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About Artvid

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    Bergen, Norway
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    Art, people?

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  1. Good point, I actually have landed on the same conclusion. Should we then ask S. Affinity to start to develop an Affinity Painter - then we can both use the same program? (-:
  2. Medical Officer Bones, I do appreciate and respect your answer highly. From what you explain this time it's easy to see that we work in very different areas. My background is in painting on large canvases where I mixed my paint - buying 50 litres with PVA (acrylic base) and mixing it with raw pigments. Through the painting process, I put the canvas on the floor and washed away some of the paint before all was dry, to get the effect I wanted in the result. To give you two examples, first, it's a portrait I did in 1985. In the photo here it's hanging home at an art collector so you can see the size. The second picture is an underwater serial with paintings, and beside is a younger version of me (-: Both done basically the same way where the painting technique is an essential part of the process for me. Below that again is two paintings done with Painter. Yes, 35 years as a painter makes me use a technique digitally that's based upon my work with canvases and painting. I have many things I'm far from happy with Painter, as the support staff - still it's the software that let me work in a way where I can bring some part of my experience with non-digital painting into digital made artwork as well. For me, that's best done with Painter, but I do hope that Corel gets better and start to listen more to its users - or that I find a different software that fits my needs better than Corel's Painter. If I had worked more in the areas you work in, then I would not have used Painter, but it works well with my Wacom MobileStudio - and I admit that I'm a bit lazy as well - as when it works ok, then the rest is up to me (-:
  3. Point taken Fixx (-: Just remember I'm an artist, and even if I have worked a lot with HTML coding and large sites, I'm absolutely not a tech guy (-: When I worked with my large canvases and acrylic paint, I have to admit that the artwork was not always kindly treated. They were stuffed into vans to bring them to exhibitions and so on, and not much better inside my studio. But I can tell you that when paintings were sold for ten thousand USD and upwards - the gallery treated them like fragile glass when bringing them to the art collectors. A friend who is a curator at the Munch Museum in Oslo told me that Edvard Munch used to lay his paintings out in the garden, open air where wind, rain or snow could give them what Munch called patina. Well it's not as easy when I make my artworks digitally today, my printer is sitting on my shoulder asking for a specific standard, so when I hear compressed, I get the shiver, just because I don't know enough tech stuff )-: So sorry for ranting about what maybe should be basic knowledge when working digital, but I'm not all there yet - so thank you for your patience and help, all of you, it's highly appreciated (-:
  4. Puh, that's great - then my printer will not kill me (-: Lucky to have a great gichlee printer here in Norway, he only work for artists - so all prints has to go through me. But he always call me, "check this and that" - but the results are just amazing, so he is keeping the standard for me. When I sell outside Norway I just sell the files for download, and based on some recommendation from me, the buyer do the printing locally (great if they are in Japan or even UK). I was on the wild hunt for alternative to Affinity, even looked at Photoshop in my desperation. But please Affinity developers, can't you just let us user choose if we want uncompressed or LZW - we are adults you know?
  5. Thank you Walt. Important information again here, and I get frustrated, seem that whatever program I use, it must be something. Hey, I don't ask for much - but as I sell my artwork as digital files, in tiff - I need the best quality. Meaning, Adobe RGB 1989 colour profile, at least 16-bit colour depth, and an uncompressed file. But to what you wrote, do you say that LZW compression is giving the SAME quality in all ways, as an uncompressed file? Sorry guys, I get frustrated here - is it ONLY Photoshop that wants to give me what I need? Don't know if I should scream or cry - I don't want to laugh. Me who consider Dali as a surrealist, but here image editing software is sitting on surrealism throne.
  6. Thank you Mike, that was important - and frustrating info
  7. Great to hear your opinion, but I usually get sceptical when people paint their views in black and white. I know lots of downsides with Painter, but for ME it's the one that works best for my way of working. When I worked on large canvases with acrylic paint, I had friends working with oil paint (of course) - but I never told them that it was shit painting they were working with. I usually used radiator brushes, but I never said fine artist brushes was shit. We all have our preferences, and they are not always alike - but as long as it fits our artistic expression - who should bother. I have used more painting programs than I can remember - including those you mention - but none of them worked for me. So why don't we share our experience, but stay away from downgrading tools others work with - and PhotoShop which you also mention, well I personally never liked its options for painting. As soon as I find a new painting program, I try it - I still have a desire to find the ultimate tool - but until then I prefer my Painter (now 2019). I respect your opinion, but pushing down other peoples preferences is not the way to welcome new members in a forum - or? I hope this doesn't reflect an attitude here ... for R´╗┐yan Church, that's so totally on the other side of the visual universe I work in, and I state that not because he work with Photoshop - but because he don't have an artistic expression that I find interesting (illustration, not art in my world). But as long as many like his work, that's great for him and them (-:
  8. I see your point Gabriel, but allow me to add some facts? There are many good painting programs around, as Krita and other useful programs, but as per today, the raster-based Corel Painter is in its own league. It's used as the primary software in academies of art and other high-level art education. So everything is great then? Not exactly, when I should edit my artwork, I have tried to use Corel's PaintShop, but as the files of my artwork should be the best level for print, I have the colour profile in Painter as 'Adobe RGB 1989'. Still, PaintShop doesn't support Adobe RGB, only sRGB which only give around 70% of the colours in the Adobe RGB profile. Further, PaintShop doesn't have the option of putting the colour depth to 16-bit (well, now I just explained why I use Affinity Photo and not PaintShop). I have worked with photographers since 1986 even if the art industry told me not to do so (photography was not the high end of art they told me). Also for the large art project, I had in 1989 under the patronage of UNESCO in Paris - one part of the job was to choose film for the photographers (as we got the film sponsored as well). Since then photography has gone digital, and today it's hard to find a photographer not working digitally. We, the artists have been far slower going digital, but recently more of us are moving into the digital sphere. I started painting with digital tools in 2006, and it's many years since I worked on a large canvas. So to get ahead of this development I see two options: Either Affinity get the option of importing rif files - or Affinity develops an own raster-based Painter. From what I have seen so far, I would be very ready to switch to a Painter alternative from Affinity. The name is easy - Affinity Painter (-:
  9. Thank you Gabriel, I don't have the total picture of the forum yet, so that's highly appreciated.
  10. Hi, I'm not a photographer although I have worked a lot with great photographers in larger as smaller art projects. I say this as I find Affinity an excellent tool for me, just after a short time using the program. I also understand that the majority of users will be photographers, but it does serve as an essential help for me as an artist as well. My primary tool is Corel Painter, and Affility will for me work as it's right hand. For me it would be a significant advantage if I could import Corel Painter rif files into Affinity - so I ask you if anyone knows if this is an option the developing team of Affinity consider?
  11. Thank you Fixx, then I stick with tif as that is my end product.
  12. Corel Painter is my drawing/painting program coming initially from a world with large canvases and acrylic paint. Meaning that my original artwork is no longer a canvas with paint, but a digital file - and sold as a tif file. My question here is how - in Affinity, can I get the best quality from a Painter riff file to a tif file? As long as I can't open a riff file directly in Affinity (yet at least), how should I preserve the best quality for high-quality printing when converting the riff to tif? Should I save the original riff to tif inside Painter, and then put correct colour dept inside Affinity, or should I convert to a psd file in Painter, open the psd in Affinity and then convert it to a tif file? I'm new to Affinity, so is there anyone who knows something about this situation, who use Painter - or know the best solution here? Would highly appreciate help and experience here (-: PS - Adobe Photoshop is not an option, I refuse first of all the subscription setup. Corel Paintshop is not an option either as I can't work in 'Adobe RGB 1989', just sRGB which is not good enough for my purpose. So I'm thrilled to find Affinity, but need advises from you who is more experienced with Affinity than me.
  13. Alfred, I used the link-button, next time I will just paste the URL - simple is better (-:
  14. Thanks Leigh I will go through both, but I already found something that make my life more easy. I'm not a photographer, but one of these bloody artists - we are so lazy, so I just moved to digital some ten years ago (and now I just do digital paintings). But then, when I sell a limited edition artwork, I give the one who buy digital files the originals - and that is the digital file (both tiff and jpg), each individually signed and numbered (directly digitally with my wacom pen of course) - and my painting/drawing program is Corel Painter. As the artwork is made digital, the original artwork is of course the digital file and the buyer get the rights to use it as s/he likes: - for a print, on wallpaper, on tiles, on a t-shirt or whatever - all under a creative commons license. In addition to the files, the creative commons licenses, buyers get a certificate. With Affinity Photo it's now easy to control colour depth (bit), check again that the colour profile is Adobe RGB 1989, and so forth - and in addition I fill out the certificate in writer, convert to pdf, put it up in Affinity, sign the certificate, and export it again as pdf. Did a test for this some hours ago, and I attach the example-certificate here. So this start of great (-: digiseed_certificate_example2.pdf
  15. Alfred, that was just great to see again - so what we gonna do then? Disney+Dali? https://www.youtube.com/watch?v=BO8ffgDbM80 Ok, and I have to find out how I can insert the video as you did Alfred - but there is a time for nearly everything (-: