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Found 13 results

  1. Hi all, from one day to the next something has got mixed up with the color management in Affinity Design. The white became a yolk yellow. When I tried to change the color profiles in affinity, sometimes nothing happens and the white remains yolk yellow. With other documents the background becomes a neutral white but other elements that should be also neutral white remain yolk yellow. Like I said, I tried to change profiles, from RGB to CYMK, from AdobeRGB to the Benq-Profile (my monitor). Nothing worked. When I start with a RGB/8 and Benq-Profile everything is shown correctly, but the PDF documents I import, always have this yolk yellow instead of neutral white. I have to say that I am not a professional graphic guy. This problems I have on a Windows computer. Can someone please help me? Thank you
  2. I recently noticed that the colors of my images are "off" by quite a bit after exporting. I checked my monitor to make sure it was set to "sRGB" and in AP it is also set to sRGB. How can I make the image colors look correct after exporting? I am using a windows 10 64 bit PC if that makes a difference. The monitor is a cheap walmart AOC but it's all I can afford. Nevertheless, it isn't a monitor problem because it's only after exporting that the pictures look "off".
  3. When I open a photograph of a closeup of someone, the flesh/skin colors are distorted. It looks like the software is vectorizing the colors of the photograph as the colors don't blend together but are separated by rigid lines and Affinity Photo is also applying a lot of contrast which I also cannot remove. I have applied several color profiles to Affinity Photo but nothing seems to change. See the attached photos; the photo on the right is the original; the photo on the left is what Affinity Photo does to it and it can't be undone unless you close the file without saving changes. Help!
  4. Hi Everyone, In the need to understand the sometimes complex subject of Color Models, Color Spaces and Color Profiles better, I found it hard to find a nice to read and complete source on the matter. So after I did a deep dive into the subject I decided to share what I've learned about it by writing a tutorial blog about it with illustrations and interactives. Yesterday I published part one about Color Models and color basics, to pave the way to Color Spaces for the next and last part of the article. Although not directly Affinity related, I figured this could benefit other Affinity users too in understanding Color Spaces better and when to choose which in Designer and Photo. And making Color Spaces a little less confusing to understand. Of coarse all graphics-work for illustrations and interactives in the tutorial are made in Affinity Designer. The blog is available in both Dutch (https://www.wigglepixel.nl/blog/wat-zijn-color-models/) and translated in English (https://www.wigglepixel.nl/en/blog/what-are-color-models/). Hope you like it and if this makes others understand the subject better and as enthousiastic as I am now about it after this, I reached my goal! Maarten
  5. Greyscale become multicoloured when printing from Affinity Designer. Obviously a conversion to/from color profiles happens inside Designer. How can I prevent this from happening? (This happens to all colours. It is just shown best with greyscale.) My printer expects data in the same colour profile as my AD files working profile. (ISO coated v2 (eci)) When exporting a PDF/X1a and printing with Adobe Acrobat everything is OK.
  6. Opening a Webp files with a color profile (other than sRGB) seems to fail. The profile is not recognized. A message appears saying the untagged file will be assigned the working profile. PDI_Target_WhackedRGB.webp
  7. We achieved accurate colors in offset (Ryobi 522) with ISO Coated v2 (ECI) color profile. How I can use it in Affinity?
  8. I have been doing some testing of color printing using Affinity Photo. I am using an IMac, OS El Capitan and an Epson 2400 printer. I am not getting colors that are completely accurate. I just used the Mac's calibration program to calibrate my monitor. I printed all the images on plain copy paper. For 2 below, I had set the RGB Color Profile, in the Preferences settings, to sRGB 61966-2.1. For the other 3 tests, I changed it to Adobe RGB (1998) after doing some reading on color management. In this example, the color profile of the image I was trying to print was sRGB 61966-2.1 I believe this profile came from the camera from which the picture was taken. When I printed the image I tried a few different settings: 1.Color Sync (which lets Affinity manage the printing), using the Adobe RGB (1998) color profile, with the Plain Paper setting. I disabled the settings in the printer dialog box so that Affinity Photo, not the printer was controlling the settings. This gave me the best print, although the skin tones in the photo were too orangey red compared to how the picture looked on the monitor. 2. Color Sync using the same color profile on the printer, sRGB 6 1966-2.1, as was used in the document. Again, I used the plain paper setting and disabled the printer controlling the settings. This print was worse than the first, with the skin tones even more orangey and the blue objects in the image tending toward turquoise rather than deep blue. 3. Color Sync as in #2 except that I chose the Enhanced Matte setting. This gave me the worst colors, in terms of both the skin tones and the blues. 4. Epson controls the colors. This defaulted to a printer profile of SP2200 Standard PK, with plain paper settings, something I was not able to change. The colors I got were similar to the colors in #2 and not as bad as in #3. Based on this experiment, I'm wondering if there is anything else that I should change either in my preferences or other settings. #1 is acceptable but not great. I don't want to use up all my expensive ink trying every combination of preference settings and color profile settings so I'm wondering if there is some rule of thumb that I should be following.
  9. luizcotta

    Printing problems

    Hey, guys! I have a feeling that this is going to be a long post. I've been using Affinity for over a year, I guess. Never had a single problem. Recently I got some print jobs: labels and posters. Both of them returned errors from the print shops. At first, people could not handle PDFs. They could see them but not print them. I'm not sure how they were used but in Brazil, pirate copies of Corel Draw are wildly popular. They probably tried to import the file and Corel Draw rejected it. No biggy. Quite common actually. Label guys reported errors regarding EPS. The Corel thing is certainly a factor, but I rarely had problems with Corel and EPS. Things got really strange when a client tried to print PNG from our fanpage. The print shop reported error while importing PNG! I've had handled Affinity generated PNG through Krita, GIMP, inkscape. Never a single problem. Then I asked a friend of mine, registered legal user of Adobe CC Suite and neither Illustrator nor Photoshop could handle my PNG! Then, GIMP reported and error with Color Profiles in two different PNGs. One color profile for each file. GIMP asked me about assigning new ones and opened up the files, which I exported (from GIMP) to make new working PNGs for the print shop, who's confirmed that they now work perfectly. Weird, isn't it? I've made working PDFs for printing for over a year and never had any kind of problem. I use Affinities for web to the point of getting excited about how easy it is but even my web PNGs are failing somehow. You see them here www.facebook.com/spavendanova (my client) but I have just discovered some issues. I appreciate your attention. Luiz.
  10. When we develop and edit picture starting from RAW then very often we can lose fine color details during conversion to final color space. The typical remedy is to define working color space wide enough to accommodate wide camera gamut, but still, our final color space should be smaller so finally, a conversion is unavoidable. Leaving aside a discussion about what is real color, for sometimes complex reasons we can allow small color shifts and keep details visible. Often happens that color banding or unpleasant color areas emerge in final result even when you use 16 bits per channel and perfect profiles. To overcome this problem you can try to use wide gamut profile for working space, use the color proof layer on top and then export or convert picture to final color space. Below is the explanation (rationale) for this procedure. For example, let's imagine that there is pixel with R:G:B values of 116:51:32 with ProPhoto D65 profile. For simplicity, I will use here 8-bit encoding. Normally, with wide gamut profiles, at least 16 bits per channel should be used. Now, when we convert an image with this pixel to sRGB its value becomes 164:10:27, but color will not change. Why? Because this particular color is inside sRGB and ProPhoto gamut. When I will use color proof correction layer in ProPhoto profiled picture, then for this particular pixel value will not change, and still will be 116:51:32. Similarly, there will almost be no change in expected value after conversion to sRGB color space. Because of a rounding errors small shift to 163:11:26 can be observed. This particular pixel value is almost on the boundary of sRGB color space, so small changes are possible. The situation will change dramatically if we will try to do the same with a pixel which color is out of sRGB gamut. Let's take saturated red pixel in ProPhoto color space, where the value will be 163:0:0. Now, with proof layer applied, pixel value should change to 170:72:26, but when you directly export this picture to sRGB space then the value will be 241:0:0. Exporting picture with proof layer applied results in 241:8:5. Why there is such difference? The reason is simple: proof copy is still in ProPhoto space, so relative colorimetric routine adjusts not only saturation but also other parameters. When you directly export to small, sRGB space then conversion routine is in a completely different situation. Oversimplifying, zero is zero, so closest pixel value is for conversion routine 241:0:0 - a distance between a pixel value in different colorspaces is simply too large. This behavior leads to "fine tuned" color space conversion routine. This routine gives good results with highly saturated pictures and with RAW workflow, where there are many color details outside sRGB (aRGB) space. You have to remember, that modern cameras have really wide gamuts. Very often much wider than Adobe RGB in reds and blues. What do you think?
  11. Is it possible to strip the ICC profile from a picture? Also, what is the difference between "Convert ICC profile" and "Assign ICC profile"? Both have same content and a pre-selected option.
  12. Hey again, I have to deliver a GRACoL coated PDF for printing frequently. - Is that possible with Affinity? I didn´t see a matching profile. - Are there plans to add that profile (quite common in the US) - Is there any profile close by GRACoL (and I mean close enough to work as a professional printing solution)? Thanks in advance for any help, David
  13. A feature I often use in Adobe apps is the Proof Setup option. In InDesign this allows me to check how document colours will look across different print and screen colour profiles, including some greyscale profiles. In Illustrator and Photoshop this menu option also checks how document colours would appear to someone with Protanopia or Deuteranopia-type colourblindness (for some reason this feature isn’t in InDesign). The colour profile previewing is nice to have, but I usually focus on just using the greyscale profiles as a way to test contrast in my artwork colours, and in Illustrator I often like to check that I’m not using colours that wouldn’t read well for a colourblind person. I’d love for Affinity apps to include greyscale and colourblindness preview options, as well as any other preview modes for visual impairments that may be useful. Having the ability to proof specific colour profiles would also be useful.
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