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  1. Add skin tones to black and white photos. Desktop version.Affinity Photo tutorial. Steal skin tones from other photos to colorize the skin on a black and white photo using gradient map levels and curves. https://youtu.be/vWynJ6YG1Do
  2. Hi ! Designer and Publisher Crashs when trying to convert a Table to curves. The table in question (a nutrimental table for a product) was made on Publisher and pasted on Designer, I tried to convert in curves cause a client want all the archive like that and that's when I saw the issue. Affinity Publisher 1.10.0 Affinity Designer 1.10.0 on a M1 Mac
  3. I don't know if this has been reported already, but thought I'd report my first bug 🙂 I discovered that if you set any kind of pressure profile on a path that has rounded sharp corners; it breaks the stroke of that path. Both lines have round caps and joins. Interestingly enough you get a correct result when you expand the stroke. I'm currently using Windows version 1.9.2.1035 Thank you Serif for such an awesome program!
  4. Theatrical lighting using the lighting filter - Affinity Photo beginner tutorial Power Tools 27
  5. After making a selection, I lose all graphical histogram representation in the curves tool. To recreate issue: Open file Make adjustment using Curves (histogram is shown) Create a selection (histogram disappears in Curves adjustment tool. Delete selection and problem still exists Delete previous Curves adjustment and problem still exists. Nothing I do, will bring back the original graphical representation on the Curves tool. This is happening on the current release (1.9.2.1035) as well as the beta (1.9.4.1065) OS Name Microsoft Windows 10 Home Version 10.0.19042 Build 19042 System Manufacturer LENOVO System Model 81Y6 System Type x64-based PC System SKU LENOVO_MT_81Y6_BU_idea_FM_Legion 5 15IMH05H Processor Intel(R) Core(TM) i7-10750H CPU @ 2.60GHz, 2592 Mhz, 6 Core(s), 12 Logical Processor(s) BIOS Version/Date LENOVO EFCN46WW, 12/4/2020 Installed Physical Memory (RAM) 16.0 GB Total Physical Memory 15.9 GB Available Physical Memory 9.47 GB Total Virtual Memory 21.4 GB DirectX version: 12.0 GPU processor: NVIDIA GeForce GTX 1660 Ti Driver version: 466.11 Driver Type: DCH Direct3D feature level: 12_1 CUDA Cores: 1536 Core clock: 1590 MHz Memory data rate: 12.00 Gbps Memory interface: 192-bit Memory bandwidth: 288.05 GB/s Total available graphics memory: 14269 MB Dedicated video memory: 6144 MB GDDR6 System video memory: 0 MB Shared system memory: 8125 MB Video BIOS version: 90.16.4A.00.78 Affinity Photo - Curves Bug.mp4
  6. I've been trying to work on mastering skin tones and removing colour casts. I've followed this tutorial but have had no success with my results. I can do all the steps but it seems I not able to nail down the right colour from the skin tone palette to match? I would love to be able to trust the numbers instead of my eyes as at some point my eyes start to deceive me. I love how you can just match the numbers with this method, I'm just need help figuring out which numbers to match. Someone else suggested using the vector scope and curves to keep an eye on my skin tone. I love how they explain that skin is really just grey and the blood under the skin is what gives colour and of course everyone's blood is the same colour. I've had better success with this, except it is still not getting me the right results. A lot of the time the colours do not light up just right on the skin tone line on vector scope. And when working with a very small area of skin, the vector scope window is super small with no option to enlarge that area for more precise viewing. I'd love to be able to see someone edit and colour correct skin tone using the vector scope, or just explain how to pick the correct colour for the skin tone palette method. Thank you
  7. I photograph and retouch rings and other jewellery. I've bought AP with the intention of getting rid of 12€/month Photoshop. However, while there are (more or less annoying and slow) workarounds for some of the missing features, there are a few things that AP simply can't do, which is rather infuriating because it means that I still have to keep paying Adobe to get them in PS. So here's a list: 1. A way to stroke a curve or at least to use it as a guide for a brush. Every now and then I end up with a photo that looks a bit too flat. To make the edges a bit more visible I create a path (curve) and then stroke it with a soft brush (20-30 % hardness) and then play with the opacity until it looks somewhat decent. AFAIK AP can render a curve but it does not have the ability to do that usng a custom brush. 2. Adding nodes to a path/curve without switching tools. I find AP's Pen tool to be more user-friendly than PS's version. but I'm missing the ability to add a node to an existing curve/path just by clicking on it without switching to a different tool. PS can detect when the cursor is hovering over a path to then create a node without connecting it to the end of the path. I'd therefore like to see the same feature in AP. 3. Double-click on a node to switch it from Sharp to Smooth and vice versa (like PS's Curvature Pen does). Yes, I know there's a keyboard shortcut for it, but it gets annoying when you have to do it every couple of nodes, and double-clicking on a node currently doesn't seem to do anything anyway, so why not use it for that? 4. Crop to selection, i.e. if the Crop tool is selected and a selection active, snap the crop box to it automatically. It's already possible to do this manually (by checking "snap to selection bounding box" and manually dragging the handles until they snap into place), so I don't see a reason why it wouldn't be possible to make this happen automatically. It would save people like myself who need to drop every photo like this a significant amount of time. 5. Fix saving tool settings. Even with synchronization enabled I still find myself having to switch the Inpainting Brush to sample from the layer below it every time I open a new photo. And before doing that I also need to Shift + J to get said Inpainting Brush instead of the Healing Brush. Why? 6. Limit the Exposure Adjustment layer's range. Nobody needs +/- 20 EV, especially when the minimum step on the slider is 1 EV. Make that +/- 5 EV or even less to get more resolution and make the slider actually usable. 7. Make the Noise Reduction more powerful. This is the exact opposite of the problem above. If I have a wristband or something like that with a lot of dust/scratches/fingerprints/etc., I use NR at maximum strength and minimum details to blur everything together on a new layer, then mask the edges and any details I want to keep to uncover the still-sharp layer below. Photoshop can get a decent amount of blur in one go, with AP I have to re-develop the layer 5 or 6 times to get the same result. All but 2 and 7 have been posted before (even 5+ years ago), and at least 4, 5 and 6 seem like they should be fairly easy to do, yet they're still missing. Why?
  8. Hello :) Not quite sure how to explain my problem, but here goes: I am working on a logo design and I used some curves and some type to make it. I would like to make it different colors, so I can present it to my client. The problem is, that I have to select all the curves and change the outline color for them, and then select the type (which I already converted to curves) and change the fill-colour. Is there any way that I can make the logo into a cohesive vector-file, so that I can select the whole thing and change the colour? This would also be helpful for exporting it, so the client doesn't have to deal with this issue, but can just change the color of it as needed? Thanks in advance! I'd really appreciate the help!
  9. After dividing the multiple ellipses, instead of required shapes, it caused 100’s of extra curves
  10. After making adjustments using levels or curves strange artifacts appear as lines on random parts of the image. I have tried this on various different images and the same problem occurs. The problem occurs after merging adjustments. Below I show a sample of what is happening. I have circled the artifacts in red. This is incredibly annoying and makes the software virtually unusable. I am using windows 10 and latest version of Affinity.
  11. I think that there should be a video showing how to use L.a.b. colour to rescue flat files. I used Photoshop for years for this purpose now I am getting to grips with the different process in Affinity. The present videos do not do justice to this powerful tool. I have attached a before and after edit which only took a couple of minutes using Curves in L.a.b. For your info they are in the South Australian outback. There is much more to L.a.b. and it is the main reason that I chose Affinity when I gave up Photoshop Eric
  12. ## What I Want & The Problem I want to create a large circle with smaller circles following the inner-line of the larger circle at differing positions on the inner-line; yet every time I rotate the smaller circles within the larger one they begin to either clip the larger circle (going over its edge) or become pulled away from the edge (going off of the path) at certain points. (Both circles are perfect circles) ## Approach I've setup ruler guides at the center points on the horizontal and vertical nodes of the larger circle and I snap the center-edge of the smaller circle to the larger circle's right-side node (without clipping) after that I take the smaller circle's "Transform Origin" and place it in the center of the larger circle; then I duplicate the smaller circle and begin rotating them individually around the larger circle by selecting a single small circle and the larger circle and then choosing the rotate handle. Whilst doing this multiple times around the larger circle there begins to be points around the circle where the smaller circles are no longer attached to the edge of the larger circle. Any help will be appreciated. Thank you, EC71PZ
  13. New image. New pixel layer. Soft brush. Blob. Curves layer above image layer. RGB. Select Alpha. Adjust curve. Works just fine. Drag curves to child layer position (mask or clipping). Doesn't work. Standard RGB curves work fine above and as child positions. I tried it also with Channel Mixer and this also only works for alpha adjustment in the in-line position.
  14. Hello, <deutsch see below> I have constructed a Bavarian flag (diamond flag) in the designer: - many rectangles 30 x 1000 directly to each other, grouping - Copy the group, rotate by -51° - Rotate both groups by +67° - Colorize half of the resulting diamonds in blue, the rest in white or transparent, so that the laser does not perceive it as a shape afterwards. This worked so well. I save this as a future base for Bavarian flags. Now I need a strip 170 mm x 40 mm of it. Rest should disappear or be finally deleted. For this I marked both groups and cut them to size with the cut tool. Here is the first issue: The rest still exists, it's just not visible. How do I delete everything around it completely? Now I want to punch a rectangle in this remaining strip. A font is then to be embedded in this rectangle. The punched rectangle must become transparent again so that the laser does not do anything here. Unfortunately, I fail completely. I can't get the transparent "hole" punched through the many individual blue diamonds. How can I punch out a shape from a large number of individual curve objects that actually affects only a part of the objects? Or did I go about it the wrong way? The important thing is that I can end up exporting an SVG that can only export the blue diamonds and partial diamonds and the font as curve objects. This is the only way I can tell the laser where to laser at all and where "nothing" is. many thanks I can also post partial results as files here. I just didn't know what I needed and didn't want to upload too much here. deutsch: Hallo, ich habe mir eine bayerische Flagge (Rauten Flagge) im Designer konstruiert: - viele Rechtecke 30 x 1000 unmittelbar aneinander, gruppieren - Kopieren der Gruppe, drehen um -51° - Drehen beider Gruppen um +67° - Einfärben der Hälfte aller entstandenen Rauten in blau, Rest in weiß bzw. transparent, damit der Laser das nachher nicht als Form wahrnimmt. Das hat so gut funktioniert. Das speichere ich als zukünftige Basis für bayerische Flaggen. Nun brauche ich davon einen Streifen 170 mm x 40 mm. Rest soll verschwinden bzw. endgültig gelöscht werden. Dazu habe beide Gruppen markiert und mit dem zuschneiden Werkzeug auf Maß gebracht. Hier ist das erste Problem: Der Rest exisitiert immer noch, ist nur nicht sichtbar. Wie lösche ich alles umliegende vollständig? Nun möchte ich in diesen verbleibenden Streifen ein Rechteck stanzen. In dieses Rechteck soll dann eine Schrift eingelassen werden. Das ausgestanzte Rechteck muss dabei wieder transparent werden, damit der Laser hier nichts tut. Daran scheitere ich leider vollständig. Ich bekomme das transparente "loch" nicht durch die vielen einzelnen blauen Rauten gestanzt . Wie kann ich aus einer Vielzahl von einzelnen Kurvenobjekten eine Form ausstanzen, die auch nur einen Teil der Objekte wirklich betrifft? Oder habe ich das Ganze falsch angepackt? Wichtig ist, dass ich am Ende eine SVG exportieren kann, die nur die blauen Rauten und Teilrauten sowie die Schrift als Kurvenobjekte exportieren kann. Nur so kann ich dem Laser vorgeben, wo er überhaupt lasern soll und wo "nichts" ist. herzlichen Dank
  15. Hi, I intend to realize a design from affinity designer with a laser engraver on wood. The design contains for example letters. I have converted these letters into curves. For the laser I now need a second version of this letter, shrunk by 1 pixel from all sides. I know this for example from Photoshop. There a selection can be selected 1 pixel narrower. Can I get that in the designer with a curve also somehow? Thanks for your help Regards Sepp Deutsch: Hi, Ich beabsichtige ein Design aus affinity designer mit einem Laser Engraver auf Holz umsetzen. Das Design enthält zum Beispiel Buchstaben. Diese Buchstaben habe ich in Kurven umgewandelt. Für den Laser benötige ich nun eine zweite Version dieses Buchstaben, der um jeweils 1 Pixel von allen Seiten geschrumpft ist. Ich kenne das zum Beispiel von Photoshop. Dort kann eine Auswahl um 1 Pixel enger gewählt werden. Kann ich das im Designer mit einer Kurve auch irgendwie hinbekommen? Danke für eure Hilfe Grüße Sepp
  16. I have a question about curves / shapes inside another (parent - child). When selecting shape or closed path containing curves, stroke modification change only parent item. To change children strokes, they have to be selected separately. When items are grouped, there is no problem - changing group stroke make effect on all items in group. Is there a way to change child property when changing parent, or to select both, parent and child, to apply format for all items.
  17. Hi, when using a RGB document and then a curves layer with LAB color space, affinity becomes totally slow. I added a DOF filter like James Ritson in his 1.9 Youtube today, when you mode the center it takes about 1 second to update. rainbow lab curves slow.afphoto
  18. What do the experts say: add a curves adjustment, select the alpha channel select the color picker Should the picker select the alpha or the lightness value to find which part of the curve to ajust? In my experiments, it selected the lightness, which might be not what you expect when modifying alpha. curves alpha picker.afphoto
  19. Hi!! Would you please give me some advice? A lot of times when I am trying to create a circle, no matter what I do, it ends up looking like a 3rd grader did it. As you will see the spiral at the bottom of the first S, I just cannot get it to look any better than that! No matter what I do to make it look better, it ends up looking worse than this! Could you please share some suggestions? Thank you! Wilson
  20. Hello, I think this is a bug but not 100% sure. In a nutshell, using the picker to create a curves node in a specific color channel (within the curves tool) does not place the node according to the color, but rather according to the overall luminosity. I'm using Affinity Photo 1.8.5.703 on Windows 10. I first noticed it with a photo I was editing in Lab Color mode, but I can repro with a fresh document with a simple color gradient. I've also reproduced it in RGB mode, but let me outline the steps in Lab mode: Create a new document. Convert to LAB Color mode. (I'm not sure if this matters.) Add a pixel layer, and fill it with a linear gradient going from {L=0 A=-128 B=127} on the left, to {L=100 A=127 B=-127} on the right (note the negative symbols). Add a Curves adjustment layer, and choose LAB from the first curves dropdown. Choose AOpponent from the second curves dropdown, and click Picker. Now, notice from my screenshots that if you use the Picker and drag from a point on the far right of the image, it adds a node to the curve. Note the LAB values of that pixel from the Info panel, and see that the A and B are complete opposites of each other. However, if you then do the same thing with the BOpponent selected, it adds the node to the same point in the curve. What I would expect here is that the node is added far to the right in the BOpponent curve, when the B is high for that pixel (and to the left when low).... and similarly for A. However, what appears to be happening is that it places the node based on the brightness (maybe the L value?) of the pixel, no matter what channel is selected in that second dropdown. I have attached my file so you can try yourself. Please let me know if I'm doing something wrong, or... if it's a bug, that would be great to know too! Thank you! :-) curvesGradientTest.afphoto
  21. Hello, I have just recently started getting into Affinity, and so far I'm really enjoying it! Today I wanted to try something a friend told me he does in Photoshop, but it appears (to me) to be buggy in Affinity. I have an image in Lab color mode. Create a curves adjustment layer (it shows as default the Lab "Master" channel). Switch to AOpponent channel in the curves dropdown. Click "Picker," pick a spot in the image, and drag slightly up/down to create a curve node. What I would expect here is a node on the curve corresponding to where that pixel lies on the A channel's axis.. but instead I seemingly get a node corresponding to where it is on the L axis. In other words.. If I pick a bright white cloud, I get a node way far to the right.. even though I've selected the A channel, not the L channel. And if I pick a dark pixel, no matter the color, I get a node way far to the left. If I pick a midtone pixel, I get a node near the middle. For fun, I converted my image to RGB mode and tried it with curves in RGB channels, and had the same result -- the picker picked seemingly based on pixel brightness, not channel value. I hope this makes sense. Perhaps I'm missing something and this is not a bug. :-) Thanks for reading.
  22. I made a series to curved shapes of increasing size that I would like to flatten into a layer so I can fill the spaces with different colors/gradients. I see lots of advice on converting raster to vector but not the other way around. Can Should I convert the curves to selections? I feel really lost here.
  23. Help! I created a logo using mismatched font sizes for a custom upper/lower case mix. I converted the text to curves, then manipulated using stroke weight to even out the marks. I was working away on white background and client has approved (and loves) this design based on seeing jpgs. I need to reproduce it as clean vector art and now discovered I'm in a mess of trouble. When I turn the stroke to "none"/invisible, the text bloats out. I'm stuck, any pointers or tips? Many thanks. -Karen
  24. I've been wondering, why there it no option to convert vector brushes to curves? I'm in Designer Persona, brushes supposed to be vector, but the only vector thing about them is that I can edit the trajectory of the brush. Yet, when I wanted to make a 100% vector file out of it, I realised that vector brushes are exported as bitmaps. So, even though the brush tool is labeled as "Vector Brush Tool " it actual isn't. This is all so mixed up - I would expect such behaviour only in Pixel Persona, not in the Designer Persona, where all should be 100% vector graphics. Any tip how to deal with it? Thanks
  25. I am trying to create a inlay template for a CNC router. It is a simple design of a cigar with trailing smoke. The pocket for the template consists of the outline of the design, filled with gray, no stroke thickness. The inlay is comprised of three different wood varieties. When trying to separate the sections of the inlay design into 4 geometric shapes, the fill function respects the curves rather than the individual geometric shapes. Any advice is appreciated.
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