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  2. @anon2 Thank You so much! Strange tho, that it does not work, if you have selected a word to be replaced by the double-clicked field. In this stage as a beta feature, this is very counter-intuitive.
  3. Does how they number the versions really matter? Publisher hasn't been around for six years and the version numbers have to be the same for all three apps for Studio Link to work. It would be really confusing if each app had a different version number and you had to keep track of which version of each was compatible. I think Serif's pricing policy is very fair. There have been a lot of advances in the apps, without having to pay for new versions. Yes, it does get frustrating to have to wait so long for some bug fixes and new features, but, on balance, I'd rather that than having to pay out to Adobe every month. Basically all three Affinity apps cost less to buy than the Adobe suite costs for three months use. Take your pick. If you need the features that Adobe offers, and you're happy pouring money down the Adobe drain, go for it. Personally I find the Affinity apps do virtually everything I need.
  4. Curious if you'd worked of a bunch references whereby drawing this freehand, essentially 'eyeballing' the subject's various elements or alternatively traced a background image?
  5. I have version of Affinity designer and today the font selection keeps freezing :(. Does this happen to anyone else? When can they fix this? Best regards
  6. I have version of Affinity designer and today the font selection keeps freezing :(. Does this happen to anyone else?. When can they fix this?, thanks. Best regards
  7. Danke. Ein Changelog zeigt ja auch die Fixes an. Ich suche eher eine Liste, welche neuen Funktionen in den jeweiligen Programmen dazugekommen sind.
  8. I can't follow JixiPix version numbers and updates. Just under Premium Pack I see three different versions And I tested callback with Rip Studio, but second open not working. Try these steps: open an image in Affinity Photo Filters -> Plugin -> JixiPix -> Rip Studio Modify anything what you want and apply Rip Studio closed, and get Affinity Photo again. 'Oh wait, need a little modify with Rip Studio again!' Filters -> Plugin -> JixiPix -> Rip Studio Nothing happened...
  9. Hello @SPaceBar, thank you for the reply. I have captured the video - this time, it took quite long before it hung. Also my findings about the 'hover hint' is not clearly visible ;). Sometimes it hung instantly whenever I want to do something in the slices. I must try it a few times... It's somehow random. If you are unable to reproduce I can probably share the design file in the end. http://cloud.dozd.eu/s/XCgESX9i4zQG73L
  10. Erm. That's kinda related to their policy of how they number their versions, probably due to their pricing/upgrade model. As most other developers wouldn't increase their version number by a fraction of 1 over a path of 6 years of development, major changes and improvements of their program. Compare 1.0 vs. 1.8 of the Affinity apps and do the same with most other apps. You'll see that Affinity apps had more changes than most others which version numbers increased by 7 or 8 instead of 0.8. The version number is yet another thing which you can't compare the Affinity apps to others' with.
  11. Thanks Nizza - this is something we're aware of and with development to be fixed. If you drag a selection box around the objects you can still use them for the time being.
  12. Thank you for your answer. I have a pdf file with 80 pages , I want to create an APu "Passtrough pdf" for each page. I can do manually ..... but can i do in one shot ?
  13. Hi, Thanks for your answer ! Sorry, I could not come back to it lately. In fact, it work ok up to point 4, ( without the beginning of the procedure, AD crushes as soon as you clic on "Print". Now, the dialogue box "print" does open, but whatever the choice of the options, as soon as you write anything in the dialogue box, it cruches the program. Weird ...
  14. Today
  15. Hi AnneX, I can confirm that projects on the home screen of Affinity at the time the backup was taken are restored
  16. Affinity Photo에서 픽셀을 잠그고 전체 색상을 설정하는 방법이 있습니까? Photoshop의 투명 레이어에는 지정된 레이어에만 색상을 채우는 바로 가기가 있습니다. [옵션 + 명령 + 삭제]. 어피 니티 사진도 있다는 것을 알고 싶습니다.
  17. Yeah, CTRL does allow you to "CUT" and "MOVE" but what we're after is the ability to "COPY" and "MOVE." There does not to seem to be any combination of keys to allow for THAT.
  18. Lots of PDF in this post, so I am not sure. In the latest beta PDFs are placed as Transfer. But if they are not in your APu document, you have to change the method for every single PDF. AFAIK there is no method to turn them to transfer in one go. Maybe making them linked could work?
  19. Welcome to the forum @Zafflex Affinity Designer doesn’t have a line segment tool but you can draw a line vertically or horizontally using the pen tool (P) select the move tool (V) and edit the angle and length using the transform panel. Duplicates of the line can be achieved using power duplicate Press CMD (⌘) + J on Mac, Ctrl + J On Windows) positioning the duplicate say 10px to the left will increment duplicates 10px to the left if you continue to use Press CMD (⌘) + J on Mac, Ctrl + J On Windows)
  20. In this particular instance the first question would be what kind of coated and uncoated paper is used and whether generic profiles for coated and uncoated stock can give predictable results when printing on those papers. In OPs reply (in related post) the blueness that was tried to be achieved was not PMS based, after all, but the color just appeared in the palette for other reasons, so the hex value x0975D0 was probably sRGB based (the default underlying RGB profile in Affinity apps), and it translates to C84 M50 Y0 K0 in Coated Fogra 39 (Photoshop; C85 M53 Y0 K0 in Affinity apps) and C89 M51 Y0 K0 in Uncoated Fogra 29 (Photoshop; C88 M54 Y0 K0 in Affinity apps) so there is not much difference in color values between the two profiles. So if these values have really been used, and results are not acceptably close, I would check whether paper specific profiles are available and if so, see how the color values change when using them. I could also have a word with the printer and ask whether they can recommend some other profile or paper. If at all practical, I would ask good-quality proofs and then make adjustments accordingly, especially if it seems that the problem is not general but just related to some specific images or colors. Adjustments in Affinity apps could be easily reproduced in future, but in a situation the same colors or similar jobs need to be produced repeatedly, I would try to find a workflow based on correct profiles. If the alternative is to switch to RGB and be happy seeing the color as I wish it to appear on paper, both coated and uncoated, but knowing that this is impossible, and that I cannot do anything myself but just send sRGB colors and ask the printer to do their best, I’d definitely choose the former, take the blame if there is no reasonable match first time, but achieving consistent results probably already on second time. My main point was to make a note on usefulness of working with color profiles and calibrated displays, and have the publication in CMYK color mode when producing for regular CMYK offset print, rather than working in RGB and playing with soft proofing, or even more bizarrely, producing RGB exports and asking the printer to get colors to match on two kinds of papers. There was a time when graphic designers and museum curators needed to spend hours or even days beside a printing machine marking on fresh print proofs for each and every work of art how to improve the colors (too red, add cyan, etc.): giving vague instructions to printing personnel who were the only one who had the control. Good old times, but I guess very few would want to turn the wheel to get those work methods back, so I at least want to keep the current ones and be able to get predictable results in good time, with as little guesswork involved as possible, or dependence on specific expertise of a specific printer. So yes, I do welcome boring ISO profiles and thoroughly color managed, well tested standard workflows, not because I’d be some kind of “CMYK”-believer, but because that is practical and has given good results for a long time. If an offset print job needs to be produced using a CMYK target color profile, as it regularly needs to be, the color values exported in print PDFs will be virtually identical disregarding whether the job was created and colors defined in RGB or CMYK color mode. As Affinity apps simulate target color space on screen, the user with a calibrated display gets a good idea on how the colors will look on paper (without using soft proofing). Affinity Publisher does not offer the flexibility of InDesign in allowing a kind of a dual color mode and showing RGB colors using a document RGB profile, but the user can nevertheless make RGB color definitions and switch temporarily the document color mode to RGB, if they need to. But choosing and using RGB as the document color mode in a job that is required to be delivered with a CMYK target is in many ways impractical and can have catastrophic side effects, some of which are related to the way Affinity apps behave. E.g., the target CMYK profile to be used at export time needs to be picked by hand (if not, the last used CMYK profile or failback U.S.Web Coated will be used, which normally results in inadvertent conversion of color values), grayscale images with profiles (including D50 which Affinity apps use) cause conversion to CMYK typically with color casts and they cannot be used in PMS toning, etc. In a word, unpredictability is increased, and all kinds of workarounds are required for tasks that in CMYK color mode can be done directly. It is a different thing when creating original art, or reproducing photos on a photo printer. But this thread and a couple of other recent topics where RGB based production method has been vocally advocated, have been clear CMYK print jobs. In one post where a profile conflict caused problems, an advise was given to create K100 by using RGB 0,0,0, and solid magenta by using a spot color, for a simple reproduction of a company logo that was delivered as a vector based CMYK PDF. You can do that for a sake of discussion, or whatever secondary reason, but I do not think that anything even a bit more complex can be produced that way, or that there is any benefit as regards print quality or color fidelity, not to mention costs, in doing so. But most importantly, I do not think that such advises help presenters of the original questions, at all. Some of them are hobbyists who have had no experience of anything else than working with RGB-only apps so yes, CMYK and color managed workflows can be challenging, especially when they are not well documented in Affinity apps, and still also have some flaws and omittances. Production workflows at many popular printshops are also “Word-friendly” in a sense that they have no problems accepting non-color managed RGB-based input, but Affinity apps are not comparable to Word, and many users of Affinity apps want to have more control of the color. So “go for RGB” and leave everything to the printer is a lousy general instruction, and quite out of place in context of topics referred.
  21. Thank you, guys, for your answers! Good to know the bleed is there and I could include print marks but strange Illustrator does not show the bleed. Anyway, how can I make sure in Affinity Designer that the export file is 100% CMYK? I found on the help site that everythink shall be converted into CMYK if the document setup color mode is CMYK and Convert is ON.
  22. Have you tried using modifier keys and using move tool? They allow most of the operations you request. Admittedly they do not work exactly like in PS.
  23. There is no reference layer functionality as designed feature, but you can import a graphic and use it as reference. You can lock or hide the reference layer as needed, and hide or delete it before export.
  24. Hi, I would like to have all my pdf pages of my pdf files in Pdf Passtrough. I know how to do all my pages in a same time. Can someone help me ? Regards
  25. ok, so looks like the crop tool only snaps to the edges of location of the previous "crop". i.e if you cropped the image once before, the new dimensions are the edges for snapping and the full photo's edges aren't snapped against.
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