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Found 470 results

  1. Hello, I've been using Affinity Photo for about 2-3 weeks now to work on a local client's comic book and I am extremely impressed with the efficiency with the program thus far! However I ran into a problem when attempting to remove the blue guide lines (margins used in comic book coloring). These lines are traditionally color coded blue, so that they're "easier" to erase while in a photo editing software and with Photoshop I had no problems erasing them. However I have tried multiple selection options with Affinity but all the magic wand does is either select everything else including the black or selects individual blue pixels and not the blue lines entirely. The blue itself is slightly transparent so that might be an issue? Here is what I did to get to this stage if it helps: Filters > Color > Erase white paper CTRL + J > CTRL+ E (to make the marker lines darker and then I just merged them together) Magic Wand tolerance set at 0%. - I mean I could always erase with a layer mask, but I would prefer a cleaner way to select and erase the blue in one go. Any thoughts?
  2. I am working changing the Sofware from the A.Designer to A.Photo, but when I do this the color in Affinity Designer are different of what it must, I attach a Video where I show this issue, and I put it here becuase sometimes when I export an image from A.Designer, it change the color and I already check all the options to corroborate that all are the same whit Affinity Photo and they are. RJpEnoA5N0.mp4
  3. Hi All, I have a photobook I originally created in InDesign, and am porting over (manually recreating) into Affinity Publisher. I am having problems around color consistency while exporting. When exporting to JPG, colors visually match between InDesign and Affinity exports. I am having issues when exporting to PDF. InDesign PDF colors visually match JPG exports, but for the life of me I cannot get the Affinity Publisher PDF colors to match. I have confirmed visually by opening both PDFs in same reader side by side, as well as actually physically printing (3rd party) on paper. They are washed out and dull in comparison. I am attaching a page of the book from both. Please tell me what additional settings you need me to provide. Cheers! Affinity Publisher.pdf InDesign.pdf
  4. Hey guys, I'm trying to make a black to transparent fading gradient, I drew a rectangle shape on 1/3 height of the page and use the transparent tool to click on bottom of the shape and drag to the top straight, midpoint set the standard 50% but on top of the shape, it appear to have noticeable edge and not completely fade to transparent and blend in to the background image, can you guys let me know how to settle this? I try to set the midpoint to 55% because I want the black are to be a bit higher and then make a second midpoint and set it to 45% and the edge don't noticeable much but because there's 2 midpoints, the gradient looks like a 3 bar with black, dark gray and light gray shading. And how do i make sure tire's no banding problem with amazon KDP print? Please help! Gradient Test.afdesign
  5. When creating a palette from the current document the colors are incorrect. Obviously they are generated from the screen display and not from the objects in the document. So it is impossible to create correct colors of some vector objects by this function. Instead the color is correct if you create an empty palette, select a single object and click add color or global color. AD 1.7.2 OSX 10.9.11
  6. Following an AP tutorial I have created my own swatches. I use 5 colours palette that to my judgment correspond well to what i see in the original (template) image. If this is not a case, the 5 colour palette by AP is incorrect, I create a swatch again with a higher number of colors and make my selection to limit them to again 5. When color grading with 5 colours I add 5 colours from the swatch palette very carefully by ensuring that the Location value on color grading scale matches the Lightness (L) value of the color an indicated in a window for color picker. When I copy the colour palette from the swatch and apply it to my own image the result is different as regards tonality. Some additional adjustments are needed to match my image with the template. However, it is almost never the same. Is it what correct? Using swatches for color grading does not guarantee that the image that is edited will match the template and there might be differences?
  7. Hi, I'm trying to fill a capital 'O' without filling in the middle of it. As seen in the attached screenshots. I found a post with the same issue, there they were told to select the individual curve layers rather than the group, and then change the fill mode in the layers menu to "Alternative (Even-Odd)". However, I tried this and it didn't seem to work. Is there something I'm doing wrong or something else that might work? Cheers
  8. Hey guys, I want to toggle between gray scale values up and down, eg in 5% increments or down without having to click on the swatches panel. It would allow for full screen painting/drawing while hiding the studio. Curious is anyone knows if this is possible. Thank you! Tobias
  9. It would seem that a RGB value of (0,0,0) does not result as a CMYK value of (0,0,0,100) as it should, but as a (72,68,67,88) CMYK value. A (0, 0, 0, 100) CMYK value is converted to a (35, 31, 32) RGB value instead of (0, 0, 0) To test this, you can simply switch from RGB to CMYK color mode in the color panel on a black colored shape Is that really a bug in the conversion formula, or am I missing something ?
  10. Hello all I evaluate AP 1.7 as a replacement for Lightroom but run in some very basic problems with raw file development. 1. When I develop one single raw file (DNG from Lightroom) AP writes a huge file (121MB versus 19MB original). This is no good. Is there a way to save the adjustments done in a fair way without using the alternative formats like tif, jpg etc. ? 2. I want to develop several raw files (DNG from Lightroom) at once with a batch process and saving them in jpg or tif for further processing. However, I do not manage to apply the individually made macro in Photo Persona to process the RAW files in Photo Develop, although I can select the macro. Possibly the macros are not compatible? How can I process several raw files the same way? 3. Is it still not possible in AP to save adjustments made in single raw files in an undestructive way? Thank you for your helpful answers. Best regards,
  11. So not sure how this is not done right in Affinity's programs. Global Swatches, are only in document, not available in application swatch palettes! I work in a high volume, fast paced shop, we have a number of what we would call basic or default colors we use in designing, and then tweak them from there. I have always been able to set up a swatch book in Indesign and use that swatch in all my work as a base. While Affinity has that feature as an application swatch, the colors once applied to items do not not retain any connection to the item as they should so color can be adjusted once for all items in the document that use that swatch, this is only available as a Global Color and will only work in a Document Palette, which I would have to rebuild every time. So while I really like Publisher in a lot of ways this is a really crimp on my movement away from Adobe, and is right up there with no step and repeat function (power duplicate is not the same thing) and not opening Indesign files (I know that is more difficult, but Quark can do it, so it is possible). I am also at a loss as how to get all my prints from printing so dark, no color management settings seem to change anything and all my photos come out extremely dark, but only when printed in Affinity Publisher, any other program prints perfectly.
  12. Is there any way to sync the color profiles between all the affinity apps? We have 20 seats in our office that need the color profiles prefs to be consistent throughout all the affinity apps. In Adobe Bridge we can set it up in bridge and all colors settings are set for all the adobe suite apps. Is there any way of doing this in the Affinity Suite of apps? Doing this makes the it easy for all the apps to be centrally controlled, maintained, and ensures the color profiles are consistent throughout the workflow. Setting them up individually makes room for something to be mismanaged or a setting being missed. This can be be catastrophic if somehow the wrong profile is used on one of our files when going to press. Is there a way to set up color prefs that transcends the other apps from affinity? Maybe I am overthinking this but, would someone tells me how this works when using studio link with different color settings?
  13. I just made up an ad (in Designer) for publishing in print, and my husband suggested that we need to see how it would look to a colorblind reader. It would be VERY helpful to have that in all the Affinity products! I do have ColorSchemer Studio, which does have the function of showing how your chosen colors would look to someone with different kinds of color vision problems. But I can't load my ad into it and see how the gradients would look, for instance. Maybe someone has such a program, and I'll go looking for one. But it would sure be great if I could check it within Affinity programs! Maybe you could find a developer who's doing this and pay him to incorporate his product into the global Affinity program.
  14. I have a simple document in Publisher with some images placed inside. After placing them inside the Publisher document, I have edited the images using the Photo persona, just tweaking the levels a bit. The image looks correct inside Publisher, but looks bad in PDF - almost as if the edits I made in Photo persona were not applied at all. I am exporting to PDF with the "PDF (for print)" settings applied. I have also tried setting the Rasterise property from "Nothing" to "Unsupported properties", which does seem to apply the adjusted levels to the image, but in an overly-corrective way. Just to be sure: I am trying to have the PDF look as the thing I see in Publisher. Could anyone push me in the right direction, please? source_file.afpub
  15. I have an issue with the Add operation in comparison to Illustrator. As of now, I don't believe there is a feature that allows us to select by fill or color, this prohibits me from being able to select only the black infill and then add or merge them together as one shape. In Illustrator, I can select by fill color, select "unite" in the pathfnder window (which I believe is the equivialent to "add" in affinity) my design comes out perfect. With affinity, since there is no option to select on by fill color, I have to select everything, then select "add" which fills in portions of the object with solid black.
  16. giantlobsterprd

    British summertime

    Tinkering during a slow work week. Inspired by the rain hammering against my office window.
  17. I have noticed a sizeable difference in color quality when printing the same photo using Affinity Photo vs. Photoshop, on the same printer, with the same settings. The colors I get from printing from Photoshop are truer to the original photos than the colors I get when printing from Affinity Photo. This is especially true of the blues. PS prints a wider range of blues than does AP. I recently printed a photo that had a lot of dark blue gray in it, and the print from AP was almost complete gray with little blue. Part of the issue seems to be there there are more color settings available in PS than in AP. In PS, you can indicate a rendering intent and check black point compensation. As far as I could tell, these settings were not available in AP. At the moment, I have both programs on my desktop computer but only AP on my laptop. At some point, I will no longer have PS available to me as it won't be compatible with further Mac OS upgrades. At that point, if I wanted to use PS for printing, I would have to purchase a subscription to PS which is something I don't want to do and the reason that I purchased AP. So, my questions are: 1. Does AP have any plans to improve its color management tool to get better color output? 2. Are there already color management tools in AP that allow for more fine tuning of color output, tools that I'm missing or unaware of? 3. Has anyone else noticed these differences and found a way to compensate for them, such as increasing the amount of blue in a photo with an HSL adjustment layer? This seems like a very hit or miss strategy, however. Thanks
  18. I have a Publisher file with color profile CMYK Coated FOGRA39 in which different Publisher and Designer files with the same color profile are embedded. In all of these documents I am using the same color palette and everything looks fine in the main publisher file. But when I export it as PDF same colors clearly have different shades, depending on wether an element was part of the main file or an embedded file. If I import the PDF into publisher again, all is fine again and same colors have the same CMYK values. But as I said, the PDF looks wrong on my screen. Any help is appreciated!
  19. Hi there.. I'm super new to designing and started using A.Publisher a few weeks ago. I've been designing a logo in RGB in Inkscape & using APUB to do all my file conversions especially for stuff I need in CMYK. I'm aware that CMYK colors will usually come out differently from RGB when it's sent to printers. Anway, I decided to just do a quick check on my colors and noticed that the CMYK values that's been generated by APUB don't match the RGB color's supposed CMYK color.. example. I have a color #134A84 which https://www.htmlcsscolor.com/hex/134A84 tells me should give me a CMYK value of 86/44/0/48 but in APUB, the CMYK value showing is 98/79/22/7 instead. When I plugged in the value of 86/44/0/48, I obviously got a different color and the RGB hex became #004B79. So I guess my question is, does APUB convert our RGB colors into CMYK to match what I actually see in RGB or is this a bug? This is a concern for me because I'm working on this for a client and want to make sure I deliver the right stuff. Thanks in advance!
  20. Affinity Photo for Desktop feature request: 1. Add a selection wand to select areas of related color when creating a mask, with +/- and antialias options. I use Corel Draw's "magic wand" to do this. I'd love to have this feature in APhoto.
  21. When I replied to this, I thought a bit more about the way color swatches work atm. I just don't think there is a need for a color swatch that is not "connected" to the objects that are using it. If I change a color swatch, I want to change all the objects that use it. InDesign does it this way, and it makes sense. I know that Illustrator does have "unconnected" swatches as well as "global" swatches -- but I never understood the reason for that. If there's a use case for "non-connected" swatches, please let me know I believe any such use should still be possible with "connected" swatches only. So all the swatches should behave as if they were a "global swatch". Or do "global swatches" have additional features that I haven't found out yet?
  22. Hello, I just started using some smoke brushes from the Affinity store. The brushes are black. How do I change the color of the brush, so that I can change it into white? Thanks
  23. I made a document with black Typo in CMYK. Defined color like: 0/0/0100 and exportes as PDF X4. Opened for Preflight in Acrobat and black is shown: 86/85/79/100. What can i do that the color i define ist the same in the PDF? I tried all Options and there is always the same mistake
  24. Hello guys, I'm on the latest 1.7 version in Affinity Designer. I noticed that when i select a color by dragging inside the color picker box i end up getting 3 different CMYK values as shown in the screenshot below. I think this is a bug, unless i'm missing something. Can someone explain what's happening? Thank you. Edit: When i minimize the Program window and then maximize it, it shows the correct color in the large picker box, but it doesn't refresh in the color tab on the right until i select another object.
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