NotMyFault

There is one important detail in between these steps: If you drag sliders, and still hold the mouse button without releasing, space has no effect. Mouse movements will adjust slider settings. If I release the mouse buttons, then press space, I can pan the canvas. Can you please check again, and provide a screen recording for 2.4.1 similar to 2.3.1?

I just tested 2.4.0 (before update) and it allows to pan around even in case of an open filter layer UI. As 2.4.0 introduced the new space keyboard modifier to the move tool (toggle lock children) I checked this, too and it works. But you must always start dragging in the canvas (not pressing space key first!), then press space key.

The issue is that the info panel does not convert LAB to RGB colors "corretcly" and used different rendering intend and or color profiles that used in Document->Convert and Color Panel. You will spot deviating color information in info panel vs. color panal even inside one document of the same color format (except the simplistic case RBB/ sRGB) As Ldina has shown, every color format conversion has a bunch of parameters (rendering intend) and only when converting a document you can choose the parameter. When using Info panel or color panel, undocumented default rendering intend is used. Another factor to play in is RGB color profile. As far as i remember, Affinity use the profiles defined in assistant for some of the conversions, andmay use undocumented defaults for others.

I cannot reproduce any cyan tint when using curves adjustment. You must use numeric input for the nodes. If using mouse, the numeric values are rounded for UI and you may create the node at a slightly off position. a better way is channel mixer, and enter 0% La/Lb plus 50% offset. This gives exact values.

There are better methods to desaturate an image than using a lab curves adjustment in non-lab documents. Curves in LAB mode require double conversion, depending on blend mode 4 conversions. Minor issues can stack up. It starts with the encoding of lab colors in 16 bit integers does not allow to represent 0.5 La Lb values exactly. It is off by 1/2 least significant bit.

The “backupstore” is always located in you user profile, unrelated where the App itself is installed.

Did you miss the most important steps of the workflow? Don't use Head offset or Tail Offset. Or just open my file and export the rectangular brush area as PNG (export selection, not whole document). It works equally on iPad and Desktop.

No, the color panel and color picker of the gradient tool is 100% isolated and does not interact with the normal color panels. As soon as you try to use the other panels, the UI closes. Screen Recording 2024-04-05 at 15.43.48.mov

There is only one color picker which works: open the gradient map, then click on the rectangular color patch right to „Color:“. A color chooser pops up, with its own color picker. Use only this one. The other color pickers from tools or color panel do not work for gradient map.

In export, you can choose „convert images color spaces“. It is off by default even for press ready preset.

Don’t understand what you try to say. Is the issue still unsolved? If yes you and those people trying to help need to invest more time. From your side we need a screen recording showing the exact steps you do, and screenshots of the relevant settings (e.g. permissions for Affinity app to record screen). Affinity has at least 3 different color pickers and it is not clear which one you try to use.

Thanks @lacerto. The main topics of my question were: Do the 4 arithmetic blend modes work natively in CMYK, or is there a temporary transformation to e.g. RGB or HCL color format (like in BM HUE, COLOR)? Answer: they work natively in CMYK. Meaning every color channel is calculated individually, like in RGB Is it possible to use BM subtract/difference in CMYK in a similar way as in RGB to visualize differences between layer content ? Answer: Only restricted. You need to use channels panel to focus on one single color channel, otherwise the K channel will render everything black. Another hurdle is that channels panel misses a feature to automatically invert color channels (selectable as toggle), otherwise the brightness is always inverted when switching from all channels to individual channels. I will continue trying to find a way representing small differences between layers in CMYK in a more practical way.

Works for me. You may need do adjust your workflow: use symbols to create 3 instances of the tile to allowing to get perfect transition on both sides use a enclosing rectangle to cut out the perfect master do this in the first step (creating the PNG), not in the later step of importing the brush, for better results greek brush.afdesign

Everything is a compromise. Large brushes have a performance impact relative to the areal size of the brush image. Make a wise choice of brush size. Offer multiple sizes if relevant, e.g. 360px up to 8x 360px.

works for me without issues. MacOs 14.2.1 Photo 2.4.0 If you have colors within the swatch panel already registered, don't use the color pickler. Instead, change the mode to "swatch" and directly choose the swatch. But even then, the color picker just works (plus click the sampled color to activate it)

To summarise my findings: A fresh pixel layer does not allow to paint outside canvase several conditions trigger extending in top-right direction (relative to layer original orientation), like moving layer to partially fit outside canvas, or rotating layer Some conditions trigger unlimited layer extension in any direction if you rasterise and trim layer, it gets back to state 1 But even if auto-extension is active, it is totally inconsistent. e.g. some parts on the edge get cur off anyways. This should be sorted out, e.g. by having a settings which either disables layer extension, or enables layer extension (but then consistently in any direction). Could be combined with layer lock (against unwanted editing of content) L1: layer editable, with auto-extension beyond canvas L2: layer editable, but limited to canvas bounds (even if rotated or sheared) L3: layer locked / protected against editing

yes, I know. This makes it even more important to know if and when such content is created. But I can use linked layers and place a copy in reduced size inside the canvas area. Unfortunately this again impacts the behaviour wrt out of canvas painting.

To add: i try to avoid unclip canvas as it can lead to fractional pixel positions (depending on other layers in document)

You are stopped in certain undocumented circumstances. And while you are painting you have no way to know. unclip canvas is not even required, just activate move tool and it shows if layer extends beyond canvas.

That does not really help. this post is about (intentionally or accidentally) painting outside the visible canvas, and what influences the behavior of Photo / Designer to allow or block. Unclip canvas can reveal parts laying outside the canvas after there were created, but does not help allowing them to be created. In some situations you need to rely on beeing allowed or beeing blocked, and currently it is almost random.

You can inspect and edit brush settings by clicking on the symbol in the tools line below the menu line. Affinity brushes are kind of templates. Whenever you start using a brush, you can modify the brush settings in any aspect and create a new brush. Affinity only shows the actual derived brush, not the brush name from the brush panel.

I just found the explanation: blend mode subtract gives full black on the K channel (this is something else to investigate) this 100%K will overshadow all other color channels. If you use the channels panel to inspect the CMY channels individually or combined but excluding K, you see a correct result per channel. but if you activate the K channel, the result will be full black. To summarize: blend mode subtract correctly works on individual CMYK channels by subtracted them individually, but you must inspect the result individually.

To add an even stronger use case: you can edit multiple layers in one go (toggle “edit all layers”). you may have a stack of many layers, to keep things organized. Now imagine you want to add some pixel content in all layers, but need to hide some of the layers during painting to focus on the relevant parts. Affinity has much more use cases than one single person can imagine, and one of the core advantages is that it doesn’t block some functions to enforce only specific use cases. E.g. Allowing filters and adjustments for CMYK documents. Unfortunately this leads to many complaints due to unexpected results (as many adjustments are based on additive color model and provide strange results in subtractive CMYK model (thus technically correct).

Hi, when using pixel layers and paint brush, Affinity has some method to automatically extend the canvas - or not - in case you are painting beyond the visible canvas Normally painting stops at the canvas - expected if the layer is rotated, the canvas gets extended automatically but only to the top and left, using the original orientation of the layer. If the layer is flipped horizontally, the extension is applied to the top right. if you duplicate linked and move the duplicate into a position where more of the canvas is visible, the canvas gets extended even when painting on the original pixel layer. the size of the the extended area is kind of random, often very large parts like 50% of canvas size get added can you please: document the actual behavior of layer extension in help check if the observed behavior is correct, specifically: why is the extension only in top left direction? why is extension only possible if layer is rotated? Is there any direct way (no workarounds) to allow extension in case layer is unrotated? the amount of extended area in case of rotated layer is often excessive (far larger than required to contain the actually painted pixels)

This is a feature, not a bug. Maybe lack of imagination. If you trace a layer below and don’t want to cover it during painting you can use linked layers to get the visible result in a copy of the layer the only point to made is that Affinity lacks a content lock against unwanted changing of certain layers. But this should be independent from layer visibility.