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Mike W077

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About Mike W077

  • Birthday July 6

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  1. You seem far more knowledgable on this than I am. What I know is that this last issue we went back to InDesign and things seemed to go smoother at the press, even though it was a bit of a re-learning curve for us. I really like Apub and Affinity products to use, and like Serif as a company, but if the suite is going to be used for serious production work, at least for us, I feel that this needs to be fixed. Again, thank you for your thoughtful and helpful posts.
  2. This is an amazing and exhaustive explanation. Thank you for your work. It also reveals a system that is WAAAAY too complicated for a production work flow. It shouldn't be this complicated. There should be a simple way to allow specified CMYK colors to flow through the export processes unchanged. We receive way too many PDF placeable files from customers and agencies, as well as elements — logos, other art — that we design up ourselves — to make anything this complicated work. APub should just let everything flow through to the final PDF, including the random RGB, and then let the RIP at the printer handle the interpretation. That's its job. That would make sure that specified CYMK values remain unchanged and let the RIP interpret the rest for best output. As it is, with APub apparently wants to interpret ALL color values if there are ANY rasterized or RGB elements in the publication — if I understand this correctly (and I might not. It is complicated.). Thanks again for your help and your work. I will review more extensively.
  3. No worries. The PDF presets for professional print work, i.e., X4 or X1-a, are for CMYK, and that is what we use.
  4. OK, you Publisher ninjas out there. Here is a tough, weird one: THE BACKGROUND: We publish a large circulation (15k+) monthly magazine style newspaper on 32# newsprint on a cold-set web press. We set up the ads and special elements in Affinity Designer and export them to PDF/X-4 or X1-a. The color profiles for the document and the export are set up for newsprint. We also set up the Cover in Designer and export to PDF, have used both X4 and X1-a. For all of these, we set up the Ink Percentages just as we need them for the press. THE PROBLEM: When we export from Designer and check the Ink Percentages in Adobe Acrobat (Print Production/Output Preview), the ink density percentages are just as we set them. However, when we Place the PDFs exported from Designer into the publication in Publisher and then export the entire publication to PDF, either X-4 or X-1a, the colors SHIFT AND CHANGE. One major issue is black (the K in CMYK). There are times when the black needs to be 100% and the rest of the colors 0, and not a "rich black" (a mix of black with other colors to give it more richness). However, 100% black in PDF elements placed into Publisher ALWAYS seem to shift to a form of rich black, and other color densities can shift also. This even happens when we take the native Affinity Designer files and place them in Publisher and then export to PDF. When we export to PDF and check the colors with Acrobat Output Preview, the colors have shifted. We get rich black when we wanted 100% black only. When we sent these files to our printer, they cause no end of headaches with color separation and registration issues. Yes, we tried setting the Assign/Convert under the Color setting in document setup to "Assign," but it automatically switches back! Argh! Please don't just tell me to try various different color profiles and export settings. Have tried that approach and no color profile settings or export setting changes seem to make a difference. It seems to be a problem with the way the PDF export engine is implemented in Publisher. Am I wrong about this? Or maybe there something I'm missing. I have searched the forums and can't seem to find anything specific, although I seem to recall someone else having this type of issue too, but can't find it again. Here's how bad it is: Due to this and the inexplicable unchangeable default text box margin spinner settings in APub 2.0, we have gone back to InDesign. Color settings stay solid as a rock even after exporting to PDF with PDFs placed in the publication. However, I am still holding out hope for APub. OK, ninjas, anybody else run into this problem and have a fix for it. Fingers crossed.
  5. After a while, all the little "gotchas" get to be too much. The 0,0,0,100 random conversion to rich black in PDFs (making problems with registration. This may be fixed in 2.X, but don't know for sure), the lack of span columns for paragraphs, and now this. Just little things that are really big things in a production work flow. There is another option, going back to InDesign, at least until these issues are resolved. Not what I want, but it is an option.
  6. Awesome! Good job. Thank you. Come on Serif! Get this fixed. Those of us using Publisher for production need this fixed ASAP.
  7. Thank you for checking back on this. Do you have an idea if or when we could expect a fix for this? Thanks.
  8. Well said. Who needs 1.0" adjustments? Then there is the 0,0,0,100 color issue exporting to PDF, which often converts to a rich black. Argh! This has caused me no end of grief with my printer. Affinity wants us to use these programs for production work, right? Then, they have got to give attention to these kings of details.
  9. Sure, but it adds steps, including changing from mouse to keyboard, when simple mouse clicks used to work.
  10. I checked and rechecked that too. I think that is the display number places, not the adjustment increments. 😞
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