Lovemonkey

I used 1200 DPI to scan it. 

I've been working on restoring a photo of wife's late Nan.
I think I haven't done to bad a job with the photo, considering its size and how bad it's damage plus I'm an absolute noob at this.
I think I've reached the point where I can't really do anymore. Wish I could make her face a bit clearer. 
The photo is from round the mid to late 40's.

Thank you, converting to B&W helped a lot more, the photo prints out really nice at 6x4.
 

I've been working on restoring a photo of wife's late Nan.
I think I haven't done to bad a job with the photo, considering its size and how bad it's damage plus I'm an absolute noob at this.
I think I've reached the point where I can't really do anymore. Wish I could make her face a bit clearer. 
The photo is from round the mid to late 40's.

Thank you, converting to B&W helped a lot more, the photo prints out really nice at 6x4.
 

Thank you, converting to B&W helped a lot more, the photo prints out really nice at 6x4.
 

Start with converting to black and white by using the adjustment layer "Black and white". In that adjustment layer, adjust the red and yellow slider (because of the "sepia" type aging of the photo) until you get the level of black and white contrast you want. Then you'll see better how to repair the photo. If you just try to restore an old B&W photo without converting to B&W in Affinity, you'll make a lot more work than you need. Besides, if you like the sepia color, you can put it back when you're done.
Best practice for me is to use the patch tool on a pixel layer above the image you're repairing. Under "source" choose "current layer and below," That way, if a choice doesn't work, it is an easy fix.
That's your best starting point, other than making sure you have a good high resolution scan of the image.
This is the original photo
 
 
 
 

I've been working on restoring a photo of wife's late Nan.
I think I haven't done to bad a job with the photo, considering its size and how bad it's damage plus I'm an absolute noob at this.
I think I've reached the point where I can't really do anymore. Wish I could make her face a bit clearer. 
The photo is from round the mid to late 40's.

This is some of the files in my work, all made in Affinity Designer. The current affinity designer is already the main tool in my work, it is really very easy to use.
I also have a youtube channel, share some of the process I used to do some design with the affinity designer (ipad), I hope that friends who use youtube can subscribe.
这是我工作中的一些文件，全部都是在Affinity Designer 里制作。目前affinity designer已经是我工作中的主要工具，它真的非常好用。
我还有一个youtube频道，分享一些我用affinity designer（ipad）做一些设计的过程，希望有使用youtube的朋友能订阅。
youtube：hi～～

It can be fiddly using Affinity Designer on the iPad, but the results are well worth it. The ability to add pixel textures to a vector illustration is a huge bonus over Illustrator. My iPad Pro did start to slow down a little and it didn't like it when I tried to use symbols for all the plants. I then printed this out on a plotter at 50x40cm for framing.

A cartoony monster face, because monsters deserve attention too.
Concept by Joey Ellis. Sculpting and rendering done in Blender 3D. Post-processing and fine-adjustment performed using Affinity Photo.
More images: metinseven.nl

A quick effort with Affinity Designer.

Hello everyone here is another branding and marketing project I've been working on for Jason's Building Design made with Affinity Designer on the iPad Pro.   What do you think?   Thank you for your time and I hope you have a great day.   Andrew - Made by Campfire  www.madebycampfire.com  

Hi all, here's something very different from my usual and a bit of a personal challenge on a recent illustration project. Denman Digital in Vancouver hired me to create a series of images for a project they were doing for their client the Aboriginal Peoples Television Network (APTN) here in Canada. The Hunting in Canada Field Guide lays out the traditional methods, tools and prey Indigenous people used and continue to use to survive and thrive in Canada's northern frontiers. This project is a web companion piece to their Moosemeat and Marmalade adventure cooking show on APTN.  https://aptn.ca/moosemeatandmarmalade/
Almost every aspect of these illustrations utilized the pixel persona in Designer. I could've use Photo exclusively for this but I am much more comfortable and familiar with Designer and the process is basically the same. I created a bunch of new custom brushes as well as used many of Designers default and user-contributed brushes for this. I was rather pleased with the final outcomes and have since started adding more of this pixel painting workflow to my usual work.
Rather than upload a bunch of images here I'll point you to a few links on my Behance site below and leave just a few images here.
The project was broken down into 3 areas: Prey, Hunting Tools and Hunting Strategies.
https://www.behance.net/gallery/77640277/Hunting-in-Canada-Field-Guide-for-APTN-Prey
https://www.behance.net/gallery/77647417/Hunting-in-Canada-Field-Guide-for-APTN-Tools
https://www.behance.net/gallery/77647933/Hunting-in-Canada-Field-Guide-for-APTN-Strategies
Much thanks to Denman Digital and APTN. :-)

bit of spit and polishing ; and still ''without care in the world'' 1] original raw file -- just as well I have some idea about editing 2] as edited yesterday  3] orton effect and background colours added in Affinity (yep; used the graduation tool  Pana Fz300




I have used the Orton effect for years and there many way to do it; however this is based on James's video click
Little trick to add shadow under log ONLY >add FX shadow to dog/log section >deplicute >remove Fx from bottom layer >add mask to top layer >brush away top layer to leave only the bottom part of the log and the shadow --- something I taught or perhaps retaught myself today .
You could paint in the shadow but that didn't work for me 
suggestions  comments questions welcome 

I purchased it recently and have made several thumbnails for my new Youtube channel but I know I can do so much more with it.
I am really having alot of fun using this and watching the turtorials, bet money I have spent in a while.
here are a couple of my thumbnails
 
 

Hey folks,
back again with a small composite made of three photos from last year's trip to Bali and some burning sky stuff I shot during summer.
Result:

It could need some more finetuning for sure, but I am pretty happy with how it turned out.
What do you think?
Sources:


Cheers, Marc

I really love of affinity designer's  workflow and the way gradients have no banding

Hi everyone, I want to share my very positive experience working with Affinity Designer and Photo. For the past 4 months I have been working on designing large booths, walls, signage and other printed materials for a huge congress with over 30 000 participants. We had tight production deadlines from our external suppliers plus I had to design all the proposals, manage communication and do several revision rounds and after that export print data. All went very well thanks to Affinity Designer and Photo. These programs handled big oversized artboards, gigabytes of TIFF images and export so smoothly I couldn't believe it.
The best thing I liked was having one document per one lounge with many many different artboards which gave me flexibility to make a huge wall and small flyer with the same design in one application.  Also the ability to export print ready PDFs and some JPGs in Export Persona was a huge time saver! Exporting 2400DPI PDFs was just smooth. Most of the work was done in Affinity, very very small percentage in Illustrator and 3D stuff in Blender. Here are photos and renders of some of the things which were produced. To me this was quite a successful journey. Thanks Affinity team for great products and keep going!
 
 

Hi all,
This is one of my latest projects for the Scooterola brand. If you can't see the video here, you can get it on http://scooterola.com/index.php/2019/02/24/the-illuminati-stole-my-scooter/
It's hand drawn, vectorised and worked up in AD.
I made a little 4 minute film of the process below:
<iframe width="560" height="315" src="https://www.youtube.com/embed/lP0KV1V15jw" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>  

One of the things i used in illustrator was the live trace tool and i know there has been discussion about when/if it will be added to designer. i was determined to find a way to make it work and i have found something that works for me and i like the look much better. i am a illustrator/pattern designer and use my paintings in my pattern design. 
afphoto is SO GOOD at selection i used it's various options to select the areas and color them by creating a fill layer and dragging that underneath the selection layer. i really love that it still maintains the painterly look. i have been playing with the same thing coloring photos. i am attaching my files. the look may not be everyone's cup of tea but i am thrilled and will continue to play with this more. just wanted to share my 'discovery'
the flower on the left is colored from the painting to the right of it and the hydrangea is a photo i colored by selecting various colors and the alpha range.
thanks for letting me share.
jen
 

I have recently been developing a macro to create ripples in a reflective water surface. Here is an example using the screes besides Wastwater in the English Lake District. The original was a scanned very old slide (with the accompanying loss of quality), but I thought it lent itself to this treatment. I flipped the image of the scree and applied the ripples macro to it before merging the two.

John