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Lutz Pietschker

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  1. Yes, of course. But that means I have to do that every time I add a link. Hence the q. for setting a default.
  2. I did. No luck. And how should Publisher have known that I wanted to use my self-defined style for hyperlinks?
  3. Inserting a hyperlink always proposes the "Hyperlink" text style for hyperlinks. How can I change this default to another (self-defined) character style - for the current document? - globally? Sorry if the answer is out here, but I could not find it even after long search. "Edit/Defaults/Save" or "Synchronise from selection" does not solve the problem (and how could it?). I tried deleting the Hypertext style in the hope that I would be prompted for the style to use, but all that happens is that the deleted "Hyperlink" style magically re-appears and is proposed for the link.
  4. Believe me, I am disappointed as well. So far I refrain to speculate what the reason could be, but certainly Serif seems to give this nil priority. This kills AP for me as a professional tool. In my realm (brochures, rulebooks) the need to translate is a given for any job, even if the author does not know it yet.
  5. Good guess! Yes, this was a word file which I exported to PDF and imported it into AP. I have now removed all text, reformatted the first the text frame with the Body style and created copies of this frame, which I linked to a continuous frame (without this step the problem persisted which IMHO shows that APu does not handle linked text frames correctly). I then pasted the text back (without format, made sure via a detour to BBEdit) and all was well. Thanks for the hint!
  6. I encounter a problem I can't make head or tail of. I have created a multi-page document, with the text flowing from page to page through linked text frames. All text inside the frames is formatted by text styles. At the border from one frame to the next the text size keeps changing somewhat randomly, it looks a bit as if AP decides to increase the size to fill the available space (like that idiotic auto-size feature of Powerpoint does) rather than using 2 or 3 lines that would fit the space. The complete paragraph in question is formatted with the same style. I even removed the style and re-applied it, no change. When I move the lower text frame border on page 1 up, the text on the next page looks good; if I move it down, all text on that page below the H2 becomes huge. File & screenshot attached. I would be glad for any ideas what could have gone wrong. Hof-Post 2021-09.afpub
  7. Note that the main panel clips the inset colour box - I searched for ages for the "no colour" control until I noticed that this part of the colour control box was cut off.
  8. I often have to digitize town plans, meaning I have to draw a series of mostly orthogonal polygons along some oblique axis (the street to which the "polygons" - houses - are oriented). To enploy the 90° locking (shift-lock) it would be useful to rotate the canvas by arbitrary angles OR to rotate the grid - the latter seems more intuitive to me. I found that in fact I can rotate the grid, but only each axis by itself (in advanced mode) - not the complete orthogonal standard grid, and I have to calculate the angles myself to make the axes orthogonal. The rotation controls are there but grayed ot when I am in standard grid mode (see screenshot). This is one of the things in AD where I find more options than I will ever need, but not the most simple and (to me) obvious one. Maybe I am overlooking something completely obvious, but I cannot see the reason for that limitation. How can I rotate the standard grid (both axes together) by arbitrary amounts? If not, why not? Or, to make it a request: Please unlock the rotation control for the standard grid.
  9. No, that is not at all what happens in Word. In Word and any other program I know of the comment function is a distinct "working area" that you can show, hide, comment again, extract, resolve etc., it is a lot more than just "a text attached to a word". A comment function is very high up on my wishlist for Publisher.
  10. Because nobody even reacted, and because feedback is not quite the same as a feature request. I can understand that not every requested feature can be implemented, or implemented soon, but there are some strategic features for which I'd like to know Serif's strategy, just to help me decide what path to go. Import/export and translation support is one of them. It also is a part of many professional workflows – and it would be a cool way to distinguish Affinity from the shoddy solutions certain monopolists offer.
  11. For translations I require an export/import feature. I have asked about Affinity's plans and suggestions here: in the Feedback Forum but there was not a single reply from Serif. Basically, as lon as this feature (or something equivalent) does not exist, Publisher files are "untranslatable" for professional translators. I can expand on the request if I see any interest from Serif.
  12. I am a translator and want to switch from Indesign to AP - more important, I want to offer my customers an alternative. The only translation-related thread I found assumed a very special workflow without the use of CAT software. In most cases, our current workflow is: Export INDD to IDML Import IDML into CAT software (in my case, Wordfast Pro) Translate Create translated IDML Return IDML to customer & import This is by no means a smooth process, mainly due to IDML idiosyncrasies, but it works, sort of and with lots of grumbling involved on both sides, but we mainly use it for lack of anything better. Trying to say that this would be a domain where it would not be too hard to do better than the competition. Now my question is: What workflow do you propose if a customer would switch from Indesign to AP? The technical snag is that most CAT tools cannot read proprietary binary files, they need some sort of (Unicode) text file, usually some "…ML" format, and I do not see that changing anytime soon. In fact, I think it is the best solution, see below. As of 1.8.4 AP does not even have a text export format, it seems, let alone any exchange format that preserves formatting and layout and which could be re-imported into AP after the translation. The real problem, of course, is not the main "story" but the numerous text snippets flying around in "loose" text frames and artistic text. But even the main story becomes a problem if I have lots of inline symbols etc. IMHO a solution would need to involve a text export format, and pure XML would be preferable to any "adapted" format because otherwise I would be at the mercy of the CAT provider to provide an import filter for your format. Since I work mainly on print documents I would prefer an intermediate format that preserves page integrity as much as possible (because all editing, checking, reviewing etc. follows the page paradigm); with page integrity I mean that the elements follow the geometry of the layout (as opposed to, for example, time of creation, moon phases or whatever IDML seems to use). I am on the fence about the question whether the main story should be broken into pages, preferably this would be an export option rather than a fixed setting (what works best depends very much on the type of document, more precisely on the relative importance of text content to graphical design - think "laws" vs. "flyers"). What are Serif's thoughts and plans on this sort of workflow?
  13. +1 In its current implementation (1.8.4) isolation mode is only for "isolated viewing", which makes it useless for my work.
  14. MacOS 10.14.x, AP 18.4 It seems that the decimal sign required in AP input fields (like stroke width etc.) is not derived from the OS' region settings but from the language settings; this I consider a bug; language has nothing to do with the way numbers are formatted. Hint: The decimal sign settings are in the "Region" section of the preferences. On my machine, OS region is "Germany", OS and AP language are "English". However, the input fields do not accept my regional decimal sign (comma) but require a stop (which is typical for regions that speak English). Easy to workaround, except that I get it wrong every other time; the effect is somewhat like that tiny splinter in your skin that you can't remove but that keeps pricking.
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