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  1. I found a pic of a wall-mounted sundial at Norbury Manor in Derbyshire in my old photos. (It's a National Trust property, and open to visitors from time to time.) It was erected as a memorial to (I think) the former owner, who died in 1987. I've changed all the inscriptions in the foolish hope of looking clever. The base colour is 45/38/71 in HSL . . . and I found a grungy texture in my collection (this is a reduced copy) . . . and after some playing about, I found an opacity or 25% and a blend mode Colour Burn gave me a pleasing marble-like effect. For the incised text, I darkened the fill slightly and applied an Inner Bevel/Emboss FX using the first (triangular) profile, inverted. I adjusted the radius till the bevels met in the middle, making the letters look as though they'd been carved.
  2. To be sure, I won't include the actual copyrighted material, but I've included examples below to clarify my question. I have a high-resolution map of an area in black and white, and then a color version in lower resolution. I want to merge the two images, to get a more detailed map combined with color information. Figure 1 and 2 are the two sample images, and figure 3 is when merging them with the color blend mode. It does not give a proper result, with missing and washed out colors. Examples would be the orange roads completely disappearing and lines in the Wellington Barracks area disappearing, in addition to a generally washed-out image. No other blend modes give a good result either, but I might be missing something important. Figure 1: Figure 2: Figure 3 (merged BW + color):
  3. In total I have 3 objects in the file: a placed PDF, in passthrough mode, the lowest object on the layers panel above it, a vector square which completely covers the PDF above that, a smaller square set to Blend:mode erase Both squares are combined into a group. This creates a negative mask, punchin out the shape of a smaller square from the bigger one, leaving a frame through which you can see the PDF underneath. Here is a problem - on Export as PDF, the Erase blend mode doesn't work, and the frame now only show the white square, you cannot see the initially placed PDF file at all. This problem seems to be specific to a placed PDF - if I create any vector objects myself, they are exported correctly and can be seen inside the frame.
  4. Dear Community I'm getting wrong results withe the same .APHOTO file using the Mac version (1.10.5 and all before) of Affinity Photo. When I use Blend Mode: "Darker Color" in Layer Effects it only works correct with the PC version. Settings (for the red square): Result on the PC (desired): Result on the Mac (buggy?): I also attached the source file. Can anyone reproduce the error or is it only on my machine (MacBook Pro running MacOs 12.3.1)? afphoto-shadow-darker-color-test_01.afphoto Additional fact: When I switch to Affinity Designer (1.105) the result is correct. I would really appreciate equal results for equal settings on both systems. Greetings, Henry
  5. So I have this cross I am trying to make become a part of the skull curve, so skull and the cross are all just one shape/curve, and so it has the same transparency as the eyes, nose and mouth have now. Presently, the blend mode of the cross is set to erase. I have tried selecting the cross and the skull curve and just hitting merge curves, but that just turns the cross white and you can’t see it at all. What am I doing wrong? Thanks!
  6. This is mostly for the sake of lighting. Colored lighting looks nicer if represented with highlights tending towards the lighting's color and shadows contrasting that lighting's color; or, to put it another way: for the sake of highlights, I'd want to be able to change the hue to be the average (weighted average, if taking into account opacity) of the blended layer and the underlying one (so with resulting hue = (underlying layer's hue + opacity of blended layer * blended layer's hue) / (1 + opacity of blended layer) as the formula) for shadows/shading, I'd want the resulting hue to be like the hue of the blended layer was subtracted from that of the underlying one (so basically operating on the formula of resulting hue = underlying layer's hue - opacity of blended layer * blended layer's hue, wrapping around at the 0/360 point) This seems like it should probably be an obvious application of blend modes, but I have so far not been able to figure it out, so I'd appreciate any help people can give. I'd sort of hoped the Hue blendmode would work for this, but it changes the luminance more than the actual hue.
  7. I know that it's possible to do some tricks with using a copy of the layer one wants to apply a blend mode shape's effect to (optionally kept synchronized with the symbol feature) as a mask for the blend mode shape, but that's circuitous (and somewhat lag-inducing when that means copying complex layers) and is a lot of effort for something that workflow-wise should probably be fairly simple, so it makes me feel that I'm probably missing something when it comes to the correct way of doing this. To clarify, let's say I have a shape A that I want to apply a shadow to using shape B (which has its blend mode set to Multiply), but I don't want shape B's darkening effect to apply to any part of shape C, which is beneath A. Do I need to make shape B match shape A's, well, shape perfectly (either via use of a copy of shape A as a mask, or via manual editing), or is there a trick to get Affinity Designer to ignore the effects of shape B on shape C, which is outside of the A-B group? Below is a picture showing the situation, with shape A being the green circle, shape B being the darkened circle above it, and shape C being the red rectangle; left is what happens if I don't edit the shape down (regardless of use of groups), right is what I would like to have happen.
  8. I am applying a bilateral blur filter for sharpening and the process requires blending one of the duplicated layers to vivid light and then inverting it. How does this translate to Affinity iPad i.e. how does one invert a blend without the desktop shortcut of Ctl-I?
  9. If I understand the Divide blend mode then the attached seems incorrect for two identical layers. That with the exception of black or 0 areas, everything should be x/x=1 or white. Both Difference and Subtract blend modes produce the expected black or 0 results. ColorPattern.afphoto
  10. Hi, the "difference" blend mode is great to spot any differneces between 2 layers. Identical pixel blend to pure black, any difference are rendered to non-black, which can be amplified by a levels adjustment. Unfortunately, this will only work when alpha is 1 (pure white). Otherwise, he blend formula will lead to non-zero results for color and below-one results for alpha, making this useless for spoting differences. My question: Is this by design? To be useful for spotting differneces, i would expect it to deliver RGB=0 and alpha=1 if both layers have equal RGB and alpha values, for those cases where alpha <> 1, too. In the picture, you can find a gradient in the bottom from white to black, 100% opacity In the top, a copy of the gradient with 50% opacity On the left, the original gradients. On the right, i added a copy with blend mode "difference". As you can see, only the right bottom quarter shows pure black as expected. The right upper quarter shows non-black, even if the layers are 100% identical both in RGB and alpha. blend mode difference and alpha.afphoto
  11. Pop Art Face comic style. Affinity Photo Tutorial requested by one of my Digitally Fearless subscribers. This tutorial uses blend modes, FX and a double half tone. https://youtu.be/9R1w1pRsAgU
  12. Grunge Art in Affinity Photo Affinity Photo video tutorial adding photos and text to create a grunge style photo manipulation with the use of threshold, perspective, artistic text, overlay, blend mode and more. https://youtu.be/YaPtXfZ9iYs
  13. Hello: I've been using Affinity photo off-and-on for about a year now and still can't figure out how to place the black/white swatches on the front working space. I have to open the swatches panel to get to the black/white swatches. I'd like to add them to the tools panel so I can easily access them when using masks, etc. I recall seeing a screen shot of an Affinity Photo user's setup that had the b/w swatches on the working space so I know it can be done! Help! Also lest I forget! Please consider a "dissolve" blend mode! I use that mode all the time (ps cc) to help with color editing. It is divine for cleaning errant color blobs. Too, is there a way to import PS CC LUTS to AP? I am a hobbyist and have been using the GIMP, PS (since cs6) and now Affinity Photo for just about ten years now; I really like Affinity Photo and encourage everyone I can to give it a shot. I've worked with PSP, Krita and Inkscape; also Raw Therapee and Dark Table but mostly to explore and better understand images, lights/darks and color. Thanks much Silver711
  14. I'm using version 1.8.3.641 on a Win 10 PC. I've followed the tutorial steps 3 times using the downloaded photo and each time I do not get the changes in the Blend Options that are in the tutorial around 6:50 min. When I look at the screen on the tutorial and in my desktop's Affinity, they look the same except that the changes to the lips do not occur in my Affinity. Any idea what the problem could be? The tutorial is "Create Realistic Lipstick! Affinity Photo Tutorial" by Affinity Revolution. Here's the link: https://www.youtube.com/watch?v=pbYVFmxO87U&t=456s I'm attaching the photo file with the history. Woman-Model.afphoto
  15. I have read many threads on this topic but cannot find what I am looking for. For example, in my architecture work I want to simply use layers in luminosity mode and brush in the luminance (brightness) of a window layer. This is quite common in PS and ON 1 Photo Raw. However, when using this work flow on Affinity 1.7.3 the luminance (brightness) of the layer I am blending in actually produces the color of the layer and not the brightness. So for example if the window I am blending in has some yellow color cast the yellow appears in the blended layer instead of just a brightness. This is true for shadows that are blended in also. Can anyone tell me if I need to use a different blend mode to achieve brightness or shadows without a color cast or is there something additional needed in the luminosity blend mode to achieve brightness/shadows without a color cast.
  16. Affinity Photo tutorial on how to add a pattern to clothing. It demonstrates how to resize a pattern and show the folds of a pattern.
  17. I've brought this up a few times on the forums, but (and I'm getting desperate here) pleeeease add Dissolve to the Blend Modes list for layers and brushes - pretty pretty please! The tedious workarounds to achieve this effect simply aren't the same, and not nearly as effective. Dissolve is the easiest way to turn any, otherwise normal, brush into an amazing textural experience, and was one of the most used features for me in Photoshop. Dissolve played such a big role in my work that I've had to adapt my style completely after switching to Affinity, and I miss it dearly. I even took the time to record this little screen recording I'm working on to show why it works so well in Photoshop (just watch at 2x speed to save time): https://youtu.be/pywfxxuXaCc All I used in the video was a plain old, run-of-the-mill soft/feathered brush, but with Dissolve set as the blend mode. As you can see, it instantly becomes a magnificent texturing machine which has SO many practical applications, especially in creating digital illustrations. I've also seen it used excessively by some really big names in the creative industry, such as Matt Taylor (http://www.matttaylor.co.uk) and Studio Muti (https://studiomuti.co.za), just to name two heavy-hitters. I can't imagine it being very difficult to add another blend mode to the list, and I've been checking for new beta's daily hoping that dissolve made the list of added features. Please add it, for me, for others, and even for this poor, misunderstood zombie dude who would have been lacking a lot of gritty shading if I had painted him in Affinity without dissolve.
  18. When I set an object inside another as a mask and then set the inner object to Erase blend mode, the primary object shows a hairline outline. See attached example files and screenshot. I am on a Mac using Affinity Designer 1.7.1. This happens in any document. It does not show when exporting to bitmap formats and not in all cases exporting to vector formats (SVG, PDF, EPS) This is my first time using the Erase blend mode, so do not know if the bug previously existed. Thanks Erase bug.afdesign Erase bug.svg
  19. Why when I place a vector object over another object with the blending mode is set to erase I can still see the online of the object underneath? The edge of the circle is still visible when the rectangle is being used as a vector mask and set to erase. This happens also to the edge of photos as well when I select this type of blending mode. I thought it may be a screen artifact, but it prints as well.
  20. When I use layer blend modes, I can chose from a list of modes ... that is nothing new. Is there a description available, of what those modes actually do??? And I do not mean this mode lightens up etc. I want a more mathematical view like: For the sake of explaining lets assume we are talking about RGB colors, so rgba values. The function F_Mx is the function for blend mode Mx, it takes the pixels color values C_b(P)=(r_b, g_b, b_b, a_b) which is the color value of the pixel below the current layer and C_c(P)=(r_c, g_c, b_c, a_c) which is the color value of the pixel in the current layer, i.e. F_Mx(C_b(P),C_c(P)) = <insert formula here> This would help me very very very much, to wrap my mind around it, the blend mode names are in itself not explanatory enough (and yes, I am in the Asperger spectrum). Cheers, Frank
  21. Hi there I find it quite useful using a recolour layer and a really bright colour (like lime) to highlight specific selected areas using the Blend Options interface. My thinking is if I use the recolour layer to show my selection is there a way to copy that across to say a Curves or Levels layer so I know exactly what I'm adjusting? Look forward to any reply. Many thanks Andrew Busst
  22. I've revived a few photos from my archive, using some texture images I've collected -- mostly from legitimate free sources with no copyright issues. These three are of an old trumpet I bought a few years ago. It's no longer playable (and I couldn't play it if it were) but I thought it was photogenic. These three pics have two texture layers, added one at a time, and I tried various combinations of blend mode and transparency till I found one I liked. I think the first one and the third one have something of a nineteen-fifties feel (I was there ) ... This one reminds me of an album cover, but I can't think which one. Do let me know if you do! Here's the first one in afphoto format if you want to see exactly what I did ... 0920z.afphoto
  23. I miss this Illustrator-function. Input: Overlapping shapes with different colors and blend modes. Output: Cut out shapes for each intersected part affected by colors below, color equivalent in normal blend mode. (No rasterizing, no pixels.)
  24. If I'm editing a mask with a brush, then I would expect the blend modes to work like they do when I'm normally painting a layer. Examples include: Brush with White Color and Overlay Blend Mode should help fill in white parts of the mask, without revealing/coloring parts that are already black. Brush with Black Color and Overlay Blend Mode should help fill in black parts of the mask, without hiding/coloring parts that are already white. Works best with a low flow For clarity, these do what I expect if I just paint with black and white on a normal pixel layer. But none of the blend modes do anything when painting on a mask.
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