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About Gianni_S

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  1. Hi Adam, How are you? I am sorry but I didn't have any mail from you/Affinity until today. Is for that reason that I wrote here. Not to be rude, but simply I would like to know if there are some reason for this delay. Beg my pardon if in the post above I have been very direct. Probably the whole thing took the wrong way. Thanks a lot. G:
  2. Hi Affinity… I hope you will read these lines this time. SO, quickly the story: 03/12/2020 I ordered 3 workbooks 28/12/2020 I hade Photo and Designer Silence since now Last week I wrote an email asking if there were problems … no reply from you, being ignored is not a great feelings, especially from a customer point of view! Today 19/01/2021 no signals from the space where the last workbook is lost. So I'm asking politely news about order REMOVED, because one item never arrived to destination. Just to be sincere and direct: I would like to have my book… or refund me, but please don't go on ignoring a simple question. Thanks. G:
  3. Hi, same problem here, ordered the three workbooks from Italy the 3rd of december 2020, 2 (Designer and Photo) arrived in 5*6 day,Publisher is still missing in action. I wrote an e-mail to Affinity Customer care just to have some info about it. I haven't any answer, nor an automatic reply justo to know that my mail has arrived to someone inbox. However cash was taken in no time... So I'm asking here: Someone knows who or what should I ask to have some info? (Seem that speaking with Pope is easier than having that info...) If someone on Affinity Planet is interested into this topic, order n. BNWHGLT30G
  4. Same way I found… but global colors have the same meaning like Illustrator? These differences are bizarre.
  5. Other thing is overprint I'm experimenti a 50%K Titel tex over a Yellow Background. Can't put it on overprint unless to apply a "Multiply" effect. It sounds weird to me… however, it works…
  6. OK, I did some test: All what you suggested is true and has a certain sense. But most of all, it works and that's it. It is not so linear, because the Assign/Convert is counterintuitive, as well as the lock on the color slider palette. However, knowing what to do make easy to adapt. Hope that in the near future Affinity will smooth that particular. Color management is fundamental nowadays! Thanks again for your precious help, it makes things clear!
  7. Woah, thanks, that's an answer! I will test every single solution you provide me. I'm gonna understand it better. Sure that the process is not so linear and logic as it should be. Can't understand why… Thanks again Lagarto!
  8. Hi Folks, I'm trying to understand where I make a mistake: I create a CMYK doc with Fogra 39 profile, I place in the layout some RGB images, some texts, colored and 100K and a couple of boxes filled with other colors. When I export them I try to change the ICC to Fogra 29 or SWOP. I expect images to have different CMYK values... and it happens. However this changes also the vector boxes and text, so "Numbers" aren't preserved. Worst of all, also the 100%K comes on CMYK values. I tested some different setup, but when I change profile, numbers aren't preserved at all. Strange. Cannot find a way out of this. Someone could be so kind to explain me what I am doing wrong and how to fix it? Thanks a lot! G:
  9. Hi Forumer, how are you? Hope to find you all healthy and safe in this period. A quick question that is taking a lot of efforts lately. I have an image and this image should be on a pantone color background. How to do it to have a correct print made by CMYK+Pantone? In Photoshop I used to add a channel and that's it… in AP I'm struggling to find a way out. But it is probably me. I searched on google without results, maybe you have some resources about it. Thanks a lot, I appreciate. G:
  10. Hi, same here… just opened another thread on this.
  11. Hi all, got some problem updating. As you may see in the screenshot in attachment, something dureing updating AD went worng. Cannot figure what, because Photo and Publisher did it without problems. Maybe it is only me or maybe not… however, if you have any hint/solution to fix it. I would appreciate. Thanks guys! G:
  12. +1 again on this function. I hoped tha1.8 had it... but not, it doesn't show up. Only a useless "import pages" that can be used in a certain way, but the document become heavier than planet earth. So, Affinity, you are near to perfection, just another little step... maybe with update 1.8.2
  13. It is almost a year that I have introduced Affinty suite in my entire workflow. Affinity Photo has become the standard. This image has been created with Starry Landscape Stacker (lately my win box with Sequator has some probs due to Microsoft updates… bah) and edited in AP. 30 shots of the sky and foreground stacked together, one shot at lower iso for the foreground and one with some light painting for the lake. And a couple of mugs of hot coffee just to defreeze my… well I guess you understand Thanks for your precious time! G:
  14. OK Adam, my 2 cent: Luminosity masks (ab)used nowadays are totally useless for astrophotography. In the video you poster are used mainly to flatten color discrepancies due to sensore noise (hot pixels, light pollution, lens colo problems and everything you can immagine). I think (and I use) only 2 software: Sequator for stacking and Affinity photo for editing. For the rest it is only advanced editing and a little bit of technique while shooting. For the foreground it worth to do some shots and stack them in AP to reduce the noise. You could also experiment HDR with bracketing shooting. For the sky, I use sequator to stack together al least 40/50 shots using the most popular camera settings (speaking about shutterspeed, ISO and aperture). Last but not least, instead of luminosity masks, I prefer using channel selections, some tricks that a certain Dan Margulis developed for Photoshop but you can apply them to AP without problems.
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