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Everything posted by Lagarto

  1. 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
  2. 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.
  3. 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.
  4. 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
  5. 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.
  6. Before being fixed, you should be able to avoid the problem by placing a trailing space after the linked text in table cell.
  7. 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.
  8. 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.)
  9. 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).
  10. 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).
  11. 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.
  12. 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).
  13. 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
  14. 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
  15. That's mostly fine in batch-jobs anyway. And for individual images fully manual workflow from start to finish.
  16. 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!
  17. 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).
  18. Ok, thanks! Time to read manual ;.)
  19. 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?
  20. 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.
  21. 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
  22. 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
  23. 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.
  24. 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.
  25. 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.

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