Rob Luxford

Sorry man, cant tell if it's the software or the art. Either its knocking out of the background incorrectly or it has none of those colours in the type. or something else. Its not clear to me.

Sorry mate but I have no idea what's happening there. Can't tell if its the program or your art. Troubleshooting a diagnostic tool can't be done with what you have there. All I can say is run your art through a number of tests to find where the issue is. Looks like white set to overprint to me but thats just a starting point.

And then if you want to go Pro you can: Open file in Affinity Publisher, switch persona to Photo, open Studio/Channels panel and FMD, there are your separations. Haven't tried it with spot colours.

OK. Workaround. Just had a proof come back where the cmyk conversion went very wrong. Some touch ups in images look like they flew in from outer space. About to print 60,000 copies. So. Tried this. Opened the PDF in Affinity Photo. Left as default RGB to open file. All pages open and appear as separate spaces. Looks exactly like the document in publisher. Converted colour to CMYK (under Document/Convert Format) and all pages changed and lo and behold the alien conversion errors faithfully appeared. NOW THE FUN In Photo open Studio and open Channels panel Viola! Separations. Thank you, thank you, no photos please, you are too kind.

I have had to ask myself if the work flows I have had in the past could be questioned to accommodate what Affinity does and doesn't do. I have been somewhat astounded at what it can do and have turfed out large sections of workflow because the new way was far better. I will say it took a lot of learning but there is no way I would have considered doing 20 metre by 16 metre drawings populated with 1:10 scale wall elevations loaded with 1:10 scale signs for a city block sized building in Illustrator. Sign art, nested inside elevation art, nested on the plan all at matching scale. It's bonkers. So maybe there is another way to do what you need done rather than thinking just in terms of pages. Not trying to preach, just saying it can be useful to ask what if we didn't hold to that convention. What is possible then?

Ahhh, much relief. Thank you kind sirs for pointing to the simple switch with such patience and understanding. You are gems.

Hi. I rarely use baseline grids. What I do do a lot of is paste content directly onto Publisher pages, quite often from Designer. And just about every time there is text content freshly pasted it snaps to the baseline grid, destroying the integrity of the art I am pasting until I hunt down and turn off the Snap to Baseline grid toggle. Is there a way where we can just not have to go through that? Just deactivate baseline grid for the entire document? Thanks to anyone who can help with this. Kind regards. Rob

Hi Maasocal. I might just share that tip in another forum.

Thanks John. Saves a few frowns.

Maybe I could use a macro to change the res. Hmm.

Thanks Paul. Yes I spotted that one. It appears to describe the same thing from a pixel perspective. These are pure vectors I am working with. Hi Gary, nice idea, definitely could work for another project. Sadly, every piece of art in this project has different dimensions. So, the project is: start with floor plans of block sized building – think multi theatre complex. Draw basic elevations on the plan so we know wall heights and door positions for every floor. These are the canvasses for laying out the sign program for the building done in a matching scale to the plan. Fifty or so per floor. 5 floors. Some standard height, just about all different lengths. Once the canvas is saved, it is then reimported back onto the plan as a discreet linked piece of art. Signs are placed onto the canvas - updated onto the plan. Everything at 1:10. Therefore res/scale must match. I will say this model of working has only been made possible because affinity is so good at cross linking, zooming, rotating views and fast. Never worked this way on previous projects so we have created a totally new work flow around this method. It is possible that I could have standardised on 96dpi for the project but it would be nice not to have to pre-plan around a gotcha. So I'm all ears. Thanks

Hi. I'm currently using the New From Clipboard extensively, copying vectors from Designer to create a new Designer document. The source document is a 300 dpi 1:10 scale architectural master drawing in millimetres. The project requires every drawing to be matched to the same scale. Every time I copy vectors from the source and make a new file the res is set to 96 ppi and the measurements in pixels. (which I then need to reset in a two stage approach in the document settings. ) Is there a way to have the new document resolution and units settings predefined or copied with the selection or intervened in the new file creation flow? Thanks for you great work. Rob

Ta. Yeah, it's a bit power-usery. Saves the seasickness of the rotate page view.

Hi Clayton, Dominik, Walt, Loukash et al. Have a kick around of this. Typical A4 three fold example. 100, 99 and 98mm pages set on A4 trim page. Then stuffing around to make a 12 panel variant with micro adjusted pages. 1) Art on the six DL pages converted to six separate symbols in designer. (In this case crops inside the symbol) Symbol then inside its own group (to allow individual cropping). 2) Opened in Publisher. Pages in this file then arranged as per a typical client presentation and imposed for print. Then got carried away pages 5 and 6. The advantages of this technique may seem minor at first, much like grouping and copying some stuff but it is in effect like having live pages liberated from the constricts of the file definition. Pages you can selectively trim, flip, rotate and order however you like. Make micro adjustments and keep all changes localised and synchronised. Changes made to one symbol update in every instance of that symbol, so feel free to copy and arrange how you like. Duplicate symbols add little to the file size. I'm not saying it's a guaranteed solution for multiple page spreads but I think it may be a powerful work around while this limitation is in place and an interesting way to rethink pages and file definitions. I haven't checked how page numbers work in it. That would be amazing if it worked. Rob. Test.afpub

Yeah, there are few things that have kinda stumped me and that is one of them. I have to say I have had to do some serious rethinking about how I work and I have been often delighted and amazed by the result. I am currently using the symbols feature to do some diabolical duplication work on drawings that are 16 metres by 20 metres. Wayfinding design for a city block sized building done at 1:10 scale. It's totally nuts. Symbols are really powerful. Would it be helpful to create your pages then convert the pages to symbols to then throw around as you see fit? No it's not a three page spread but it might be a path to another way. Kind regards Rob

So you want to hide some fonts eyyy. Two Solutions. Rightfont can do it even with the trial version. Typeface can do it following a small procedure. They can't do all of them but they can get most of them. Typeface procecudure You can deactivate them in Typeface, but you’ll have to import them manually: 1. Open Typeface 2. Choose File > Import… 3. Navigate to /System/Library/Fonts/Supplemental 4. Import the ’Supplemental’ folder That folder contains optional system fonts, which can be deactivated by Typeface. It includes the ‘document support’ Noto fonts.

Typeface can do it too. Good to have options. You can deactivate them in Typeface, but you’ll have to import them manually, takes seconds. 1. Open Typeface 2. Choose File > Import… 3. Navigate to /System/Library/Fonts/Supplemental 4. Import the ’Supplemental’ folder That folder contains optional system fonts, which can be deactivated by Typeface. It includes the ‘document support’ Noto fonts.

Also Typeface can do it. You can deactivate them in Typeface, but you’ll have to import them manually – takes seconds. 1. Open Typeface 2. Choose File > Import… 3. Navigate to /System/Library/Fonts/Supplemental 4. Import the ’Supplemental’ folder That folder contains optional system fonts, which can be deactivated by Typeface. It includes the ‘document support’ Noto fonts.

SUCCESS!!! Rightfont and Typeface can disable nearly all of them. Wooofreakinhooo! You can deactivate them in Typeface, but you’ll have to import them manually: 1. Open Typeface 2. Choose File > Import… 3. Navigate to /System/Library/Fonts/Supplemental 4. Import the ’Supplemental’ folder That folder contains optional system fonts, which can be deactivated by Typeface. It includes the ‘document support’ Noto fonts.

This is an Apple issue and its really stupid. Noto the U2 of fonts. I used Rightfont to disable most of them and returned the menu to something useful. Then was able to delete the disabled Noto's using Font book. https://rightfontapp.com It took days to find that solution so I'm back to share.

Hi fde101. It's an interesting aspect of our relationship to these tools and our own work practices and the tools we have for production. And the more capable the software the more creative ways we invent to use the software. So while I can totally relate to what you wrote and in the most part you would be right there's always going to be someone who asks us for something fabulously unique. So in the instance I mentioned regarding pages on different stock for a training manual. Some pages, like say stiff fold out dividers, may be printed directly from the software to an in house printer. The book pages exported to PDF as singles to view for out of house printing. Do I want to cut the document up into separate parts or would I prefer to keep it in one file. I like the one file. Visually I want to see those breaks represented in the document for my own peace of mind. I'm currently designing websites using ridiculously long pages (don't ask why, its a client and developer relationship with special needs). If I can slam the pages side by side I can cross check the information/design across the site/pages. Then go back to single pages for editing and client export/presentation. I also do tiny perfume labels 20mm x 15mm in runs of 6 kinds by 20 copies only. Have found the multiple up export feature with manual crop marks an absolute boon for imposing onto the A4 vinyl stock my digital printer has. Now I'm not saying everyone follow me but the muted cry I hear through this thread is that we require as much flexibility as possible. I think there are lots of deficiencies in the layout palette. Try moving pages around in a 250 page document. Ouch. Why not multiple columns of thumbs? Many things in the pages palette I do like. So I imagine over time there will be improvements to the palette and I am hoping the shuffling of pages to side by side will come.

Ahh the one bit images. There are some years of experience poking through there.

schmidt9 hits it out of the park. Yes to all the above. Thanks schmidt9 for the comprehensive list. At the moment I have long banner pages (actually long website pages) I just need to see side by side for viewing on a standard landscape monitor. But I do not wish to combine them into one spread just to do this. I have encountered many of schmidt9's examples in 25 yrs of design. Basically this is document imposition tools. Anyway, guys at Affinity, I love your work and thank you for rescuing the design community from the ransomware that Adobe became. I rave about your stuff to every designer I meet and have converted my team to it. And I, and I am sure all the others above, want it to be the giant killer we see it as. Thanks guys. I'm crossing my pinkys

I have had to do this for printing pages on different stocks, for designing single page separator pages in books, for work in progress document structure design, for document separation. There are quite a few uses for it. Currently I have very deep website pages 2000px by 10,000 px which I want to view side by side but not have as left right "spreads". Which is why I arrived here.

Ok, Update. Weird. The only way i can get this to work is to: Make a master page test frame. Leave it empty. Go to page 2 where the other TOC is. (I DO NOT KNOW WHY BUT THE PROGRAM CONTINUALLY DUMPS ME HERE so it is here that I make the changes.) Switch to Master page Edit linked mode. Add the TOC to the edit linked master page text box. Hit save. Make notes on the master page and page 2 that this is where updates to the master page index have to be made. It's not intuitive. This is a big document of 200 plus pages evolving over time. I had thought of manually making the links but heck, this is what computers are made for.