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  1. I was also going through some other of my booklets to see, which fonts are affected by the strange drawing of drop caps, and find some more stuff. Affinity Designer doesn't read EMF files? On page 2, the front layer with black texts and underlying layer with red staves are perfectly aligned, unlike the previous file. However the first line is rendered a bit longer than the limit set for it, which botches all the following text. Page 3: just the drop cap. Pages 4 and 5: Again, drop cap. Another font, however the problem remains. If I count correctly, this is 2 lines, not 3 lines in height, still, 3 lines are set. And one missing EMF link. Page 6: nice music and text layout, however the lines are rendered a bit longer, so the text overflows... Page 7: drop cap, otherwise everything is fine. Pages 8 and 9: There are two problems: (1) the drop caps again. (2) This fonts contains a lot of special ligatures, so that I don't need to open a glyph browser all the time. One of them is +++, which translates to an ornate maltese cross, which lies in the private area of the font file. Another one is RG/, which translates to a gothic response glyph, which is located again in the private area of the font file. What is curious, that the same ligature is used in the first four lines after the title, where it works fine. And as the following image shows, the program sees the ligature, but does not draw, for some reason... This actually happened to me in the 1.7.3 version too, on a page with such ligature at the beginning of each line, about two of them simply didn't show the right glyph and I needed to delete the letters and replace them with the glyph from the glyph browser. Page 10. Here you can see one quite peculiar thing Publisher does in the IDML files. When making the drop caps in ID, you need to increase the number to at least 2 lines, however when you set the drop cap height just one line, it doesn't show. However, when you import such IDML with 1 line high "drop caps," Publisher goes crazy and starts drawing one line "drop caps" with a letter at the start of the line, which is especially effective when the line is centered. It would be better to simply ignore 1 line tall drop caps, like ID does. Page 12: Drop cap in the LTC Ornamental Initials font is again too small, however drop caps in the Bookman BT font are completely fine. Why? Page 14: The text is shifted under the image... That's about it. Thanks and have a nice day! Benedictio_brasseriae_-_IDML_Export_test_(3)_(Affinity_Publisher).pdf Benedictio brasseriae - IDML Export test (3) (InDesign).pdf Benedictio_brasseriae_-_IDML_Export_test_(3)_Folder.zip
  2. Hi @Jon P, thanks for the reply! Drop Caps: yes, it is imported correctly, however Affinity Publisher simply doesn't display this kind of drop caps correctly... As stated before, I need to add one line and enlarge the letter by 120% to get a sort of comparable result to InDesign, when using those ornamental fonts, either Uncialis Gothica or LTC Ornamental Initials. There is something quite wrong in a way Publisher is drawing this kind of drop caps. Even LibreOffice does a better job. Could you check into this too? Hyphenation: sorry, I forgot to include the page. You can find two pages, where this problem can be demonstrated. I have fixed it and included just two such pages. On the first one, you can see the hyphenation that doesn't work, no matter what I do. When I opened a Publisher 1.7.3 file with hyphenated text in tables, the 1.8.549 beta showed it exactly like the 1.7.3 version, so the system is configured correctly. However here, no matter what I do, I cannot get the auto-hyphenation working... Which is a shame as the text looks ugly... I also included another page, where the text flow is a bit different than the one used by ID, leaving quite ugly wide white spaces. IDML Export Test (2) (Affinity Publisher).pdf IDML Export Test (2) (InDesign).pdf IDML_Export_Test_(2)_Folder.zip
  3. Hi, as a long time InDesign user, I'd also like to help fine-tune the importing routine, so in the attachment, you will find my test files. I'm preparing various liturgical booklets for a nearby Cistercian monastery. As such, I use custom made fonts, a special Gregorian chant font to draw the music, usually two layers that need to match perfectly the way they were, the layout matching exactly... To be honest, I expected worse, but still, there are couple of things that could be improved: Drop Caps: especially this font (Uncialis Gothica) gets botched up quite a bit. When I enlarge it to about 120% (vertically and horizontally), the results are quite satisfactory, but still, InDesign and even LibreOffice draws it better. Please compare the two PDFs, the font file is included. Columns: ID supports columns on a part of the pages, Affinity Publisher does not (see page 3). It would be nice to convert columns that are smaller than the entire page as tables or so... Hyphenation: it seems that when importing from IDML, hyphenation does not work, at least not in the tables, even if it was turned on in the IDML file. However, when the tables are created anew, hyphenation works. Layers: almost always they are shifted in respect to each other. In the document, you will see it, as the red lines and a drop cap on the first page are visibly shifted and mismatched. Layout: some lines are slightly longer then in the original, other match beautifully. Some are just a bit longer, some even more. Here, the music lines are at their maximum length, so when the line is even a hair longer, it overflows and messes up the layout. Something very bad happened at page 7... In attachment, you will find both PDFs, one generated by InDesign, one by Publisher, then a zip file with a complete package, INDD and IDML file along with all the fonts and images. Thanks for having a look, thanks a lot if you fix it Have a nice day! IDML_Export_Test_(Affinity_Publisher).pdf IDML_Export_Test_(InDesign).pdf IDML_Export_Test_Folder.zip
  4. Thanks for forwarding the issue. Actually there is no setting for this in the system, you can set only tracking speed, which is simply the ratio between distance traveled on the trackpad/with the mouse to the distance on the screen. As far as I know, both trackpad and Magic Mouse read not only the scrolling direction, but also the speed of the finger, which translates to the speed of the cursor. This is great when working with multipage documents and long webpages. It seems that other apps can read the combination of distance and speed and move the document the appropriate amount, however in Affinity Publisher, the scrolling always happens at the top speed. Which is rather impractical and next to unusable, of course... It will be great if you are able to solve it in next releases.
  5. Hi, I've been using Affinity apps, especially Publisher for some time now. I do love them, however on Mac, which is my primary computer, I'm facing a kind of drawback: it's the scrolling sensitivity, when scrolling over things like font size, various Character and Paragraph settings... It's a very neat feature to be able change the values just by scrolling, especially on places where the arrows are missing. On a normal mouse, everything works fine, however on Apple Magic Mouse or a trackpad, the sensitivity is way higher than it's supposed to be. Therefore if I want to change the font size or paragraph leading just one step, it's next to impossible... My question is: is there a way to set the Magic Mouse/Trackpad sensitivity, so I actually could move the value just by one step and not twenty at a time? Thanks for the answer!
  6. @Affinity: any update on this topic? I'd love to have autotrace too, as I'm using line art from old books and (auto)making vector art of it is much better than any other way.
  7. Hi, I wonder whether it's possible to store and use multiple keyboard shortcuts for one function. For example in LibreOffice, there are both Cmd+Shift+Space and Option+Shift+Space for unbreakable space, I'm kind of used to it and don't really feel like remembering the right one in order to use it. In InDesign, you can set more than one shortcut for each function (plus also define, in what mode is it activated, which is not really necessary for me). Is it possible in Affinity Publisher too? And if not, could you maybe introduce it? Thanks!
  8. Interesting solution. I wonder if those holes are there by design (it might help to create kind of 3D shading), or just by omission. And yes, they could use the lower case positions, but then they might have to charge less for the font And how did you fix the missing piece? Did you add it in a font editor, or it was there somewhere?
  9. Thanks for pointing that out! When I saw it, I was surprised, how could I have missed it but then I realised that it was the same in all 3 letters and setting it back to 100% for all of them did next to nothing...
  10. That would make sense and that's how it is in InDesign. The max. value is 1000, which should theoretically line up the letters start to start. But it doesn't and there is nothing you can do save for creating a separate text box for each layer of the font (it doesn't even need to be in a different layer). However, although in intensity, you logically cannot go over 100%, in position you can, you would simply get with the following letter in front of the preceding one, which might sound strange to someone, but in cases like this, that is actually quite helpful. I understand there should be some limit, but it should be higher in such cases that for any reason, the font is not correctly spaced.
  11. As you have realised yourself, the tracking value is completely useless here, because it influences the entire paragraph. However this must be some kind of problem on your side, because I managed not even to set the almost right value on three consecutive letters, but it also almost works. The word is actually "HHHospodine." If you look at the enlarged version below, you will see the alignment is not ideal and it shows of course even in the printout. And well, also hyphenation doesn't work... (it's in a table, there were some mentions about it, but it should be fixed anyway...
  12. An alternative solution for layered fonts/drop caps could also be a possibility to consecutively apply three(+) styles resulting in three (virtual) layers acting as one. This would be very nice. It would also make the text cleaner, as it would eliminate the need to repeat the first letter in the "drop-capped" word. It could be something like a style or set of styles that could be repeatedly applied on the same single word/sentence to emphasize it, like a font shaded by a different font and color, different size... Of course, I understand that is it probably not worth the effort for such a niche usage, especially when an alternative solution exists.
  13. Following on this thread, I tried to use a layered font for a multicolor drop cap in Publisher in a following manner: I made a Drop Cap spanning over 3 characters (to the right) and 4 lines down. The font is LTC Goudy Initials (3 layers) and you can find it here. I changed the format of each Drop Cap character to represent one layer of the font - background, floral motives and the letter itself - along with the colors. Using Kerning, I moved the both remaining characters on top of the original Drop Cap. Now what happened: after about -1020 value of Kerning, the character didn't move, leaving some white outlines, suggesting imperfect overlay. The problem is not in the font, I checked (when used in three separate layers, everything is fine). I suppose there is some kind of limitation for the Kerning value, that is actually set, and this is a bit over. You might consider extending the limit value for Kerning. If there was another solution for layered fonts/drop caps like a possibility to consecutively apply three styles resulting in three layers acting as one, that would be very nice. Of course, I understand that is it probably not worth the effort for such a niche usage, when an alternative solution exists.
  14. Thanks for the suggestion! I was surprised that this actually works in the Beta. There are however some issues: when I used 4 lines high drop cap, I needed to set the kerning to about -1020, but the maximum value that still did something was -1010, so the characters are slightly misaligned. It is also necessary to repeat the first letter three times, which is not very popular with the spelling checker. But if the kerning limitation gets extended, this is definitely a way to go. The ideal solution for this case would be something like a possibility to apply 3 consecutive styles on the same drop cap. This way, it would be possible to draw one letter three times on the same spot, every time with a different style and color. But this seems to me too far fetched to implement such feature for something that is not that frequent and can be done in a different way.
  15. Exactly, this is the main reason I want to use a layered font like this - as drop caps. Luckily there is never too many of them, especially such ornate ones, so I can live with the 3 layers. Using an artistic text tool works surprisingly well in this case.
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