User_783649

The level of details is truly remarkable! I mean, even those subtle dust particles... Metal texture, lighting...You are the true God of Vectors, @VectorVonDoom. Thank you very much for sharing with us. Can't wait for seeing more teasers from this. Wishing you the very best with current and all your future projects!

Fully agree. Wonderful app. A perfect blend of pleasant user experience, nice features and great performance. The man behind this app is a very passionate developer and type lover. Thank you very much, @Floor, for your truly incredible work on Typeface.

Are we talking about these little guys? I've heard they're on the road!

@lacerto Great finding! You're absolutely correct. Seems like all Pantone values in Affinity apps are "hard-coded" to sRGB color space. Which is totally wrong in my opinion. I take a look at Contents/Resources/Pantones folder of my macOS Affinity Publisher. There are .CSV files with all Pantones listed.

@icetype Please, excuse my curiosity, but what is the purpose of making a PDF with 16bit grayscale image data?

Are they both 4K monitors? Please post a screenshot of About This Mac – System Report – Graphics/Displays.

Agree, Aaron. To beat the others in UI/UX field, Serif needs to implement three key things: A really fast, low latency multi-player editing mode with state-of-the-art built-in conflict resolving so file damage will never happen whatever everyone does. Existing incremental file saving model may be super beneficial here in order to reduce network overhead. Symbols should be taken to the next level. They should evolve into powerful interactive components with multiple states support and proper encapsulation (nesting). There’s also a need for powerful prototyping tools with optional, customizable animations/micro-interactions. All the rest and truly great stuff is already here (think about existing StudioLink, very powerful text editing and image editing abilities and other useful stuff).

Another and possibly more simple way of doing this is visually analyzing both images before making any adjustments. Let's look at your first image. The sky area is clearly the brightest part of the image and is clearly separated from the rest. The second image is overall dark and horizon line is clearly visible. We may try to utilize Multiply blending mode here so light area of the first image will be merged with dark area of the second image in the same spot. And by adding a simple gradient fill to the mask we may tell where we want it all to stop. After all we may get something like this (and hey, we haven't even touched those selections yet):

Until everyone will finally learn that using any kind of cloud synced folders for storing current project files during working with them is a very bad practice and should be avoided. It may lead to all sorts of syncing errors and unwanted partial fragmentation that might occur when one app is using incremental saving method and cloud service is uploading file by parts at the same time. It’s always better to temporarily pause syncing while you work on the files and then just turn it back on once you’re done for today. That should save you from most kinds of possible file damage.

@lacerto And what if you try to add tint chord from Swatches panel? Try selecting newly created color swatch in Swatches panel and then create tint chord (via the same icon at the top of the panel or by right clicking the swatch). In your video I noticed that you always creating tint chords from Color panel. Try Swatches panel this time.

@lacerto Seems like I found the way to keep the desired color mode for tint chords — we need to explicitly (re)set the color picker mode when choosing the color. Please see the video attached. tint-chords.mov

I'm on Monterey 12.6 as well, just on Intel based iMac. Latest Publisher 1.10.5. As far as I know, NotMyFault is using M1 machine so we can quite rule this chip related thing out as both of you are on M1 machines.

That's not the behaviour I'm seeing on my macOS machine. So I'm with @NotMyFault here. No problems with adding tint chords in CMYK colors. The only difference I noticed is that if I'm adding color chord straight from Color panel — in that case chords added as RGB colors. And if I create a swatch first (global or not) and create a color chord from it (in Swatches panel) — then it will honor its color mode and create proper CMYK chords.

I have truly big hopes for these to be solved in v2. Along with other new cool features, fixes and enhancements.

It’s really great to see Affinity apps gaining more and more recognition from Apple in their product launch marketing content.

@Nightjar Just create a document with canvas width equal to the widest image in your set. Then drag and drop all the images to the canvas. Then set up your slices once in Export persona. Note, in Export persona there's Layers panel and Slices panel. Once you've set your slices just toggle layers one by one and click Export slices. Here's a video for you: Screen Recording 2022-10-18 at 13.18.46.mov

Or... it may be continued further so everyone here can predict company death and development stagnation until v3 lands 🙂

A possible solution would be using AD artboards. You can place different versions of your images on separated artboards in your external AD document. Then in APub you can place this document and choose which artboard do you want to display for this particular instance of placed document. You can have as many instances as you want. And good thing is that changing one instance’s state has no effect on others. Benefits: you keep all the editing process in a separate source AD document utilizing AP if needed. And in APub you focus on layout. Seems to be very close to your Adobe workflow.

Try pressing Ctrl+1 to set zoom level to 100%. Is image better now? One thing that Affinity Photo does really bad is that it distorts image roughly on any intermediate odd zoom levels between 100% and 200%. Try to avoid values like 117.6%.

@Pikay Couple of questions to clarify things. 1. In Affinity Photo toolbar what zoom level do you see next to filename after you resize your image? 2. What is the resolution of your monitor? 3. And if you're on Windows – what UI scaling percentage you have in system settings? If you're on a Mac – what scaled resolution do you have set in System Preferences?

Fully confirms my findings as well, thank you very much. I believe that needs to be logged as potential area for improvement for future releases.

In no way my previous message was addressed to you, dear @NotMyFault. I know you long enough on this forum as very smart, clever and highly educated person knowing probably way more advanced and highly technical stuff than myself. Your curiousity and constant desire to learn more simply admire and inspires me every time I found your posts here. I fully agree with you that for a proper 30bit workflow it might be better to switch to RGB/16 mode and just let the hardware do the rest. I mean, that longer we keep higher bit depth till final export, the better all our intermediate editing results will be. You wrote, that you get 10 bit colour resolution if you create gradients in RGB/16 mode. Does this mean that you don't notice any color banding in Affinity apps canvas on your system? The very simple test would be creating 1024px wide canvas and filling it with a simple black-to-white gradient. In RGB/8 there will be 4px (1024/4) wide steps visible. And in theory, in RGB/16 mode they should disappear. Regarding your display: Well this may be a bit different for M1. There's another test that can quickly show us, if you have 30bit enabled system-wide. Try looking at this image: https://raw.githubusercontent.com/jursonovicst/gradient/master/test_sequences/1920x1080/gradient_1920-1080_25-50.png

I believe we shouldn't mix those things. 8bit/10bit is viewing bit depth (between your GPU and display). It tells how smooth gradients will be as there will be more colors in 10bit mode because there are no longer 256 gradation steps but 1024. Another thing is archiving bit depth (document mode). It may be RGB/8, RGB/16, RGB32, etc. It determines how color data will be stored in file when saved. So we may find ourselves working with RGB/8 document on a 30bit display and we also may work with RGB/16 image on a cheap 6bit+FRC display which is barely reaches 24bit with frame rate control. As far as I know, Photoshop does support 30bit viewing mode. At least it does on my Mac system. Gradients are much smoother in this mode. In case of macOS everyone can check if they're currently in 30bit mode system-wide or not. Run the following command in Terminal: /System/Library/Extensions/AppleGraphicsControl.kext/Contents/MacOS/AGDCDiagnose -a > AGDCDiagnose.txt 2>&1 Then go to your home folder and open text file AGDCDiagnose.txt, go to the end of file and try to find following strings: Pixel Encoding 1 (RGB444) Bits Per Color Component 4 (10 bpc) That will tell you that system is currently using 10bits per channel. To double check that you can go to About This Mac -> System Report -> Graphics/Displays. You need to look for this line: Framebuffer Depth: 30-Bit Color (ARGB2101010)

@Being Frank I've inspected the document you posted here. The reason of the slowdown is Live Perspective filter being applied to a couple of groups in your layer stack. These are known to be very resource consuming as they constantly re-render the canvas everytime you change anything or change the zoom level. Once I hide those groups — zooming, panning around and all other actions are instant on my system.

@Being Frank I have an Intel Core i9-9900k paired with AMD Radeon RX 580. Running latest macOS Monterey on it. Zooming in/out and scrolling the document canvas are buttery smooth on my system thanks to working hardware acceleration with macOS Metal technology. As far as I know, these things are intended to be performed on GPU in all Affinity apps and don't put any serious pressure on CPU. Working with vector layers, groups of objects, editing or moving them around is another story. By design, AD will always aim to use 100% CPU to complete the job as fast as possible. On my system I also see sometimes 100% CPU usage. But these spikes are very short in time and everything instantly goes back to normal. So nothing like 5 mins redraw delays as you mentioned above. I believe that Ryzen 9 3900X is still a very good 12C 24T CPU and running AD efficiently on it shouldn't be a problem at all.