Fixx

Gotta say I do not much like the way eyedroppers and swatches palette function. I feel lost all the time.

IMO, until the image is not rasterized, it acts like a "smart object" in Photoshop.

I think it is in response to what the OP said was wanted in the first post:
But it is still not clear why that is needed, or if it really is....

You could try open the attached Designer file in Photo. I think if bleed is set in original Designer file it carries over to Photo too.
card.afdesign

Hi,
I'm just starting with Publisher and importing a lot of docx documents from different authors for a magazine. Now is the following possible? I can not find it
- Importing the docx, keeping ONLY italics and bold text? (removing rest of the formatting)
- Importing the docx automatically creates styles, can I remove them and replace them with an existing style? (Hitting delete on a style now does not give me the option to replace all instances of the style with another one, as would happen in InDesign)
This would save so much time! So hope it is possible and someone can help me find a way to do it.
Thanks!
Johnny

I saw this video. Subtitles are available, there is a button on the right side of the toolbar that runs along the lower edge.
 
I remember the days when I could do things like that, though I never did that particular thing, using Borland Turbo Pascal.
But I did do colour graphics of the Mandelbrot set. 
Could Serif please consider producing Affinity Pascal please, perhaps based upon Borland Turbo Pascal?
The thing is, there was, maybe still is, a free download, but something to do with timing that I don't understand means that it did not run on a computer from some years ago when I tried it.
If, either based on Borland Turbo Pascal, or some other Pascal, Serif produced Affinity Pascal as an easy to use programming environment that will run properly on a present day Windows 10 system, then that could be used to produce art as well as having other uses too.
Serif has some very clever and knowledgable programmers on its staff so maybe the fixing of the timing issue would not be that big a task. Of course, Serif would get proper licensing to do this, and could then sell it as a downloadable program.
To readers other than Serif staff, if you would like Affinity Pascal to be produced, please post and say so.
William
 
 

Yes, Affinity Publisher is definitely lacking in book publishing features. The lack of footnotes, endnotes, and cross-references, are the worst omissions, but the more I work with the software, the more problems I find.

Still, I do not know of any reasonably priced alternative. I do not want to rent Adobe products, and that makes Affinity Publisher the only game in town.

On the other hand, with a bit of luck, Serif is working on fixing the current shortcomings. I hope they do it before I finish my book. 🙂

Same here. I’m trying to convince the exhibit company I work for to switch to Affinity products. We need to have the dimension tools to make it worth it. We could save money by dropping down to a couple Adobe licenses instead of a handful. C’mon Serif! Let’s get this done!! 

There is a CAD addon for illustrator. It would be nice to be able to draw in scale in affinity. One could draw and transform afterwards but.. it is a very needed option that would be very favorable for Affinity Designer and would lure many customers, since it's easy to pattern and make very beautifull 2D presentations

Hi Affinity Team,
So looking forward to have implemented 1-bit tiff in your Designer app.
Why? you may ask.
Let's your/our friends at True Grit give a reasonable explanation:
https://www.truegrittexturesupply.com/blogs/news/1200dpi-or-die
All the best and keep the good work!
Luis

This is a classic Mac behavior for floating palettes, toolboxes and the like.  I believe it is because such windows need to float on top of other windows, and if you switch applications, where the floating palettes would not be useful, it is not desirable for those palettes to float on top of the windows for that application too - so they simply get hidden when you are working in a different application.
I agree that there are times when this can be annoying, but I attribute that primarily to application designers abusing this type of floating window for things it wasn't originally intended for.  When used for things like the studio panels I don't really see this as being a problem - just something you get used to - but sometimes I have seen applications use them for things like content or memo editors, and if you are displaying content that you want to reference when you switch to another application, it disappears, so that is much more of an annoyance.

I figured it out. I recreated export profile and now it works fine. I must have been some bug or something like it. 

I would use motion blur for the fence.
For the shadow, i would raise the black point with curves.

Another example: I would think that scans of certain line art drawing and inking would be best done in 1-bit pixel formats even today. Vector would at best only be an approximation. More than 1-bit pixel formats would yield half-toning that would cause blurry prints.

In Affinity Photo I, too, am missing dearly the view options Photoshop has given us (by simply pressing the F key) for decades by now – especially the preview mode where you just see your image against an otherwise black background (and you can still zoom in or out).
I really thought it was sort of a nobrainer to have this in an image editing program. (BTW: even InDesign as layout program has this).

You can ask Serif for a refund if the purchase was not too long ago and buy the PC version afterwards.

When you paste an image to an existing document it appears as *image layer. It is essentially a self-contained object, which can be manipulated many ways without losing its image quality – final image is rendered only in export or print.
If you need to manipulate pixels directly you have to *rasterize* the layer to a pixel layer. Cutting can be done after that.

Which Affinity app are you using? Is the pasted PNG image identified in the Layers panel as a ‘Pixel’ layer or an ‘Image’ layer? If the latter, right-click the layer in the Layers panel and choose ‘Rasterize’ to convert it so that you can work on it at the pixel level.

Does anyone here think that Affinity Photo would benefit from the facility to drag & drop  Images from a folder/image view in to the PANORAMA, STACK, FOCUS MERGE or HDR 'Add Files' box as an alternative to the current file manager search?

I know it would speed things up for me as I have usually identified all the required files prior to loading them in to AP.

Looks like I had totally got mixed up the understanding on how a Gradient Mask works. So let me make sure if I have now got it all clear. So lets say when I draw a Gradient Mask half the way Vertically on an image, since the Gradient Mask goes from white to Black and since white reveals and Black Hides and in this example since we are going from White to Black from Left to right The Left side which is the white side will only be affected by any adjustments and the right side which is the Black Side which is hidden by mask since it is Black which Blocks any adjustments that will remain unaffected ? Correct ?

This works although it smacks of desperation 
Place a white rectangle on a new Master page and set its Blend Options as below
Assign the master to all pages
Go into each page and Move to Front
Bit of a faff but it'll save a lot of toner

ShowBlackTextOnly.afpub

I was afraid that something has changed, but happily this is not true, or is only conditionally true. It is bad enough that upscaling happens for vector cropped placed images, but it does not happen for non-cropped or vector-clipped images. Upscaling should never happen inadvertently.
[EDIT: I say "happily" because it must be possible to use placed images with low PPI value (e.g. screenshots) without upscaling them, because mechanical (nearest neighbour kind of] pixel addition done by the RIP produces typically better results than bilinear upscaling (especially when it happens inadvertently.]
 

Yes, it is caused by the way you dragged the gradient.
If you drag the gradient entirely from edge to edge than the entire image will be affected because only 100% black does 100% mask the adjustment. So, the gradient in your video decreases the whole way / the total width of the image. Since you dragged until the right edge of the image the 100% black are reached at this edge only and right of this gradient end point (outside the image). Accordingly, all parts left of the white gradient edge (start point) are 100% unmasked. Means, you can drag a masking gradient within any desired area of the image, not only from edge to edge.
So for this image you could drag the gradient for instance until the nose only. This would make the entire part right of the nose black and thus be totally masked for the adjustment.

You should get full mask when you enter quick mask – that is, you see rubylith red. When you drag across this with gradient tool it should give you gradient from "white" to "black" – that is "white" is no rubylith and "black" is full red rubylith. Gradient ends (nodes) show white and black. 
I guess it is possible that grad tool has some other values than 0K and 100K but for me it works reliably. It has not always been that way with grad tool..

Yes, that is how it works.