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Extended

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  1. Thanks
    Extended got a reaction from SrPx in My attempts at tackling Affinity Photo painting/drawing   
    I don't want to discuss further, I am a workaholic.
    Thank you for understanding me.
     
  2. Thanks
    Extended got a reaction from SrPx in My attempts at tackling Affinity Photo painting/drawing   
    I don't want to discuss further, I am a workaholic.
    Thank you for understanding me.
     
  3. Thanks
    Extended reacted to SrPx in My attempts at tackling Affinity Photo painting/drawing   
    I think Frozen is spot-on in one of his latest comments, with a detail he points out... I had the problem that you refer to (I think I know now exactly what you mean) but happens that I solved (my problem, does not mean it does solve yours : Every field has its set of needs, and I think you work professionally for a different field than I do) my issue with blending as-I-paint by only using the "round smooth brushes" , I have my UI (actually, only the brushes, dunno why) in another language, but I believe they are listed so in English. For some reason, seems only those do a smoothing somewhat similar (not exactly) to the level of smoothing we would get with Photoshop brushes.
    I don't "know everything", that's for sure, and I apologize if I sounded like teaching. I have sometimes this "auto-mode" on because I see in  the forum many questions related to the same type of issues, and often from people who is not fully experienced in painting. So, I probably was acting with lazy inertia, half asleep.
    So, I show you here a screenshot of my settings. Is what I would use -indeed, I have- for making in AP something more "smooth", where the brush daub/stroke is not the look and feel in mind, when is more of a photo retouch, a over paint for 3D renders for press or etc, for concept art that needs to be very smooth in transitions, comic coloring or etc (is not like I just do traditional painting-like works, far from that).  
    This is not patronizing, is just sharing my settings with you, in case you have curiosity, I am not implying you I can teach anyone. (I worked as a teacher, and  promised my self never to work in that again..). The fast shading I've done there, is just some seconds, little insisting. But when I paint I over paint a lot, so the blending ends up happening naturally. I was being very sincere (and without the intention of feeling better t han anyone or stuff) when I mention that I am personally not finding now issues ( I did, in previous times with AP) with blending as I paint. So, if painting more than some seconds, I'd get that quite smoother. is done with the mentioned "round smooth brush" , and you were correct, with other brushes IT DOES HAPPEN what you mention. But Even with the others, as I use my brushes with a very painterly technique, it does not affect my work. Each one's work is different, and for painting in a different style, probably these settings is what I would personally us ( is a 1920px wide pic, and can't be seen well what we're talking about if don't click to amplify to 1:1. The brushes used, which might be the key, are just at the right of that colored shading ) :

     
    I know I wouldn't have issues in doing smooth transitions work (the above is a very rough example of some seconds, tho) but it depends on the specs of each work. I can't know what each person needs in their professional work. I apologize if I assumed some of that.
     
    I have a NEC Spectraview 231 ( ~ 1200 euros, when I bought it, long ago). Kinda of a semi pro, but a low range one. It is very far from an Eizo of the professional gamma, which is extremely better in every area, but I did not trust the calibration it has from default ; I have a hardware calibrator and calibrate it often.   It does gradients specially well,  and I print stuff a lot, about the 90% of my output, and receiving the cards, covers, and full board games from the authors (the courtesy copy, sent free of charge) I tend to see with joy how, even in cheapo print companies, POD ones, or offset based, the colors end up very accurate to what I have in screen. I'd be to think I have an averagely fine system, but extremely far from a Photo lab level of quality. Good enough for all the people I send graphics to...
  4. Thanks
    Extended reacted to Frozen Death Knight in My attempts at tackling Affinity Photo painting/drawing   
    Apology accepted.

    Anyway, here are the brushes (you have to use the 1.7 beta btw). Bear in mind that they are not 100% identical to how the soft brushes work in Photoshop. Specifically the first few brushes in the file are built around a creating a smooth transition, so I recommend trying those. They're not perfect, but at least sufficient in my eyes.

    Also, my solution is not what I consider a permanent fix. I agree that the developers need to address these issues and I hope that something gets done about it, since basic brushes like these should work right off the bat with little hiccups.
    Soft Brushes.afbrushes
  5. Like
    Extended got a reaction from SrPx in My attempts at tackling Affinity Photo painting/drawing   
    @Frozen Death Knight  @SrPx
    I am very sorry that my work has encountered a problem temporarily, I have to solve it as soon as possible. our discussion may be postponed until 01/10/2019 I will be back!
  6. Thanks
    Extended got a reaction from SrPx in My attempts at tackling Affinity Photo painting/drawing   
    I don't have time to report this, I can only wait for them to fix it. The problem is a The logical mistake in design is not a bug.
    I really want to know how you solved the soft brush edge problem, I tried to solve it but it didn't work. Also I don't think you can really solve it.
    I am very sorry to disturb your thread. The problem of 111% scaling has no effect on me. So I will not open a topic for it. I care about the problem of soft brush edges. If you can really solve it, I am willing to open a topic for it.
    I sincerely apologize for my attitude. I promise a friendly attitude I did ignore the etiquette before this. I am very sorry.
  7. Like
    Extended got a reaction from SrPx in My attempts at tackling Affinity Photo painting/drawing   
    How did you know that I don't know its advantages? In fact, I know everything. I only say the shortcomings, because the advantages need not be improved.
    If you want to help me, then I am very happy. Accept your help. But the premise is that your help is good, not that it seems to be useless, even irrelevant to the problem.
    I know that I don't seem to have the grace and patience. I look rude. Because I just want to solve the actual problem, I don't care much about other aspects. If you understand, I am not as rude as you can see.
  8. Confused
    Extended got a reaction from SrPx in My attempts at tackling Affinity Photo painting/drawing   
    In my opinion, it's all like you are teaching for an idiot. I don't need you to teach me these things, I am an advanced user.
    Your signature has betrayed you, and you try to defend the AP. You are not objective, you defend it.
  9. Confused
    Extended got a reaction from SrPx in My attempts at tackling Affinity Photo painting/drawing   
    In my opinion, it's all like you are teaching for an idiot. I don't need you to teach me these things, I am an advanced user.
    Your signature has betrayed you, and you try to defend the AP. You are not objective, you defend it.
  10. Confused
    Extended got a reaction from SrPx in My attempts at tackling Affinity Photo painting/drawing   
    In my opinion, it's all like you are teaching for an idiot. I don't need you to teach me these things, I am an advanced user.
    Your signature has betrayed you, and you try to defend the AP. You are not objective, you defend it.
  11. Like
    Extended reacted to Frozen Death Knight in My attempts at tackling Affinity Photo painting/drawing   
    Not sure what you mean by that.
  12. Like
    Extended got a reaction from Alex_M in Selection tools : no improvements   
    It is almost certain that there is no support for gpu acceleration. I have some knowledge of computer graphics. In order to achieve gpu acceleration,  must use the GPGPU application interface, because the Windows version of APH only uses DX11 for rendering images to the screen buffer. So GPU acceleration does not exist.
    I heard that they are doing windows gpu acceleration, I know the code takes time.
    I seem to break the rules of the forum, thank you for reminder
  13. Like
    Extended got a reaction from Alex_M in Selection tools : no improvements   
    Gpu acceleration is an important feature missing in the Windows version of APH. gpu acceleration provides at least 10 times the speed, high-performance gpu acceleration is necessary.
    I also use the macos version of APH, where the metal has been significantly accelerated since 1.7, making full use of the powerful gpu. APH for windows can not effectively use gpu, which is a huge speed difference
    As far as I know, Adobe PS uses openCL, openCV, and openGL to speed up their applications on Windows, while APH for windows is empty.
    APH for macos metal gpu acceleration provides 10x speed for tools and filters and editing, sometimes even more
    The lack of gpu acceleration is slow in many cases, which is why gpu acceleration is so important, it is indispensable
  14. Like
    Extended reacted to hr.mu in Aff Photo: LAB 32 Bit HDR color mode please !   
    when developing HDR images there is the danger that with RGB color mode you get color faults, because RGB represents color and luminance in the same value.
    If Affinity Photo would enable a LAB 32 bit HDR color mode that would solve the problem.
    Because color and luminance are now separated, the large dynamic range of HDR images are mainly reflected in luminance. This prevents color faults during HDR generation.
     
    By the way, I like the way Affinity Photo is adressing HDR development in the workflow.
    However, because I quite regularly get color faults during development, I can not use it in many situations (see attached image as an example for such a color fault in the sky).
    In this case I use my LAB 32 bit based HDR development programm (Oloneo), which produces nicer color without color faults.
  15. Like
    Extended reacted to rubs in Constraints in Affinity Designer are seriously flawed - response required   
    The constraints in Affinity Designer are seriously flawed. To illustrate, I've attached a file that illustrates several problems at once. Here at least the following unexpected situations happen when trying to change or remove the constraints from the existing objects, or grouping them:
     
    Objects change dimensions; Objects change position; Objects get invisible; Objects change scale so they are not proportional anymore; Undo no longer restores objects to their original state; A change to a single object affects all similar objects although there are no symbols in the file.  
    I'm using AD for about a year now. As you may know, I've patiently reported these problems several times but unfortunately nothing changed yet. Please don't get me wrong, I love AD and I appreciate all the work you do. Since working in UI projects (which use lots of artboards, symbols and constraints) is the main reason I adopted Affinity Designer, I'm always trying to circumvent bugs that shouldn't exist in the first place, and these are among the worst. I think they are serious flaws and I'd very much like you to provide a solution.
     
    Thanks, and sorry for the long post.
     
    Bugs - constraints 2.afdesign
  16. Like
    Extended reacted to Ben in Christmas sneak peak for 1.7   
    Been working on a new transform tool....  It will allow you to transform a selection using points on their curve outlines.  It will also work with the new axonometric (isometric) planar functions, performing rotations on plane.
     

    TransformTool.mp4  
    More info in the new year.
     
    Merry Christmas!
     
  17. Like
    Extended reacted to TEcHNOpls in Redrawing fails, a lot   
    Hi,
    in my file I'm able to repeatedly get a redraw fail, where after changing one object I get transparent or black parts of image and I have to zoom in-out to get it redraw properly.
    Contact me so I can send you the file pls.
  18. Like
    Extended reacted to VectorWhiz in Brush number (type) reference   
    Currently no reference is shown anywhere as to what type of brush was used. Would it be possible to show the brush number or name in the Layers panel and in the brush' Mode adjustment dialog (both in AD and AP)? This would be useful if continuing a drawing after a break, because it would eliminate to search what brush was used before the break. Especially when a shedload of brushes is loaded / created this feature may come in handy.
  19. Sad
    Extended got a reaction from ronnyb in Link instead of embedding image   
    APh or AD only supports its internal link embedding changes, and internal updates are not updated when external files are changed (Adobe Ps supports external change responses in smart link objects)
  20. Like
    Extended reacted to LenC in LAB color space and user interface issue   
    I am a beginner in LAB attempting to apply the writings of Dan Margulis, who uses only Photoshop, to Affinity Photo. The LAB underlying functionality is mostly OK, but I have found that the AP user interface could be improved in several places. More experienced users, please comment.


     
    1)  In the Curves adjustment layer with LAB selected, the A channel curve is colored green and the B curve magenta. The appropriate colors are green left and magenta right for A; blue left and yellow right for B (with light or high luminosity on the right).
    2)  Creating a check box on the A and B curve windows for Intersect Midpoint would make it easier to construct color-intensifying curves. This is probably the most important basic move in LAB, and even Photoshop does not have this feature.

    3) The Input Minimum and Maximum default to 0 and 1. Though I have not found a use for these, shouldn’t they be -1 to 1 or -100 to 100 or -127 to 127?

    4) The Curves/LAB window’s second drop-down menu offers Master, L, A, B, and alpha. Is there a known use for ‘Master’ as in RGB? Nothing I have read about LAB indicates that there is. For that matter, is there any use for Master in CMYK? And how about ‘All’ as an alternative to Master in RGB? Furthermore, the histogram curves displayed for the LAB components here are not positioned the same as when one transforms the document to LAB and displays its histograms. May relate to previous point (3).

    5) Photoshop can display the graphs of the various color space curves with the light (high-luminosity) side on the right or left (one-click toggle). This option would be useful to people learning from Margulis’s books, which show dark on the right.

    6) Other Affinity users have called for improvements in the Curves window in general, not just for LAB: more precision and ways of placing nodes, a larger or scalable window, saving curves.  Because of the sensitivity of the A and B curves to small movements, a fine control on node dragging would be handy, e.g., option-drag would reduce the motion by 1/5 or 1/10. Perhaps it already exists.

    7)  A LAB curves user on this forum called for a keyboard shortcut to move among the channels. Why not? He needs efficiency in a much-used workflow application. In the same vein, having selected the color space, instead of a second drop-down, radio buttons for the three or four channels would slightly simplify choosing one.

    8)  In the Channel Mixer adjustment layer, the LAB window A and B sliders need appropriate coloring like the RGB and CMYK. Just for consistency.

    9)  The Levels adjustment layer makes sense in RGB, but I am not so sure about LAB and CMYK. Does this lead to a useful correction? (Please help me, advanced users.) If you push the existing RGB colors to the AB limits of +/-127 won’t you just create out-of-gamut colors that will have to be distorted back in RGB space? And is gamma defined for this color space? Also, in the LAB window, shouldn’t the correct labels for the sliders be, for the A channel, green and magenta, and for the B, blue and yellow. Similar questions for CMYK.

    10) The Apply Image filter and Channel Mixer adjustment layer seem as if they should have similar functionality, but their capabilities and interfaces are rather different. My understanding of Apply Image in Photoshop from Margulis is to blend or replace channels one at a time, sometimes across color spaces, but to do that in AP one has to create a gray scale image of a channel in a layer and make that the source. The destination seems to be all channels of a selected layer, or does one have to separate out those channels as well? The Channel Mixer is designed to specify a single channel as destination, but it appears the source must be in the same color space. Shouldn’t these two processes allow individual choice of source and destination channels in all color spaces? Are equations (Apply Image) and sliders (Channel Mixer) of equal value in practical applications?


     
    I don’t think this exhausts these issues, but this post has already exhausted me. My compliments if you have read this far. If you want to know more about Margulis, use a search engine or post here and I will try to summarize what I have earned from a large corpus of writing.
  21. Like
    Extended reacted to Jugibur in Link instead of embedding image   
    Linking an image instead of embedding it, would be useful if you're working on different documents with the same file, i.e. a logo in a design phase. So if you change that logo it will be respected in every file it is linked.
    Besides that it doesn't increase your Designer file, that could be crucial if you're working with large files and make a lot of versions / copies of your Designer file.
    I think it's like the new version of the Photoshop Smartobjects (CC version).
     
    Would be great if this makes sense to you too and isn't too hard to implement. Thanks!
  22. Like
    Extended reacted to dmstraker in Whither HSV?   
    I've just added a video about differences to my InAffinity channel:
     
     
  23. Like
    Extended reacted to Scott Williams in 1.7.0.209 HSL luminance problem   
    I will need to check how Photoshop handles this myself. But it just looks broken to me.
    You really need to get Photoshop and test AP functionality against it. This is your only real competition. In the end it does not matter what the reasons for design choices are. If it feels wrong to the end user then it is wrong.
    Sounds to me like you may be being fobbed off by the programmers. I was as a programmer for over 35 years. I know all about fobbing off producers. You need a producer who is just as good as the programmers at programming
     
  24. Like
    Extended got a reaction from Saijin_Naib in 1.7.0.209 HSL luminance problem   
    because according to the current design L=0, then hiding the L brightness channel is equivalent to hiding all the Lab channels at the same time.
    In fact, L=0 almost lost APh channel viewing capability in the LAB color space!
    Same operation, different results.
  25. Like
    Extended got a reaction from Saijin_Naib in 1.7.0.209 HSL luminance problem   
    The current APh Lab channel uses the L=0 algorithm when hiding the L-lightness channel, which is very unfavorable for image viewing (in ab hue). The user-friendly method is to use L=128, which will provide great visibility. Improvement just change a value of the code, this should not be too difficult. Adobe uses the same approach L=128
    or L=0 should this be the case?These modification are by design/intentional?
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