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Everything posted by Lagarto

  1. 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
  2. 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.
  3. Yes, true. But that is the only "solution" there currently is with Affinity apps. There are serious limits.
  4. 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.
  5. 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.)
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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).
  11. 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.
  12. 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?
  13. I cannot reproduce this either, both boxes accept pasted data (even with a thousands separator), and show the context menu. There seems to be something else that is wrong. Even in the Width box, which in the animation seems to accept pasting, the pasted figure 2,560 changes to 2,550 after the focus is lost.
  14. Lagarto

    Hyphenation bug with slash?

    These are clear mistakes, no question about it, and there should be internal rules for these situations. I have no idea whether this is something that can be dealt programmatically outside of the hyphenation algorithms and dictionaries provided by the spellchecker Affinity apps use (Hunspell), hopefully it is. I suppose the slash character could have rules that are language independent. I just mentioned the methods to use to resolve these problems, which sometimes are clear errors (which are likely to happen anyway) and sometimes things that are not wanted e.g. for aesthetic reasons. I guess that the non-breaking slash in PageMaker was used to disallow fast/slow kind of expressions to break at "/" (e.g., InDesign does break "fast/" on one line and "slow" on another, if necessary, and not manually prohibited) but even when it was allowed I do not think that the expression was ever divided with an added hyphen (and not at least as "an-d/or", which is really weird).
  15. Lagarto

    Hyphenation bug with slash?

    I can reproduce at least the fast-/slow division. These kinds of "non-words" can be problematic, and I am not sure if they can be resolved automatically. PageMaker used to have a "non-breaking slash" (ctrl+alt+/) that would keep the slash character always on the upper line but this was never implemented in InDesign. Instead, Ctrl + Shift hyphen is used to disallow hyphenation, or "No Break" character attribute is applied to characters that are not wanted to be divided. Both of these features are supported in Publisher, as well: the former can be done similarly as in InDesign (pressing Ctrl+Shift + hyphen at the beginning of the "word" that is not wanted to be divided), and "No Break" can be applied as an option under the "Positioning and Transform" option group of the Character panel for the selected string of characters.
  16. For some reason grouping the curves that make "UL100" cause the PDF to rasterize the group. If you ungroup (and re-group) it will stay in vector format. Really odd. The job has been created as organized and clean as I can imagine. EDIT: I did not mean to repeat your post almost word to word as I read it only cursorily. The fact it was worded almost identically just shows that it can be reproduced disregarding the environment -- hopefully also at Serif!
  17. True. But somehow I feel that color management and also the UI for assigning colors are still under development in Affinity apps. There are many things that I think are wrong but which might well be more my personal preferences and reflect the workflows I have been accustomed to, and there are variables I have no knowledge of (e.g., what the cross-app-editing and common file format requires) so I think it's just best to wait for a while and see the apps to mature a bit. Embedding of color profile in standard PDF print workflow was a good example of how one's own routines may result in false interpretations...
  18. Still about this: conversion causes the object colors to be adjusted, but strangely not the color definitions of document palette swatches (as they will in InDesign, and should change, as should library based CMYK definitions like Pantone CMYK libraries). This results in a strange situation where objects get adjusted color values and lose their palette assignments (also for global swatches). On the other hand, library based assignments are kept (which is a kind of consolation prize for having seen the trouble of creating an organized color design). But losing the objects' color swatch assignments is not nice, if you have a complex job with complex color scheme (which you might well have at least in Design-based jobs).
  19. Ok, that is a likely explanation. The intention is not included in InDesign created jobs, either, containing the color profile (other than when creating standard exports like PDF/X-4).
  20. I do not see the point of embedding the document color profile in a job that basically converts its conflicting elements according to the document color profile (this is what is currently done in default Export (Print) settings of Affinity Publisher). E.g., in InDesign the document color profile is not included by default when color conversion is performed even when converting with a profile that is different from the document color profile, and even if chage on internal color values is allowed. It is only included in X-4 based exports. Many printers also specifically state that no color profiles must be included in workflows where color conversion is performed this way. I'd imagine that it is useful only in workflows where some color content is still left unresolved???
  21. Sorry, yes, you're right. I forgot to match my Acrobat Pro preview with the color profile I used when creating the PDF (ISO Coated V2) so it naturally showed (simulated) converted values. Intention could well be included when the profile is embedded so the correct profile would automatically be selected in viewing app.
  22. Oh, I had not noticed that! That was very useful information, I'd not have imagined that it needed something like this in order to NOT convert an inherently gray scale image to a color image! I think it really should not do these kinds of things, but rather do it conversely: if color conversion is wanted, it should be separately performed. On the other hand, this would allow you to use any image as a grayscale image to use if for these kinds of effects, so it has its benefits. It seems to behave a bit vaguely. I have managed to adjust the image levels by using the Curves and Levels adjustments for Gray channel only, and the image stays in K only (also an RGB image that has K only setting on), and I think that I managed to also use Blend curves with K channel for the same image, but I am not sure. But levels and curves definitely.
  23. I am not sure what you mean by this but the Acrobat screenshots were just for demonstration of how different tone settings are composed in terms of color production (CMYK and spot color, or more specifically, just K and spot; CMY was included only to show that use of FX tools in Affinity apps results in RGB/CMYK). So when you apply any of these settings, you do not need to do any further tweaks, and do not depend on any extrenal tools (other than if you apply the kind of overprinted effect that is done in image 1, as seeing its effect requires a feature that allow simulating the effect of overprinting). Having a tool like Acrobat Pro is useful, though, for checking color output. You could do that also by opening the pdf in Affinity Publisher but you should note that it fails to keep an imported color's overprint status (even if it keeps its spotcolor status).
  24. I was only describing the app's behavior: for (press), it does not use the last setting used in this context but always defaults to CMYK, which is just fine. I think it could do this for "Print", as well, and not remember anything in this context, especially as the color mode is not explicitly shown (unike in e.g. Illustrator): So even when the control is collapsed, you still see that important information in the context of document type selection (or selection of "profile", as in AI). Illustrator does remember the last selected color space for the profile, too, but also shows the warning mark when the color space is not the "default", and as color space is explicitly mentioned, there is no danger of user "assuming" anything and do wrong choices. In apps like Illustrator you'd notice this right away (from e.g. palettes), but in Affinity apps not as easily.
  25. Yes, duo(tri/quad)tones are basically just superimposed toned grayscale images. The benefit of having a built-in feature is mostly in having the curve tools (along with ink overprinting control) readily at hand, and being able to save useful workflows. I also use duotone features to get richer "black-and-white" photos and handle areas of images that cannot be accessed easily with single curves, and then use the results as standard RGB/CMYK for production, so the "original purpose" of this technique (using spotcolors and go to print with them) is not necessarily used at all.

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