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Lagarto

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Everything posted by Lagarto

  1. I compared the two (AI and AD) and could not find significant differences. AD seems to crop the artboard to selection adding a small margin at top and right but this can be easily edited by cropping the artboard. When exporting, unchecking "Set viewport" causes similar export as with AI, and the size is determined by the dpi setting. I get pretty similar results from the same art when using these apps. (See the attachments.) Here's how AI and AD export the artboard created based on selection defined by the two black bars above (the differences in the graphics itself result from the original being an AD graph with blur effects and exported as eps and not fully translated to AI): yes_ai.svg yes_ad.svg
  2. This seemed like a suitable task for me for learning to use Designer's basic drawing and node editing tools, so I tried to clean it for printing with just two colors (I defined the green as a spot color for that purpose). It had some tricky parts that required drawing a couple of extra lines and expanding the outlines. The pawn had to be created, as well, so the drawing has changed a bit. I noticed afterwards that I had created this with the latest beta so I attached a PDF file, as well. If you're struggling with this, you hopefully have some use of the cleaned version. This was pretty much my first real session with Designer, and while it does not seem to be as capable as Illustrator or CorelDRAW, it did feel like a good node editing tool, and quite intuitive to use. DCT mit Text ai _fixed.afdesign DCT mit Text ai _fixed.pdf
  3. That's mostly fine in batch-jobs anyway. And for individual images fully manual workflow from start to finish.
  4. Thanks, actually much more useful. B/W negatives photographed with a digital camera most probably come as RAW images, but I am not sure how useful it is to make adjustments there. Some things might be, but generally ability to save settings in the general UI, and record them as macros, works really well. I now noticed that batch jobs actually allow RAW image development and then postprocessing with macros so it seems this could work really well!
  5. I can see that a preset can be created in Develop Persona (as per setting, e.g., use reversed curve to invert the negative), but it seems not elsewhere? Recording macros, on the other hand, seem to crash Photo as soon as Develop is finished... So I think it is more or less manual job at this stage. EDIT: Macros do not seem to be availabe as panel in the Studio menu when Develop Persona is active so I guess macros are not supposed to be used with Personas (and for that reason crash the app if change of Persona and subsequent acceptance of operationds done there occurs at part of macro recording process).
  6. Ok, thanks! Time to read manual ;.)
  7. I am quite new with Affinity Photo and I am learning about its features and capabilities by reading these topics, and fiddled a bit with b/w negative processing, but just with a quickly googled low-res sample negative, which of course is not even nearly the same as working with a RAW file. But in search of trying to create different adjustments for certain typical workflows I could not find a way to save adjustments, not individual, nor a way to chain them to a saved batch process. Am I missing something? Anyway, perhaps you could shed some light on workflows you had when using Lightroom + Negative Lab. E.g., the example below shows manipulation which I think involves features like adding tones with duo/tritone channels and then flattening back to grayscale, which do not seem to be available in Affinity Photo, so I am not sure if it is possible to create such workflows there. But how straight forward are these kinds of negative conversion processes when using Lightroom + Negative Lab? Compare this with the basic conversion done in the following Affinity Photo document, which only has the inversion, level and shadow adjustments applied on the Layers palette: 3F_sample_workflow.afphoto ...and compare this with the basic conversion created with Tritone curves in Photoshop (without much consideration, but coloring different gray levels with Pantone Warm Grays), simply to try to simulate the example given in the first image which shows negative conversion of a Hasselblad FFF raw image: My point is that these kinds of conversion processes involving inversion, basic level adjustments and duotone based toning can be saved as an action in Photoshop, which could then be used as basic workflows in negative conversion. Is something like this possible in Affinity Photo at this stage?
  8. The blue component of the halo area was already at max (B55), so what was done to the sky part was just adding Cyan to it so that it became approximately identical with it and lost its redness. The color areas in this image were so clear (zone-like) that you could have achieved even more uniform results simply by area selecting with contiguous setting on, and with a tolerance of about 10% the sky and then fill it with the color of the aura, and then use selective color adjustment to change the sky the color you wish. Selective color tool also works with selected part of the image, so first flood selecting the whole sky part (including parts where sky mixes the leaves) would have avoided changing blues in other parts of the image. But this image did have clear "blues" only in the upper part so that was not a problem. It often helps to keep the Info palette visible so that you clearly see how much of each color component exists in different areas of the image. There are cases, like when needing to cut out a person from the background and there is clear colored background shining through the hair, where you have to manipulate the difficult part (hairs, or in this case, the "leaves" part). It is always difficult to make this kind of cut neutral, so it helps if the original and new background can have even a hint of certain color (not necessarily the original of either of the images to be merged) so that the cut can be blended in by applying not only selective coloring but even recoloring (and perhaps some transparency) to the "leaves" part, but just strictly in the bordering area. But often it is possible to manipulate the "easy" part of the image and make it blend into the "problem part" and then apply an adjustment that applies to both.
  9. Note that you can also use the Transform palette to adjust the heights and widths of cells and rows (by way of changing the total height or width of the table). It seems that if the table has certain height or width, you cannot make the measures lower within the table itself. (See edited table below) tables.afpub
  10. If your purpose is the make the row of the cells A B C lower, try increasing the height of the cell "Ṥrednica rury Ø" especially if you have forced line break within it, or Wymiary {mm]. If the total of cell heights in merged rows is "impossible", this may prohibit you from making the ABC rows less high (the measures do not automatically get updated if they are "impossible", so you may need to make manual adjustments). So first increasing the merged header row's heights or top header row's height should help you make the second header row's height smaller. Attached an edited table where I increased the height of the Ṥrednica rury Ø cell, and after that I could make the row of A B C cells lower. Did that achieve what you were trying to do? tables.afpub
  11. If you depend on the fonts that cause conflicts, there might be point in getting a utlity like TransType 4 to resolve name conflicts. There are probably free tools available, too, but hardly ones that are as easy to use as TransType.
  12. My guess is that the cause for these problems is either of the superfamilies Helvetica Neue, or Frutiger (or some other where you have several substyles grouped under the same family), especially if you have mixed Adobe Type 1 (.PFB + .PFM pair) and TrueType/OpenType versions, since this is likely to cause name conflicts which may result in this kind of strange behavior. There is at least one post on Windows Publisher beta forum that is similar to this case. I would start by uninstalling all Type 1 fonts and seeing if that already helps. Then re-installing one-by-one other than fonts from superfamilies, and finally pinpoint the one that causes the error. Adobe apps arrange fonts more cleverly, and do not depend on Type 1 kind of meta data returned by system font enumeration that is often too generic (based on old 4-style family grouping), so that explains why you won't see this problem in InDesign etc.
  13. Exactly, I am just getting acquanited with Photo and I was looking for support for converting to indexed color modes (paletted images), which in Photoshop would allow this kind of effect simply by using local adaptive color reducton without dithering, like below, where the number of colors is reduced to 7: If more zone-like effect is wished, the number of colors could be still reduced, which would result in distorted and unbalanced effect, but then the palette colors could be manipulated directly to get the desired base colors.
  14. Just quick and dirty: you could try Selective Color > Blues > Set Cyan to 100 > Merge. Then reapply, select again Blues, and reduce Black to get the desired darkness. As demonstrated in the attached reduced Photoshop file that has the original and manipulation in layers. selectiveblues_original_fixed.psd
  15. The terminology can be confusing but I think it is understandable in the context of cross-editing capabilities, and common file format for all three apps. Affinity Publisher was, after all, the latest app in the trio. Photoshop also has layers that in a way behave like "objects" (e.g., you can align layers as if they were objects or a group of objects in a vector based app), and then it calls "objects" as "shapes". I am not sure if there can be any intrinsically correct terminology for graphic applications, especially as they are typically hybrid in these days. Perhaps Serif chooses to call InDesign kind of (global) "layers" in Affinity Publisher as "sheets" -- surely the term cannot be reserved to describe only objects in the physical world (like a sheet of paper), or objects in a spreadsheet app (which too, are kinds of "layers", as they can interact in a way similarly as graphic layers)? When PDFs are created in code, the term that is used for "layers" is often "creating or changing the content stream" as that describes accurately what is done when there is need to re-write/re-position on the same page data from a different stream that cannot be accessed meaningfully at the time the first stream was output. The decision to call them "layers" rather than "content streams" was no doubt more user-friendly, but it is not by any means accurate in terms of how they are created. EDIT. Oops, a very old topic. But still useful reading when learning to use these apps as they behave in many ways differently than Adobe apps.
  16. This way I realized that you can achieve a node editable container, no matter what its initial shape is. If this is tried the other way around, first placing text in standard rectangle shaped text frame, then converting it to curves, the contained text is contained to curves, as well!
  17. Thanks, very useful! This allows fully controllable and shapable containers.
  18. A very good question! I would have assumed that this is possible, similarly as InDesign, simply by editing the text frame nodes, but it does not appear to be so? It is however possible to use any shape (e.g. a triangle, or Trapezoid, to achieve the effect described in your post) as the container for the text, but I am not sure if it is possible to rehape this container by using node edit mode?
  19. Definitely by design! One often needs auxiliary objects to perform complex text wrapping and does not want these objects to be visible! InDesign applies text wrapping disregarding the visibility state of wrapping objects but allows an option where wrapping can be turned off layer-wise if the layer is hidden.
  20. Lagarto

    A random "glyph" problem?

    I do not think that there is anything wrong with Roboto. Not applying ligatures automatically is just fine. If you want to use them, you can enable them in apps that support OpenType features. The reason why you initially had the ff ligature in your text as a glyph, rather than as a feature that you had wished to use, was probably that the source application had replaced the mere attribute with a hard coded glyph. This does not work well if you need to transfer the text from one app to another. "Client" refers to leaving formatting decisions to the user and their preferred apps, rather than being dependable on a feature that the app, or individual font, is supposed to have. In this case this means that it is always better to just have "ff" (and other character pairs that can have ligature forms) as two single characters and use a software setting for applying ligatures, than trusting that a hard coded glyph will be correctly handled when any of the affecting parameters change (like changing of the font, or copying text via Clipboard to another app). Actually the source of the hard coded ligature could well be an Affinity created pdf, since ligatures are hard coded in them. Just compare the attached two pdf files and copy paste the text from them to a new Publisher document (or to any other document). You get two f characters from InDesign created pdf, also where discretionary ligature is used, but unrecognized glyph (a "box") from Affinity Publisher created pdf. roboto_ligatures_apub.pdf roboto_ligatures_id.pdf
  21. But isn't this a designed feature? If you want to move the text frame that is based on a master page, you are supposed to "detach edit" it (that is, right click on the master layer in the Layers tab and choose "Edit detached" from the context menu)? That is, the text frame is in that respect similar as any other object placed on the master page, but it just has that important exception that it accepts changing of the text content. EDIT: Dragging and dropping individual text elements like words etc. is possible also in a text frame based on a master page. But now that I re-read your description I am not sure if I understood what you actually meant. EDIT2: Ok, finally got it, just realized that drag and drop editing is only possibe when detach-editing is on while it probably should be possibe also without. Similar behavior applies also to inline graphics placed within the text, and I am not sure if graphics is supposed to be moveable, without detach editing. Possibly not, since even if the graphic object is floating, it cannot be moved, if it is an element in the master page layer. That might explain why drag-and-drop editing is disabled for text, as well. However the visual controls indicate that drag-and-drop would be available, while it is not.
  22. Lagarto

    A random "glyph" problem?

    If you want to correct this problem, simply just replace the dicretionary ligature that you have in your text (double ff) with two f characters. This way the double f's get rendered as standard ligature, or discretionary ones, or just two consecutive f characters, depending on the client app's settings and specified according to your preferences, and disregarding the font and any language settings.
  23. I tested this with 1.7.3.481 (bible.txt), and it took about a minute to get all text flown and move to last page (and get that page item rendered in Page panel), But generation of the page previews for other pages took a few minutes, and the app was unresponsive most of the time (did not try much else than moving to another page: that could be done, but typically with a significant delay, e.g. about 30 to 60 seconds or so). But what is crucial is that Affinity Publisher more or less hogs all CPU time and available memory of the system. The peak CPU time used was around 90% during the operation, while it most of the time stayed somewhere around 50%, but it consumed total of 12GB of the availabe 16GB of memory. I compared that with InDesign, where the complete text was fully rendered and available for editing throughout the publication (as it there were only a couple of pages) in about a minute, where the peak CPU time used was around 12% and memory consumption around 290MB. QuarkXPress (2018) behaved much the same as InDesign with maximum of 10% CPU time though it took about 500MB of memory (probably partly because it created a few hundreds of pages more with its default styles and margins than ID). QXP also does not struggle at all when subsequently editing the text (e.g. adding text in the middle of the publication), even if there is a slight delay in processing of text (this, however, can be said of much of text operations in QXP especially in WIndows version -- but all in all, this is all good, just saying it, because there is a noticeable difference compared to ID). NOTE: After AP gets its job done (rendering the page previews, etc.), memory consumption gets about half of the peak, around 6GB, but whatever is done in the app to modify the text or the layout (e.g., adding even just a character, adding a picture, etc.) is very sluggish, and stays so. The size of the saved file is also very big (212MB), compared to about 16MB of .INDD and 11.5MB of .QXP. While the exceptionally long autoflow time seems like a bug (or is it just a symptom of getting out of RAM and needing to virtualize on the disk?) (as I have repeated this several times and the text gets flown within a minute), I have tried laying out long documents with Affinity Publisher as many times that I can say that sluggishness and resource hogging in editing (after having all text in) seems to be a feature rather than a bug, and probably related to the file format, which simply just does not work well with long documents, at least at this stage of development. The limit of "long" being somewhere around 100 pages. It stays still manageable with a couple of hundred of pages even when containing lots of images but complexitity of layout being more in book than magazine category.
  24. My experience is the same with any longer document (one consisting of several hundreds of pages), even with mere text. The experience may be further deteriorated with a mutliple monitor system and a graphic driver that does not support acceleration. I would just split the long document in parts (you can start page numbering at specific number, but would need to do certain jobs multiple times, of course, for each separate section of the book). If you need to have one pdf, then you'd need do use a tool like Debenu PDF Tools (free) to combine multiple pdfs, or purchase a professional PDF editor for more complex tasks.
  25. For me the least painful way to add global colors is to first create a rectangle for each main color that I need in the document, e.g. five rectangles for five colors. Then I open the Swatches panel and create the document palette. Then I seleect first of the rectangles. if I need spot colors, I activate one of the Pantone color libraries, and assign the selected rectangle a PMS color value. If I need CMYK color swatches, etc., I detach the Color panel, activate the slider controls and choose the desired color value. Then I select the next rectangle and repeat the process, and so on, until i have all main document colors defined. After this I activate the document palette from the Swatches panel, select the rectangles one by one, and click "Add fill to palette". This way I get color definitions as swatch names. Then I right click each swatch in the document palette that I want to make globar, and select "Make Global" from the context menu. This way I can avoid most of the back and forth hassle, and can also have meaningful swatch names. EDIT: If you instead prefer the global colors to have your own custom swatch names, you'd naturally click the right plus button to have a generic name and made it immediately global. Then editing can be simply achieved by double clicking the swatch in the document palette. But if you have the global swatches with color values, this is not a good idea as you cannot have the color names updated to match the new definition. It is a better idea to just create a new global swatch rather than seeing the trouble of renaming the swatch.
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