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Everything posted by Lagarto

  1. I think that this is *basically* correct. Adobe apps behave similarly, if configured that way and when *opening" documents (PDF placed in InDesign making an exception) for editing. When you open a document with conflicting profile, you can typically decide BEFORE proceeding, whether the document to be opened will be a) converted to working color space, or if the b) embedded color profile is retained, or if the c) embedded color profile should be discarded (in which case the working space color profile will be assigned to the opened document. Affinity apps handle situation (a) if you have "Convert opened file to working space" checked, situation (b) if you do not have it checked, and situation (c) if you do not have it checked AND double click the placed PDF and choose File > Document Setup and now "Assign" (instead of "Convert") the main document color profile for the document. This can be tested with the K100 PDF document with Coated Fogra 39 profile embedded by doing the following steps: 1) In File > Preferences > Color, uncheck "Convert opened file to working space". 2) Create a new document and ensure that you have other than Coated Fogra 39 as your document color profile. 3) File > Place the PDF with embedded Coated Fogra 39. You can choose Document > Resource Manager to see that the document has "Coated Fogra 39" as the color profile. 4) Double click the placed PDF. Note that you do not get color conversion warning because conversion is not performed. The black has stayed K100. 5) Click File > Document Setup, choose your main document color profile from the list of profiles (e.g. ISO Coated v2 (EFI), or whatever is your main document's color profile), then ensure that Assign is selected. Close the document. If you now choose Document > Resource Manager you should see that the embedded PDF has the same profile as the main document. 6) Export with default (print) settings and confirm that K100 is retained in the produced PDF. If you do NOT perform steps 4 and 5, the document's K100 will be converted at export time to rich black. This assignment procedure is pretty much equivalent to what you would achieve in InDesign simply by "discarding" the embedded color profile at the time the document is imported. But for PDFs this does not apply as InDesign will pass them through anyway and the color values will not be touched (unless you deliberately force this by using non-document profile as your color conversion profile and choosing the option that allows change of color values. (But if you'd open the PDF in Illustrator for editing, regular color management would be applied.) I have tested this with both settings ("Convert opened file to working space" checked or unchecked), and with default Export (print) and Export (PDF-X4) settings, and if you do not manually change rich black back to K100, or change the profile by doing the assignment operation described above, you end up getting rich black in your print PDF. To make the alternative workflow clear, here's a description of what happens if you do have "Convert opened file to working space" checked (I think this is the default?) and place a CMYK PDF with conflicting color profile: 1) In File > Preferences > Color, check "Convert opened file to working space". 2) Create a new document and ensure that you have other than Coated Fogra 39 as your document color profile. 3) File > Place the PDF with embedded Coated Fogra 39. You can choose Document > Resource Manager to see that the document already has your document color profile assigned to it (possibly color values silently already changed). 4) Double click the placed PDF. You get the color conversion warning. Check the text and see that K100 has been changed to CMYK values. (If you now edit the values back to K100 and CMY0, you will have K100 also in export. If you don't, you'll get the displayed CMYK values, whether you opened the embedded file or not.) All in all, color management is not the simplest thing in the world, but the defaults should be such that inadvertent changes from K blacks to CMYK blacks in imported CMYK PDF documents do not easily happen. I can understand that the current situation with PDFs placed in Publisher -- as they cannot be passed through -- is tricky (as the files are basically opened for editing), but as it is, the whole PDF document placement feature (contrary to opening them) would probably do much better if it simply just ignored color management altogether at least for CMYK objects.
  2. You should still be able to run AI and PS as they are 64-bit versions, or??? I cannot see this happen in any near future on Windows. There is far better backward compatibility on that platform, and when the support is finally ended, there will most probably be ways to continue running 32-bit sofware.
  3. That could work only if you have mere black in your PDF (that is, no "color" color), meaning that you'd work with grayscale PNGs, otherwise you're back in square one, having rich black, but this time in RGB mode.
  4. Yes, I agree. The major problem as far as I can see with color management in Affinity apps is that there does not seem to be a way to simply just discard the embedded color profile of imported graphics. You end up in problems like converting K100 (and below) to rich black because of conflicting color profiles, and if you choose to not convert at import time (as per choice done in Preferences > Color), the embedded graphics with deviating color profile will (by default) be converted when you export to print PDF. As it is, it would be far better to be able to import all PDF documents without any kind of color management. Therefore I can see only two “safe” ways to deal with CMYK PDFs with an embedded conflicting color profile and containing K values (non CMY blacks) in an Affinity Publisher document: a) If you do allow conversion in your color profile settings (Preferences > Color > “Convert opened files to document space” is checked), double click the placed PDF document to have it opened on a separate tab, note the warning on color conversion performed by Publisher, and edit the color values of the document (manually forcing mere K values). On the other hand, if you do not allow automatical conversion (and accordinly have the K values intact in the PDF document), double click the placed PDF, choose File > Document Settings for the opened PDF and assign (not convert) the PDF document the color profile of your main document. Now your "embedded" PDF has the document color profile and its K blacks stay as K blacks and will not be converted at export time (as there is no longer profile conflict). b) If it is your hands, do not embed a color profile in a PDF document that already has mere CMYK values. When you do not have a profile, CMYK values of a PDF document are imported as they are. Not actually too practical solutions, as there are still problems with embedded (missing, uninstalled) fonts, and things like overprinting. If I were in a position of needing to place critical PDFs in a Publisher document, I'd simply render them in Photoshop and save them as CMYK TIFF bitmaps with no embedded profile (so you'd need to be careful with color profiles there, too, to not have rich blacks), and then place in a Publisher document.
  5. Their campaigns might be a bit odd and sporadic (e.g., i upgraded from version 2018 as they currently show an offer when you close the app; perhaps they do not show it in context of recently registered apps) but I have upgraded every now and then starting from early versions and do not think that I have ever paid more then 100 euro (or USD) for the upgrade. And older completely legal versions can occasionally be found as kinds of offers Humble Bundle had. I do not think they have a particularly strict upgrade eligibility policy, either, and as they offer both Windows and macOS versions at the same price, there is some benefit for users like myself.
  6. The latest beta seems that have the artboard creation based on the selection broken. 1. Open the attached file containing a group of two rectangles. 2. Select the Artboard tool and select "Selection" from the size list. 3. Click Insert Artboard. The artboard is created but not propery cropped around the bounding box of the group. If the rectangles are ungrouped, the relative positions of the rectangles are not retained, either. And if the operation is tried to be undone, the results are more or less absurd. (The artboard will have the correct size only if the selected group is positioned at top left, but the Undo problem is still there.) In the release version there does not seem to exist similar problems. group.afdesign
  7. Don't want to arouse false hopes but you might want to check if this holds true (the link below is only to the Painter user forum, not the Humble Bundle site): Stephen 2 hours ago in reply to noriri I have heard that Humble Bundle now has the updated/Catalina compatible installer on their website, might be worth giving the latest a try...let us know if it works! https://painterfactory.com/painter_product_discussion/f/got-a-question-technical-issue-bug-report-for-the-painter-team/30375/cannot-install-painter-2019-on-macos-catalina
  8. I am not sure if the conversion was made in this case when the document was placed or when it was exported. I guess that as Publisher opens rather than embeds a placed PDF, all the color values of the imported graphics are basically similarly treated as colors of the native objects (as that's what they are, more or less), so I'd imagine the other K100 text parts would have been rich blacks, as well. On the other hand, if the placed PDF does have an embedded color profile, and it deviates from the document profile of the Publisher document, the CMYK colors will be converted, K100 becomes rich black (see if you can reproduce this with the attached pdf which has Coated Forgra 39 embedded in an Affinity Publisher document that uses ISO Coated v2 (ECI). This file was produced from InDesign. This is crazy, but correct. Crazy because ISO Coated V2 and Coated Fogra 39 are pretty close to each other, and because there was no point in embedding the color profile in the first place. But ads and pdfs that are supposed to pass through very often do. If the profile is not embedded (which is the default behavior when you export from InDesign), there will be no problems with K100 when you open/place the file in Affinity Publisher. But as it does have, Affinity Publisher behaves as it should, opening a graphics file containing a conflicting color profile, and converting its color values (even if in CMYK color space). I think that InDesign avoids this problem by treating K100 and registration black differently and passing them through, no matter what. Other CMYK values are converted, if dictated by the color management policy (and typically confirmed at import time by the user). Another problem with placing a ready-made pdf (e.g., an ad or a company logo) is that you need to be careful for substituted fonts (as embedded fonts are not supported), and features like overprinting. At this stage, I'd think twice before using Affinity Publisher for jobs that require these kinds of features. 100k_with_embedded_profile_coated_fogra39.pdf EDIT: Forgot to mention the important note that the CMYK color conversion will happen with conflicting color profiles if color conversion is allowed in the Preferences > Color. I am not sure what is the default setting but the point is that even when the warning is applied, it is shown afterwards as a bubble, not as a dialog box that asks the user's confirmation, which would allow discarding the color profile and avoidinf the whole issue. EDIT 2: Tested importing the attachd pdf in Illustrator, and it converts K100 to rich black if conversion is allowed at import time (and not, if the embedded color profile is discarded). InDesign keeps K100 even if the document color space and embedded color space (both CMYK) are conflicting, and even if change of color values is allowed. But the important difference of course is that InDesign passes through the PDF and has not opened it for editing.
  9. Colors are interesting, and complex, and no wonder have inspired many philosophers.
  10. I did not apply the adjustments with much consideration especially as this was a low-resolution version so if something turned blue, some adjustments may have been applied too heavily. But violets of course are not uncommon in this context, either. It helps to have the Info panel visible where you can see color values of different parts of the image. This (especiallly if you have both RGB and CMYK values visible) gives you a good grasp on how to affect each area of the image to bring down are up its hues. I suppose it can be explained by the more broad manipulation of what constitutes "redness" than trying to access directly the red and magenta hues of the image, so in this case Yellows rather thand Reds were manipulated not only by adding both red and yellow components but also by reducing the complementary color cyan, and especially by adding black; in addition saturation of reds was increased, and then on the other hand some counter effect was applied with color balance to tone down redness of leaves on the ground. But I have to say that I basically just played with the controls so what was done was not a result of much analysis. Adjustment layers are great because you do not need to finalize (merge) the manipulations but can evaluate their usefulness and contribution to the total effect, and make further adjustments if needed, or discard them as useless.
  11. You need to tap the red circle first as the saturation (and a slight hue shift) was added only for reds.
  12. Yes, no selections using the selection tool, but when using selective color, of course selective. You could basically use "Yellows", "Reds" and "Greens" alternately to see how you can change the tones in different parts of the image. "Reds" and "Yellows" do affect the leaves on the ground, as well, so if you want to have more red in the uppper part, there might be reason to area select (basically lasso) the part excluding the ground leaves. Levels is more a general tool to adjust shadows, highlights and gamma of the image, so that is not so useful when you need to touch only certain colors. I do not know Photo as well to be able to comment the Live Lighting tool but I suppose these kinds of manipulations are more suitable in bringing up details or for creating special effect rather than tuning the general feel of the image. Often just touching slightly the color balance (especially as that can be done selectively for shadows, midtones and highlights), or adjust the saturation (again, touching only limited hues) is enough. Selective color is a very useful adjustment as you can apply it only to the selected parts of the image, and control the desired hues with all color components (e.g., sometimes it is useful to play with the complementary colors or adjusting neighbouring colors when needing to boost up a specific hue which cannot be accessed otherwise).
  13. The image that I used was taken from your original post so that's why it is pixelated. But if you can open the .aphoto file in iPad, you should see from the Layers panel all image adjustments that have been made to the image. They are "layer adjustments" so they have not been "finalized" so if you tap (double tap?) the icon of the adjustment you can see which kinds parameters have been used for each adjustment, and can easily make similar adjustments to the high-res image you have on your iPad. Note that e.g. for "Selective Color Adjustment" the parameters are not directly shown, as you'd first need to tap "Yellows" to see how the yellow tones have been boosted with magenta. The iPad version of Affinity Photo does not have identical user interface with Windows/macOS version but I suppose it has similar controls.
  14. I am not sure where you're aiming at but you could try by using one or more of the adjustment filters used in the attached Affinity Photo file (primarily selective color and adjustment of saturation), and area selection if you do not want the adjustments to red/yellow to have effect on leaves on the ground. autumnleaves.afphoto
  15. I noticed that having a miter corner join (at least with square caps) causes strokes to be expanded. Using rounded joins keeps them as strokes. Just a workaround, of course, and useable if you do not have corners that lose their desired shape.
  16. Yes, true. But that is the only "solution" there currently is with Affinity apps. There are serious limits.
  17. Publisher cannot passthrough the pdf (even when you "Place" it) but actually opens it, so you need to check that is does not perform odd renderings and color and font conversions. If it is otherwise ok, you should also be able to change the color of text back to K100. Note that it probably also loses any overprinting settings so you'd neet to reapply them.
  18. Which macOS? Have you ensured that this is not just a Gatekeeper issue? (Curious because I just installed the 2020 version on macOS Mojave, no problems.)
  19. Select the object where you have a Pantone color assignment, then activate the Swatches panel, select "Document" palette at the top of the drop-down list, then click the leftmost plus button beside the list. Once you have the swatch, right click it and choose "Make Global". Also, to see the library names, make your palette to show as list by using the Swatches menu (at the right top), and choosing Appearance > Show as List.
  20. You should see a library color assignment if you select the object and then activate the Color palette. If the color is a spotcolor, you should also be able to see all used spotcolors if you export the job as print PDF (honoring spot colors), and then use tool like Adobe Acrobat Pro to view the colors used in the document. Personally I always add library colors in a document palette as regular swatches, so that the swatches get named after the color values and library names, and convert them to global swatches only afterwards.
  21. Just upgraded my 2018 version to 2020 at EUR 96 (VAT0), the USD price was a bit under 100, as well. It was an offer but directly from Corel. I think there was no strict version eligibility so the price would probably be the same even when upgrading from an earlier version. And it covers both Windows and macOS versions.
  22. Do you have the text frame created on the master page itself, or have the text frames been created simply in context of flowing the text? If former, you'd change first margins of the spread, then manually resize the text frames on the master page. This would automatically resize all text frame on pages, as well. If latter, the text frames on pages are independent, and there is no auto-adjust feature in Publisher, so I think the only option is to copy all text from the pages to the Clipboard, and then paste it in a new text frame with correct size, and reflow it. In this scenario, I would use a separate document (copy of your original), remove all pages (except the first), remove the text frame on page 1, then redefine spread margins, create a linked pair of text frames on the left and right side of the master spread, copy text from original, and finally paste it in the new one (the first right-side master page based text frome on page 1), and reflow the text (which automatically flows the text and creates the required number of new pages). If you have all text in one text frame, it should not be too bad. But I'd do it in separate files just to be sure you do not lose your original if something goes wrong.
  23. Hopefully! But it may be more an issue with import than export. If I import .eps files (via "File > Place"), i do not get "Passthrough" in the Blend mode list. I think that I have seen this happen only when pasting vector graphics via Clipboard, so the source of the graphics might be meaningful when trying to fix the problem. "Passthrough" is not an option than can be chosen in regular documents, and it is strange that a group of vector graphics should get any blend mode other than "Normal", unless a specific blend mode was used also in the original objects or a group of objects. (E.g., pasting vector objects having "Multiply" blend option will be pasted as "Passthrough" but are normally transferred correctly and also keep on exporting as vector objects).
  24. Quoting again, and correcting, myself: The profile based PDF Export time conversion of internal CMYK values only happens, if the color profile is changed in export settings so that it deviates from the document CMYK profile, but NOT if the document profile is retained (it may just appear to have changed because the color profile is embedded and causes the viewing app to show converted values unless the viewing profile is matched with the embedded profile). There does not seem to be a kind of (default) option that InDesign uses when exporting to press and performing color conversion (even when changing from the document color profile to something else), "Preserve Numbers", which does not touch the document's internal CMYK color values, or objects without an embedded color profile, but only objects in different color space (RGB) or with a deviating emdedded profile. Another instance where (often inadvertent) conversion of document's internal CMYK colors (involving change of K blacks to rich black) can happen, is if and when the document color profile is changed form the Document Settings, using the Convert option. In InDesign, objects that have been colored with the internal [Black] and [Registration] swatches (also including tints of them), will not have their color values changed in this conversion, but all other colors of the document will. In Publisher this distinction is not made, so even K100 color defined objects will change to rich black. (I have a feel that InDesign makes this distinction also when it imports objects that have a deviating embedded color profile: K100 and registration black are cleverly enough retained, even if all other color values are changed.) The general problem with color management in Affinity apps is that the workflow is poorly documented and inadequantly implemented, and without proper warnings (mostly only some popups showing information about conversions that have already been made are shown). Adobe apps do this much better, and give both descriptions and appropriate warnings in context of conversions, but it is not necessarily an easy subject, and I often see color management improperly used (typically unconfigured and with U.S. settings) with Adobe apps, as well. In conclusion: To avoid inadvertent self-made conversions from K only based text to rich black, do not change document color profile in the middle of design using the "Convert" option, and do not change color conversion profile in PDF export settings so that it deviates from the document color profile. And to avoid initially created RGB based black text, make sure that the document color profile is CMYK based when the document is created.
  25. Setting the UL100 group's blend setting from "Passthrough" to "Normal" also allows to export the whole graphics in vector format. Were the CL100 curves imported from another app?

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