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lacerto

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  1. This is a bit strange procedure (especially if you have regular body text or notes in K-only), and also, because determining "rich black" with a predefined mixture is a bit odd, unless a specific tone (e.g. bluish, brownish, etc. tone is wanted), but in case neutral rich black is wanted, the easiest solution, as long as all you have in your design is text (anything laid out using fonts) and native shapes, is to use a different CMYK profile than what you currently use, either by using File > Document Setup > Color and switch the CMYK target profile, and make sure that you have Convert option selected. Or, when exporting, using a different CMYK profile than what your document uses. This will make sure that the rich black conversion is optimal and neutral (determined by the color profile). If your current CMYK profile is already correct, first switch to another CMYK profile but using the "Assign" option. Then convert to final CMYK profile and use the "Convert" option. But if what you really need is having CMYK 60, 40, 40, 100 (and limit the change strictly to text), then Find/Replace, shown above by @thomaso, would be the solution.
  2. In lack of Adobe Acrobat Pro or other tool that you can use to directly convert a CMYK output to sRGB, I would first export a PDF/X-4 file from Designer, which will produce an all CMYK file using the color gamut you are seeing on your canvas. Then I would open that file in Designer in RGB color mode and export to RGB color mode PDF and SVG. The colors should be pretty close to ones you have in the original CMYK mode document. 2. LOVE SAVES THE DAY for inflatable flat for printing color copy_pdfx4.pdf 2. LOVE SAVES THE DAY for inflatable flat for printing color copy_rgb.pdf 2. LOVE SAVES THE DAY for inflatable flat for printing color copy_rgb.svg
  3. If the issue is that colors get clearly more saturated in RGB mode compared to native CMYK (in which mode the design is created), the reason is that RGB based definitions and/or effects have been used while staying in CMYK mode which cannot display RGB gamut. If you want to have RGB output as close to CMYK as possible, always define all colors using CMYK color model, including effects. Note that use of effects and adjustments typically causes conversion of certain elements to raster objects (as in your design, indicated by the fact that conversion of image color spaces is necessary to have all elements converted to RGB).
  4. You should be able to convert everything to RGB simply by forcing it with export settings. Remember to also force conversion image color spaces:
  5. As stated above, if you have Photo, you can use Channels panel and/or histogram. But you can cope with mere Publisher, as well, as you can use the Color panel to check color values of text objects (and vector objects), and adjustments like Channels to reveal color in parts that look black (K-only) but involve multiple channels. poorishmanspreflight.mp4 As for causes Publisher will convert K-only to CMYK (multi-channel), there are various, three of which are mentioned in the video clip. One further, very common reason, is applying any adjustment or blend mode on text or native K-only objects, causing rasterization to CMYK. Applying F/X effects will often also do that, even if outer effects and Gaussian Blur might survive non-rasterized. Using opacity percentage, too, would cause rasterization to CMYK in case PDF output does not allow live transparency. Last but not least, Affinity apps by default embed document ICC in a PDF export, which will cause incorrect readings in tools like Adobe Acrobat Pro in case "wrong" simulation profile is active, or when using Ghostscript for separation.
  6. Yes, but that is kind of tricky. As can be seen on the clip above, the placed RTF and Excel sheets can be fully edited in layout, but their formatting comes from the source documents. So if anything is changed in the hosting document, it will be lost if the changed source is updated. Therefore it might be simpler to just import "static" updates like sources that have been re-exported to PDF and then placed PDFs get updated in the layout. [UPDATE: In principle linked and updated RTF and Excel sheets can use InDesign defined (table) styles, but in practice manual reapplying and adjustments are nearly always required after an update.] For this reason data merge based updates (and as a special case, capability of updating already merged fields) is more versatile as it allows the hosting document to format the data container and just take the actual content from the data source: update_formatted_merge.mp4
  7. These things are not impossible because something like this has been done already well over a decade ago 🙂 rtf_xlsx_links.mp4
  8. If the feature has not changed since CS6, there is no chance that this happens inadvertently as the user either needs to manually update the data source, or fetch updated content to the already merged data fields. While there are limits as to what can be done to an already merged data field (e.g. as regards formatting), there are clear benefits of having truly updatable (linked) data merge. You can keep the merge setup files simple and use them in multiple documents amended in various different ways. updatable_datamerge.mp4 Affinity Publisher data merge could be automated with 3rd party tools and have data source update and remerge of data done on a push of a button, but it is a bit tedious because Affinity apps do not have accelerators defined in dialog boxes (and not even all menu items), so definition of automation needs to be done using screen coordinates, which is error prone.
  9. In lack of proper preflight tool, you could open your exported PDF in an Affinity app, and get pretty reliable interpretation of color mode of objects in the PDF (things like overprint status would not be read, at all, but you should be able to detect things like K100 vs. four-color-black).
  10. It IS a poor man's report tool because it will signal K100 in any PDF with ICC embedded (the default setting of Affinity apps when exporting to CMYK) as a four-color black (similarly as Adobe Acrobat Pro, if the implied but not explicitly stated target profile is not selected as the simulation profile). A good question is: will this be four-color black also on plates, or does it depend on skills of print-shop personnel that native colors will be output despite of ICC-dependent input ("input" in context of imposition software)?
  11. That was a sad try as I later noticed that I had somehow managed to turn off scaling of all FX applied in the design myself, before turning them back on 🙂
  12. Try using "Scale with Object" property on your Outline FX: UPDATE: Just tried it myself: unfortunately does not help...
  13. As Affinity apps do not allow conversion of color space of swatches, you would basically need to apply CMYK conversions on your HSL (RGB) definitions by using "Select Same" and/or "Select by attribute" features (available in Publisher and Designer), and using the Color Panel and CMYK sliders (and type in one of the color values or alternatively turning the lock off, to have the conversion made just by switch of the color model). If you do not have lots of pages, you might want to consider using Soft Proof adjustment layer with your CMYK target on top of each page containing RGB definitions. That would force the RGB gamut to come pretty close to actual CMYK conversions to the same target (just remember to turn off Soft Proof when actually exporting to CMYK). The price of that trick is that everything will be rasterized (as always when using adjustment layers in Affinity apps). [The way Affinity apps behave in CMYK color mode (forcing in a way automatic CMYK Color Proof according to the target CMYK Profile for everything placed in the document) will become as a surprise to anyone having worked with InDesign, where dual color model (RGB/CMYK) can co-exist so that RGB colors show in full RGB profile color gamut, while CMYK definitions are shown in target CMYK gamut. A specific color proof is used to force simulation of RGB color space in target CMYK.]
  14. As I do not have personally needs for the kind of "global" swatch redefinitions described in this thread, I had a look on how this is done in InDesign and Illustrator (CS6), and basically silent updates to swatches are not supported in either app (which IMO is good; just having "conflicting" color definitions silently updated whenever a swatch called "Orange" is used in an existing and opened palette could be a catastrophe). However when loading or assigning a swatch using the same name as existing swatch (and also when trying to create a swatch with an identical definition with an existing swatch in the same palette / swatch library), the user is notified and the conflicting swatch can be imported/created using a different (unique) name. Afterwards it is up to the user to update the existing definition with the new one, or merge the conflicting definitions so that the old definition gets updated with the new one while keeping the current assignments (including tints and attributes of depending children). E.g., in InDesign this can be done simply by deleting a swatch and have it replaced with another swatch, while keeping all existing assignments and dependencies. Swatch color model (including spot color definitions) can be replaced similarly without losing assignments. There are no similar functionalities in Affinity apps, so whenever a swatch with a specific name in an app-wide palette is updated the existing assignments to that swatch are just lost. In Publisher and Designer, it would be possible to "select same" or "select by attribute" feature to select objects using the "old" definition and then do reassignment. As for document palettes and global swatches, existing color definitions and names and assignments are retained so the UI does not notify if there is a conflicting swatch using the same name e.g. in an app-wide palette, or in a "global" document palette that gets autoloaded when creating a new document. But at least existing assignments and parent-child dependencies are retained so it would be possible to manually update the definitions (as per document).
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