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Found 92 results

  1. Workflow Bundle: Shortcuts, Macros, HDR Tools & Brushes Hey all, I'm very happy to be posting this collection of tools that I hope will benefit your workflows in Affinity Photo! This toolset contains custom shortcuts, macros and brushes that are designed to enhance and speed up a variety of different workflows, from typical image editing to more complex masking scenarios, archviz scene creation, HDR image mastering/tone mapping and more. The bundle includes each resource in a separate folder and can be downloaded here: https://affin.co/workflow Here is a quick overview of what this pack features: Workflow Shortcuts Introduces a number of custom keyboard shortcuts designed to speed up image editing workflows, including: Layer manipulation: showing, hiding, rasterising, mask creation, fill layer creation, flipping and flopping, rotating. Layer stack manipulation: moving layers inside/outside of other layers, insertion inside for next added layer (great for clipping adjustment layers/live filter layers). Matting, filling with primary/secondary colours. Flattening the document, placing embedded documents/images. Quickly creating specific adjustment layers and live filter layers including Live Perspective on Ctrl+T. Pixel selections: selecting partially transparent, sampled colours, saving to spare channels. Rotating the canvas in 15 degree increments, resetting the rotation. Toggling various functionality panels e.g. Macro/Library panels, 32-bit Preview panel, Scope panel, Assets panel. Setting fill to 50% grey, resetting fill to black & white. Workflow Aids Macros Provides a set of macros to speed up common operations that power users might use. These macros make extensive use of the Procedural Texture and Custom Blur filters as well as channel and masking manipulation to simplify what would otherwise be time-consuming actions. The available macros include: Automatic mask creation from layer content with adjustable black and white thresholds to tailor the strength of the mask. Useful for Z depth passes (3D renders) and depth maps (dual camera smartphone images). Fast alpha matte creation from white, green, blue and red backgrounds. Great for cutting out stock imagery non-destructively. Mask creation macros: create mask layers from tonal ranges, alpha ranges and colour ranges. Smoothing: Subtle Gaussian smoothing, both cumulative and luminosity-based, to reduce over- sharpening on stock imagery and out-of-camera JPEGs. Various filter masks: create edge detail masks from laplacian, laplacian of gaussian, directional, sobel and prewitt filters, as well as luminosity and LAB lightness selections. Selective sharpening, local contrast, high pass and clarity filters: quickly set up inverted live filters which you can paint onto to reveal their effect. Retouching Setup: set up frequency separation with multiple high pass layers and additional non- destructive retouching options (vibrance, tonal crunch etc). Channels to layers: convert channels to greyscale layers, mask layers and colour data layers. Channel isolation: quickly isolate red, green and blue channel data onto separate pixel layers. Curves with blend modes: quickly add an entire group full of Curves adjustments that use every blend mode available, allowing you to easily experiment with each option. Rasterise and Inpaint Alpha: quickly trims the canvas bounds, creates and grows a selection based on antialiased transparent areas, then inpaints. Great for when you want to quickly fill in alpha areas created by rotating an image (e.g. when you correct the horizon level). Red/Blue Channel Swap: performs a channel swap with additional user options for infrared imagery. Filter Effects Provides a set of macros for creative and functional filter effects. These include: Tonal compression for recovering contrasty images or expanding dynamic range. Technicolor (2-strip, 3-strip) and Infrared emulation
 Infrared channel swapping for actual infrared imagery with various controls to help produce punchy and vibrant results.
 Textured Mist/Cloud effects: combine with masking to add cloud texture to a sky, or give the impression of fog or haze on a landscape.
 Live Solarise: create a non-destructive solarise effect, control its angle and intensity, then use blending options to change the tones in your image.
 Halftone Effects including diagonal lines and continuous dots.
 Light Leaks with controllable positioning on canvas.
 Dissolve noise and diffuse effects to emulate a Dissolve blend mode. Warm and Cool Tone filters as an alternative to the White Balance adjustment. Workflow Brushes Provides two new brush categories, Masking and Shadows, designed for quick access to suitable brushes for composite and architectural visualisation work. Masking brushes: Soft round brushes at preset sizes (64px, 256px, 1024px) with tight spacing and full flow. Ideal for consistent brush strokes which are required when painting on and off mask layers. Soft and hard edge variants provided. Textural brushes with dynamics to randomise X/Y spacing and rotation. Great for more realistic blending with cut out layers. Shadow brushes: Oval shaped brushes at preset sizes (64px, 128px). Saves having to create custom brushes with modified shape and rotation. Square shadow brushes for diagram and plan work. HDR Authoring Macros to help author HDR (High Dynamic Range) content and tone map it to SDR (Standard Dynamic Range). The tone mapping to SDR and nonlinear to linear transform macros can be used with SDR displays—the other macros however are intended for use with HDR or EDR displays where the extended brightness values can be displayed. The macros include: Tone Map to SDR: tone maps values exceeding 1.0 (SDR range). The user can tweak the aggressiveness of the tone mapping and also the scale to suit the type of document/image. Tone Map to SDR Advanced: performs tone mapping to SDR but provides additional user options like separate shadow/highlight mapping, brightness/contrast control and local contrast enhancement. Clamp Max HDR Brightness: restricts the headroom (dynamic range) of the HDR document and clamps it to a specified brightness value. Clamp Max HDR Brightness RGB Mix: as above, but with individual control over how the RGB colour channels are clamped. Filter Only HDR Values: filters through only values above SDR, which is useful for visualising the HDR values in a document. HDR Colour Map: visualises the HDR colour contribution and colour crossover with the ability to modify the threshold for the RGB channels separately. Nonlinear to Linear Transform Correction: Affinity Photo will typically use a non-linear view transform even when in a 32-bit linear colour space—this is so the user can see how the image or document will look when exported to a non-linear format like JPEG/TIFF/PNG etc. However, 3D artists will usually want to have a ‘linear’ look to their render so it looks consistent with what they were working on in their 3D software. Simply run this macro to add a Procedural Texture live filter that performs a gamma transform to achieve this. You can then export your renders to TIFF/JPEG etc and have them look correct. Linear to Nonlinear Transform Correction: included as a reversal to the Nonlinear to Linear transform above, applies a non-destructive non-linear gamma transform. ---- I hope you find the above useful, and in case you missed it, here's the download link again! https://affin.co/workflow Any feedback and/or suggestions are always appreciated.
  2. Hey, here's my "Masking & Layering Hair in Affinity Designer" - Not a beginner friendly tutorial 5 tips for layering and masking hair (or other objects) in vector. Listed in the order I like from most to least. Apologies for the mic pops, I'm working on a better setup.
  3. Hi, I’m Relatively new to Affinity Photo (both on iPad & Mac), and have the same problem on both platforms. I hope i’m posting this question in the right place. I’m trying to make a mask that targets the sky in the attached image (including the small areas in the roof parapet and the gaps in the trees). I have: Created a luminosity mask (see image 2), that I now want to adjust from being grey scale (see image 3) to pure black & white l’ve created two child layers to the mask (curves and levels) and set them both to target the Alpha channels - see image 4 (I know I can paint on these masks to further target the areas they are applied to) The problem that I have is that I can’t find a way to visualise purely the mask when I’m adjusting the curves / levels layer. When I put the mask layer into ‘Solo’ mode - I can only see the original luminosity mask, and can’t see the impact of any changes to the mask that are caused by the curves / levels adjustments. Is there a way to do this, or am I missing something? Is there a problem with the workflow I’m using? Any advise, hints, tips or pointers will be much appreciated. Thanks..... Bernie
  4. I have installed the new 1.7.2. and have opened the last file working on..... did see only grey place until I have unchecked all layers with MASKs! Mask totally do not work! Please how can I quickly return to previous version, this is a TOTAL SHOW STOPPER! Thanks Jindra
  5. Hi all, I have this strange thing going on. Masks are horrible around the edge, in general. I have also found if I use the refine mask function, the edges are exceptionally awful. I can see the brush marks and a weird outline. I made sure that I was using a "basic" brush (no textures), so I don't know what is going on. I have attached three views of the image I was working on, and also an AP file that I create as a test to confirm what I was happening. I apologize for the lack of proper terminology here, I don't use masking much and so my description to the error may be a bit vague. MaskingTest.afphoto
  6. How do you make a vector mask containing a hole in Affinity Photo? Assume I want to mask a photo of a doughnut in Affinity Photo. I want a vector mask so I can modify it with precision at any time. I use the pen tool to draw a closed curve around the perimeter of the doughnut , then fill the curve black. I present my filled curve to the doughnut layer and get the short blue vertical line. The mask works as expected, but of course the hole has not been addressed. How do I deal with the hole? Nothing I have tried works, except the following: I draw another closed curve for the doughnut hole and fill it black. I position this layer below the doughnut / mask layers described above, and change its Mode to Erase. Now I have the doughnut , a transparent background and transparent hole. This is exactly what I want, with the ability to edit both the doughnut perimeter and the hole, using the node tool. This technique seems to work well, but it feels like a work-around. Is this the only way to make a vector mask containing a hole?
  7. Single 43mp photo, attempting to give background more blur, crash occurred as I was painting the filter to mask certain portions.. screen went black. As I tried to explain during beta testing and seemed to not be acknowledge, there are problems when using some of the new functions that were not a problem in the previous 1.6. new HDR Merge and now New Panorama, and for some reasons what should be simple applications of filters. program seems to be overwhelmed and I ask again, is the RAM required to use these filters and functions being released. i recommend your products to all that listen, those that are fed up with adobe, but this new 1.7 is really disappointing. All of the above and others worked like a hot dam in 1.6, but now I am not pleased. if you would like the photos, let me know so that you can use them to test for yourself iPad Pro (3rd gen) 12.5”, 1T, 6GB iOS 12.4 Sony a7r3, 70-200 G lens {%22app_name%22:%22Photo iPad%22,%22timestamp%22:%222019-08-20 22:08:37.88 -0700%22,%22app_version%22:%221.7.2%22,%22slice_uui.zip
  8. Hello Affinities! First, I have to say: I really enjoy using Affinity Photo for "finishing" my landscape photos. Thanks for such a great product. Yesterday, on my Windows 10 desktop computer, I updated to Affinity Photo 1.7.2.471. I opened a rather complex file and instantly noticed different rendering of the photo. I used an levels adjustment layer and a gaussian blur live filter in a group to create an orton effect. I reduced opacity and I put a masked on the group. While painting with a black brush on the white mask, a checkerboard pattern occured. I simplified that. A loaded a photo, created an empty pixel above put it in a group and masked the group. Paining the mask leads to the same effect. There seems to be an bug in masking a group or is this a rendering option I can disable in the preferences? Thanks and best regards, Jens
  9. Hi. I am attempting to place an animal on to a new background. The one I've shown here is just a practice run using a tiger that had a lousy background but the photo isn't what matters, I chose this one because it is difficult to mask. I have 2 layers; the tiger and the background are different layers. I masked the tiger out of the background and refined the selection as best I could figure out on my first attempt in Affinity Photo on iPad Pro. However, I am struggling with a few things; getting a better refined mask and fixing that slight light edge on the tiger. So I'm hoping for any suggestions for fixing this or a link to a tutorial. I've searched but not found a tutorial that covers selective darkening (brushing an area to darken it) and how to get perfect masking around fur. Thanks for reading and I hope this made sense. Martin
  10. I've had this issue for a long time and haven't been able to figure it out or find any help topics about it. I mask an image (that is larger than my document size) in Affinity Photo. I select the object in the centre of the image and then use Refine Selection to adjust the selection. I then hit Mask and it masks the object onto a transparent background, which looks the way I would like it until I export it as a png or put layer effects onto the masked layer. When I export it as png i get the transparent background, but for some reason the mask didn't get to the very edge of the document, so I'm usually left with a sliver of the image. This gets really frustrating as I have to manually go back in and move the image around to mask off past the edges of the document. Does anyone have an idea why this happens or how I can resolve the issue? I doesn't happen with Photoshop. The only thing I can think of is opening the the original document and masking that to the edges, then copying the masked image into my final document, but I feel like this extra step shouldn't be necessary. Anyone else have this issue? I've attached a couple of screen shot to show you what I mean. Thanks for your help!
  11. I am trying to get a sort of contrast negation where I erase the part where 2 shapes intersect. In my first example, I placed both circles in a group and I apply an Erase blend mode on the first. This totally erased the other circle from the intersection point. In my second example, I use the contrast negate blend mode and it gives something closer to the result I want. I want it to erase the intersection area but retain the other parts. How may I do this? i.e that teal-like color should go away and take the background gray color.
  12. From the screenshot and the Designer files attached, I'd like to achieve a sort of masking between a triangle and an empty circle with a large stroke: I'd like to mask the part of triangle that crosses over the circle. I managed to do it on the top drawing but only by applying a white fill in the circle. Which isn't smart, is it? I'd like to keep the transparency. So, how do I do that from the bottom drawing? tri-cir.afdesign
  13. Hi there, I can't seem to find the right combination of keywords to find what I'm looking for, I'll try and explain as best I can (I'm migrating from Photoshop, so I'll probably be here a lot, lol. I'm attempting to see if i can achieve the same results in the vector part of the program that I would normally get from using photoshop): (Draw Persona) The effect I'm looking for is like when you would clip a layer (above) to the layer below in Photoshop. What this would do; Top layer would mask itself to whatever layer was below it (IT HAS NO EFFECT ON THE BOTTOM LAYER). By doing this, I can edit the bottom layer in any way that I'd like and the 'clipping' on the top layer would automatically adjust to the shape of the layer below it. In Draw Persona, what "Mask to Below" *ACTUALLY* does is clip the bottom layer to the layer you're "clipping" and thus is not the effect I'm looking for. Additionally, When applying masks to object that have effects on them, for some reason it wants to by default mask in the effects too (i.e drop shadows and glows), if there a way to turn this off, I'm used to not having it clip or mask to effects on the layer at hand. Thank you in advance. I shall do as much research as I can, but it seems Designer is more different than I expected, so finding ways to achieve what I'm used to will be tough. See you again soon. :P
  14. I have a file I made in Affinity Photo on my Mac and it has a layers mask where I drop an image under some text and the image is masked into the text. When I use the same file on the iPad the mask does not work. I drop the image under the text layer and nothing happens. Are layer masks supported on the iPad? What am I doing wrong? Thanks.
  15. I've been looking for the solution for this for while. If i have an image masked by a vector, how can i edit the vector without stretching the image? eg. in illustrator i'd use the node tool and it would only effect the frame, not the content
  16. I can't find a video that explains how you can make a mask of say a tree with the sky being visible through the branches - so that only the tree with its branches is selected but not the glimpses of sky in between. In On1 you have something called the perfect brush which has AI behind....
  17. I have two curve layer adjustments for my dodge and burning retouch work on AP for my iPad Pro. I’d like to select a section of the mask and add a Gaussian blur. Is this possible? If so, how do I do this? I new to AP but a Photoshop veteran looking for an iPad alternative. Thank you so much in advance.
  18. Hi, I'm sure this has been asked many times, but I can't find the right answer anywhere. In Designer, I want to keep only what's inside the circle area, independent of layers. These are all shapes created in the Draw persona, and were not converted to curves. I tried to duplicate the circle or draw a new one and apply a layer mask to it, to later invert it. I moved this new layer (circle w/layer mask) in about every order and level. Still, nothing. So... what am I doing wrong? Affinity Designer for Mac (desktop) MBP mid-2015
  19. Hi there There's a sequence I used to follow when I used Photoshop that I haven't managed to find the equivalent path for in Photo (I'm sure it's there!) and I'd really appreciate it if some kind person could point me in the right direction! In essence, while on holiday I would take one photo with my wife standing to the left of a sign, then get her to take one of me standing to the right of the sign. Then in Photoshop I would combine them to make it look like we were both in the pic, standing each side of the sign. I did this by stacking the two photos as layers in one file, auto-aligning the layers, then creating a mask to "rub-out" the person-less part of one layer, to reveal the other person underneath. Hope that makes sense! Looking forward mastering this in Photo, as it's a handy thing workaround when there's no-one else around to take a pic of us both, and I use it quite a bit. Cheers & thanks
  20. I don't have time to search entire forums or the interwebs to see if someone else has ever suggested this feedback before. So I offer my apologies if my suggestions have already been covered. 1) Please can you provide a feedback function WITHIN the application it self. It's incredibly frustrating to have to use out dated methods of signing up to god-awful web-forums which just leads to nonconstructive replies of un-thought out opinions and arguments. It also allows you to correctly link feedback (and abuse) to the software license of the user and even categorise the feedback so you can easily see which areas are causing most concern to the user base. 2) Please can you fix the mouse icon when painting in masks in the develop mode. The standard OS mouse icon does not feel accurate to paint with. Also a nice to improve if possible: Painting often feels sluggish to see the red tint forming. If there is a way to make this feel more responsive without upgrading an existing 32GB RAM I7 processor machine, that would be lovely please. 3) Cropping in Develop mode is missing an "ok" or "finished" button. It's frustrating to be sitting back with my tablet, controlling everything then having reach over to the keyboard which I moved to one side, just to hit <enter>. I don't want to map the enter key to my tablet device as it's never used for anything else! if you simply put a button in the UI it will mean I can just move the mouse there and click! perhaps I've missed a trick that does what I want, but then that would mean it's not obvious and intuitive to the user. 4) Please update the flash function for uploading files on this forum. Who runs flash in 2017? Browsers auto block flash from running by default because it's nasty. 5) More of a question then a suggestion, but is there a way to rename the overlays in the Overlays tab in Develop mode? I have 3 gradient overlays, all with the same name! that's very confusing to simple minds like myself. 6) Although I generally hope you spend more time fine tuning what you have already developed, instead of just rushing out new features, it would be nice if there was an in-application function for browsing image files, with a nice big preview of the image and EXIF data, which you can then double click to open it in the develop mode. I don't think anyone wants all this "importing" and cataloguing rubbish which is very slow. But browsing files within Affinity with a UI that suits photographers that windows/macOS don't offer, would be a great win. Thanks for your time.
  21. Hi everybody, I just stumbled upon this and I cannot understand what this is and what this is for. I can't find it in the Designer help. It's this structure: I created an empty layer and moved an object on top of the layericon to crop it. I wasn't expect this to do anything, 'cause there isn't anything inside the layer to crop. But for some reason it DID add a crop/clip-layer to it. And it's giving strange results I don't get (look at the video in the attachment). Suddenly the icon of the layer changed into a folder icon and the childmask isn't masking the layer, but the layer(s?) under it. And to make it even more weird, when moving the layer underneith it this layer is making the first layer again.... strange It doesn't really make sense to me so far. This way it looks like we can mask layers underneath it, but is it really meant to work like this? Can we rely on this to be a feature, or did I perhaps hit some bug here? I am intrigued. Anybody knows how this feature is called, what's it for, when could we use this and is there some information about it somewhere in the help or elsewhere? And why did the icon change into a folder/group-icon? screenrec.mp4
  22. Hi, it seems to me that the feature "Mask to Below" does not work properly. When I have a layer (B&W) prepared to become a Mask and I do click "Mask to Below" it inserts some corrupted Pixel layer to the layer below :( Thanks Jindra
  23. Hello, guys! Affinity's gotten me under it's spell. I've been using Affinity Photo/Design a lot in my 10-days trial to see if I can do everything I used to on Photoshop with ease. I'm loving it. Most things have even an easier workaround. So, masking is one of the cool different approaches I've encountered, and it's pretty simple to get along with. However, I couldn't—by any means—make the following mask/compositing technique work. Am I missing something or just trying to explore beyond AP actual limits? Can anyone help me? Following are step-by-step of how I do it on PS and, then, how it didn't work on AP. Post-image: I forgot to write on the 3rd image, but, while inside the mask, I pasted it.
  24. Hi, Fabulous software (mac 1.6.7) so this isn't a moan - just an observation (and irritation if I'm honest!) The selection brush and the refine feature are much, much better that PS. However when I create a masked cut-out and then place it in another layout, unexpected edge lines are appearing ( see screenshot attached) If I go back to the original image and paint over these unexpected edges on the mask (note I can't see them on the mask) - I just paint where I assume the error to be. I then save the cutout and place it again in the AP layout. (I am looking forward to you getting linking sorted out). However the errors are still present. Baffled! The only solution I have is the crop the cut-out by 1 or 2 pixels. This solves the problem however it is not ideal. Anyone got any thoughts on this? Is it a bug or a feature?
  25. Hey Affinity Experts, I have been trying to erase a top border on two combined custom shapes. One shape is dark suit jacket while the other shape is a white shirt shape on top of black suit jacket shape. My problem is that when I layer the shapes a very thin black outline remains from black shape. See example. How can I remove this black top outline? Do I have to erase it or is there a way to layer the shapes that causes the black border line to disappear at overlap. Thanks!
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