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Everything posted by sfriedberg

  1. Actually, this is the intended effect of a feature that frequently catches newcomers off-guard. Down at the bottom right of every text frame there are two corner drag handles. One resizes the frame, and the contents reflows to fit. The other rescales the frame, including its contents. It is a very common mistake for people to drag the rescale handle, and then come to the forums asking why their text is all too big or too small, but only in certain frames. On several occasions, I have wished that I could build a hierarchy of styles where font sizes were expressed proportionally relative to the parent style, rather than in absolute sizes. I.e., define a child style font size change to 0.85 the parent size, rather than to 10pt. I resign myself to the lack of that feature by telling myself I'd probably want to tweak the results by hand anyway. If you built a style hierarchy that way, just changing the size on the Base style would ripple down through all the descendants automatically. There is absolutely nothing stopping the Affinity suite from presenting (and allowing edits on) font sizes in relative mode, rather than absolute mode, regardless of how style properties are stored internally. But I think the OP got the clean, and desired, behavior from rescaling all the text frames.
  2. For what it's worth, I have a technical document which uses IPA combining diacritics U+031F and U+0320 to place plus and minus signs below various letters. Using Cambria italic, this seems to export correctly to PDF with AffPub on Windows 10. However, this is a simpler case than the original (only one combining diacritic at a time), and I have not formally validated the PDF, only viewed it and printed it. test.pdf
  3. The book and booklet modes for Publisher are a tiny little entry into the field of imposition, which is based on folding large sheets into signatures for binding into a book. These modes are not what you want if you just want to print pages two-up. For that, use the two-up feature of your printer, not the imposition features of Publisher.
  4. I would construct a dummy document with the appropriate sizing, general layout and style definitions (etc.) then save it as a template. Or even just save it, and make sure to Save As a different file when opening it to start a new document. [Added in edit] Spacing between objects is a bit harder to capture, but if you routinely put the objects in frames, you could pre-define some assets with appropriate insets to handle part of the requirement.
  5. I don't understand why people do this. Presumably NPM's comments/hints were useful, but now he/she has gone and edited away all the text, replacing it with "N.P.M." I have seen other people do similar things when they find they cannot delete their postings altogether, but I do not understand the motivation one bit.
  6. I've noticed something similar with placed SVG images/files, and I'm sure it's from the same basic print engine cause, and totally bypasses the question of PDF interpretation. If I export from AffPub, then print the PDF, I get nice crisp vector graphics at the printer's limiting resolution. If I print directly from AffPub, I get rasterized graphics with artifacts that are not difficult to spot. This has not been a major problem (because export to PDF for better-than-draft printing is not a problem), but I had been meaning to discuss the issue. This seems like an appropriate time and place.
  7. I don't recommend this as a general practice, but you can go into the paragraph properties on a numbered list paragraph and make the start number whatever you want. So if you can't hack the styles to do what you want automatically, you can repair any numbered list that restarts when you don't want it to restart.
  8. I think Glinkot and PauloT are in violent agreement about the utility of tables spanning (many) pages. The difference in viewpoint seems to be "I use Publisher for publishing, so it needs to support it!" versus "If I need to make catalogs now, why would I even attempt to use Publisher?" I suspect we all agree that getting the functionality into Publisher would be a positive thing.
  9. If we treat this as a database problem, you need to create/script a query on your catalog that joins the necessary tables and produces a (single) file for use with Publisher data merge. That way, your database stays nice and normalized (non-redundant), and there's a procedure for getting the data formatted properly for Publisher.
  10. Would be especially nice if we got that together with the ability to auto-flow tables across page boundaries without manual intervention (like cutting the table contents into page-sized bites).
  11. Not exclusively. There could be other topics discussed on those pages, for which there could be other index entries.
  12. I think he wants a single continuous text flow, with certain (heading) styles recognized as triggering start-of-section processing. For example, section break, optional insertion of blank pages to start the section on a right-hand page, automagically using a different set of master pages on the first page following the section break, etc. I would much prefer the existing Section manager with a not-yet-available ability to link/embed external text files, or a "book" manager with the ability to concatenate external text files into a single Publisher document. Above some vaguely-defined length, I prefer to manage my document sources in distinct chunks.
  13. There is another general solution, now that the Affinity suite has acquired the contour operator (which was not available in 2019). Take any curve, generate a contour of a width that will put the centerline of your offset stroke at the desired position. Break the contour apart and discard the pieces you don't want. Apply a stroke to the piece(s) you kept. This can also be used to create multi-color striped ribbons, etc.
  14. I have had occasional problems where Publisher will not list some small number of fonts that it previously listed just fine. Fonts are all installed, visible in the OS (Windows), and accessible by all my other font-aware graphics and publishing programs. With one particular exception, these problems usually go away by shutting down Publisher and relaunching it, but it sometimes takes several tries. So there does seem to be a little fragility in font loading in the Affinity suite. I seem to have more problems when I launch Publisher immediately after rebooting, so perhaps there is some timing dependence. (The exception is a problem where the Affinity suite was not happy with a font family with mixed versions of individual fonts. It would consistently recognize only the fonts of the first loaded version, and refuse to recognize the fonts in the same family of a different version. All fonts in the family being visible in the OS and happily recognized by all my other font-aware graphics and publishing programs, this was extremely perplexing and aggravating. This has been discussed thoroughly in another thread.)
  15. @PaoloT, I think you just described what @Old Bruce called "linked text documents"!
  16. For block display mathematical expressions I create SVG files using an external tool, then place the SVG images in Publisher. This workflow is not ideal, but it is predictable and controllable. For expressions simple enough to run inline with the text, I use (a large number of) character styles, glyphs chosen from several fonts, and many small spaces, basically typesetting the expressions by hand using Publisher's tools. This is tedious, but ultimately more convenient than creating external SVGs and trying to flow them with the text. Currently, I am using MathML Formulator from Hermitech Labs (www.mmlsoft.com) to create my SVG files, but there are many alternatives. I find that I have to import these into Publisher and reduce to 75% scale to match font sizes properly.
  17. I think this discussion highlights the need to have an easier way to locate all "special" contents. Indexes specifically in this case, but fields more generally, and references (both targets and referring object) when we eventually get them.
  18. Well, if the document is 283MB larger than the largest they accept, it's possible the upload process is deliberately aborting, with a less than ideal error message.
  19. @mnpIf you select "Continue page numbering" in the Section Manager dialog, then pages from adjacent sections get numbered sensibly, even if you add or remove pages from one or more of the sections. I have a document in progress with three sections. I have added pages to each of the three sections. And I still have consecutively numbered pages from 1 to last without doing anything about it manually.
  20. I don't have any better suggestions for doing this in Affinity Designer, but I can think of several ways to do it in CorelDRAW. A common go-to technique there is to draw a single central stroke, then expand it with multiple contours (which work robustly in CD) to get the parallel (actually "offset") lines, break apart the contour group geometry, then stroke selected lines with the desired color and width.
  21. I think the simplest response is "One would not do that. That either calls for multiple character styles, or un-styled local overrides. Multiple styles would be appropriate if the same typographic effect is required in more than one place." The main (and infrequent) use I have for leading override is making space for graphics pinned inline to text. In some cases, I have a series of graphics of the same height, and creating a character style is useful. If the graphic needs to be centered vertically on the text, both leading override and baseline adjustment come into play. More often, all the graphics are different heights so I don't bother creating a style and just use local overrides. Because I do a lot of mathematical typesetting, I use character styles with baseline and font size adjustments quite heavily. These don't involve leading override, as even super-superscript and sub-subscript styles are tweaked to fit within the body text paragraph style's normal leading. However, it is all too common that I have a sequence of 3-8 characters where every character has a different character style assigned than the ones to either side.
  22. Pretty sure he's talking about switching the layers on and off prior to export/print, not during edit.
  23. @thomasoI gave up on that other lengthy thread in large part because you insisted that your way to do things was the only way to do things, accompanied by increasing levels of mockery and derision aimed at people who disagreed with your way. Please do not pollute this thread, which has been conducted civilly up to this point. The very length of that other thread should make it clear that there are diverse opinions on the subject of how Affinity layer management can be enhanced and extended. Your viewpoint is one of several, and not all those viewpoints even have the same objectives! That means not everyone is even using the same criteria to judge solutions. Insisting that your way is the only way, and your viewpoint is the only viewpoint is ... tedious ... for your colleagues here in the forums.
  24. I do not want collaborative editing a la Google Docs. Not at all! I want the editor (singular) to control the document. However, I do want contributors to be able to edit/update text flows, including marked-up text flows, and have the editor notified (as currently) when the external linked source files are updated. One thing I'll add to @nawkboy's comments, is that ingesting marked-up copy, and round-tripping marked-up copy through external editors, potentially have a very close relationship to a native plugin interface. Tagged content is collected (generally from many scattered spans of the document) for the appropriate plugin, the plugin does arbitrary processing, often involving external databases (like content management systems, bibliographic reference lists, etc), and supplies replacement content back into the layout program. The original tagged content remains in the document, but it's the replacement content which is used for text flow and related layout. Replacement content can include images and styled text, not just raw keystrokes. Oh, and "simple .. way to extend ... semantic markup to .. paragraph or text styles". CSS is an excellent example of how styling can be applied to a semantically structured document. Many of those principles could be applied to ingest of semantically marked-up copy.
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