rumo

Hi,
I know that this is not something related to support and troubleshooting. But 2020 comes to an end and has been rough for most of us professional designers, photographers, artists…and I just wanted to say thank you to the Affinity staff. When the corona crisis hit us, you gave a generous discount of 50% for the complete Affinity software suite. Even more, you literally gave it away for free for students and to many more due to the three months test period. This is nothing I take for granted and made me finally quit my Adobe CC subscription. 
It is not only about software, it is the way we treat people, the way we treat each other in this crazy time.
Thanks,
Johannes

Hi,
I know that this is not something related to support and troubleshooting. But 2020 comes to an end and has been rough for most of us professional designers, photographers, artists…and I just wanted to say thank you to the Affinity staff. When the corona crisis hit us, you gave a generous discount of 50% for the complete Affinity software suite. Even more, you literally gave it away for free for students and to many more due to the three months test period. This is nothing I take for granted and made me finally quit my Adobe CC subscription. 
It is not only about software, it is the way we treat people, the way we treat each other in this crazy time.
Thanks,
Johannes

Hi,
I know that this is not something related to support and troubleshooting. But 2020 comes to an end and has been rough for most of us professional designers, photographers, artists…and I just wanted to say thank you to the Affinity staff. When the corona crisis hit us, you gave a generous discount of 50% for the complete Affinity software suite. Even more, you literally gave it away for free for students and to many more due to the three months test period. This is nothing I take for granted and made me finally quit my Adobe CC subscription. 
It is not only about software, it is the way we treat people, the way we treat each other in this crazy time.
Thanks,
Johannes

Hi,
I know that this is not something related to support and troubleshooting. But 2020 comes to an end and has been rough for most of us professional designers, photographers, artists…and I just wanted to say thank you to the Affinity staff. When the corona crisis hit us, you gave a generous discount of 50% for the complete Affinity software suite. Even more, you literally gave it away for free for students and to many more due to the three months test period. This is nothing I take for granted and made me finally quit my Adobe CC subscription. 
It is not only about software, it is the way we treat people, the way we treat each other in this crazy time.
Thanks,
Johannes

Hi,
I know that this is not something related to support and troubleshooting. But 2020 comes to an end and has been rough for most of us professional designers, photographers, artists…and I just wanted to say thank you to the Affinity staff. When the corona crisis hit us, you gave a generous discount of 50% for the complete Affinity software suite. Even more, you literally gave it away for free for students and to many more due to the three months test period. This is nothing I take for granted and made me finally quit my Adobe CC subscription. 
It is not only about software, it is the way we treat people, the way we treat each other in this crazy time.
Thanks,
Johannes

To echo Dominik's sentiment, I too appreciate your good attitude in this post. In particular the part I quoted above, that is very good general advice. I wish more people could see it.

Hello @rumo,
I appreciate that you rethought your own wording. Thank you, this is to the benefit of this forum.
Cheers,
d.

Dominic, I apologize. It just struck me that I was too harsh earlier, even before I read your post. You’re completely right to correct me here and I thank you for that. I rewrote my lines above. It is okay to be somewhat emotional here, but it’s of no use when you’re not helpful at the same time.

Dominic, I apologize. It just struck me that I was too harsh earlier, even before I read your post. You’re completely right to correct me here and I thank you for that. I rewrote my lines above. It is okay to be somewhat emotional here, but it’s of no use when you’re not helpful at the same time.

Dominic, I apologize. It just struck me that I was too harsh earlier, even before I read your post. You’re completely right to correct me here and I thank you for that. I rewrote my lines above. It is okay to be somewhat emotional here, but it’s of no use when you’re not helpful at the same time.

Dominic, I apologize. It just struck me that I was too harsh earlier, even before I read your post. You’re completely right to correct me here and I thank you for that. I rewrote my lines above. It is okay to be somewhat emotional here, but it’s of no use when you’re not helpful at the same time.

+1
You’re not overwhelmed. I think the swatches panel doesn‘t work properly, or at least it isn’t as well thought-out as the rest of the Suite. So in my professional workflow often it is difficult to use. Don’t get me wrong: There are some really useful features like creating complimentary colours from a single swatch. But overall I consider the swatches panel to be the weakest part of the Affinity Suite.

Dominic, I apologize. It just struck me that I was too harsh earlier, even before I read your post. You’re completely right to correct me here and I thank you for that. I rewrote my lines above. It is okay to be somewhat emotional here, but it’s of no use when you’re not helpful at the same time.

If something doesn't work how you would like it to be, it is not broken. It's just not the way how you would like to have it.
I do not oppose some of the mentioned missing features in the swatches panel. But I find it important (in regard to other forumsters who are reading this) not to give the impression something is broken that is not.
Cheers,
d.

In the font drop down list there is a heart shape at the right side of each font entry. Click this to make the font a favourite.
At the top of  the font drop down list there is a button to only display favourite fonts.
You also can set defaults for the tools. I think this was explained in other threads already. It works for the text frame tool, too 
d.

Well, it's true of *some* other apps. However, using InDesign as an example, you just see layers in their "Layers Studio." You can interact with each item ON the layer, but you aren't forced to navigate your way through the entire list of parent and child items on that layer, which can often extend far higher than your monitor is tall.
Maybe in Layout persona, you just see the layers, and you know there are items ON the layer, but then in either Photo or Designer persona, THAT'S where you get to see each and every bit, maybe only for the item selected prior to entering that persona?
Maybe what I'm suggesting is a behavioral difference between Publisher and the other Personae, such that, in layout, you deal with the macro; the personae deal with the micro. Use Publisher to move design elements around as complete units; use the Designer and Photo personae to dig into the granularities of those elements.

Coming from Adobe Illustrator, I am overwhelmed by Affinity's implementation of the swatches panel.
• the colors can't be grouped together
• can't select multiple colors that I want to delete
• no ASE file export option
• no color guides
What I want to SUGGEST is a redesign of the color swatches panel to make it work similar to or even better than that of Adobe Illustrator.



I like it to work in a more contextual way rather than looking at a separate panel to change colors.
Also, an option to recolor the entire artwork or selected objects and adding these functions into one panel is superlatively glorious. It'll totally blow Adobe developers' minds.

In fact, what we are use to is being able to rotate only one page, so we can work on it, and that'll be the only page of the  document that'll have the rotation. And this will be save in the document.
You can close and open the document, each time this page will be displayed with the rotation.
But this rotation only appear in APub, when working: exporting a PDF or another file format dislpay all the pages without rotation.
I asked for this feature long ago too… since it's no problem, or less when you only need to rotate 1 page to insert crosswords solution, for example, but if you've got a book with +20 pages full of tables and you need to rotate the view, go back to normal, etc. a lot, it's not fun.
There are also  folded documents where this feature would be needed too, since some pages are head to tail.
 
For objects only, you can't paste text parameters this way. And each time we paste a style, there's a unknow parameter that scale the style: you'll hardly have the same effect/style on a second object.
But here, the OP ask, IMO, a pipette able to copy different options (for example text styles like paragraph, character, and local formating), and past it to each text you click on. That's not possible with text in APub.
The available options you can copy (ID's pipette has options):

 

Dear Serif team,
after a decade solely with Adobe products, I switched to Publisher a month ago. I already tested the demo when it was first introduced and really wanted to get rid of Adobe for years, but I missed the IDML import feature that came with Publisher’s latest upgrade. I immediately batch converted all of my Indesign files with a script and dropped my CC subscription. With no regrets. I’m a freelance typographer and graphic designer focused on print media and I think Publisher is the better software here. Especially when considering it is not backed by a billion dollar company.
Yet there are still some bugs as well as features that I miss in my professional workflow. Here are some of them:
I miss integrated access to other spot color libraries such as HKS (not only Pantone) as HKS is a European standard Starting every print document with the cmyk color palette, every web document with the RGB palette etc. And, of course, every saved document with its document color palette. I think the color register is overall missing some logical structure as it is not clear why there are document, system and program palettes. I made my own HKS palette, but only when I import it as a document palette I can use it throughout the software, not only in the current document. That’s confusing. I miss that the pipette can copy styles. I miss the option to rotate the page view of a single page. When I make a layout in portrait mode but have a page that is in landscape mode by design, I really don’t want to turn my head or my display. I miss hotkeys to control how images are display within their containers (min-fit, max-fit etc.). There’s software like Capture One where I can apply a hotkey to literally every function. I am not sure why this shouldn’t be possible in Publisher, too. Keep up the good work. I really appreciate how you treat us folks in this time of crisis.
Cheers,
Johannes

Thank you very much, this one really helps.
 
Dear Serif team, I really miss HKS palettes too, as they are essential for print production in Europe.

Dear Serif team,
after a decade solely with Adobe products, I switched to Publisher a month ago. I already tested the demo when it was first introduced and really wanted to get rid of Adobe for years, but I missed the IDML import feature that came with Publisher’s latest upgrade. I immediately batch converted all of my Indesign files with a script and dropped my CC subscription. With no regrets. I’m a freelance typographer and graphic designer focused on print media and I think Publisher is the better software here. Especially when considering it is not backed by a billion dollar company.
Yet there are still some bugs as well as features that I miss in my professional workflow. Here are some of them:
I miss integrated access to other spot color libraries such as HKS (not only Pantone) as HKS is a European standard Starting every print document with the cmyk color palette, every web document with the RGB palette etc. And, of course, every saved document with its document color palette. I think the color register is overall missing some logical structure as it is not clear why there are document, system and program palettes. I made my own HKS palette, but only when I import it as a document palette I can use it throughout the software, not only in the current document. That’s confusing. I miss that the pipette can copy styles. I miss the option to rotate the page view of a single page. When I make a layout in portrait mode but have a page that is in landscape mode by design, I really don’t want to turn my head or my display. I miss hotkeys to control how images are display within their containers (min-fit, max-fit etc.). There’s software like Capture One where I can apply a hotkey to literally every function. I am not sure why this shouldn’t be possible in Publisher, too. Keep up the good work. I really appreciate how you treat us folks in this time of crisis.
Cheers,
Johannes

Dear Serif team,
after a decade solely with Adobe products, I switched to Publisher a month ago. I already tested the demo when it was first introduced and really wanted to get rid of Adobe for years, but I missed the IDML import feature that came with Publisher’s latest upgrade. I immediately batch converted all of my Indesign files with a script and dropped my CC subscription. With no regrets. I’m a freelance typographer and graphic designer focused on print media and I think Publisher is the better software here. Especially when considering it is not backed by a billion dollar company.
Yet there are still some bugs as well as features that I miss in my professional workflow. Here are some of them:
I miss integrated access to other spot color libraries such as HKS (not only Pantone) as HKS is a European standard Starting every print document with the cmyk color palette, every web document with the RGB palette etc. And, of course, every saved document with its document color palette. I think the color register is overall missing some logical structure as it is not clear why there are document, system and program palettes. I made my own HKS palette, but only when I import it as a document palette I can use it throughout the software, not only in the current document. That’s confusing. I miss that the pipette can copy styles. I miss the option to rotate the page view of a single page. When I make a layout in portrait mode but have a page that is in landscape mode by design, I really don’t want to turn my head or my display. I miss hotkeys to control how images are display within their containers (min-fit, max-fit etc.). There’s software like Capture One where I can apply a hotkey to literally every function. I am not sure why this shouldn’t be possible in Publisher, too. Keep up the good work. I really appreciate how you treat us folks in this time of crisis.
Cheers,
Johannes

My pleasure.
Just to quote myself:
I just did that, you’ll find the file attached. Please remember to import them as a document palette. 
HKS-N.afpalette

Thank you very much for pointing me to this app. I used Fontexplorer for years and it always worked perfectly, though it came at a high price point. So I gave Fontbase and Rightfont a try, both with Indesign and now with Affinity Publisher (no auto-activation with Publisher here). Both came with an interface too simple for my tasks and some flaws like bad font detection with Publisher (so I had them activate manually).
Typeface works like a charm. It still lacks my appreciated fontlists checkboxes (helps with activating fonts very quickly) and the given activation button is ridiculously small. But its fast, easy to use and comes at a reasonable price.

Thank you very much, Joachim. Though the other palette worked for me basically (don’t know which one I used, but it came out as a spot colour), your’s appears to be better when I proof my PDF in Acrobat.
I’d like to mention that there is a database with metered conversion hues for HKS colours. Tried and tested for years, especially when sending layout PDFs to clients. Maybe I’ll spent an hour of my weekend to integrate them into your HKS-N palette, Joachim, for more accurate colours within the digital working environment.