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.: NICKY G. :.

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About .: NICKY G. :.

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  • Birthday 05/06/1981

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  1. THE VARIOUS THINGS THAT DO NOT LET US GO FROM THE HATEFUL ILLUSTRATOR TO AFFINITY DESIGNER: 1. The creation of Dynamic shapes (shape builder tools) 2. The management of the guides !!! (although it is useful to have a guide management panel), I think it is VERY LITTLE INTUITIVE AND RHINESTONE: a) impossible to select a specific guide to move it on the X Y axis, or better if I have a job with 100 registered guides how do I know which value corresponds to the x guide? if you have to move it to see which value changes to understand the corresponding value in the panel. it would be more logical to handle similar to how it works in ADOBE. b) unable to select all guides c) impossible to have a visual reference between the value of the guide recorded in the panel and the actual guide on the drawing board d) impossible to convert vector object into guide e) unable to select and guides to clone them on a new table In practice it would be all to review the guide management 3. creation of a circle passing through 2 or 3 points (essential for the geometric creation of shapes) 4. visualization of the separation of the RGB / CMYK / SPOT channels for the pre-press verification of the color selections also the display of color overprint 5. perspective creation 6. 3d drawing (like AI) .... I strongly believe that affinity designer already has extraordinary potential that Illustrator in his 30 years of career has never had, especially in speed, lightness of the software and precision in drawing (which is fundamental for a vector design software), Ai is really bad in this, but it remains a standard. I hope Affinity will make a move to close the (albeit minimal) gap with the competition.
  2. I think it's a small implementation that is missing in AD! They should add it. I understand that for long layouts Pubblisher is better suited to the purpose but with Designers you can make small layouts, tree-folders and it would be very useful to be able to divide the text into columns or let the text blocks continue in other text blocks. Could you add ??
  3. I would like to know how it works in AD! what is the practice to follow in AD, the question concerns "Af Designers" TKS
  4. Hello, How can I scroll the text that does not fit into the text box into a new text box (linked to the first one) ?? As it happens in indesign to understand each other better.
  5. Exactly as you say, but an icc color profile different from the color profile in use in the document, it always comes, in any case converted from a source profile to a destination profile, instead the exact procedure is that it must always keep the numeric values and never convert to destination (unless appropriate user requests). In practice, with "no profile embedded" images it behaves well in this way. Now that I remember well "the Adobe theory" there are 3 criteria of choice in color management in Adobe Suite. 1. deactivated 2. maintains the embedded profiles 3. converts into a work profile the right choice is 2, it keeps the numerical values embedded in the color profile of the file. Put simply, consider that photo as if it had no color profile applied and read only the numerical values applied to it. Then in the PDF / jpg export phase etc, you decide to "keep the numerical values" and apply a color profile of your choice, which can be either the work document or other. Practically if I have a fogra39 profile document and I insert images with the fogra39 profile embedded, the numerical values are read in the right way. If I change color profile to the working document and I put fogra27 example and I click Assign, the color profile in fogra27 will change and the numerical values will remain the same as before (and it works well), but if I then have a fogra27 document and insert an image again with different profile eg fogra39, this image will be converted and numeric values will change. In practice, when inserting a photo AD always applies a color conversion in the destination profile !!!! Even if the Convert colors box is not checked in the color preferences. I don't think the color assignment command works well. The color profile of the document should be ASSIGNED to each image inserted, imported, linked to the document so as not to VARY the numerical values even if you work with different embedded color profiles. CAUTION!!! Working appropriately with color management in the press, web, etc. (but above all in the press) is FUNDAMENTAL! Incorrect conversion of numerical values can lead to serious financial damage during printing! A trivial example if a 100% black is converted to a rich black 80-80-30-80 is not the same thing! Not to mention color change in images or dominant etc .. this thing is very delicate Attention Affinity !!! It took me years of study to understand how the "good" thing works in Adobe, now here I find myself headed and above all with the awareness of a wrong management by the software. Affinity we would love to leave Illustrator (because it's shit!) But you have to be able to do it without problems!
  6. I will read it calmly. But taking a quick look I don't think it's the solution to my problem. (I hope I'm wrong though)
  7. Unless I have missed something, I believe that Affinity has a GREAT lack of color management, which should not be underestimated (I have tried years to understand this thing about color management in Adobe, I wouldn't want AD to be missing). In practice I make the example with the Fogra39.icc profile applied to the default document: If I wanted to insert an image with an embedded profile that differs from that of standard use in AD (fogra39) documents, AD creates a conversion of numeric values for me! Eg I have an image file prova.jpg with Fogra27 color profile. This photo is a gray rectangle k 30% and one k = 100%. If I insert this image into an AD document with fogra39 color profile, my chromatic values are converted and I will have a k30% = 25% -19% -19% -2% k100% = 77-73-58-82 so I have a color change and it changes the numbers applied to the image. IT MUST NOT BE SO! in Adobe (as in the photo), there is the option to preserve the color profile of the inserted image and treat only the numeric values. so 30% in fogra27, 30% still remains in fogra39. (in jargon this is called: honors the assigned profile, preserving the numerical values) Actually this thing works well for images that have no color profile assigned, but generally the images always have an assigned profile! This thing of the color profiles managed in this way by AD is a serious problem. In Adobe, I can insert images in any color profile, then I do the conversion in PDF export, assigning the Output color profile, but always preserving the numeric values, never converting into a profile, because doing so will bust all the color values , so if I have to have a 100% black risk I will be converted into a four-color black with colors coated on all 4 CMYK channels. The same goes for the RGB. I think this thing should be well studied by Affinity developers looking at how the competition has moved. You risk that when I go to print by changing the color percentages, I can also have changes in the finished print result. !!!
  8. a golden spiral for the golden ratio would also be useful. With Proportional Constraints via the SHIFT key of 1: 1618. Without the SHIFT key, arbitrary proportions do not refer to the golden ratio.
  9. I was wondering why not make a redistribution of the panels? 1. if the panel transforms we always put it in the upper left corner, we would retrieve a space in the panels on the right so as to have other more open panels and do not open and close between the tabs. 2. Add the methods of the document next to the file name. 3. Make sure that even if I have the tool tab on 1 column, I can display the fill and trace color samples (now it works only from 2 columns onwards), I would recover space horizontally, since I have so much vertical space on the bar unused tools. 4. I would appreciate the possibility of having collapsible panels like in Adobe (I would save space and I shouldn't always go to the menu to call up the panels) Now it is only possible to combine the panels on the right and left so as to occupy the entire column on the right and left, at the expense of the visual space dedicated to the work tables. As it is now the interface should work with a 4k monitor to get the visual benefits, I have a 27 "1920x1080 and it seems like I'm always looking for space to better see the artboards. I hope the idea is appreciated ...
  10. Titanic's Illustrator is only years old (30). Affinity has many shortcomings compared to illustrator, but as the software is now if they developed, they added the right things to AD according to my opinion will be better than AI. For now it still has painful notes, but it is much faster, leaner and more functional than AI.
  11. OK! I got it. I have the last beta 1.7 ... 1. press the arrow keys increase by 1mm 2. I press the arrow keys with SHIFT increase by 10mm 3. I press the arrow keys with ALT - NOTHING HAPPENS - no increment of 0.1 mm ps: however I don't understand what has to do with moving with the snaps of the guides I suggested
  12. I did not understand this thing you can already do or is it your further suggestion?
  13. in my opinion it would also be useful, by pressing at the same time as dragging the guides, for example CTRL, to activate a SNAP of the guide on the numerical notches of the ruler, 1 - 2 - 3 - 4 - 5 - 6 - 7- 8 mm. And depending on the Zoom, it is possible to hook the guides to intermediate sizes 0.5mm - 1mm - 1.5mm - 2mm - 2.5mm .... higher zoom even with 1/10 mm notches etc ... 1.1mm - 1.2 - 1.3 .... dragging without the CTRL key the operation remains the same as now. I think it's a nice idea.
  14. 1. they should extend all the way to the rulers hi Catlover, I am Italian and I use a translator, I could not understand what you mean by this sentence. Do you mean that the guides have to be extended throughout the pasteboard, as happens in Illustrator? So the quides belonging to a table1 also end up on table2, 3, 4, 5 ?? So it's very inconvenient. It's inconvenient in Illustrator! One of the many reasons to throw Illustrator away!
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