vincentlepes

https://forum.affinity.serif.com/index.php?/search/&tags=AFD-5459

Hi @vincentlepes,
I can certainly confirm the issue with both your document and a new document... It definitely appears to be a bug, I see the same incorrect behaviour as far back as V1.7.3 though unsure if this has been previously reported and logged.

Thanks for your report @vincentlepes, as above this is a known issue which is already logged with our development team.
I'll be sure to 'bump' this issue using your thread with our dev team now, to bring it to their attention once again and we hope to have this resolved in a future update.
Please note that the previous 'AFD-5459' report tag has since been updated internally and is now logged under 'AF-633'.
I hope this helps

Hi Vincent,
I have logged this with our developers to be improved in a future update I'll update this thread once I have more info.
Thanks
C

Can't  offer any insight into why the issue is happening, but can confirm that I get the same behaviour both on your files and creating my own similar files in Designer v1 and v2.

Yeah, I know this subject has been addressed a few times... I just did a search.
First, let me say, I've been using AD for a few months now and I think it;s a great piece of software. I come from the Sign industry, and have been using Corel, Illustrator, CAD, and SignLab for over 20 years. I have both a like and dislike for all of them. Every time you think you're going to be set for a bit, your OS updates and you have to shell out thousands for updated software. While AD and AP lack a couple of features here and there, I've found work-arounds, For example, layer warps with blends and transparencies can create some nice mesh gradients.
One feature that I find super important is true vector brushes that can be expanded. I have been using expanded strokes to create backfills, 3d effects, tons of text effects for many years. Expanding strokes, breaking them apart, welding them all save countless hours of hand drawing vectors. The work I do is primarily commercial, such as logos and lettering, so I'm not sure how important this feature would be to the artistic community, but thought I would drop my 2cents. 
(I'm embarrassed to say that I've bought way more brush packs than I should have before figuring this out.)
Other than that, keep up the work, this is a great tool you all are putting together.   

@WobblyPickles Regarding the toolbar, you could try customizing it to your liking. Here's an image of my toolbar in Affinity Photo, and you can do this in Designer and Publisher as well (greyscale you can find in Preferences, as mentioned earlier). I also highlighted the option in the menu so you can find it easier.



Another tip, you can undock and dock the toolbar if you double click in the empty toolbar space, as well as create a shortcut to toggle if you want to show or hide it. Hope that helps! ^^

Thank you!

Will do, thanks!

@vincentlepes
Right, and just to illustrate the point, below is a comparison of the difference in size of the color gamut between sRGB and Adobe 1998.
Here you can see that what appears to be maximum Cyan in the sRGB color gamut is only about 55% of what the larger Adobe 1998 color gamut can express. 
You can also see that RGB values are relative to the color gamut in which one is working. The apparent color that is described by R:0 G:255 B:255 in the sRGB color gamut is described by the RGB values R:144 G:255 B:255 in the Adobe 1998 color gamut. The apparent color that is described by R:0 G:255 B:255 in the Adobe 1998 color gamut lies outside of the sRGB color gamut and therefore is unable to be displayed.
Assigning the smaller sRGB color profile to a file created in the larger Adobe 1998 color gamut will preserve the original RGB values of the artwork but alter the apparent colors by scaling the original Adobe 1998 color gamut down to fit the smaller sRGB color gamut. Color shift will be apparent.
Converting a file from the larger Adobe 1998 color gamut to the smaller sRGB color gamut in general will change the RGB values of the artwork in order to preserve the apparent color from the source file, particularly for colors where the two gamuts overlap, but then comes the question of rendering intent for conversions (indicated in application Preferences: Color) which governs how out of gamut colors will be treated. "Relative Colorimetric" will scale just the out of gamut colors to fit within the smaller color gamut while preserving the appearance of colors that fall within both color gamuts. "Perceptual" will scale all colors down proportionately to fit within the smaller color gamut, such that the human eye perceives "correct" proportional color and value relationships in the conversion to the smaller gamut. "Absolute Colorimetric" will preserve the appearance of all colors that occur in the overlap of the large and small color gamuts, but will clip the out of gamut colors from the larger space to the closest color in the smaller space.

@Dan C
In summary, Assigning a color profile preserves RGB numbers and remaps the apparent color to the larger or smaller target color gamut, whereas Converting to a color profile changes the RGB numbers and attempts to preserve the apparent color of the source file in the new file with its larger or smaller color gamut. Correct?
 

Thanks for your files, screen recordings and information provided, it's certainly useful.
I agree, opening the file in Affinity Photo reports the following - 
Converting the document to sRGB will always convert the colours in your document to match the colour space, assigning a colour space will not, so assigning is the right choice here for you, but that doesn't change the fact the colour space isn't being reported correctly.
Could you confirm, as I note this file was converted from a PSD - what colour space/profile was used in PS please?

1: works as expected
2: Problem still exists
3: Problem still exists
I messed around and the problem persisted, but I think the document setup color settings tab is the source of the issue, I will follow up with more details.

I would begin a careful trial and error investigation in an attempt to isolate the problem.
1. Start a new Designer document and fill a shape with your color formula, just to eliminate the possibility that this is at all connected to your application preferences or some other application specific issue. (I don't expect there to be a problem there.)
2. Working with a copy of your PSD mock-up opened in Designer, delete all of the layers and artboards except the front cover artboard and it's child layers. Does the problem still exist? 
3. Isolate the orange rectangle by dragging it out of the artboard group. Does the problem still exist?
Anyway, you get the idea. Eliminate surrounding groups and layers until the color problem disappears. Then slowly include more and more of the source file layers and groups (via copy and paste of layers from duplicate file) until the color problem reappears.
Good luck.

Hi vincentlepes
Sorry to see you're having trouble and many thanks for your screen recordings supplied.
Please try the above, as this will be the quickest way of determining if the document or application is at fault.
Could you please also upload both documents to the following link so I can investigate this further?
https://www.dropbox.com/request/9gzi4pRDt9f0TaPKGSHB

Are you definitely sure the second document is sRGB?  The second document looks like it's using something like a *wscRGB colour space.
In the below screenshots, even though the colours won't be exact as I'm using screenshots of a video file, your first document looks like it's using an 'RGB/8 - sRGB IEC61966-2.1' document profile, but the second document looks like it's using something like a 'RGB/8 - *wscRGB' document profile.  You can see the difference in the colour spectrums both in the colour picker dialogue box and also in the Colour panel in the top-right.
First document:


 
Second Document:


 

GarryP,
Firstily, thank's!
Good question!
When I finish these mockups, including a basic user guide, I'll pass the download link to all Affinity Photo users. 
Until then!

Hello!
It is still very difficult to use Affinity Photo for mockups. However, I think a basic solution is to prepare layouts that allow you to use the perspective tool with ease. Also, leave prepared layers that can be used as masks.
On this, I would like to share something that I am working on:

In this template, I just import the business card's PNG images and adjust it with the perspective tool on one layer (hidden below).
The thickness and background colors are changed by selecting the desired color from the palette.
I'm currently revamping this model to insert a localized varnish mask.
See the result:


Seriously, this design took a long time to build, but to modify and use is super fast and easy.
I would like to hear from the community before proceeding to produce more Affinity Photo-specific mockups! 
Until then!

We will try to remember to come back to this thread when a fix goes into beta
Alternatively you could watch/follow these threads and check each beta announcement and release announcement as they come out. (Following instructions are in each post)

AD-Symbol-Snapshot-Issue.mov

vicentlepes, thanks for getting the video to Sean, I was having problems with QuickTime.
Sean, yes I always run in Separated Mode.  I guess I should mention that as this isn't the first time it has been important.
Mike

I happen to have ScreenFlow so I captured the issue with keystrokes showing. You can watch the tool change on first keypress followed by the layer change on second keypress. I show it with the "b" and "l" keys, but it is reproducible with any key that selects a tool and is also the first letter of the name of an existing layer.
I may have found a caveat, because this behavior doesn't happen until you click on a layer or something in the layers panel. Once you "activate" it, it becomes infintely reproducible.
Hope this helps!

affinity-photo-tool-layer-select-issue.mp4

Focus! That's the word I was scrambling for 
Happy to help, I'd love to see this problem go away so any time spent helping here might just save me aggregate hours in the future. Let me know if you need any further details or demonstration, I'm happy to try different things out.

Thanks for the video vicentlepes! I've reproduced it now and it certainly seems to only happen whilst in Separated Mode or if the Layer Panel is floating, after making a selection in the Layers Panel (presumably because it has focus). This is why videos are very important, as it can allow us to see the little details like this that can be missed!

@Gear maker are you in separated mode or going a floating Layer Panel? 

Hi
Could you please make the Apply image filter work with macros?
In version 1.5 of Photo, the macro records the content of the Source layer, making it useless to use with a different image or with different settings.
It should open a dialogue to chose the source layer, or at least save the source layer name.
 
Thank you