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Everything posted by JOleg

  1. That's actually helpful, didn't know that. I'm on Windows, CTRL + D does not work for me, but I've worked out that pressing "N" does. So thank you, that will make my life easier 👍
  2. We would not be talking in this thread right now if it was that trivial and minor. The whole point of this topic is to not click the "Don't Save" button. Moreover, the issue here is, the save dialog is not justified, nothing has been changed, neither in the document, nor in the export settings, I've attached the video above. And even if changes in export window did occur, I still want the save dialog to not appear. It's up to the dev team how it is implemented, with a secret option or somehow differently, but all we ask it just a way to disable this default behavior with an optional setting... because there are people who use different workflows. For example, some use Auto-Save feature (not necessarily in Affinity, but in other software, like DaVinci Resolve), because they forget to click Save. Obviously this Auto-Save feature appeared because of the way people work and problems people face. So, this topic is no different. It's just that we use the opposite strategy - nothing should be saved, until I say so. And again, I would not create this topic if the Save dialog did not pop up after using the Export window. But it does pop up. This: And that moment when you get this dialog, you no longer remember which changes have been made (minor or major), and whether they've been made at all, like in the case of Affinity software.
  3. Hi, I'm on AD v1.10.5 and I still don't see how to do this. Transform Object Separately does change them individually, but relatively. And I need to enter exact dimension numbers in the Transform layer panel and press [Enter] and have them be transformed individually [and proportionally] to the specified dimensions and not relative to each other. Is this possible?
  4. Bruce, thanks for the input, but you are explaining what I already see. I'm saying, that's not the behavior I like, not the behavior I expect, not the behavior I need. In the attached video I am showing what does not make any sense for me, and ruins my flow. It's also not the question of automation, my exports are randomized. Besides, if I change an export format, then Affinity thinks this is a "change of a preset", but when I change the resolution only and don't touch the format, then Affinity does not register this as a change of a preset. In fact, that's what I always change! Resolutions! (And formats too, and switch back and forth). And that extra thing which I'd love to save as a preset to choose from (I mean so I don't have to type resolutions each time), Affinity does not allow me to. Also, when I change a format in the export dialog, do the export and then save the document with these changes to presets (because Affinity calls this a change to a document), then why does this "change" affect another document I open? (i.e. the "preset" remains the same from previously saved document). It's so weird from so many angles. I usually write on these forums after a very long period of suffering, I don't go write here as soon as I found something that is not convenient. I find myself doing stuff I post about over and over and the behavior of Affinity in those areas is not convenient and I have no solutions and workarounds. I have a list of such things in Affinity that I live with. Some of those I've already posted. For example, I keep duplicating objects with CTRL + click, that's just crazy. So I am asking Affinity for an improvement in the area of exiting the document with regards to save dialog. I'm just voicing my experience, because if I don't, then nothing will change for sure, because if nobody gives feedback, then that is translated as "all is good" 😃
  5. Its natural default behavior should of course be to display the Save dialog. But there must be a way to disable this deliberately in the settings, probably with an additional warning. But point is, it's not something "I wish there was", I just I need it badly. Sometimes, in the race to avoid the dialog, I keep accumulating documents, until there's many tabs. And guess what, when you close the app (not single document), it asks to save for every document, without a check to "apply this answer to all documents". And yes you are right, it says exactly "Apply file export options preset" in the history panel. But I disagree that this is a change to the document, or at least, I want a way to disable the dialog and then it doesn't matter whether I disagree or not. P.S. By the way, the history panel even agrees by stating apply preset, not change preset, and not change and apply. 😃
  6. I only save manually, always, in all programs. I am using it deliberately, as a feature, i.e., by default, when I close an app, if it asks me to save I always hit No, because I know that I did some changes that were just some experiments that I don't want saved. Whenever I do "production" changes I am happy with, I hit Save at once. The following workflow would work in Affinity if not for this: Affinity asks me to save changes when no changes have been made. I open document -> go to export -> hit export -> close document -> and I get a "do you wan to save changes?". This is bugging me like there's no tomorrow. I did absolutely no changes. I do exports very very often, and I close documents very very often. Please, add a setting where I can disable this dialog. It ruins my creative workflow. P.S. Even though oftentimes I don't even change anything in export window, I still view everything I do in export window as *no changes to the document*, thus, I do not expect the popup to appear. On top of everything, it is very misleading, especially when you don't close the document at once but after a while, and suddenly you get this Save Dialog, but at the back of your head you don't recall making any changes, and you start wondering "have I done anything I should save, or should not save?".
  7. Context: Suppose I have many small objects scattered and selected all over the canvas (selected objects belong to different hierarchical levels, e.g. grouped, nested groups and so on). Now when they are all selected, I know that 50% of the screen should not be selected. Goal: I need to de-select 50% of the screen easily, sort of like with a lasso tool just by going around area that I do not need. Currently, there's no such opportunity in AD. This is something I am in need of very often and my only option is selecting (or de-selecting) one-by-one. It would be really nice if Affinity team added support for such an operation.
  8. Hi @stokerg. Can you please move this to Feature Requests or is it better if I create a new topic there?
  9. Hi @stokerg and thank you! I was thinking about the same thing (about feature requests) if nobody suggests a solution. I am in need of this nearly every day and it became a pain to work without it, so I decided to ask here. I've even tried hiding and locking outer groups of objects I don't need when making initial global selection (e.g. select by fill-color or by name), but they're still being selected, either when hidden and/or locked, so I don't even have "hacks" as a workaround. And I select one-by-one 😔
  10. But I mentioned that in the initial post, that they belong to different groups, and different groups make different hierarchies. The only way I can do that now is by manually selecting what I need, or deselecting what I need and it's very time consuming. I've tried everything I could think of. I even checked whether there are other tools available which I haven't added to my toolbar.
  11. Thank you for response, but it does not work, SHIFT does nothing, that's the first thing I've tried. Again, all objects belong to different hierarchies.
  12. Hi, Suppose I have many small objects scattered and selected all over the canvas (objects belong to different groups , etc.). Now when they are all selected, I know that 50% of the screen should not be selected. How do I deselect 50% of the screen easily, sort of like with a lasso tool just by going around area that I do not need?
  13. Wow! That is actually working!! 🤩 Thank you! A very unexpected key combination but it sure works! Another cool thing I've found is that if you click-and-drag the node itself (not the handles) while pressing 2 mouse keys at the same time, then the node moves but the handles stay in place, that's awesome. And while I was searching for this "mirroring" function, I've found one more cool thing: suppose you are dragging one handle but you want to reposition the node it belongs to. So, normally, you'd stop dragging the handle, clicked the node, repositioned the node and then modified the handle again. Well, you can reposition the node while you're dragging the handle: press SPACE while manipulating a handle, that will momentarily switch to manipulating the node.
  14. And yet another question regarding the same issue. Am I reading it right that it's implemented it Mac version but not in Windows? I'm on Windows, AD v1.10.5 and I can't manipulate both handles simultaneously, e.g. increasing the length of one does not increase the length of the opposite handle. It doesn't do it with CTRL either. I've tried all combinations I could think of. That's such a pity that when I google something regarding an "issue" in AD, I land on this forum, where the most common answer is "it's not possible" (at least what I personally search for), and often the answer is made several years ago, and trying it several years after the initial post, still nothing changed. I can understand some special features not being implemented, but some very fundamental ones - I just don't get it. Pity. I'd honestly paid more (to Affinity only, never to Adobe) just to get the updates that make me work more productively.
  15. Mmm, but I don't need to drag, I just need to select. And dragging causes a duplicate which I don't know how to deal with. I have several nested levels of groups, it's not just "select a group and double click", it's more like 3-4 double clicks, so up to 6-8 clicks in a row to get to the object
  16. I've asked a Question in Support forum about this issue and it seems there's no way around this. Problem: I use a lot CTRL + single-left-mouse-click to select an object. But what happens very often is that it creates accidental duplicate objects which I don't notice until later in the day. I make 10+ such unwanted duplicates a day and it's very painful. I don't purposefully drag the mouse, I just single-click, but it still creates copies (10+ times a day). Suggestion: Edit > Preferences > Tools. Add a configuration like: "Deep object selection (CTRL+ click)" : "Do not copy when dragged by default" So a dropdown selection, with current behavior and new behavior.
  17. Thank you for the responses! Well, apart from honoring snapping, CTRL + click copies, that's not what I want, I have ALT + click-drag for copying for that purpose. I could always copy first (with ALT) and then just move (so snapping would be engaged). But having CTRL + click do both copying and snap-honoring, results in unwanted copies, and that's not helping me work. Walt, the mouse is perfectly fine, I work in a lot of technical software, and it's just Affinity's particularity. Selecting via Layers panel is not an option as well, that's searching through a long hierarchy, thus loosing time. That's a simple task - just select an object. And I want to spend milliseconds doing so. AD has certain configurations in the preferences, like e.g. "Move Tool Aspect Constrain" which I've set to "Do not constrain by default" because that's exactly what I expect, otherwise behavior changes randomly. It would be really nice to have something like this option which said "Deep Object selection" : "Do not copy when dragged by default". I guess I'll post this in the Feature Requests then.
  18. Okay, here's what I did. I extracted a History panel to the left, next to the toolbars so I could see every action I make. So far this occurred 2 times from the moment of making my initial post, and actions I did was CTRL + click, just as I described. Very painful. Sometimes I catch myself editing a duplicate and I'm like "what's going on here, I thought I already fixed this...". You can imagine the mess with hidden duplicates. Today I even noticed I copied a group which had 70% of the entire page...
  19. Hi guys, (Windows 10, Affinity Designer v1.10.5, desktop) So I have a workflow where I use groups a lot. To go straight to some object within a group I click CTRL + left-mouse click. Then after sometime I realize it made a copy. I only see this when I make changes to objects afterwards because then they overlap and everything looks off. But it's not only that, when 2 identical objects are one over another (e.g. text), they become bold-er, but that I usually don't manage to notice after accidental copying. This has become a real problem for me, I make around 10+ such accidental copies a day. I guess the core problem is that AffinityDesigner allows copying 2 ways: 1) With nothing selected: CTRL + left-click object + drag it 2) With object selected: ALT + left-click object + drag it But my interaction with object starts with selecting the object by CTRL + left-click (which as you see is half-way through copying routine), but somehow AD registers slight mouse movement (obviously) and creates a copy underneath that I do not notice until later in the day. I know about double-clicking solution, but that's not an option for me, I have groups within groups and so on. Clicking mouse 6+ times just to get to the object is not an option. How do I combat this? I have more such small nuances which slow my productivity, but those are for later discussions. P.S. There's a chance I make copies somehow differently, but then I have no idea how. When I purposefully try to recreate "accidental copying" I can barely do that. That's just my assumption that it's CTRL + left-click + drag. In any case, I would rather not have it copy with CTRL + click, because a "standard" combination in the industry is ALT + left-click + drag. Oleg
  20. From what I've just manually tested, it works the way I envisioned it. I also view this with Affinity Designer eyes and it does help. Please refer to the attached image. The Fill with Primary and Secondary color works consistently with the Pixel type of layer. So if you make a selection on the Pixel layer and press key combination to fill with Primary color, it will always pick the one which I pointed at on the image as Primary, and it won't matter what is currently active (or in the foreground). Likewise, if you select to fill with Secondary color, it will always pick the one which is up-and-to-the-left. So this behavior is consistent, which is what we want. When you have a Shape layer selected, like a Rectangle in the picture, then these circles also work consistently. The "primary circle" is for the fill of the shape. The "secondary circle" is for the Stroke. And lastly, options "Fill with Primary Color" and "Fill with Secondary Color" kind of hint at their usage - they are meant to be used as a color for the Fill and not the Stroke. And I see this as being useful. Suppose you have 2 main colors which you switch around. So, instead of switching you can just use hot keys, knowing precisely what is your primary color and what is your secondary color, but granted that you are working with Pixel Layer. I'm using Affinity Photo v1.10 in case it matters. Hope this helps.
  21. I guess it boils down to properly documenting how these features work in particular software. Usually we can live with how certain features are implemented, provided that we know exactly how they work, so that we can control them (e.g. we benefit from Blend Modes because we know how they mathematically operate, we don't guess). But in this case of Soft Proof, we do a lot of speculation about what happens under the hood. It would just be nice if exact process was documented better, even if this process is not exactly what we want from it, but at least knowing what it's doing would help achieve desired results with some extra steps. Affinity team, if you read this, do you think you can update "Soft Proof adjustment" documentation with details required to answer questions raised in this thread?
  22. Thank you all for the responses, I appreciate your input and time. @kirkt, I understand what you are saying about the simulation, rendering intent, display calibration and so on. But, I would not be so confused if converting ICC profile from sRGB to CMYK + applying Soft Proof layer + same rendering intent would give me the same "bright up effect" (i.e. the simulation of colors on destination paper) that I see when I apply Soft Proof to sRGB. But this does not happen, with the same destination profile I get different results depending on which ICC profile is current for the image. So I just don't understand how to make sense of Soft Proof in this case to help my workflow, and I don't know which of the results to trust (I'll be doing lots of designs which will ultimately be printed out). I even tried doing the following (not 100% sure this is accurate, but it did give the "mathematical" result of what I perceive with my eyes): Open my original image (sRGB), convert ICC profile to CMYK/8, copy image to Buffer Undo ICC profile conversion back to sRGB Convert ICC profile to Adobe RGB (it's big enough to fit sRGB and CMYK) Paste the image in the buffer and place it on top of the base layer Change Blend mode of the top layer to Difference. And I get a very small difference in shift of colors (attaching PNG). The max RGB value which I sampled in the darks is #030303, min #000000, which means very close to black, which means (in context of Difference blend mode) very close to not being altered at all from the original. So point being, the "bright up" effect might only has to do with the paper profile as @BofG pointed out. But then in this case, why doesn't the same bright up appear when I Soft Proof the image in CMYK profile (I select the same paper after all). It would just make sense (at least for me). Unfortunately I don't currently have a printer to test the actual printing. But when I do get a chance and if I get interesting results, I'll post back here.
  23. I'd appreciate anyone commenting on this matter. It may be that I am missing something, or it's simply how it is by design, but if that's the case, then I would like to know the specific scenario when such behavior would be useful to me. Again the idea that I am after is that no matter what color space I am currently in, I want to test it against any target color space of my choice provided that it shows me the remapped RGB values to the target color space. The "do not remap" RGB coordinates can be a separate check box that I can toggle on/off.
  24. I don't know if it's a question or feedback. For the past 5+ hours I've been trying to make sense of how to check how my work will look like when printed, and here's what I found. What I need I need a quick way to check whether my colors are within the printable gamut range and also to see the out-of-gamut colors. They keyword here is quick. What I get The Soft Proof layer works not like that. Suppose I am in the sRGB color space. It seems like it takes the RGB coordinates of current image of the sRGB space and simply applies them to the Proof Profile that I select (without conversion). But that's not what I want, this naturally gives the wrong results. What happens is that once I apply soft proof with the "U.S. Web Coated (SWOP) v2" profile I suddenly get a brighter image, as if it tells me that this is how it will be printed. And if I click the "Gamut Check" button most of image becomes grey. But it's not the case, it's not how it will be printed. In fact, all the original colors will be printed (in my particular case). The step that this Soft Proof feature misses is the conversion of Color Spaces for this "check". If instead of applying the Soft Proof layer I convert the color space (Document > Convert ICC Profile...) and select CMYK/8 + "U.S. Web Coated (SWOP) v2" then the image will remain exactly as is, it will not become brighter. Furthermore, if I now apply the Soft Proof layer and select "U.S. Web Coated (SWOP) v2" then the image will stay exactly the same, and if I click "Check Gamut" then no area will be grey. Because all colors are within the color space range. Bottom line It's very misleading what the Soft Proof shows if you don't convert your profile first. But if you have to convert your image profile to check the gamut then it makes the "Soft Proof" feature not helpful. I am attaching an image, just for reference, which I used to play around with this. Can you please help sort this out, why does it work like that and has that been done intentionally.
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