to change color format or bit depth to get better selection results, so copy/new from clipboard is fast -
Remove Background
NotMyFault replied to GSPS.Wales's topic in Affinity on Desktop Questions (macOS and Windows)
To bring some creative ideas: Convert to LAB mode Duplicate layer add channel mixer adjustment set lightness to 0% set offset to 50% merge visible deactivate channel mixer Now use flood selection tool set tolerance to 10% click in blie area add mask invert mask use brush to fine-tune some edges of formerly very dark areas This gives a fast and easy selectionbased on color and works far better in LAB mode than in RGB/8 -
I quick update about rotation of pixel layers by 90° via mouse (or touch gesture on iPad) around the center point. In case the layer size in x/y direction is either both odd or both even, and the layer position is whole pixels, the reult will be sharp. In case one axis is even and the other is odd, you create a misalignmnet by 1/2 pixel affecting all pixels. So better avoid this method, or carefully check layer position and adjust to whole integer values after rotating! upper row: unrotated lower row: rotatet by 90° to the right
-
Terminal message: Why did I receive this? Is it malware? I'm not a developer and don't know how to run chsh –s /bin/zsh, nor sure I want to. Everything was working pretty well. When I re-opened Affinity (V2), the text tool bar at top was hidden.
NotMyFault replied to Former MS Publisher's topic in Affinity on Desktop Questions (macOS and Windows)
The screenshots discloses you user account name / real name. To keep your identity private and avoid future damage, please remove the screenshot. Your post reveals no relevant information helping the forum users to support you. If you need support, please provide clear information about the issue you observe what kind of support you need pleas always consider this form is about Affinity apps and cannot replace basic IT knowledge -
Hi, when combining end caps with pressure profiles, it gets compicated: When you assign size variance, the pressure profile affects the end caps correctly When you assign opacity variance, the pressure profile does not affect the end caps correctly I can't imagine any reason why this could be by design, so assuming a bug. What do you think? end cap pressure profile bug.afdesign
-
Found it in help. icons are far too small (vs. upscaled version in help) to be notcable. 24px in help, with blue as dominat color 12px in reality -> 1/2 size in one axis, 1/4 of pixel area, with dark greyish color. (Windows, all default settings after fresh install OS and Affinity apps). https://affinity.help/designer2/en-US.lproj/pages/CurvesShapes/pressure.html
-
Hi, i cant figure out what condition triggers the pressure profile of a brush stroke on a curve to lock start and end nodes to identical values. Sometimes i'm able to make them independently, sometimes both are locked to have identical values.Once i get them locked, i found no way to get them independednt again. Tried solid brush, image brush, intensity brush etc. In the example the blue is unlocked, the red is locked. locked ressure.afdesign
-
Is would be a really bad idea if CRB would replace H S and L by a constant value chosen in color panel. This would create a solid fill color, like the regular paint brush. If the lightness of colors doesn’t match, you can add HSL adjustment (and merge it down) after having the color replaced. There are uncountable better workflows if you intend to change all three HSL for a source area in a meaningful way (keeping some of the texture).
-
Outline part of mask?
NotMyFault replied to Gatada's topic in Affinity on Desktop Questions (macOS and Windows)
can confirm. Me - 192cm, <75kg My son - 200cm, >90kg pure muscle due to training -
Outline part of mask?
NotMyFault replied to Gatada's topic in Affinity on Desktop Questions (macOS and Windows)
no need to change the color. The color is irrelevant when used for maskin. Only the opacity (alpha value) is used. -
Outline part of mask?
NotMyFault replied to Gatada's topic in Affinity on Desktop Questions (macOS and Windows)
layer A should stay above layer B, then it will work. I made it a symbol so any change to the shape will be visible in the copy used for masking. -
Outline part of mask?
NotMyFault replied to Gatada's topic in Affinity on Desktop Questions (macOS and Windows)
Alternative: seperate shape form from shape fill use a group for inner object and huge rectangle for fill area of outer shape use shape as mask for group this simplifies layer re-prositioning. vctor clipping with stroke.afdesign -
Outline part of mask?
NotMyFault replied to Gatada's topic in Affinity on Desktop Questions (macOS and Windows)
a simple solution: layer a -> the one which was nested layer b -> the one who was parent. arrange layer a on top of layer b (no nesting!) make a symbol of the layer a copy it nest copy it into masking position of layer b Now the fill and stroke akt as mask. You better lock the symbol, as position of both copies must always stay in sync. Please note that exports of vector files with vector brushes (except basic round brush) will always be rasterized as export. So your workflow does not allow to export as vector format anyways. Using layers in masking position can lead to rasterization, too. -
Black and white thin lines between objects even after export
NotMyFault replied to LilianBvr's topic in V2 Bugs found on iPad
I edited my older post and added the link to the tutorial. you cannot avoid the issue, unless you keep all vectors strictly following the edges of display pixels - which makes no sense as vector formats are intended to be scalable by almost any factor. To better understand the underlying issue, create a simple document of 8x8px size with 4 rectangle of size 4x4 of different colors (R, G, B, white) at pixel perfect positions. Then group them, and rotate the group by some odd angle e.g. 19 degree. Now you get a rotated X shaped edges inside the document. having a small number of pixels makes this better visible, you can zoom in with ctrl-0. For the edges alpha blending is used (lookup in wikipedia if required), so the result color per pixel is a mix of colors from those 2 layers partially covering the display pixel. The alpha value is a1 + (1-a1)*b1, and a1 is the percentage of area covered by the upper layer. This never reaches full opacity in this case, leading to partial transparency The alpha formula is non-commutative. Even in case a1=b1 = 50%, the upper layer gets more weigh (50%) than the lower layer (25%). So the sequence of layers matters (which is irrelevant if unrotated) The resulting colors differ depending on sequence. If mixing e.g. red and blue, you get more reddish or more bluish mix In case you child nest layers with different colors, utilizing clipping, it becomes more complex at the edges as now 3 layers may play into the game (child clipped to parent, then blend result blended again with lower layer). The setting „precise clipping“ changes the behavior, you should always enable it. Some users want nicer blending of colors. Think of a gradient form color a to color b. The current available blending is mathematically primitive. A better way would be to do a hue based transformation, and avoid fluctuation in hue and saturation. Depending on angle, the color mix may take many pixels (4-5) and currently very harsh color transitions are observed. Some user may prefer not getting any color mixtures. All colors should stay unmixed. Use shades of gray instead to match the luminosity. Some user may prefer getting antialiasing for colors only, but not for alpha values. The problem is different for inner edges and outer edges. The blend gamma plays into it, too. So the problem is that all viewing apps which map vector objects to display pixels use algorithms giving results you don’t wont. What a user wants is getting a 100% opaque pixel with a 50% mix of red and blue (or whatever weighting is relevant). What he gets is a 75% opaque pixel with a mire reddish tone. In theory, there are many options to automatically solve the issue: Apps creating vector files could „tune“ the export file and e.g. automatically increase the layer sizes of lower layers so you won‘t need to manually create backfill layers. But the required tuning may depend on scaling at viewing-time, unknown at exporting time. Note that this tuning would destroy files intended for laser cutters and plotters. A special conversion method from vector to bitmap could be implemented, not using the regular alpha blending, anti-aliasing and color blending. This time the scaling factor is known, allowing to give perfect results. Viewer apps could implement a special rendering mode for vector files. The scaling factor (and rotation) can be changed during viewing time, so it requires really fast algorithms. Apps could create a pixel simulation vector result, meaning that all vector lines are mapped to an imaginary pixel grid and all lines are 0, 90, 180, 270 degree (at pixel level) Probably there is a reason why the listed options are not widely implemented. Every option has huge disadvantages (effort / cost for development, runtime performance, unsolved edge cases). So welcome in real live complexity -
Black and white thin lines between objects even after export
NotMyFault replied to LilianBvr's topic in V2 Bugs found on iPad
This is currently unavoidable when you render vector objects to pixel based displays. The conventions defined in the industry dictate that vector layers which use fractional integer size / position will create partially transparent edge pixels. This will let lower layers or transparent background shine trough. Affinity does not automatically solve this issue. You can manually add backfill layers to mitigate the partial transparency inside the shapes. If you export to bitmap formats, you can add a channels mixer adjustment to automatically boost alpha values. -
Export with resizing, extreme risk of wron colors
NotMyFault replied to NotMyFault's topic in V2 Bugs found on macOS
No, the document is crafted specifically so this happens only with fractional positions -
Outline part of mask?
NotMyFault replied to Gatada's topic in Affinity on Desktop Questions (macOS and Windows)
Strokes are always separate from fill, and painted before or after the fill. Stroke doesn’t count for masking or clipping of vector objects. you can expand the stroke to get the desired behavior (but only for basic round brush). If you don’t mind going pixel layers you can rasterize the layers and use them as parents / masks.