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  1. Is there any plans to add CIE-LAB gradients for affinity? I've been playing around with them in Python and LAB-interpolated gradients look a lot better than RGB-interpolated gradients, especially for backgrounds and things like that. I looked through the SVG standard and SVG supports CIELAB interpolation, along with a few others. So is there any plans to add alternate gradient interpolations to Affinity designer? Or even a full LAB color space, like in Affinity Photo or photoshop? I added a photo for anyone that's interested (CIELAB on the left)
  2. All the way in 2021 @yitzaklr asked for something similar as feedback to Affinity Designer 1. I just posted there not realizing it's an old thread so I'll copy that here. It depends on the Color Space model used to interpolate the gradient. Ideally we'd have an option to choose from multiple color spaces and newer Color Appearance Models (CAMs) such as OKLAB and CAM16, but even just CIELAB would be a great improvement over RGB. This should also be an option for transparency interpolation. Also Adobe has offered this functionality for a while.. The steps to compute this from an RGB base are roughly: Convert the gradient RGB colors into the new CAM space Linearly interpolate between the CAM colors to fill in the gradient Convert those new CAM colors back into RGB space Affinity already has HSL sliders so it should be easy to at least implement HSL gradient interpolation. Hope to hear back about this!
  3. Hi When I am working with printing calibration file I need to specify color value using decimal place. May be possible to implement 2 decimal position, on CMYK and Lab color value? Thanks
  4. I always thought that in LAB mode the brightness setting has little or no effect on the colour, and in 16bit mode it does. Only in 32bit mode do I see a strong increase in colour. The behaviour is the same in the release version and the current beta. I attach a video and the afphoto (from the beta version and from the release). Maybe I`m wrong with my knowledge ... Bildschirmaufnahme 2023-03-22 um 10.41.55.mov 1907_Poskaer_Steingrab_0052-beta.afphoto 1907_Poskaer_Steingrab_0052v2.afphoto
  5. Fix a muddy paintbrush iPad and Desktop In this Digitally Fearless Affinity Photo tutorial I show how to fix muddy edges when using the paintbrush to create art. This is number 31 of my Powerful tools of Affinity playlist and shown in both iPad and desktop. https://youtu.be/QfgzMdRlduw
  6. 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
  7. 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
  8. 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.
  9. Please fix the components display in the adjustment "Curve" for the LAB model. The A and B components should go positive and go negative and the zero line should be halfway up the display pane and not at the bottom. In the case of A, orange colors would be above the line and cyan below. (The whole thing should look similar to the graphical display of an audio track.) Of course, the L display, showing positive only numbers, should stay as it is.
  10. What I want to do is apply an unsharp mask in Lab mode on only a and b channels, is this possible? In photoshop (desktop) I would convert to Lab, select the a and b channels, apply an unsharp mask with a large radius (say 80px) then convert back to RGB edit: figured it out finally, tap document icon with three dots then convert document, then it shows up at the bottom
  11. Hi, I'm not sure if it's a bug in Affinity Photo or some problem with brushes. If I make a new document in LAB/16 then more sophisticated brushes (for example Paolo's DAUB PaintBox sets) get cyan overcast that is visible in a studio toolbox and on a canvas. See the attached picture. I'm using iPad Pro 11", 13.3.
  12. Hi, I start with with the procedural texture ( Filters> Colours> Procedural texture) It 's in Lab mode , ( I wanted see LCH if s the easiest way to " move" w color ), Before, I made an simple test. in 1.8 beta, play with channel save as a preset, close the file An reload with another test file BUT By default we have RVB option, sometimes very difficult to reload it , and impossible with live filter option I can export the preset, but I want re import, photo (beta and release) say me Sometimes I have difficulties for found Lab option, perhaps by bad understanding of the structure Preset manager can you say me labcolor1.aftoolpresets
  13. In the Channel Mixer, you can select a single channel by choosing a colour model and zeroing the unwanted channels. eg. for red channel, use RGB model, select to Greens and zero Green, then select Blues and zero Blue. I can do this for RGB and CMYK. But in LAB, if I zero AOpponent and BOpponent I'm getting a blue/cyan result. What am I doing wrong? Should it not be b/w? ps. I can separate channels by changing document colour model and clearing in the Channels panel, but I'd just like to be able to do it in Channel Mixer.
  14. Hi, I write few pages about L*a*b* worflow for trying promote this space about decoupling Color & Lightness in L*a*b* here Lab.pdf this macros is on 1.7 version , not compatible with 1.6 Lab.afmacros Just read this answer Nothing new reinvent the wheel... But perhaps, some one, may have better understanding of this color space and more easy color apprehension, more easy color manipulation Sorry for my bad english, not my maternel language Have fun
  15. when developing HDR images there is the danger that with RGB color mode you get color faults, because RGB represents color and luminance in the same value. If Affinity Photo would enable a LAB 32 bit HDR color mode that would solve the problem. Because color and luminance are now separated, the large dynamic range of HDR images are mainly reflected in luminance. This prevents color faults during HDR generation. By the way, I like the way Affinity Photo is adressing HDR development in the workflow. However, because I quite regularly get color faults during development, I can not use it in many situations (see attached image as an example for such a color fault in the sky). In this case I use my LAB 32 bit based HDR development programm (Oloneo), which produces nicer color without color faults.
  16. I don't know if this has been suggested but I use curves a fair bit and particularly LAB for those really powerful wide gamut adjustments. The current graph only has a four by four grid which isn't anywhere near enough to lock in really fine changes. It would be really handy if it were possible to size these graphs too. It's something I'm used to in other software so I was expecting to see it here and (I assume) that changing the reticule is a five minute job for an intern. Resizing is a different matter because that carries other problems … but pretty, please with knobs and bells on (and a cherry on top)?
  17. I would be nice to have lab colours in the colour chooser as per attached. Kind Regards
  18. shojtsy

    LAB macros

    Hi, Here is a library of macros of various LAB operations. It can do - Selective desaturation of LAB channels - Separate LAB channels to greyscale layers without switching to LAB mode - Join back LAB greyscale layers to a composite image without switching to LAB mode - LAB color contrast boost Enjoy! As for the file size being 4MB for a few macros, I have no idea, it is probably a bug. SH LAB tools.afmacros
  19. In Blend Options for an image in RGB, I can only choose Master, Red, Green and Blue to control blending. However in Curves I can work with LAB channels even if the main colorspace is not LAB. It would be very good to be able to choose LAB channels in Blend Options the same way. Color channels of LAB are fantastic to isolate an effect or adjustment to certain objects / areas of the image in a dynamic non-destructive way that masks can't reproduce.
  20. So, I recently started working in LAB space. My question is, if I am working in an individual channel say Lightness(only channel editable), how do I ensure that all filters and adjustments are applied before jumping to RGB? Because, on changing to RGB it highlights R channel only , so I am not sure how to preserve my LAB work..
  21. Dan Margulis says that HSL adjustments are much easier to do LAB color. You already let us do Curves in LAB color space. How about HSL? Thanks!
  22. Hi. Are AOpponent and BOpponent intentionally named this way? Regards.
  23. what are the limitations with using LAB colors in AP and printing? thank you ! what is the correct LAB WORFLOW FOR PRINTING ?
  24. I was attempting some B&W conversion techniques and one of them I can't seem to find a way to do. If I convert the image to LAB mode I can see the image with just the luminosity layer like I want, but then I can't copy nor save that B&W layer by it self. I tried doing a copy then past into a second image but it copied the full color image, not the B&W luminosity mask. I also tried saving the file with only the luminosity layer turned on but it saved a full color image again. Any suggestions on how to make a luminosity based B&W image?
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