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Found 516 results

  1. I have a X-Rite ColorMunki Display to calibrate my screens. It even has support for iPad/iPhone, so I calibrated my iPad Pro 12.9" Mk.I with it and my iPhone 7 too. I can use an app called ColorTRUE to view my photos in real color on my iPad/iPhone. X-Rite says that other apps can be made to use the ColorTRUE profiles, so they will show true colors. As a photographer on the go, I often don't bring my heavy laptop with me with the calibrated screen and I rely on my iPad Pro 12.9" Mk.1 (which by the way has a terrible calibrated screen out of the factory). I edit a photo in Affinity Photo for iPad, export it and then check the real colors in the ColorTRUE app. Then go back to Affinity Photo and adjust colors, white balance, etc. if I need to. This is very cumbersome. If Affinity Photo for iPad could use the ColorTRUE Profile of my iPad, this cumbersome work around would not exist and I could use my iPad for more color critical photo work more easily. Are there plans for Affinity Photo for iPad to use ColorTRUE profiles? If not, are you willing to think about it? This would really make Affinity Photo for iPad justify the Pro in iPad Pro IMHO!
  2. I love Publisher but IMHO it has the worst colour system I have ever seen (in over 30 years). How did LAB, RGB and CMYK end up on the same palette when I only work in CMYK and the publication was set for CMYK? I NEVER work in LAB. I have 68 colours like this: "Rick 13-EN_No Photo 2 is the name of the publication. Useless as colour information for an in-document palette. It should be simple to create my own custom CMYK palette but instead it's horribly complicated, if not impossible. It's a monumental time waster. Why can I change a colour in this dialogue but not in that one. And then I can only change it in THAT dialogue, but not this one. A lot of things seem too clever by half in Publisher but colour handling is a serious fault in an otherwise pretty good app.
  3. It would be very useful to have functions to select the same: Color fill stroke (color / width) Appearance To quickly select all your outlines, or background element in 1 color. Speed is everything. :)
  4. I took a color from a picture and used it for text on that page. Now I need to find that color and use it elsewhere. When I select the colored text, I cannot tell what color swatch is assigned to it. Does it show up somewhere? Thank you.
  5. Greetings, I know what you're thinking - "this guy didn't search the forums before posting"…. I actually have been researching extensively for several weeks now, including several similar posts in this forum, and I've concluded that either my situation is unique or I'm just more dense than your average user (these may not be mutually exclusive lol). So, as the title suggests, I am searching for guidance on color correction on underwater photos. I'll preface by stating I am NOT a photographer, so my knowledge of post-processing technique is frustratingly minimal. It is for that reason that I had previously just written off my failures, just accepting really dismal diving photos. That changed when I was recently introduced to an iOS app called "Dive+". On a whim, I decided to run its color correction function on several shots I had on my phone, and I was blown away by the results! In more than one case, I actually "discovered" fish and corals in my photos that were previously invisible! The ease with which the shots were transformed has inspired me to re-visit touching up many of my underwater shots, but as you can imagine - iOS is certainly not the best or most efficient environment to do it. Re-visiting all the tutorials and articles on the topic, however, has brought me right back to where I began - slightly less crappy photos and a lot of swearing. It seems the majority of the methods described in tutorials (even those for photoshop or other editors) just don't produce similar results for me as they do in the examples shown. For instance, the vast majority of underwater correction guides suggest beginning at adjusting white balance. In the examples, adjustments produce immediate color and contrast improvements, while my photos simply turn from "all blue" to "all green". Additionally, suggested techniques using levels invariably begin with minimizing black levels and maximizing white…. In all my photos, these positions are already selected (and moving them in opposite directions only worsens the output). While I'm certainly willing to tackle a mild-to-moderate learning curve, I have no aspirations of professional photography. What's nagging me is the ease with which this free phone app is able to drastically improve my photos, as well as my inability to determine exactly HOW it corrects the images so I can replicate the process. Below is a random photo from my collection that I hope will better clarify what I'm attempting (and failing) to achieve: This is my original photograph: This image shows the output from the Dive+ iOS app: Applying "Auto" White Balance to the image in AP makes no discernable difference. When manually selecting a neutral area (white dot indicates the area I selected) using the white balance "picker" as most tutorials suggest, a green overlay appears as shown below: This final image shows my sliders for the Levels adjustment layer. Note that the sliders for black/white levels are already at opposite extremes, negating the ability to adjust in the way most tutorials have suggested. The sliders for master/red/blue/alpha all have identical positions. I've attached the original photo in case anyone is feeling gracious enough to play around with it. The edits described above are certainly not the only ones I've tried - I've been playing with pretty much every setting I can find in photo, develop, and tone mapping personas. While I am able to make some minor improvements to my underwater shots, they still don't compare to the difference I get with one tap on the iOS app. Furthermore, the results are very inconsistent compared to the app. For instance, I have freshwater dive photos that have a green saturation in place of the blue shown in this example. Results from the app on those photos are equally impressive, yet the only similarity in my manual edits is the lackluster result. I'd love to know what type of algorithm this app is using so that I can create some type of similar macro or workflow for editing in AP. Heck, I'd even gladly pay to add Dive+ to my workflow if it were available on the desktop, but it is iOS/Android only. If anyone can offer guidance on what I'm doing wrong, or direct me to any tutorial resources that are Affinity-specific, I would greatly appreciate it! Sincere thanks in advance for any advice you have! Best, Kirk ***NOTE: I have no affiliation with the Dive+ app, nor any software mentioned. It is not my intention to present Dive+ as an alternative or competitor to Affinity Photo; my impression is that the latter is a much more capable product in the hands of a knowledgeable user (which I am obviously not!).
  6. Hi, I've been trying to use the XRITE Color Checker Passport and I'd like to ask for help. I'm not sure if I'm doing this correctly. I saw in another message in this forum the steps to generate the ICC file. So, to verify if the ICC was correct, in my understanding, I can use it in the original picture and I would expect NO changes in the color or anything. It actually squeezed the colors towards the black and the image became darker. The original image, only with WB corrected is the Pic 1 Then, after the ICC was succesfully generated and loaded in Affinity from that image, when I apply the profile, see the Histogram: Pic 2 If I develop the picture, it will be darker. BUT... if I load the image, after the WB correction, and develop the picture, from Document -> Assign ICC profile, the picture is corrected, but the contrast decreases and it looks washed (picture Pic 3). So, is it a bug with Affinity? How could I verify the colors are truly corrected? Can I use the RGB values in Info panel to double check the color palete values? The ICC profile I generated I called it TODELETE. Thanks! Sergio PIC 1: PIC 2: PIC 3:
  7. Hey there- I'm new to Affinity products. I'm working on a mock-up for a mobile app. In Designer, I've grabbed some of the glyphs from the asset manager for the navigation bar at the bottom of the phone display. I needed an image that wasn't in the asset manager so I found something that worked for me from elsewhere. The image file is a png. Now, I'm trying to figure out how to make it function like the included glyphs do. For instance, while trying out different color schemes - with the glyphs - I just have to select the glyph and then choose a color. That's not working with the png file. Is there a way to convert the png to the same file type as the glyph so it will behave like one? Thanks
  8. I am also a newbie although I have used Adobe photoshop for years without a problem with text. I want to print one line of text in white on a coloured sheet and have selected Lucida Bright at 26pt and with the white colour font. Whenever it prints out it is colourless with a thin black edge to define the letter. What could I have done to make this happen?
  9. I'm a complete newbie to Affinity and Designer and vector drawing. I've been working with simple shapes and lines and text while exploring Designer. Once GarryP helped me get started, things were going well until yesterday when my plain and/or italic text turned bright bold magenta. I did not change the color that was the default in the text-color box. I do not know what I did to make this happen, whether creating new text, or moving previously created text. I cannot get rid of this color, or the bold. New text is bold magenta, despite the color box's being black. Moving previously-created text turns that text magenta. Close that document and create a new document—the new text is magenta. Opening Designer preferences, resetting text styles to factory, still magenta. Clearly I have inadvertently changed some basic setting, but what? Where should I look now? Thanks.
  10. When I replied to this, I thought a bit more about the way color swatches work atm. I just don't think there is a need for a color swatch that is not "connected" to the objects that are using it. If I change a color swatch, I want to change all the objects that use it. InDesign does it this way, and it makes sense. I know that Illustrator does have "unconnected" swatches as well as "global" swatches -- but I never understood the reason for that. If there's a use case for "non-connected" swatches, please let me know I believe any such use should still be possible with "connected" swatches only. So all the swatches should behave as if they were a "global swatch". Or do "global swatches" have additional features that I haven't found out yet?
  11. Hi guys, I'm at a loss. To confirm I run Spyder to colour manage my display and I have read the display calibration spotlight before writing this. However, when I export images from Affinity the colours come out wrong. See the attachement. I have included my export settings.
  12. Hello, I was messing around with Affinity Photo the other night and accidentally found a feature that I cannot find now. I was in the Color window and I believe I double clicked on the selected color and a window popped up PREVIEWING color chords. It could have just been showing me near shades to the selected color, but i definitely remember seeing "+1" and "+2" labeling corresponding shades with the actual color displayed. I was able to replicate popping this window up a couple of times before I shut down for the night, but since then have not been able to get this to happen again. I have no problem making color chords the normal way, populating in the swatch panel, but Id rather being able to see the colors before committing swatch space. So did I stumble across a little know feature, or did I fall into the matrix somehow? Thank you for your time, Dustin
  13. Hey y'all, I have inserted embedded documents into my file (layers with images) so that I can duplicate them and change them all simultaneously. I am having difficulty changing the color. Usually, if I place an image, I can select it and then go to the color wheel to change the tone of the image to whatever color I please. In this instance, when I try to change the color of an embedded document it either a) doesn't work or b) changes the whole layer to the selected color and the image is no longer visible. Any tips on how to fix this?
  14. Greetings I just created a few new cool pixel brushes for Affinity Designer. However when i tried them out I can't change the color. if i create a brush with a black .png it only brushes in black. If i load a whited .png it only paints white. Can someone educate me on what i am doing wrong? Thanks Dave
  15. I am exploring the use of ICC profiles in photo processing and printing. I have had some success, but am not sure that I fully understand why. Here is what I understand (or think I do); perhaps some more experiences users will provide me with some insight. I understand that ICC profiles describe the color space that individual devices are capable of reproducing and are applied so that one device may match another. If so, then in my system there are three devices; 1) the camera/lens. 2) the display and 3) the printer. My lack of understanding is where these should be applied to a photo file. It is possible to assign a profile to a raw file prior to development. This option asks for the "output" profile. Should this be the printer profile? That is the eventual output device, but applying it here before development has not produced a good result. I suspect that output profile means output from the development process, so at this point would apply the "camera/lens" profile. Then when printing, apply the "printer" profile as the "output" profile. The "display" profile only effects the display, how the camera/lens profile is represented on the screen and does not change the file. BUT - as a printer, wouldn't I want the screen to represent how the file will print so the printer characteristics can be accommodated while editing the file? Using the above procedure gives very good matching results, but it does not display the image as it will be printed. I hope I have adequately described my question. Anyone have some insight on this issue? Thanks & Best Regards to All - DK
  16. Hello Affinity Designer enthusiasts, I'm using the 10 day demo copy of AD.Like many here, I would like to move away from Adobe Products since their marketing plan has moved in a direction that is software rental rather than ownership. I've used Fireworks for years. One question that I haven't found an answer to yet that is related to my switching away from Fireworks is: How can I enter a hex number for a color or even rgb numbers instead of using only the sliders? I suspect there is a way, but I'm too new to AD to know it. As an example: #CCCCCC instead of using the sliders to try to achieve the color. ​I use the number entry feature in FWs a lot. Is it present in AD? Even if I could use RGB numbers, I'd do that. Whatever is available in AD. Thank you for your help in pointing me to the right place in this software. :)
  17. Hi, When exporting a file the other day and sending it to someone else they saw different colors on the file. I took a picture of both my PC (left) and the other. I hope the difference is clear. The orange fill of the flowers is more blue. The letters don't have the same bright orange color. I noticed that the color wheels on both laptops look totally different. Can someone explain how this comes and what I can do about it? Thank you! Nils
  18. I created System Palettes instead of application Palettes as I use the same colors across multiple Apps. The problem is, when I open them in Affinity Designer, they aren't sorted alphabetically (it might be an issue with Affinity not using the OSX Dialog Box, which I like...feels more integrated), But When you have color variations with similar names I would like them to be grouped together. I'm aware I can sort the colors within a palette, but not the palettes themselves. Is there anyway to fix this?
  19. Affinity Photo doesn't recognize the full set of icc profiles in the standard Library/ColorSync/Profiles folder on the Mac (I'm using macOS Mojave 10.14.6). I have a set of icc profiles that are color variant profiles of existing color spaces such as AdobeRGB1998. I have attached two such icc profiles here. Affinity Photo simply doesn't recognize their existence when I go to convert or assign icc profiles. For comparison, Adobe Photoshop (which I'm using less and less, thanks to Affinity) has no problem seeing these at all. Thanks for looking into this! AdRGB98 +04.icc dRGB98 +08.icc
  20. Can you modify the tint of a global colour? From what I've found you can edit the CMYK / RGB etc. values, but no tint. So if I need to globally change a colour from 95% to 85% tint I have to find every instance of that colour or am I missing something? I've tried so many different ways with opacity and tint, but can't figure it out. Many thanks!
  21. Hi folks, I've notice that beside what the documentation says, Global Colors are not acting as global when used with gradients. Since a picture movie worth thousand of words, here is it: GlobalColorDoNotWorkOnGradient.mov Create two new global colors Create a new shape with a gradient fill Set both colors of the gradient to your previously created global colors Edit any of the two global colors used in this gradient --> The gradient fill won't update to reflect the edited global color. I sadly have to admit this is insanely contra productive :( Cheers,
  22. I have been searching for a while now, but cant find any "select same colour" feature. All I can find is a feature request post from 4 years ago asking for this. Surely this rudimental feature has been implimented by now. Selecting and replacing a colour is one of the main benefits of vector work, to not have this seems crazy to me. I know the dev team is small and your product is so superior to Adobe is so many ways, but missing fundamental features like this makes it unusable for real world projects. I hope I am being a dullard and a select same colour feature is available. If not please add it to the top of the list of features in the next update.
  23. I would like to know if there is such an option as "Selection by color or object." I need to change one color in an open project to another :unsure: . Manually it is uncomfortable to do for a long time :( . I very often use these functions in the illustrator. The choice of color and object does not pay due attention in all similar projects, and this function allows you to reduce time and money :wub: . I would very much like this feature to be awarded, or similar to it, for example the filter by color and outline, text and so on. Thank you for your work, very much I hope for an answer. :)
  24. Hello! I recently upgraded to AP 1.8.2 (on a Mac Mini, OS 10.13.6). I find that the color selection panel is locked in the slider format. if I unlock it, I am able to change it to a color wheel (my preferred format) but only temporarily: when I leave the color panel and then return back to it, it reverts to locked sliders. Same thing happens every time I open a new document. This did not happen in 1.7.3 How can I permanently unlock the panel so I can move freely between formats or at least lock it as a wheel? I have found no help regarding this either in the forums or by searching in Google. Thanks, Mauricio
  25. Hi, Hope all are well. I am a new Affinity Designer, trying to get familiar with all that Affinity has to offer for design and the likes... So here is my question, I am seeking to see how I can keep the image I uploaded in its original color, everytime I import an image it changes to a greenish color, but I can't find a way to keep the original color of the picture/image. Any assistance with this would be appreciated a tons... Thanks...
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