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  1. 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.)
  2. 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!
  3. 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.
  4. 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.
  5. 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?
  6. 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
  7. 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
  8. 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
  9. 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
  10. 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
  11. 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
  12. 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.
  13. 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.
  14. 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.
  15. 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
  16. 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
  17. 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
  18. 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.
  19. After all these years I am really embarrassed asking this - but are there any keyboard shortcuts for scrolling through layer blend modes or shortcuts for choosing specific modes? I haven't managed to find any. But I can't believe that they aren't there somewhere ............
  20. I applied the Colour Dodge Blend Mode to a black logo (png) on top of a dark blue rectangle and it makes the logo a nice light blue colour. However, when I apply the exact same Colour Dodge Blend Mode to Black Text (also tried Rasterising it first), it is no longer visible at all. Why am I getting different results? Do Text Layers react differently to Blend Modes and if so, why does Rasterising it not make any difference?
  21. Herewith a little document containing mono and colour examples of blend modes in action. I find it useful to see relationships between different/similar blend modes. Also how weird transitions can happen! Monochrome blend is gradient black to white, from top to bottom above left to right. Colour blend is trickier, with green over red, with both fading differently to each edge (to black, white, grey and transparent). Top (blend) and bottom (base) layers are shown on the first page. Enjoy! Blend modes -- 2D visuals.pdf
  22. Hi, After recording a macro you can make blend mode modifications in the macro customizable by clicking the corresponding eye icon. However, unlike the opacity adjustment customization in macros, you can not assign a label to the blend mode dropdown that is displayed when the macro is played back. This is not particularly helpful, the macro dialog may have multiple blend mode drop-downs with no way to communicate their purpose or role. Please add a modifiable text label for blend mode customization in macros the same way as for opacity.
  23. Hi, I am looking for a way to control the opacity of lightening and darkening effect of blending a layer separately. Such as 10% opacity for darkening and 65% opacity for lightening. What I am NOT looking for - duplication of the layer and have the two layers blend with different blend modes. The problem is that the top layer would then be applied on the result of blending the lower layer, changing the final result. Another problem is that changes to one instance of the layer would need to be manually propagated to the duplicate. - blending based on the absolute luminosity of the current layer, or absolute luminosity of the lower layer. It is their relative luminosity which is important instead. One of the things this would enable is selective control of the opacity of the dark and light halos you get with Unsharp mask live filter. Thanks
  24. Still trying to figure out Contrast Negate. Would love for some kind and clever person to tell me what the algorithm is. Latest nugget: Duplicate layer. Add Curves to bottom layer. Pull left node all the way up and the right node all the way down. You now have the original image. Indeed, if you take an image and just do the curves inversion on it, the result looks like a Contrast Negate. So is it something to do with inverting the luminance?
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