joe_l

A bit? 😄 Tables definitely need more love from Serif, erm Canva, Carif? Serva?

1. Create a table. Default font for the table is Arial (on my machine). Do not write anything into the cells. 2. Select the whole table by using the row-/column-tabs or selecting all cells with the table tool. 3. Now pick another font for the table. Result: The font selection jumps back to Arial. Repeat steps 1 (but now write something into the first cell) to 3. Result: The font has changed for the text in the first cell and the font selection did not jump back to Arial. Write something into another cell. It is now Arial again. Tested this again with a completely resetted Affinity installation. Same result.

The creation and managing of colours in Affinity is still a joke. Not sorry to say that. The following Pantone colours are spot right from the start: Metallics, Pastels & Neons, Formular Guide Solid and Goe. You see a spot added in the Swatches panel, when picked. Maybe there are faster ways to create a spot from a specific Pantone Colour that has no spots in the Swatches panel. 1) Add a document palette. 2) Select the Panone 2311 CP from the Pantone pulldown. 3) Add current fill to your document palette. 4) Pick Add Global Colour from the Hamburger menu of Swatches panel. 5) Select Swatches from the pulldown in that window and from there Pantone 2311 CP. 6) Click Spot checkbox and rename the colour to PANTONE 2311 CP and then click Add. 7) Delete the non-spotted colour. Or Add a Global Colour and use the colour values (if you know them) and make it spot. What a joyride ... not.

When I copy the mimetype file from your Indesign IDML into the other IDML, the file opens.

Sorry for being not precise enough. I picked \t from the preset menu.

Activate Initial Words for a paragraph and add e.g. \t as End Character. This area widens suddenly and the representation for \t is invisible. To make it visible again, delete some of the first End Characters.

Personally I feel joining the Canva family was a bad move. Getting the information about the acquisition first from a Canva source a PR disaster. For private and work use I will stick with V2.

Or use Recolour and Black & White Adjustment, Live Filters Add Noise and Vignette. The imperfections were made with a Nik filter. Thank you for your video and inspiration. 👍

There is. You have to embed a linked SVG first or open it instead of placing it.

Just turn off the stroke in the Text Frame panel.

Not my point. I would be of course ok, if all the rectangles, triangles ... would not be listed, but the Layers (with the uppercase L). It often leads to confusion that layers are NOT Layers. Best example (not a 1:1 quote): "I said Include Layers in the PDF export, but the layers do not show up in Acrobat! Where is my fault?". To me, layers (lowercase) are elements, which can be moved to Layers (uppercase).

Du musst im Panel ZEICHEN, nicht ABSATZ schauen

In deinem Dokument IST die Abstandkorrektur eingestellt.

Ist vielleicht "Abstandskorrektur" im Zeichen-Panel eingestellt?

I think so, don't know which version introduced this. For the rest ... no idea. I already expressed my dislike the wording of Layer and layer. The layers I would call elements. And requested turning on / off "layers" from AP files.

Yes, you can, but you won't like the workflow. 1) Work on your image in AP. 2) Edit in Designer. 3) Add Layers and move the image parts into it. 4) Save as .afdesign or PDF (Include Layers). 5) Place this file in AD and from the context toolbar you can turn on / off the layers from one linked file. But maybe I misunderstood the original question? 🤔 I would love to see this behaviour too for PSD, TIFF or .afphoto. I could possibly understand, that there might be problems for the first two file formats, but for .afphoto? Serif has the full control over this file format. In Indesign it was quite handy to turn on / off layers of PSD.

Did you notice the Page Box pulldown in the Context Toolbar when the PDF is selected? There is all you need.

Der Abstand zum Rand ist auch immer abhängig von der verwendeten Schrift. Siehe angehängtes Beispiel in APu und Indesign mit Arial Black, Calibri und Clarendon. Die optische Ausrichtung kann man in einen Textstil einbauen, aber das ist m. E. sehr aufwändig. Persönlich halte ich die Abstände nach links für vertretbar, aber jeder Jeck ist anders. Wenn es dir nur um das erste Zeichen einer Zeile geht, könntest du mit Initialen (limitiert auf eine Zeile und ein Zeichen, an linker Kante ausgerichtet) tricksen. Das kann man auch in einen Textstil mit aufnehmen.

1. Create a CMYK document. 2. Place a greyscale JPG (or even TIFF) image. ICC does not matter. 3. Print. Result: Empty page, although the print preview shows the image. What works, is placing the greyscale image in a greyscale document. My printer is a HP Color LaserJet Enterprise M751.

Do not call the lawyers, when the fair stand looks awful. To my experience FINAL 150 dpi (the dpi the image has 1:1) would be enough. You have to keep in mind that the spectators will see the print product not in a distance like a magazine or newspaper. The quality "increases" with the distance as you move away from the print product. To be sure, just print a sample in 1:1 to judge the quality.

Something like this?

My answer was not intended to correct you. I was writing while you already posted. I assumed anyway that you meant 75 or 100 dpi as final resolution.

I was never good at math. So a 300 dpi image scaled ten times has in the end 30 dpi, which is too low. In my early LFP days 72 dpi was the lowest quality "allowed". Back then I used the cheap halftone trick to make the print more crisp, if the dpi was lower. Indeed I plotted a 43 dpi image at A1 a few days ago which was quite nice in quality.

Maybe my memory gets weaker, but isn't so, that multipage PDF placed multiple times "use" the full data of the PDF? 51 x 17 MB = 867 MB. Was this ever fixed?

Based on your file: Use Flip Vertical.