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  2. Thanks for the document. As asked in my previous post: What do you get when you actually export? Is there a reason why everything is so large? For example, a lot of your artboards are the equivalent of over 2 metres wide. I just tried to export as you did and the preview looks okay to me – see attached image. However, I notice that I have different export options to you – see bottom of Export Dialog. Which Affinity application are you exporting from? I notice that the selection you are exporting isn’t in an Artboard so I’m wondering if that has something to do with the problem you are seeing.
  3. The app either way keeps track of window sizes and their positions etc., additionally it has to check for the external monitors availability (connected/disconnected) and if a before used monitor is disconnected then remap & arrange the windows over to remaining connected ones instead. - Further as an OS already offers via it’s accompanied prog APIs & libs all the related monitor detection & window handling functions etc., it‘s more a matter of making the right use out of these here for this context.
  4. I expected only the selected area but the preview shows me a much bigger area and size of the area also not correct. I expected 800 pixels *400 pixels area but this area 800 pixels *464 pixels.
  5. Occasionally I use the High Pass option in the Filter / Sharpen dropdown. Since updating to AP2.3 I seem to have lost the blend mode drop down in the the High Pass filter which makes it unusable without the blend option. Is this just me missing something or a Serif deliberate change which we have to accept? I should point out I'm an absolute amateur hence my very basic question. I have however found a work around by using the High Pass via the Live Filter drop down. All's well there as the blend mode option drop down is part of the High Pass filter. Maybe I've just got to retrain the 'auto' part of my brain to use the live filter rout in future? Thoughts welcome Doug
  6. When you export, do you get the expected area or the area shown in the preview? Can you give us a full-screen screenshot where we can see the selected layer visible in the Layers Panel and where we can also see the Transform Panel? Would it be possible for you to share the document?
  7. It really needs to be BOTH win and Mac. That covers 98% of the desktop market. Many companies have a mix of PC and Mac depending on use and departments.
  8. I don't see a method to hide the highlighting on selected text to allow a clear view when picking among font families and styles. In ADOBE, command/control H does the trick and it is a necessity in the practice of Graphic Design....and I can't believe to is not available in Affinity Designer. Come on people, please endeavour to catch up...how could this elementary feature not have been included in one of the many recent updates? Thanks William MacDonald
  9. Thanks. Yes I can see that, before everything went simpler and flat.
  10. Ir is messt work with colours in Affinity - in preproduction i have 3 Pantone colours, I need convert them to process colours CMYK, but I cant find it in colour palette. Why it isn't simplier, basic of colour is global colour, most things are in publisher for press, so CMYK and global colour must be basic, and all colours must be seen in same pallete document automatic as primary, all other thing is optional, now, if you mada a mistake in teh begining, I can't find the colours Iu use in pages, very confusing. In Prepress should show all colours process, RGB and Pantone and in prepress i should convert RGB and Pantone to process CMYK if I want, and mostly taht is the case. Work in Affinity Publisher
  11. As mentioned in that other thread, when the problem is fixed the “Serif Info Bot” will make a post in that thread. If you want to know when the problem is fixed you can “Follow” that thread. There’s no need to create a new thread to ask about another thread, just post in that thread to keep everything about the same issue in the same thread.
  12. I recorded this tutorial on how to draw the Torus Yantra in Affinity Designer. The Torus Yantra is a well-know sacred geometry figure. If you guys are interested in the topic, you can take a look.
  13. Today
  14. Welcome to the forums @BLEGAY Please see the linked thread below about using the legacy applications. A moderator will probably close this thread.
  15. I have many asset libraries and looking for an easy way to compare contents, is it possible to extract thumbnails from asset libraries?
  16. I tried to export a document but I realized my selected area not the same in export window that I selected in my Affinity document.
  17. Sorry but I don’t understand most of what you have written in your last post. If you can word it in a way that makes it clearer to me then I might be able to help further.
  18. @cz1230 I have to disappoint you here too. So far I know, Serif has no plans for a DAM solution. If you are looking for a free image management system, have a look around the open source area. https://www.darktable.org https://www.digikam.org
  19. impossible de saisir un cadre de texte, impossible de s'accrocher sur le cadre de texte pour déplacer le texte
  20. Is there no way to hide the selection highlighting in active text when making font choices? Hard to believe, my my my seems elementary?!
  21. @Lakewood MarkR It is only possible to add a single personal Universal license to an account. If you are wanting to order multiple licenses for a business, here's a link to our business pricing page. As Walt suggests, if you have any questions please email the business team directly on corpsales@serif.com https://affinity.serif.com/en-gb/affinity-pricing/
  22. The most likely cause for having -- inadvertently, but by (bad) design) -- upscaled placed images is using the Crop tool to crop images, since a masked image will be upscaled to document DPI (or to specified export DPI) when exported. To fix this, use a clipping mask, instead (clip the image to its desired size by enclosing it within a rectangle with no attributes). To demonstrate this, the camera on the left has been cropped by using the Vector Crop Tool (creating a mask), while the camera on the right has been cropped by using a clipping rectangle: When exported to PDF, the right side has kept its initial size and 39PPI placed resolution, while the left side has been blown out, and has accordingly become blurred. upsampling.pdf I have sometimes noticed that Affinity apps might inadvertently upsample placed images simply by having chosen a PDF/X-1a-based export method, but have not been able to reproduce this consistently, so there is a specific situation that triggers this behavior. EDIT: Wrong, it does it consistently when using PDF/X-1a export method, which forces conversion of RGB placed images to CMYK. It does it also when using PDF/X-3 and manually forcing conversion of image color spaces (using PDF export settings). Oddly (but luckily), it does not do it when using PDF/X-4, or any non-PDF/X-based export method, even if forcing CMYK conversion. It is clear that upsampling should never happen automatically so I consider this a serious error in a page layout app. UPDATE: To answer to your question: make sure that you do not have placed images that have been cropped by Vector Crop tool (or masked), and make sure that you export using a non PDF/X-based method, or if using a PDF/X based export method, use PDF/X-3 without forcing conversion of color spaces, or use PDF/X-4 (with which you can force conversion of color spaces). If you are forced to use PDF/X-1, or PDF/X-3 and have all CMYK color space (and do not want to have increased file size), and do not have anything in the design that is rasterized at export time, force using a low DPI setting (matching the PPI of the image that gets inadvertently upsampled) when exporting to PDF. If that is not possible and the file size does not matter, enlarge the image using an algorithm that does not cause blurring so that Affinity app does not upsample the image at export time. If nothing else helps, create a smaller design and ask the printer to enlarge it.
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