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Lagarto

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Everything posted by Lagarto

  1. 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.
  2. 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...
  3. 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.
  4. Yes, should be utf-8, and then opens. CorelDRAW (2017) did not have problems opening the file, either, despite of wrong encoding tag.
  5. 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
  6. 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.
  7. 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.
  8. 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!
  9. 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.
  10. 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.
  11. 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.
  12. I am myself also learning to use Affinity apps so I'm not sure if I can really be of any help. I have struggled with joining of separate curves, as well, because it is not done similarly as in CorelDRAW or Illustrator. E.g., in the latter you can have two separate paths and then node edit them so that the start node of the second path starts from the end node of the first one, and if you want a closed shape, the end node of the second path meets the start node of the first path. Then you select the paths with the object tool and just press Ctrl + J to fuse the nodes and get a closed curve, without the shape of the curves having changed. In Affinity Designer it seems I need to use the Node tool to Shift select the paths to be joined and then click the "Join curves" button. This fuses the end and start nodes of separate paths (with a line segment if they are not aligned, otherwise fusing and keeping the slope of the curve), but it does not close the curve and fuse the start and end nodes if they meet, nor does it allow to close the shape by joining the start and end nodes of joined segments. Instead, you need to close the curve with the "Close curve" button, which typically results in crazy curve handles and distorted shape. I must be doing something wrong. I managed to close your Yin Yang shape, but had to use the original shape as a model to reshape the forms after joining and closing, which is of course not ideal. I merged the shapes to get the "white" parts transparent so that you can have the background color show through from "holes", but if you prefer to have the circle parts black and white you would separate the curves and assign the white color to where it belongs. Yin Yang w Trigrams_edited.afdesign
  13. Do you mean that when you start a new document and create a text element, or only when you print your document? If so, what is your document type and document color format and document color profile? For print documents the default text color should by default be K100.
  14. If your printer wants PDF/X-4 with color profile embedded, that should be no problem, since this standard does not convert your K blacks to rich black even when the profile is embedded. When this standard is not used, the typical method of producing a print pdf is to NOT include the profile. All necessary color conversions are then performed when the print pdf is created, and the correct color profile is used for conversion (this is how print files are still often created in InDesign). Affinity, too, does convert RGB elements into document color space, using the defined profile, but does not seem to control e.g. total ink coverage so things like that should be controlled in design). You should of course do what your printer requires. If you do not have colored text, you should be able to convert all your text elements pretty easily to K100, since even if you had text in separate stories, you can multiselect text frames and apply text color in one go.
  15. This is a 50x50-inch sheet created in Adobe Acrobat driver. If you fill it with 8 x 8 patterns each 2,000x2,000 pixels, and print it at 300dpi, you get a 15,000x15,000px pattern sheet (1,000px, or half of the last pattern on the rightmost column and bottom row get over the sheet). You can open this in Affinity Photo and define as opening resolution 300 dpi, and you get that sheet as a bitmap. (The pattern used here was a screenshot from this forum so its quality is naturally poorer. But just to demonstrate the idea.) pattern_15000x15000px_sheet.pdf
  16. One way though you could test this is using your pdf producer as the printer driver and then us n-up printing to repeat the pattern. Like here (I have defined A0 paper size in Adobe Acrobat print driver, and then specified n-up printing): You can also scale down the pattern to fit more on sheet. I suppose you should be able to define arbitrary paper sizes for pdf printer drivers. Affinity has internal settings up to A2 size, at least. pattern_A2.pdf pattern_A0.pdf pattern_A0_scale25.pdf Not of course the same as pattern fill in Photoshop but might still be useful.
  17. Before being fixed, you should be able to avoid the problem by placing a trailing space after the linked text in table cell.
  18. Simply lasso them while having the node tool selected. But you should also be able to Shift click and add/toggle selection. If you cannot do it, try if closing Photo and starting it again resolves the problem. EDIT: Oops, sorry, did not read your question properly.
  19. Please make a simple test with K100 in the text and see what happens. If you do not have Adobe Acrobat Pro to check the output, please post the pdf on this forum. You may have had your text specified in rich black when you initially created your document. But if you export with default PDF/X-4 and have K100, or if you export your PDF with standard (print) preset, and manually uncheck embedding of color profile, your K blacks will go to black plate and are not converted to rich black. (You can naturally open the produced PDF also in Affinity Publisher and check the color, but might want to confirm this without opening the pdf for editing.)
  20. Export as PDF/X-4. It keeps K100, or create the PDF (print) file without including the color profile (since it is the color profile that converts your K100 to rich black).
  21. Lagarto

    PANTONE Guide

    This is a bit late post to this thread, but as I have just exported up-to-date Pantone colors from Pantone Color Manager created Illustrator and Photoshop .acb files, first exported as .ASE files from these apps, and noticed that there are slight differences compared to equivalence color values in Adobe apps (in the same environment, and using identical color profiles), I wonder if Lab values are supported at all in .CVS files. As I went throught them it seemed they all contained just RGB definitions (and CMYK, when relevant), while the .ASE files seem to have Lab definitions. Not a particular problem, though, as I just read that the Affinity apps will soon have up-to-date Pantone libraries, but just considering any other or future conversions. So the question is: if .csv files only take RGB and CMYK definitions, are they supposed to be in certain color profile (like sRGB for RGB and certain color profile for CMYK coated and uncoated paper), or "neutral" values (Pantone Color Manager states "No profile" values as defaults, and then changes them according to the selected color profile). I exported the up-to-date Pantone colors without a profile and they seem to work ok, but values shown in Affinity apps, Adobe apps and Pantone Color library deviate slightly from each other even if the same color profile is used. I guess this is to be expected, and deviations are so small that they are not meaningful (Adobe apps even show fractions, as a result of conversions while Affinity apps show whole numbers).
  22. You're welcome, happy to be able to help while learning to know the Affinity apps (and find out how they differ from what I already know -- not much, luckily)! I am not sure. I made first a blunder there, uniting all three letters without any overlapping outline, but it's a bit tricky part as the "white" needs to be a hole. For the same reason I also had to change the green outline of these letters as it was composed a bit oddly (probably a result of exporting it to EPS), and had to remove the internal masks of the letters so that instead of using a mask, the green outlines are aligned inside the curve and have a width of 2 mm (rather than being 4 mm wide middle aligned curves, half of which is masked). Masks can be tricky, especially when needing to clean something that comes from another app, but I suppose there are good tutorials. Basically it is done similarly in all vector based apps. Having the "Expand stroke" feature is especially useful since you often need to convert outlines to closed shapes in order to cut them precisely and become part of a workable mask.
  23. This one. Helvetica Neue appears here, too, and probably not the OpenType PS version at least from Adobe, as I have that, and Frutiger, and many other super families, and they list just fine in Affinity apps. I basically have Type 1 fonts only for the base 35 fonts, but do have the usual mix from diverse office apps, etc. so I' m no font purist, and I do not use font manager on my laptop where I use Affinity apps. But I do know that even a minor name conflict can cause strange problems so I avoid installing any fonts that are likely to share family names from different sources (and at least try to avoid having mixed Type 1s, TrueType and OpenType fonts even remotely sharing the family name). The topic of the beta forum involved hundreds of fonts, and probably a mixed bag of high-quality and less-so fonts. As OP of this new topic has less than 300 fonts installed, I hope this can be easily solved, and also helps you improve the enumeration routines (e.g., separate fonts using different font technologies in their own groups, if that could have any role in avoiding name conflicts).
  24. 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
  25. 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
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