Pyanepsion

v2.2.0.1931 Hello to the Affinity team and the community, When I structure a document with a line break between the chapter number and its title, the generated table of contents shows the number and title pasted in, with no intermediate space. Ideally, not only should a space be inserted to guarantee better legibility, but you should also be able to write out the sequence to be inserted. In the meantime, a workaround is to add this space just before the line break when creating the title style. Thank you for your attention to this malfunction and for your ongoing work. Best regards,

I did consider the solution of duplicating each section style from one chapter to the next, but that's obviously far too cumbersome. With 12 chapters, that's already 48 styles instead of 4. There's got to be another way!

When I asked my original question, it was because of a strange behaviour of the style: it didn’t retain the top-level format when saving the style. Fortunately, this problem seems to have corrected itself. My booklet currently has a general table of contents covering levels 1 to 3. I’d now like each chapter to open with a specific table of contents, detailing levels 2, 3 and 4 of that particular chapter. As shown in the image of the table of contents book in chapter 4 in the first message. Level 1 Level 2 Level 3 Level 4

Hello everyone, I'm trying to adapt the formatting of a document using the numbering structure of the APA Style Guide manual itself to a document. I can't create level 4 correctly. Here's the numbering structure I'm trying to reproduce: Level 1: Chapters, typically numbered from 1 to 12. We are in chapter 4. Level 2: Some chapters have groupings, such as "EFFECTIVE SCHOLARLY WRITING" in chapter 4. Level 3: Sub-groupings of Level 2, such as "Continuity and Flow", same chapter 4. Level 4: At this level, the numbering ignores the previous groupings and could, for example, extend from 4.1 to 4.30. My main concern is the automatic configuration of Level 4 numbering in Affinity. If you have any recommendations or solutions for this layout, I'd be grateful if you'd share them. Edit: Corrected. I don't know why, but the new style 4 didn't want to depend on style 3, and remained dependent on the Numbered List style from which I had originally removed it.

I confirm. A referenced image, i.e. one stored in a separate file and loaded by the src attribute of the <img> tag, poses no problem. It's when the source of this image is integrated into the source that we get a rather annoying error message. More explanation in this message :

@Pšenda, Superb. Which version of the Affinity suite did you use? Could you provide the source?

Hello, @Hangman, I'd put it another way. Here are a few points to consider: Impact on Rendering: The error apparently doesn't affect the way the page is rendered in current browsers. Its impact can be considered minor. However, this could change with future browser updates. Maintenance and Future Development: Ignoring validation errors can make code more difficult to maintain or extend in the future, especially if other people are working on the code. Compatibility: While the error may not affect modern browsers, it can cause problems in some older or less common browsers. Good Practice and Professionalism: Following web standards is generally considered good practice and reflects a certain level of professionalism. Ignoring validation errors can give a bad impression to other developers or stakeholders. Natural SEO: Although less likely with this particular error, some validation errors can potentially have an impact on a site's SEO. In our case, since we're dealing with resources, we encountered display errors with certain online tools. In short, the actual impact of this error may depend on various factors such as the target audience, the browsers supported, and the specific needs of the site. It may be wise to correct the error even if it doesn't affect the experience of the majority of users or the site's objectives.

I also encountered problems with various Serif attributes in SVG files generated by the Affinity suite. The temporary solution was to remove them manually, which, although feasible, is far from optimal. The process is tedious and time-consuming. I agree with you that this may seem a minor issue for those who don’t need to integrate these sources into more complex workflows. However, for those of us who depend on valid and compliant SVG documents, it is a significant obstacle. Adding an option during export to omit (or include, as required) these specific namespace attributes would solve these problems. This would greatly facilitate the use of Affinity-generated SVG files in professional environments where standards compliance is crucial. I urge you to consider this feature in a future update, as it would enhance the flexibility and efficiency of the Affinity suite for a wide range of users.

The external SVG image doesn't seem to pose a problem. <!DOCTYPE html> <html lang="fr"> <head> <meta charset="UTF-8"> <meta name="viewport" content="width=device-width, initial-scale=1.0"> <title>Affichage du SVG</title> </head> <body> <img src="error-xmlns.svg" alt="Description de l'image SVG"> </body> </html> It does when the image is integrated. https://validator.w3.org/nu/#textarea <!DOCTYPE html> <html lang="fr"> <head> <meta charset="UTF-8"> <meta name="viewport" content="width=device-width, initial-scale=1.0"> <title>Display of SVG</title> </head> <body> <svg width="100%" height="100%" viewBox="0 0 240 63" version="1.1" xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" xml:space="preserve" xmlns:serif="http://www.serif.com/" style="fill-rule:evenodd;clip-rule:evenodd;stroke-linejoin:round;stroke-miterlimit:2;"> <g transform="matrix(12,0,0,12,229.901,37.1104)"></g> <text x="20.599px" y="37.11px" style="font-family:'ArialMT', 'Arial', sans-serif;font-size:12px;fill:#101820;">Error xmlns:serif="http://www<tspan x="174.56px 177.894px " y="37.11px 37.11px ">.s</tspan>erif.com/</text> </svg> </body> </html> And here's the SVG file. Remember to remove the two lines : <?xml version="1.0" encoding="UTF-8" standalone="no"?> <!DOCTYPE svg PUBLIC "-//W3C//DTD SVG 1.1//EN" "http://www.w3.org/Graphics/SVG/1.1/DTD/svg11.dtd"> error-xmlns.svg Note: The xmlns="http://www.w3.org/2000/svg" attribute does not generate an error, as it defines the correct and expected namespace for an SVG document. This is the standard declaration used to identify the version of the SVG language used in the document, and is required for the document to be correctly interpreted as SVG. The URL "http://www.w3.org/2000/svg" is the unique identifier of the SVG namespace, as defined by the W3C (World Wide Web Consortium). This declaration informs the browser or any other tool processing the document that the document's elements and attributes must be interpreted according to the SVG 1.0 or 1.1 specification (depending on the version specified elsewhere in the document). This is why this specific declaration is expected and accepted in an SVG document, whereas other xmlns attributes with unrecognized or unexpected URLs may generate errors or warnings.

v2.2.0.1931 Dear Affinity Suite Team, I would like to draw your attention to a problem with SVG files created by the Affinity Suite. The ’xmlns:serif="http://www.serif.com/"’ attribute in the ’<svg>’ root element is causing an error in HTML pages, affecting compatibility with web standards. W3C: Code: <svg class="svg-logo-3rem" viewBox="0 0 2400 600" version="1.1" xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" xml:space="preserve" xmlns:serif="http://www.serif.com/" style="fill-rule:evenodd;clip-rule:evenodd;stroke-linejoin:round;stroke-miterlimit:2;"> Tools for correction: Improved compatibility: Removing this problem would ensure better compliance with SVG standards, improving compatibility with different browsers and tools. Reliability for developers: More and more developers are relying on Affinity Suite for their projects. Correcting this problem would increase the software’s reliability and efficiency in professional environments. Product reputation: Prompt attention to this issue would positively reflect Affinity Suite’s commitment to quality and open standards. Can you consider correcting or removing this attribute in a future update? No doubt it would be greatly appreciated by the developer community. Thank you for your involvement, Pyanepsion

I’ve thought of forcing the point to the pixel, but this can only really work on verticals and horizontals, and, of course, increasing the resolution, but this quickly leads to a significant increase in capacity: An image going from 72 to 300 resolution will go from 72 × 72 = 5,184 pixels per inch, to 300 × 300 = 90,000 pixels per inch. The right solution, at least for the Internet, is to use images adapted to each magnification range: To adapt to different screen sizes: <picture> <source media="(min-width: 3841px) and (max-width: 5120px)" srcset="/webp/image_5120.webp"> <source media="(min-width: 2561px) and (max-width: 3860px)" srcset="/webp/image_3860.webp"> <source media="(min-width: 1201px) and (max-width: 2560px)" srcset="/webp/image_2560.webp"> <source media="(min-width: 992px) and (max-width: 1200px)" srcset="/webp/image_1200.webp"> <source media="(min-width: 768px) and (max-width: 991px)" srcset="/webp/image_992.webp"> <source media="(min-width: 576px) and (max-width: 767px)" srcset="/webp/image_768.webp"> <source media="(min-width: 480px) and (max-width: 575px)" srcset="/webp/image_576.webp"> <source media="(min-width: 0px) and (max-width: 479px)" srcset="/webp/image_480.webp"> <img src="/webp/umage.webp" alt="texte alternatif" title="Texte au survol" class="classe" id="identifiant"> </picture> To be able to magnify by squashing your fingers if the application allows: var img = document.getElementById('monImage'); var scale = 1; img.addEventListener('touchmove', function(e) { if (e.scale > 1 && scale === 1) { // L’utilisateur a écarté les doigts, changeons vers une image haute résolution img.src = 'chemin/vers/haute-resolution.png'; scale = e.scale; } else if (e.scale <= 1 && scale > 1) { // L’utilisateur a rapproché les doigts, revenons à l'image basse résolution img.src = 'chemin/vers/basse-resolution.png'; scale = e.scale; } });

Hello, @Baniola, Does your file contain any special fonts? Does your file contain linked objects? If you’ve used linked files, have they all been created with version 2, or do they come from version 1? Have you checked in the same place that they are not corrupted and can be reached from the software in which they were created?

Affinity Photo is a raster tool, so it seems logical that images, including those of letters, should be converted to raster, with the corollary of pixelation. As I'm not much of a raster user, this is a point I wouldn't have thought of without your messages. When a raster image is intended for a medium where it can be enlarged, for example an Internet page or a e-book, how can we limit this pixelation effect?

I once encountered a similar problem with one of my clients. It turned out that she had replaced the system’s PDF reader with a free PDF not utility reader that also allowed her to modify PDFs to add annotations, for example. Removing this tool was complicated, but it solved the problem.

It would appear that the challenges encountered by the Affinity suite with the Open Type Collection and Variable Fonts font formats mainly revolve around the management of PDF files. Unlike other less powerful software or software suites such as Adobe Suite, QuarkXpress, Office 365, etc., Affinity encounters difficulties in correctly exporting a growing number of files due to these fonts, which are increasingly present in productions. Admittedly, having to use workarounds to overcome this deficiency by converting these collections and variable fonts to older generation fonts using software such as Hight-Logic Font Creator is not taken very seriously by our customers, who then tend to think that our tool is a bit limited. I would therefore encourage to explore this subject further. Perhaps others have encountered similar problems and found other solutions or additional explanations. Any input on this topic would be greatly appreciated, as it could help the community to better understand and address these situations.

Version 2.2.0.1903 beta Like variable fonts, Open Type collections are still not correctly exported to PDF, but unlike variable fonts, they are recognized by Affinity Suite, they display correctly in raster format, and they print correctly on inkjet printers, so why not in PDF? There is an improvement with version 2.2.0.1903 beta. The PDF file is now all in Angsana regardless of the font style. On the other hand, only the Regular style is displayed, whatever the style. In addition, the underline style is a combination of Angsana Regular with an underscore instead of Angsana Underline, and each of the 3 lines is separated instead of being continuous. Each block of 3 lines of the PDF can now be modified with Adobe Acrobat Pro to give it Bold, Italic, Bold-italic styles. Ressources : If you are in a region where Thai fonts are required: Open Windows ‘Settings’ (you can use the keyboard shortcut Windows +I). Click on ‘Applications.’ Select ‘Optional Features’. Find ‘Thai Supplemental Fonts’ and click on it. Click on ‘Install’ to install the additional Thai fonts, including Angsana. To download fonts for all languages: Open Windows ‘Settings’ (you can use the keyboard shortcut Windows +I). Click on ‘Fonts’. Select ‘Download fonts for all languages’. Follow the on-screen instructions to complete the installation process. Once these steps have been completed, the Angsana font should be available in applications that use fonts on your system. These instructions should be applicable to recent versions of Windows, such as Windows 10 or Windows 11, but bear in mind that the exact steps may vary slightly depending on your specific version of the operating system.

There is an improvement with version 2.2.0.1903 beta. The PDF file is now all in Angsana regardless of the font style. On the other hand, only the Regular style is displayed, whatever the style. In addition, the underline style is a combination of Angsana Regular with an underscore instead of Angsana Underline, and each of the 3 lines is separated instead of being continuous. Each block of 3 lines of the PDF can now be modified with Adobe Acrobat Pro to give it Bold, Italic, Bold-italic styles.

Thank you @Return for your suggestion about "raster fill". This does offer a workaround for working with images in a set of transformed objects. @GarryP, your method works beautifully when the objects don't overlap. Unfortunately, it doesn't apply to the example I provided in the first post, where the objects overlap. The ideal solution would be to 'scatter' the objects, erase all traces of transformation and then return the objects to their original locations. So the question remains open for more complex situations, especially when the objects overlap, which is often the case in practice. I greatly appreciate your help, especially with the images, which as you both know were my immediate goal. However, there are other aspects of Affinity Designer that remain a challenge. If you, or anyone else, has any other suggestions, your advice will be much appreciated.

I’m looking to rectify all the objects resulting from a transformation in Affinity Designer at once, so that they each have the same appearance, but without retaining any transformation values. This will allow a property to be applied to all the objects without the local transformation of each object disturbing the result. Take, for example, a set of thousands of odd shapes that have been rotated and deformed individually. I want to remove this transformation information, so that each shape can be treated as if it had been drawn in its current position and orientation, without rotation, expansion or distortion. This can be useful for applying a general orientation to a gradient over several objects, breaking up an image, applying a uniform effect over all the objects without being altered by local transformations, or modifying an object without having to perform complex calculations due to dilations, twists, rotations, etc. Here are two examples: Global gradient of the set resulting from the initial green shape resulting from a transformation, and the same thing from each object created by hand. Global photo of the set resulting from the initial green shape after transformation, and the same thing from each object created by hand. transform-rectified.afdesign

Hello everyone, I want complex transformed objects to become new objects without retaining their transformation properties (such as ‘Rotate -90°’). For example, here’s a simple square obtained after rotating an equilateral triangle three times by vertical and horizontal symmetry. How can I get all the triangles as a new blank object in one go? Initial green object : X = 5 Y = 105 L = 200 H = 100 R = 0 Let's move on to the red object. This involves rectifying the transformed red object so that it has the values it should have had if it had been drawn by hand instead of using the transformation function. Red object transformed instead of new object : X=105 instead of 5 Y=5 instead of 5 L=200 instead of 100 H=100 instead of 200 R=-90° instead of 0 Your advice would be much appreciated. Thank you for your explanations. shape-filling.afdesign

Hello, @lepr You say: Thank you for your explanations. I must admit that I did have some difficulty in trying out and understanding your method, particularly because of the absence of the ‘Vector Flood Fill’ function in the Tools menu. Messages from other users also showed a lack of fill in zones 6, 8 and 9, as well as flooding in two adjacent zones, which raised doubts about the relevance of this approach. That said, after discussing these doubts and obtaining more precise answers, I was able to overcome these difficulties. Your method is very different from the one I had initially envisaged, and I’m grateful to you for taking the time to help me understand this new approach. Thank you again for your explanations and assistance.

It's great when it finally works. Thank you all so much.

@lepr 😉I've only given the fill as an example to get the idea across. The idea is to create independent zones, in this case 9. However, I can't find the 'paint pot' for the Vector Flood Fill tool. See my screenshot.

@GarryP I’ve replaced the beta version with version 2.1. I can’t find the ‘paint can’ for Vector Flood Fill Tool. @lepr There appear to be no gaps. Examples between 8 and 9. @walt. farrell In fact, I’d like each zone to become an independent shape. In this way, the filling would be carried out on the whole of the resulting shape without taking account of the objects in front of and behind it (for example the numbers in my example).

Hello everyone, By way of illustration, here is a simplified structure comprising a frame and an intersection of two horizontal curves and two vertical curves. They delimit 9 zones (1 to 9). I know it's possible! but I didn't understand how to fill them in individually. shape-filling.afdesign How do I go about it? Thank you for your explanations.