NotMyFault

Sure. This shortcut will create a selection based on the luminosity of the layer (targeted by the mouse-click). As fas as I know, this is the only available way to use this functionality. There is no menu item for this method of selection. I think this is a perfect 100% fit for your request “luminosity based” You do not need to run a script. The formula can be saved as a preset, and the filter including the preset can be saved as an asset, or copied / pasted. In essence, it is and 2 click solution. One for the luminosity based selection, one to apply the PT filter. The charm of the PT filter lies in the option to further extend the functionality. You can used it to create a mask based on any almost any kind of condition. Selection based on hue, saturation, luminosity, …. Whatever you like. This includes from/to ranges of these parameters, combination (and/or), etc. And this is a live filter, showing the result in real-time.

I assume this is related to afp-4638. when entering the numeric brush settings, the wet edges buttons changes (activates if deactivated before), too. 28s ff in the uploaded video. I missed that detail before. This erratic behavior (unwanted changes to input fields in several not-yet-identified UI elements) has potential to render the current iPad version unusable.

I'm unsure if the solution based on curves and blend mode saturation is an exact method to provide the requested result. If you are already fully satisfied, you can disregard my post below. To really adjust the saturation of pixels depending on lightness, i would suggest to use an HSL adjustment (to adjust saturation) in combination with an mask. In this case, an mask based on lightness. There are (at least) 2 options to create such an mask: Static: Use Ctrl-Alt-Shift-Lef-click-on-pixel-layer to create a lightness based selection. Create HSL adjustment to tackle highlights. Invert Selection. Create second HSL adjustment to tackle shadows. Deselct all Dynamic: use an procedural texture filter with formula shown below nexted to the HSL adjustment (highlights). Use "1-" in front of the formula for the shadow-HSL-adjustment. For those in need of a sharply defined range of the lightness to select which pixels get impacted by the HSL adjustment, i can provide and "extended version" of option 2 with 2 input parameters (min and max lightness) affecting only the defined range of pixels.

Is there any chance that you could upload the pattern jpeg, the .afphoto file? showing the issue I'm 100% sure the forum users will find an solution or workaround in less then 5 minutes. There is only an almost zero chance that you found a not-yet-detected new bug. As i posted before, there is a large number of well-known possible causes. It is next-to-impossible to identify the actual cause without the files, only based on screenshots and verbal description. We would need both files to (1) see the issue and (2) can see the original pattern file (including color mode, resolution, clipping path used etc) (which might caused the issue). If it is not possible to upload the files (public visible) for privacy / contractual reasons, you could request an upload link from the moderators, or send a download link to one of the users who already answered to your question.

Even if i said it before: It would be best to ask the client. Nobody else can say. We (the forum users) can only guess, assume, fool you, pretend to know. Asking the client is not lack of expertise or something to be ashamed of. Just the opposite, it will shows that you take your job serious and do all required (and expected) on your side to fully deliver up to his expectations.

It maybe not bound / related to hardness. You can click any of the brush settings, click enter, and the brush gets its former glory back. Intentionally reducing the hardness does not change the brush at all. I saw the hardness actually change once from 100 to 80, but maybe unrelated. So i don't know why the brush looks different / which parameter is changed.

The brush settings change unintended when switching to move tool create new doc create pixel layer select brush tool, select brush with sharp structure (Engraving - Smooth Rake) switch from brush tool to move tool, switch back to brush tool the hardness value changes from 100 to 80, but the value shown in UI is still 100. To correct you need to open hardness value and enter again. FullSizeRender.mov

Then i would recommend using RGB/16 color format, and export as svg, eps, png, jpg. use this color profile: Do not use any sRGB device specific profiles (e.g. Monitor profiles) svg and eps for vector based designs (allowing scaling without quality loss by pixelation, and using transparent backgrounds). PNG for pixel based designs (allows transparency and lossless compression) JPG as fall back option for those lacking the skill to use better suited formats

Hi, this totally depends how the files will be used by the client, e.g. for print or website usage. there is no single standard It would be best to ask the client.

The most frequent cause of the problem 1. creating, scaling, moving, pixel layers by any non-integer value 1.b using anything else than px as unit for size/placement 2. Having anything not using 0 / 90 / 180 / 270 degree 3. Having anything other than rectangular shape 4. rotating layers 5. Using shapes aligned to each other (but not overlapping) 6. Using transparency (not fully opaque) 7. pasting / placing objects (having non-integer size / position) no. 5 is your case. Options to avoid: Merge vector shapes (Geometry>Add) Place backfill layer behind shapes Rasterize layers (but this could introduce other unwanted issues like blurred results) To explain all the dependencies it will take hours. The forum is full of similar reports, workarounds and unsolved issues

Good to know you issue is solved. You may consider changing the RAW output format to RGB/16. The RGB/32 HDR option is intended for very special cases (like importing 3D renders, or astro-stacking), i really doubt that this benefits you at this time. It uses a linear (non gamma-corrected) tone curve that definitely will give surprises when you need to export your images e.g. to JPG. The rendering in RGB/32 does not reflect realistic brightness values. RGB/16 is enough. Even when processing HDR images from exposure bracketed photos, for usage on the best available HDR capable display.

Ahh the invisible section on iPad 9,7“ (screenshot has full height)

After (accidentally) resizing an vector shape layer to zero either for x or y, the layer stays in the layer stack, but dimension fields couldn’t changed any more. Layer effectively becomes lost (except undo if you observe issue before saving without history). create new document create any vector shape activate move tool use numeric input in transform panel for height or width: 0 and click enter Input field gets disabled. when you change numeric input by mouse gesture, field stays editable even when 0 is shown.

Hi, trying to change the geometric function of a compound after initial creation, only add and divide are offered, and only add is applied. Impossible to change back to subtrackt. What do i miss? https://affinity.help/designeripad/English.lproj/pages/ObjectControl/compound.html

Check the sequence of layer selections. First rectangle, then W-shaped curve, them subtract should work

Select all white shapes select blend mode erase in layers panel (instead of normal) Never the less, it was faster for me to create the candle from scratch. See attached file, saved with history so you can undo/replay. candle.afdesign

It could be more complicated as the white curves actually covers some parts of underlying blue curves. Exporting blue only could expose unwanted areas. Assuming you want to keep everything as vector (so blend mode erase is not an option) sort the curve layers from top to bottom (currently candle is bottom) Use Layer>Geometry>Subtract to remove white curves from blue one. May need an iterative approach from bottom to top (and add blue curves step by step, too)

The embedded jpg file is mainly used as thumbnail during directory listings etc. It has a reduced resolution, but can be retrieved fast. Decoding a RAW file takes several seconds per file, nobody wants to wait for this when searching through directories with many files. The JPEG is created directly by the camera, and uses all settings like white balance, sharpening, etc. When you open the RAW file in Photo, it ignores/ discards the embedded JPG completely. Instead it reads the EXIF metadata from the file, and uses selective parts (e.g WB settings, exposure compensation) to interpret the RAW image data and applies chosen adjustment based on Develop Assistant. It is normal that the (intermediate and final) result can and will deviate slightly or more from what the embedded JPG shows, or what other apps capable to read the RAW will show. Affinity does not apply any sharpening by default, this is another major difference. On Apple devices you can minimize the potential differences by selecting the Apple RAW engine. If you want to get images from RAW files 100% identical to out-of-camera or from Sony-app, there is no other option that to use one of these options (camera or Sony app). Please consider this as by design and not as bug. Never the less, there are occasionally bugs, mostly for newer camera models and RAW or HEIC formats, or for pixel-shift files. I hope this can further clarify the situation

Welcome to the forum, and sorry to hear about your issue. There are a view possible reasons for it: Most Apps show the embedded JPG of the RAW file. Affinity will start with the RAW, and ingores the embedded JPG. Depending on you settings in the Assistent Manager (Exposure Bias, Apply Tone Curve) the RAW file will render different Photo does not read the “picture profile” used by Canon to store information at capture time how the image should be processed. E.g. there is a black & white profile. Photo ignores these completely. Only basic values like exposure, white balance will be read. Affinity apps will use the color profile settings from OS and your chosen settings for development . Other apps might ignore them. I suggest to check the settings in Develop Assistant first: https://affinity.help/photo/English.lproj/pages/Raw/raw.html#anchor_assistant As far as I know, on Mac you might choose whichRAW engine is used. Try the other one (Serif vs. Apple).

You can cheat a bit by opening the attached Photo file in designer and save the PT filter as asset. Fill and invert layers are to adjust colors, and provide an opaque background. Could be replaced by any shape. marble.afphoto

Similar to Affinity, many apps and websites use a simulated checkered background to preview transparency. It depends how you saved the image - the actual file with transparency, or the preview with checkered board.

Layer FX Outline could be an option. But this might lead to rasterization when exporting.

It seems Appearance Studio does not allow to add multiple strokes for text layers. The symbol to add fill/stroke is greyed out. If i convert to curves, i found no way to save an appearance (like a style) and apply it to multiple objects.

Any chance you can upload an afdesign file of the background? There a quite many possible reasons causing this issue. Objects not perfectly aligned to integer position (or size) rotated objects / anti-aliasing Rectangular vector objects aligned adjacent to each other, exported, then zoomed / stretched To avoid the issue, you may use objects overlapping (one atop the other) if possible, or using a backfill layer created from all objects added together.

Not yet, see