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Everything posted by Pyanepsion

  1. There is much difference between producing a medium on paper (CMYK universe, fixed positions, fixed dimensions, layering of objects, enormous file weight, high resolution) and producing a medium on the Internet (RGB universe, variable positions, unknown dimensions, no overlapping of objects, very light file weight, low resolution). An EPUB book is not created with DTP software extension, but with specialized software (30 to €100). The extensions that exist for QuarkXpress and Indesign are pitiful and give a result that is anything but professional.
  2. 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):
  3. 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?
  4. Hello everyone, How to proceed to transform a photo to give the illusion of a line drawing? Thank you for your detailed explanations.
  5. 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.
  6. The aim is to compare the advantages and disadvantages of each method.
  7. 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.
  8. Thanks MikeW. So the white I saw was a support colour. I am reassured.
  9. 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?
  10. 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?
  11. 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?
  12. 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.
  13. 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.
  14. ███ 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 €.
  15. Both of these methods (one of the countless Internet tools, or choosing directly from the Affinity colour chart [it takes its values on Windows in C:\Program Files\Affinity\Publisher\Resources\Pantone]) may not be suitable, as there are too many choices. Here is an example with a simple yellow CMYK 1 10 78 0. There must be a simpler and safer method ?
  16. Hello everyone, My designer provides me with colours in CMYK values, but it appears that there are big differences in the tints depending on the printing subcontractor. A video from Affinity explains that the Pantone codes should be used. Yes, but how do you get this Pantone code from CMYK? Thank you for your explanations.
  17. The French helper made a big mistake. It tells us that to be successful in our data fusion we have to ‘design on only one spread’, which is not true as Walt showed us.
  18. This data fusion functionality is quite interesting. It allows you to automate most of the commercial correspondence, sales pitches, of course, but also invoices, reminder letters, all the repetitive things in the daily life of a company. In the publishing world, I can see the possibility of automating catalogues, labels, name envelopes, but also covers. 😊It has little to do with the similar functionality of Word, which tends to be a bit of a headache.
  19. Thank you very much, Walt. With this example files, the explanation becomes much easier to understand. I will now be able to prepare my ‘personalized’ business letters much faster. 1. Prepare the list of variables in an Excel sheet (here Origin.xlsx) in 2 columns. The first column indicates the field and the second, the value of the field. We thus obtain 1+7 rows = 8 rows in the example you have given. Note that you can give the field any name as long as it is not identical to the name of another existing field. This is much more readable than my $variable$. 2. Transpose into another Excel sheet (here Fusion.xlsx) the rows and columns to be in conformity with the import format. We now have only 2 rows, but 7 columns. 3. Import.
  20. Yes, that's exactly it. Here is a concrete example that is completely made up. You have to imagine an initial text that you adapt to each recipient. Most of the text is the same, except for a few <variable> things that we'll put in an Excel table. First recipient <man>=lumberjack <woman>=lumberjack <number>=seven <age>=seven <name>=Hop-o'-My-Thumb Second recipient <man>=king <woman>=evil queen <number>=three <age>=eight <name>=Kirikou Here is an example of the text. Page 1 Page 5 They were very poor, and their seven children caused them great inconvenience, because none of them could yet earn a living. What grieved them still more was that the youngest was very delicate and did not say a word, taking for foolishness what was a mark of the goodness of his mind. He was very small, and when he came into the world he was hardly bigger than his thumb, so that he was called the little <name>. This poor child was the scapegoat of the house, and was always given a bad name. However, he was the shrewdest of all his brothers, and, if he spoke little, he listened a lot. There came a very unfortunate year, and the famine was so great that these poor people resolved to get rid of their children. Page 7 One evening when these children were in bed, and the <man> was by the fire with his <beaker>, he said to her, his heart clenched with grief: [Blah blah blah] Etc.
  21. @walt.farrell, and @Old Bruce, You are talking about merging business card type data. It won't work here, because you're using a whole brochure and not just one sheet, and the number of variables is several dozen, not just two or three. So we come back to the first idea: which script to use?
  22. I am using a custom business document that has about 80 variables. Some are repeated several times, others only appear once. How can I automate the cut and replace the entire document in one pass for each new customer? Here is an extract of some variables for a fake user record: $company$=Principality of Tingry $civility$=Your Highness $gender$=Masculine $first name$=Christian-Louis (5 times) $surname$=Montmorency-Luxembourg (3 times) $street$=57 Rue de Varenne $postalcode$=75007 $city$=Paris= $country$=France $landlinetelephone$=01 42 75 79 15 $radiotelephone$= $e-mail$= $website$= Each sequence of $civility$ should be replaced by Your Highness, $fistname$ by Christian-Louis, etc. in one pass instead of 80. Thank you for your explanations.
  23. Thank you, @Pšenda. If this does what I think it should do, it would be a great asset. How do you use a symbol?
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