sfriedberg

Not exclusively. There could be other topics discussed on those pages, for which there could be other index entries.

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.

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.

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.)

@PaoloT, I think you just described what @Old Bruce called "linked text documents"!

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.

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.

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.

@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.

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.

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.

Pretty sure he's talking about switching the layers on and off prior to export/print, not during edit.

@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.

Then you might be interested in this (very long) forum thread.

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.

Well, if you have a section set up with asymmetric facing pages, adding a single page in the middle inherently requires some layout changes, yes/no? I believe you are hoping that Publisher will simply shift page contents 0.25" left or right to keep everything within the page margins. But you may have to give Publisher a bit of help. Since you didn't complain that your picture frames were left behind on the old page locations, I assume you pinned them in place. You have two basic options: float or inline. Inline should flow with the text, and as the text reflows to the new page the frames should follow. Float, however, has more options. In particular, you can set horizontal alignment of floating pinned objects to various things, including the page margin. You can also check "Keep within bounds" and "Mirror facing pages". So I expect you can give Publisher enough hints that it will do the right thing. Or, at least pin down a situation where it's clear that Publisher has a bug in its reflow procedure. I've attached a sample document with one way of doing this. It contains a sequence of alternating text frames and picture frames, all set with text wrap jump. For convenience, the main text frames (from the master page) contain zero-space paragraphs. I have pinned inline each pair of text/picture frames to their own paragraph. The gutter is exaggerated for clarity. When I insert additional paragraphs into the main text frame flow, the pinned inline content reflows to the following pages as you'd expect. When I add one page after any existing page, the following content reflows to the follow pages and gets properly positioned on the previously-obverse pages. Now, I did experience a few visual glitches while setting up this document, and they were exactly as you described, with the content not shifting over to the proper page margins (actually, master page text frame). In retrospect, I probably did not have the master page applied, and text frames linked across spreads, consistently. But there may be some layout glitches. If they go away on saving/reopening the file, they are purely display issues. If they don't go away, double check master page setup, text flow indicators, and also that the content is properly pinned. Be aware that when you add pages, you are disrupting the linked flow of text frames from the master page. If you are inserting content that should flow with the rest of the section, don't forget to relink the frames through the newly inserted pages. Of course, if you want a page independent of the main flow (e.g., a full-page advertisement) you can leave the links alone. paragraph_wrap_inline.afpub

There is currently no modding interface, nor any native Affinity plugin interface. Certain Adobe "defacto standard" plugin interfaces are supported, without any guarantee that proprietary Adobe features will be replicated in the Affinity Suite.

I have a similar experience placing SVG files. They are never placed where I expect, and are pinned on placement, so I have to first find them in the layer hierarchy, then unpin them, to drag them to their proper location (and repin them). A better indication of the "place" insert point would be much appreciated.

Without seeing your .afpub file, I am making a guess about what's going on. Let me describe how I would set things up. 0) Save a copy of your existing document, so you don't lose any work. Create a new document. 1) Create two master pages, one for chapter start and one for main text body. The master pages should contain text frames. 2) Create a section for each chapter. Each section will have its own independent text flow ("story"). 3) Cut the text for one chapter from the existing document. Paste it into a section. Assign the chapter start master page to the first page of the section. Add ONE page to the section, after the first page. Assign the main text body master page to the second page. Link the text frame of the first page to the second page. On the second page, SHIFT-click the overflow indicator on the lower right of the text frame. This will automatically insert as many pages as needed to contain the pasted text and link their text frames together. 4) Repeat with the other chapters. Each chapter (section) will have an independent text flow ("story"), so adding or removing content from any of the chapters will not affect the pagination (or master page assignments) of any following chapters. Adding enough text to require more pages will require you to add pages to the affected section. Repeat the SHIFT-click on the overflow indicator at the end of the chapter to add as many pages as needed and link their text frames together. [Side remark] While the Affinity Publisher help files do mention "sections", they really don't tell you anything about how they work, including the most basic stuff like: each section has its own independent text flow. I'm not sure if the Publisher workbook does a better job, but you'd hope so.

I have to say, I don't completely understand what you are after here. My best guess originally was that inserting additional text was getting your chapter head master pages out of sync with the content they should apply to. By introducing proper sections, you should be able to bring that under firm control. Then you can add or delete content in one section, without messing up any of the other Sections, even if page count increases or decreases. As far as extraction, perhaps copy and paste? But I am unclear on why you can't work in-place now that you have Sections established. Can you explain the problems you are having in a bit more detail? As to the question of breaking a text flow ("story") from one sequence of linked frames to two independent sets of linked frames, there are some relevant comments in these two forum threads. The short version is "you can't do that, yet".

Scale, rotate and translate. The moon is basically at infinite distance, therefore perspective effects are insignificant. If you are taking a series from a tripod, all you really need is translate.

I happen to have licenses for all three, but the only member of the Affinity suite I am really interested in is Publisher. I am still happily using CorelDRAW and PhotoPaint, with a bit of Painter for "natural media", in lieu of Affinity Designer and Paint, and don't see any advantage to switching over at this time. Affinity Publisher, on the other hand, fills a large hole left by the abandonment of Ventura Publisher, and I am using AffPub actively now.

I don't need (yet another) text editor to learn, but I certainly want the ability to edit text for Publisher in an external editor of my choice. As I've written in another thread, there are several use cases for this. The simplest one involves just raw text keystrokes, no formatting. This used to be the typical mode for magazine and book submissions, and is still quite common. Another use case requires round-tripping of basic markup (character and paragraph styles) from Publisher to the external document and back in again, and offers the opportunity for external content-management systems (CMS) to construct pre-marked-up text for import into Publisher. It also offers the opportunity to manually mark up the text externally, using whatever scripting and macro facilities the user has available, without being limited to WYSIWYG or (currently rather limited) find&replace operations inside Publisher.

Sans and Serif? Same as Kannada in your screenshot...

The Affinity Suite is kind of weak on user-defined field substitutions. If you have a limited number of these, you can use the pre-defined fields in the document properties, inserting the corresponding fields multiple places in the body of the document, and then typing in whatever you like (regardless of what the pre-defined name of the field is). You'd have to manage your "prepared collection" externally, copying from the external list and pasting into the field definition.