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Lagarto

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Everything posted by Lagarto

  1. You're welcome! I am still not convinced that the culprit was Helvetica Neue (as you seemed to have exactly the family names and style groupings that are included in Adobe FontFolio 8 versions). However the fonts might have had inherently inadequate typographical information so adding this (as regards font's width and weight) may help them to get organized better in apps that arrange fonts based on typographical information, in addition to allow you use more descriptive family names -- which you seem to have done now and get fonts nicely organized under Affinity Publisher, so congratulations! In the future, you can avoid it, if you want to:
  2. If you mean image 4 (bottom right), please open the attached .afpub file and in the Swatches palette, select from the list of palettese the topmost "Document" palette: you can see that it has "PANTONE 7460C" highlighted, when you select the 4th image. (Note that this swatch has "Overprint" setting turned on, but it does not have in practice any effect on other than the first image.) The "duotone" effect (2nd image) can be achieved by placing the PMS color below a grayscale image, and then using "Multiply" blending mode on the Layers palette for the image. The grayscale image can further be manipulated with e.g. Curves, and the underlying spotcolor can be made lighter with a tint value.
  3. No, this is not true: https://www.adobe.com/products/xd/compare-plans.html I cannot tell for sure, however, if there are local differences. I suppose that pricewise there are, and it is a bit more expensive outside the U.S. Also, I have no problems using any of the Adobe Fonts in Affinity apps (or any other apps installed on the system, starting from Notepad). You may need to reactivate the fonts from Adobe CC UI to have them available on your system but after that, the fonts do list in other apps, as well, and can be embedded in PDFs.
  4. If the shapes were initially a font I wonder if they could not also be further shaped in the font editor, e.g. like this: https://help.fontlab.com/fontlab-vi/Tunni-Lines/ ...and then exported for final touch in a drawing app?
  5. Here is a demo Publisher document of using PANTONE spot colors for toning (including a demonstration how the Overlay FX with a spot color results in CMYK rendering). The screenshots from Adobe Acrobat Pro show the differences. CMYK colors (CMY exists only in the third image): K and Spot only (as can be seen, no spot color in third image): Spot color only: K only: as can be seen, the fourth image prints with the spot color only); Obviously the overprinting technique (image 1) is not useable if there is no reliable way to predict the print result, so the image 2 is likely the best candidate to simulate duotone printing. You can adjust the shades of the gray scale image to determine the effect of black and use tone with the spotcolor to adjust the shade of the color you use. There are certainly other possibilities, too, but I think that most of the FX settings result in image being rendered in RGB (and ultimately in CMYK). PMS Toning without duotones.afpub
  6. The two curves can be joined by using the Node tool shift clicking technique, so that the overlapping nodes are truly fused (become one, and the curvature is maintained on both sides of the node). But the shape cannot be closed similarly. You are either left with two overlapping nodes (start and end nodes), or if the nodes are fused, the slope of the curve is distorted.
  7. I agree that even if there is probably a way to have those circles aligned with a grid, or using aids like aligning to neighboring object nodes and key points, etc., a visual center of the object bounding box can be very useful. Creating a document grid is not a big task but I think it is just fine to do many things with visual aids, even if a bit inaccurately. I wonder why the center point has been dropped? Even page layout apps have one. Microsoft Office graphics do not have, and in some ways the Affinity controls for creating basic shapes appear to have common source. Surely not !!!???
  8. Have you tried? If you use default PDF Export (print), where you have document color profile embedded, your K text definitions will be converted to rich black. Leave out the profile, and they will not. (Current release version 1.7.3.481.) Conversion has functionality, but the feature is made as it would be a "setting to be used" rather than an immediate action, which it is, in the case of conversion. CMYK_export.pdf CMYK_export_noprofile_embedded.pdf (Sample files having IsoCoated V2 (ECI) as document color profile.)
  9. Probably so. But a good post, anyway. Had not noticed that they are missing (but I have just begun to use Designer). But there are probably good reasons why the selection box midpoint show in apps like Illustrator and CorelDRAW.
  10. True, you typically would not miss center points for usual alignment tasks but might need them in some unique scenarios:
  11. I am not sure if this is what OP meant. Transform origin is applied for the whole selection (and basically equals Alt + click in Illustrator).
  12. You mention about color overlay... How have you overlayed the PMS color? I think you should simply just place a PMS object on top of your grayscale image and make it overprint. Your pdf (and .afpub document) shows solid color and without showing through the underlying image unless you have a viewer that allows showing the overprinting in effect (like Adobe Acrobat Pro), but the job prints ok.
  13. Make sure that you have "Honor spot colors" selected in your export to PDF settings. Also, if you use other than X-4 profile, ensure that you do not embed the color profile, otherwise you end up getting CMYK blacks.
  14. True, it is missing from all objects even if there is a center/middle selection (key) point and it can be snapped to. If is not showing even in node editing mode or in outline mode. Perhaps there is a setting or switch?
  15. Tables should come as tables if you have a .docx file. If you have an .RTF file, they come as tab-separated paragraphs. But I think that multipage tables are not supported.
  16. Quoting myself... This happens EVEN if the embedded color profile is the document color profile, which IMO is a mistake. E.g., InDesign will not touch document colors (ID vector objects and text) if the print-time color destinatation does not deviate from the document color profile, even if color numbers are allowed to change; it only does this if profiles differ, and then shows a warning mark in the context destination and color conversion (if any) is specified. This setting is likely to cause lots of troubles for Affinity Publisher users...
  17. It actually just seems to "remember" the last setting used, as like you mentioned, it is often a good idea to use RGB graphics when printing onto office printers. But for "(press)" setting, CMYK is selected even if last time forced to be RGB. For better useability, the color mode could be indicated (even if not chosen) on the same page where the document type is selected.
  18. Yes, should be utf-8, and then opens. CorelDRAW (2017) did not have problems opening the file, either, despite of wrong encoding tag.
  19. Yes, this is (for me, too) a good question. I must simply be missing something as I cannot do this satisfactorily. See the attached afdesign document for an example of trying to close two curves by fusing their overlapping nodes. 1) In uppermost pair, the end node 5 of "A" and start node 1 of "B" can be fused and the shape retained by selecting both curves with the Node tool (by Shift clicking them), and clicking "Join curves" button. 2) But when trying to close the now combined curve (the middle pair) with the Close curves button, the start and end nodes A1 and B5 are not fused. They remain two nodes. There is one one way I have figured out to actually fuse the nodes, and that is by manually dragging B5 over A1 (or vice versa). But then the shape is distorted (see image below). I trust that there is a method to close the curve effectively so that the overlapping start and end nodes are fused, and the shape of the curve retained, but I just cannot see the obvious (?) method to do it. In Illustrator you would just select with Object tool the curves A and B and press Ctrl+J to join curves, and A5 & B1, and B5 & A1 would be fused. In CorelDRAW you'd first need to combine the curves but then you can use node edit tool to select A5 and B1 and click "Join two nodes" button, and repeat for B5 and A1. So as it is, I'd just leave the overlapping start and end nodes and keep the shape, or then copy the shape for a model, and perform manual fusing, or simply remove the other node, and reshape the curve using the model. Simple_close.afdesign
  20. You can use Adobe Typekit fonts with Affinity Publisher, as well. The least expensive way to get Adobe Fonts is one-month payment for Adobe XD. Just purchase that whenever you need your Typekit fonts, and then in future projects use free or purchased, installable fonts to get rid of dependence.
  21. If anyone is interested in enabling custom page sizes for Microsoft Print to PDF driver, instructions can be found here (this works at least up to Windows build 1903, tested on Windows 10 Pro 64-bit system): https://franklinheath.co.uk/2015/08/29/custom-page-sizes-for-microsoft-print-to-pdf/ (by default custom sizes are not allowed for this driver, while they are for Adobe Printer). Note that the actual custom form sizes must be specified in <Control Panel\Hardware and Sound\Devices and Printers> by clicking "Print server properties" on the toolbar (for Adobe Printer custom sizes can be defined also directly from the driver properties). Form sizes are common for the system so there is no need to specify forms for each and every printer installed on the system.
  22. No, it's basically automatic, just using Affinity Photo's Print command and applying N-Up printing (as shown by the screenshot). When you use a PDF producer (see if you have Adobe PDF or Microsoft Print to PDF mentioned in the list of printers, when you open the Print dialog box), you can save a tiled pattern as a pdf and then open it in Photo to save it as an image (JPG or whatever is required). If you happen to have Adobe PDF Printer, you can specify a custom paper size in the printers's Properties page, accessed with a button beside the Prirnter list), e.g. 50x50 inches which would result in a 15,000 x 15,000 pixel graphics if you print at 300 dpi resolution. If you typically work on a 2,000 x 2,000 px pattern original, you would print these 8 across and 8 down, to get full sheet of tiled patterns. If your PDF printer does not allow custom sheet sizes, there might be an existing paper size (as a printer property) that fits the purpose, or you can select a sheet size from the Affinity Print dialog box. The pattern tiling will be seamless as long as your pattern is, so there should not occur positioning mistakes!
  23. I mean that there are basically three causes for having rich black (one that contains CMY components in addition to black): 1) Your document type is one that uses RGB color space (and RGB color profile) (you can open the Document Setup dialog from within the toolbar when having Move tool active and no active selection): If you see this kind of a document setup, it means that whenever you create a new text object, its default color will be an RGB based black, which results in rich black. .When creating a new print document (for press), you should ensure that you have something like this selected, using CMYK color space, instead of a document type that uses an RGB workflow: When this is true, the default color for new text objects will be K100 (and CMY 0). But if your document color space is RGB, the default color for text will be RGB defined color, which results in rich black when the document is converted for print. 2) Your text color is K100, but it converts to rich black when you export to PDF. This, as mentioned, is caused by embedding a color profile in the pdf, and not using X-4 standard. An embedded color profile causes conversion of K values to rich black in other PDF export methods. 3) The third reason for rich black can be that a conflict in color profiles causes conversion when importing documents, or that opened or imported documents contain text that uses rich black. Office graphics, e.g. Excel charts typically have their text (including black) defined in RGB color space, which results in rich black. As described in other posts in this thread, it should be a simple process to change your text to K100, especially if you do not have colored text parts amidst black text blocks. Black text in graphics would naturally require access to the source so that it can be manually changed.
  24. Having now compared my list of Helvetica Neue with yours, I can say that they are identical so I do not think these fonts could be cause for this error. Affinity Publisher seems to list them similarly as Control Panel's Fonts applet (e.g., Helvetica 55 Roman showing as a family containing 56, 75 and 76 as styles). This is just fine and technically correct (even if unsatisfactory in terms of usability) and I do not think there is any point in renaming these fonts with a utility like TransType. However, if there is no Font manager involved, there is still a good chance that there is a naming conflict that confuses the font enumeration, and shows as more or less randomly missing fonts.
  25. I installed all 51 Type 1 Helvetica Neue fonts from Adobe FontFolio 8 on one of my computers, and also installed Affinity Publisher there. I'll follow if I experience any odd font issues. I checked also how TransType 4 groups these fonts. They are a mixed bag, and guesses this app makes to create menu name groupings (that work as regular, italic, bold and bold italic styles) are really odd at times, so even with this tool, you'd need to see some trouble in trying to arrange the fonts of this family in a meaningful way. See below, the pink assignments are mappings where TransType is "uncertain" about its suggestions. It's mostly pink, and these are genuine fonts from Adobe, and I have no other Helvetica fonts on this system! This shows well what applications need to do when they enumerate older fonts. Affinity Publisher needs to do some extra work when it eliminates faux formatting (which e.g. applications like Word or Microsoft Publisher allow without hesitation, leading in problems at print time). If I renamed these fonts, I'd consider using the kind of typographical family names suggested by TransType, that shows in the family name the width and weight of the font, rather than using the full typographical name (like "Helvetica Neue 55 Roman") as the family name, and then grouping 56 Italic, 75 Bold and 76 Bold Italic under the same family name as italic, bold and bold italic styles for the family (this is how Windows Control Panel Fonts applet shows these fonts). Transtype also makes silly mistakes, e.g. instead of placing Helvetica Neue 75 as the bold member of the Helvetica Neue family, it has placed the outline version there. Anyway, so far these Adobe Type 1 versions seem to work correctly in Affinity apps. The 51 fonts show mostly as groups of 2 fonts per family, but that is typographically correct. Adobe apps can group their own Type 1 fonts as if they were OpenType versions, but they have the extra knowledge and mappings readily at hand. It would of course be nice if other apps could do the same, but as long as fonts from these kinds of "good" sources show on the menus, I personally think it is enough.
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