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Everything posted by Lagarto

  1. Their campaigns might be a bit odd and sporadic (e.g., i upgraded from version 2018 as they currently show an offer when you close the app; perhaps they do not show it in context of recently registered apps) but I have upgraded every now and then starting from early versions and do not think that I have ever paid more then 100 euro (or USD) for the upgrade. And older completely legal versions can every now and then be found as kinds of offers Humble Bundle had. I do not think they have a particularly strict upgrade eligibilty practice, either, and as they offer both Windows and macOS versions at the same price, there is some benefit for users like myself.
  2. The latest beta seems that have the artboard creation based on the selection broken. 1. Open the attached file containing a group of two rectangles. 2. Select the Artboard tool and select "Selection" from the size list. 3. Click Insert Artboard. The artboard is created but not propery cropped around the bounding box of the group. If the rectangles are ungrouped, the relative positions of the rectangles are not retained, either. And if the operation is tried to be undone, the results are more or less absurd. (The artboard will have the correct size only if the selected group is positioned at top left, but the Undo problem is still there.) In the release version there does not seem to exist similar problems. group.afdesign
  3. Don't want to arouse false hopes but you might want to check if this holds true (the link below is only to the Painter user forum, not the Humble Bundle site): Stephen 2 hours ago in reply to noriri I have heard that Humble Bundle now has the updated/Catalina compatible installer on their website, might be worth giving the latest a try...let us know if it works! https://painterfactory.com/painter_product_discussion/f/got-a-question-technical-issue-bug-report-for-the-painter-team/30375/cannot-install-painter-2019-on-macos-catalina
  4. I am not sure if the conversion was made in this case when the document was placed or when it was exported. I guess that as Publisher opens rather than embeds a placed PDF, all the color values of the imported graphics are basically similarly treated as colors of the native objects (as that's what they are, more or less), so I'd imagine the other K100 text parts would have been rich blacks, as well. On the other hand, if the placed PDF does have an embedded color profile, and it deviates from the document profile of the Publisher document, the CMYK colors will be converted, K100 becomes rich black (see if you can reproduce this with the attached pdf which has Coated Forgra 39 embedded in an Affinity Publisher document that uses ISO Coated v2 (ECI). This file was produced from InDesign. This is crazy, but correct. Crazy because ISO Coated V2 and Coated Fogra 39 are pretty close to each other, and because there was no point in embedding the color profile in the first place. But ads and pdfs that are supposed to pass through very often do. If the profile is not embedded (which is the default behavior when you export from InDesign), there will be no problems with K100 when you open/place the file in Affinity Publisher. But as it does have, Affinity Publisher behaves as it should, opening a graphics file containing a conflicting color profile, and converting its color values (even if in CMYK color space). I think that InDesign avoids this problem by treating K100 and registration black differently and passing them through, no matter what. Other CMYK values are converted, if dictated by the color management policy (and typically confirmed at import time by the user). Another problem with placing a ready-made pdf (e.g., an ad or a company logo) is that you need to be careful for substituted fonts (as embedded fonts are not supported), and features like overprinting. At this stage, I'd think twice before using Affinity Publisher for jobs that require these kinds of features. 100k_with_embedded_profile_coated_fogra39.pdf EDIT: Forgot to mention the important note that the CMYK color conversion will happen with conflicting color profiles if color conversion is allowed in the Preferences > Color. I am not sure what is the default setting but the point is that even when the warning is applied, it is shown afterwards as a bubble, not as a dialog box that asks the user's confirmation, which would allow discarding the color profile and avoidinf the whole issue. EDIT 2: Tested importing the attachd pdf in Illustrator, and it converts K100 to rich black if conversion is allowed at import time (and not, if the embedded color profile is discarded). InDesign keeps K100 even if the document color space and embedded color space (both CMYK) are conflicting, and even if change of color values is allowed. But the important difference of course is that InDesign passes through the PDF and has not opened it for editing.
  5. Colors are interesting, and complex, and no wonder have inspired many philosophers.
  6. I did not apply the adjustments with much consideration especially as this was a low-resolution version so if something turned blue, some adjustments may have been applied too heavily. But violets of course are not uncommon in this context, either. It helps to have the Info panel visible where you can see color values of different parts of the image. This (especiallly if you have both RGB and CMYK values visible) gives you a good grasp on how to affect each area of the image to bring down are up its hues. I suppose it can be explained by the more broad manipulation of what constitutes "redness" than trying to access directly the red and magenta hues of the image, so in this case Yellows rather thand Reds were manipulated not only by adding both red and yellow components but also by reducing the complementary color cyan, and especially by adding black; in addition saturation of reds was increased, and then on the other hand some counter effect was applied with color balance to tone down redness of leaves on the ground. But I have to say that I basically just played with the controls so what was done was not a result of much analysis. Adjustment layers are great because you do not need to finalize (merge) the manipulations but can evaluate their usefulness and contribution to the total effect, and make further adjustments if needed, or discard them as useless.
  7. You need to tap the red circle first as the saturation (and a slight hue shift) was added only for reds.
  8. Yes, no selections using the selection tool, but when using selective color, of course selective. You could basically use "Yellows", "Reds" and "Greens" alternately to see how you can change the tones in different parts of the image. "Reds" and "Yellows" do affect the leaves on the ground, as well, so if you want to have more red in the uppper part, there might be reason to area select (basically lasso) the part excluding the ground leaves. Levels is more a general tool to adjust shadows, highlights and gamma of the image, so that is not so useful when you need to touch only certain colors. I do not know Photo as well to be able to comment the Live Lighting tool but I suppose these kinds of manipulations are more suitable in bringing up details or for creating special effect rather than tuning the general feel of the image. Often just touching slightly the color balance (especially as that can be done selectively for shadows, midtones and highlights), or adjust the saturation (again, touching only limited hues) is enough. Selective color is a very useful adjustment as you can apply it only to the selected parts of the image, and control the desired hues with all color components (e.g., sometimes it is useful to play with the complementary colors or adjusting neighbouring colors when needing to boost up a specific hue which cannot be accessed otherwise).
  9. The image that I used was taken from your original post so that's why it is pixelated. But if you can open the .aphoto file in iPad, you should see from the Layers panel all image adjustments that have been made to the image. They are "layer adjustments" so they have not been "finalized" so if you tap (double tap?) the icon of the adjustment you can see which kinds parameters have been used for each adjustment, and can easily make similar adjustments to the high-res image you have on your iPad. Note that e.g. for "Selective Color Adjustment" the parameters are not directly shown, as you'd first need to tap "Yellows" to see how the yellow tones have been boosted with magenta. The iPad version of Affinity Photo does not have identical user interface with Windows/macOS version but I suppose it has similar controls.
  10. 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
  11. 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.
  12. Yes, true. But that is the only "solution" there currently is with Affinity apps. There are serious limits.
  13. 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.
  14. 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.)
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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).
  20. 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.
  21. 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?
  22. 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.
  23. 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).
  24. 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.
  25. 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!

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