I've used Inpainting and Patch tools the most often. The Blemish Removal tool seems to be a holdover from the old days when you needed a separate tool for that, before the Inpainting tool became so powerful. I didn't even know about the Sources panel and how it worked until you just explained it! Thank you.
For larger object removal I use the free hand selection tool. Then go to edit, fill, inpainting, apply. I tend to use the other tools as well for smaller problem areas. Cheers
Just one hour ago I was trying to use the clone brush in Affinity for the first time. As you showed, at first nothing happened. I did not know about the new pixel layer etc. I ended up re-opening my image in my regular editor, and cleaned up the image, That was so much easier and straight forward compared to Affinity. I am currently trialing Affinity, but am finding it far more complex than I think basic editing needs to be.
I have a question, as you usually uses this non-destructive pixel layers. What do you do with it when you have your final version? Export it as another jpg? Do you flatten the layers in any way? Especially for professional printing when you want to be sure of the results.
Hi Joan! Yes, I export the final version as a PNG or JPG. I keep my original file as a afphoto or afdesign file and I don't flatten anything unless absolutely necessary. Sometimes performance can be improved if you flatten your projects while editing them, but usually I don't have to do this. Hope this helps! Trent
@@TechnicallyTrentHi, Trent, thanks. I just had some problems with a design that I finally managed to send for printing. I used a mask to remove some background (but it was still there). Then I used another photo for background and added several different elements/ajustments, live filters and masks to this object and to some other photos clipped to it, and then.. I rotated the whole group. It looked OK, I liked the result till the moment I wanted to make some pdf for printing (I usually used this format for Designer works and it was ok, now I worked in all suite). The result was horrible, some artefacts and.. a line of a rotated rectangle with initial background larger than my object! It was visible also in high quality jpg, and finally it was only .tiff format that helped me to solve this problem. I got almost mad trying to change the mask to fit it to the document size without touching the selection with all elements on my object and without starting all over again. I really regreted that I didn't delete the unwanted background at the beginning and that I left it with a mask. How to deal with such problems in future? How can I adapt the mask size to another shape of a document? (when I deleted the parts of the inverted mask, it cut out also part of my object that I needed for bleed and the "add/remove selection" didn't work on bleed..). And even deleted, the parts of this photo still remained outside my document. Is it normal? Do you have any tips that can be useful when you want to have your work printed? I noticed for example that any "uncoated" ICC profile change my black values and it's only with coated fogra that I can keep deep black. My printer company requires just CMYK, without any profiles, so how to prepare the project for printing to get the results as close as possible to what I see on the screen?🤔 Should I add some exaggerated effects in CMYK to have the printed result more vibrant and more similar to RGB? Is there any "suggested maximum number of masks or adjustments that can be added and not to have surprises later? Perhaps some of them are more risky than others? Not always time to print a proof. And very often they're printed on digital machine, so it's not the same result anyway..
@@TechnicallyTrent PS and as I always try to use in practice new skills I also used Patch and Inpainting brush tools to make my tree more dense 😇 and some deplacement tool as well :)
@@joanl.2471 Hi Joan, that sounds like it was a frustrating experience. I do have a hunch that converting to PDF is usually an imperfect process...I've seen some strange things happen when complex designs are converted to PDF. When I do conversions like that, it is usually just with very simple designs. 99.99% of my exporting is to PNG or JPG.
I've used Inpainting and Patch tools the most often. The Blemish Removal tool seems to be a holdover from the old days when you needed a separate tool for that, before the Inpainting tool became so powerful.
I didn't even know about the Sources panel and how it worked until you just explained it! Thank you.
Hi Steven! Yes, you may be right. Some tools may be older and Affinity just kept them around for people who are used to them.
For larger object removal I use the free hand selection tool. Then go to edit, fill, inpainting, apply. I tend to use the other tools as well for smaller problem areas. Cheers
Thanks for sharing, Royce...there's definitely many good ways to do object removal!
Just one hour ago I was trying to use the clone brush in Affinity for the first time. As you showed, at first nothing happened. I did not know about the new pixel layer etc. I ended up re-opening my image in my regular editor, and cleaned up the image, That was so much easier and straight forward compared to Affinity. I am currently trialing Affinity, but am finding it far more complex than I think basic editing needs to be.
Hi @Kiwicruiser355, I agree it can be tricky to use at first!
Awesome. Did not know about the "global" feature where you cloned the cat, that was pretty clever!
I use the inpainting and healing brush tools the most, great video. Thanks.
I use the inpainting and clone tools the most. You managed to clear up some of my issues with the other tools, like patch and blemish. 👍
Trents tutorials are the best I've ever seen!
Thanks AndyAtmosphere! I appreciate it.
Great. Need to see which of these are in Designer
Very cool! I never knew the other options worked basically the same as the clone brush, but with different blending effects.
Great stuff, as always! Thanks, Trent! 😁🎨
Whoa, I almost missed this one
Really great tutorial.
thank you so much
I learned a lot again.
Great tutorial. Learned a lot again. Thanks for all the in-depth look into the tools. I often got stuck bc I never chose "layer and below" 😀
Yes, that is something I always forget too!
Very interesting! Good Job, Thanks!
I have a question, as you usually uses this non-destructive pixel layers. What do you do with it when you have your final version? Export it as another jpg? Do you flatten the layers in any way? Especially for professional printing when you want to be sure of the results.
Hi Joan! Yes, I export the final version as a PNG or JPG. I keep my original file as a afphoto or afdesign file and I don't flatten anything unless absolutely necessary. Sometimes performance can be improved if you flatten your projects while editing them, but usually I don't have to do this.
Hope this helps!
Trent
@@TechnicallyTrentHi, Trent, thanks. I just had some problems with a design that I finally managed to send for printing. I used a mask to remove some background (but it was still there). Then I used another photo for background and added several different elements/ajustments, live filters and masks to this object and to some other photos clipped to it, and then.. I rotated the whole group. It looked OK, I liked the result till the moment I wanted to make some pdf for printing (I usually used this format for Designer works and it was ok, now I worked in all suite). The result was horrible, some artefacts and.. a line of a rotated rectangle with initial background larger than my object! It was visible also in high quality jpg, and finally it was only .tiff format that helped me to solve this problem. I got almost mad trying to change the mask to fit it to the document size without touching the selection with all elements on my object and without starting all over again. I really regreted that I didn't delete the unwanted background at the beginning and that I left it with a mask.
How to deal with such problems in future? How can I adapt the mask size to another shape of a document? (when I deleted the parts of the inverted mask, it cut out also part of my object that I needed for bleed and the "add/remove selection" didn't work on bleed..). And even deleted, the parts of this photo still remained outside my document. Is it normal?
Do you have any tips that can be useful when you want to have your work printed? I noticed for example that any "uncoated" ICC profile change my black values and it's only with coated fogra that I can keep deep black. My printer company requires just CMYK, without any profiles, so how to prepare the project for printing to get the results as close as possible to what I see on the screen?🤔 Should I add some exaggerated effects in CMYK to have the printed result more vibrant and more similar to RGB? Is there any "suggested maximum number of masks or adjustments that can be added and not to have surprises later? Perhaps some of them are more risky than others? Not always time to print a proof. And very often they're printed on digital machine, so it's not the same result anyway..
@@TechnicallyTrent PS and as I always try to use in practice new skills I also used Patch and Inpainting brush tools to make my tree more dense 😇 and some deplacement tool as well :)
@@joanl.2471 Hi Joan, that sounds like it was a frustrating experience. I do have a hunch that converting to PDF is usually an imperfect process...I've seen some strange things happen when complex designs are converted to PDF. When I do conversions like that, it is usually just with very simple designs. 99.99% of my exporting is to PNG or JPG.
12:47 "cat.afphoto" for sure this photo looks like a cat af 😂
Ha, I didn't even notice that :)