Pyanepsion

Superb. This is another aspect I hadn't thought of. I'd like to get a drawing something like this (it's another image from the same Albert Camus):

I just tried adding a background colour, which I had not done before. After the Exposure Adjustment filter: Add a coloured rectangle in front. Merge with the visible layers. Colour/Delete the white paper. Merge with the visible layers. Is there anything easier?

Hello everyone, How to proceed to transform a photo to give the illusion of a line drawing? Thank you for your detailed explanations.

Thank you very much Firsdefence for this clarification.

So, the menu Color/ Erase white paper is not the best method?

Hello everyone, I have been given a drawing consisting of lines drawn with a black felt pen on a white sheet of paper. How can I remove the background as cleanly as possible? Here is a felt-tip image taken from an Artlabel video. Thank you for your explanations.

The aim is to compare the advantages and disadvantages of each method.

Hello everyone, I'm thinking about structuring character and text styles. I have created a base style that contains all the constants (character, typography, paragraph) from the standard body text. I then created each style as a dependency of this base, indicating each time only what varies (Normal, Heading n, Bulleted list n, Quote n, etc. where n indicates the level of each kind of style). [See column 1] Is it wise to make each Style n dependent on Style 1 knowing that Style 2 can differ greatly from Style 1, and that Style 3 can differ greatly from Style 1 and Style 2, etc.? [See column 2] There is another possibility: Style n depends on Style n-1, but I have not retained it, because I do not find what it could bring of positive to counterbalance the illegibility of the style list. What advantages and disadvantages do you see in each method? Thank you for your explanations.

Thanks MikeW. So the white I saw was a support colour. I am reassured.

I can see from the answers that my question was unclear. I will ask it again in a different way. Colour is obtained in printing by superimposing several monochrome plates. The plate is not actually uniform. It contains tiny drops of coloured ink evenly spaced from each other. The ideal drop is round and its maximum diameter is defined by the resolution. The diameter of each ink drop varies from 0 (no ink) to 100% (maximum intensity) of the maximum diameter (or, another technique, the points are more frequent). In current printing, a trichromatic system, Cyan, Magenta, Yellow, was quickly used. In this universe, black was obtained by saturating the three inks to 100%, but this black tended to be brown. The printers then increasingly added a supporting black to first reinforce the shadows and write the black text of the works in colour, then to finally reinforce all the colours. Eventually, the four-colour system, as we know, it became Cyan, Magenta, Yellow, and Black. We agree, but why does white (CMYK 0 0 0 0) not allow the coloured paper (e.g. cream) to be seen and remain white?

Hello everyone, I am very intrigued by the default white in the Affinity suite. Its white has a CMYK component of no ink at all (Cyan 0%, Magenta 0%, Yellow 0%, Black 0%). So why do we get white in a solid white and not transparent?

My texts are mainly written in French, but with some files, I sometimes use other languages in the text (Asian, English, Latin, Greek). The explanation of the help does not seem very clear to me. It says that it allows you to choose the script language to use when applying OpenType rules, but it does not tell me how to choose the right script. and Which typography script and wich Typography language should I use?

Hi, everybody, My firm follows a graphic charter that specifies the dimensions, spacing between objects, fonts, character styles, paragraph styles, and colour palette used. How do I proceed with Affinity Publisher and, more generally, with the Affinity suite, so that I don’t have to rebuild it for each document? Thank you for your explanations.

I am afraid that the French translation of this book does not take into account non-English typographic features. That said, if a German, so following different typographic rules, a famous German type designer, Hermann Zapf, considers the book to be a reference, it is indeed an additional argument to buy it.

███ Voici une nouvelle qui va ravir les francophones. La version française de cet ouvrage de référence de 1992 va être disponible en français à compter du 18 novembre 2022. On peut le précommander. Les Éléments du style typographique, par Robert Bringhurst = 30 €.