Oufti

Vast(e) is certainly good. It means "solid", thus unbreakable.

I would then precise it in the name or description (even for other languages, as you did for English. In French, insécable=non-breaking and sécable=breaking) : em/en quad = breekbare em/en [+spatie if one wants] or Em/en spatie (breekbaar) em/en space = onbreekbare em/en[+spatie] or Em/en spatie (onbreekbaar) Since the difference is only the fact they are breakable or not, there was no point before computer composition to distinguish them: in older time, the decision to break or not was made by the typesetter operator.

For the first, I think you could use "Medium wiskundige spatië"; for the "quad" you'll say "em" or "em spatië" — please note though that Dutch is not my mother language.

Doesn't ticking the Hide irrelevant features checkbox achieve the wanted result? (Best of all, it only presents options relevant for the selected characters.)

Once I've created a new style for the Notes text [1], I modify it as I want for one of the notes [2] and then update its style with the contextual toolbar button [3].

On my Mac, using the trackpad, a double tap with two fingers in the central area toggles between 100% zoom and current zoom. I find this very handy…

At least, we are honestly informed of the actual dimensions in the Export dialog… 😁 BTW I have seen some strange behaviour when rescaling the preview of your document (on the trackpad, with fingers pinch): it's like background and texture were temporarily dissociated. (And I wonder also why the direction changes like that…) Enregistrement de l’écran 2024-04-21 à 00.23.31.m4v

Indeed. Ìn the Edit style dialog, a checkbox with a line inside [–] means No change (in respect with the parent style setting).

I'm wondering what the benefit could be to have as many as 65 536 levels of grey for each color in CMYK? If it's in CMYK, I assume it's to be printed. So let's take a best case scenario: Using a top level CMYK printer, able to print 3600 dots per inch, with a good screen ruling of 150 lpi you'll have only 577 levels of grey (instead of 65536), or at best 901 levels if you downgrade the screen ruling to a poor 120 lpi, or to be complete a mere 325 levels of color for an excellent 200 lpi. (Results are similar for FM screening.) That is not so far from the 257 levels @150 lpi you can have with 8 bits images, using a more common 2400 dpi printer… Is it really the only benefit expected from such a spill of resources? And aside this, when thinking that human eye is probably able to see only about 100 nuances of grey, even if you take note that it's not on a linear scale 256 levels of grey should be quite enough, no?

Once they are in the PDF, they will not disappear — at least if you choose to embed all fonts on export. To check what fonts are embedded in your PDF, you can open it with the free Adobe Acrobat Reader and press cmd/ctrl-D (Show properties). In this document, I inserted the symbol via the Characters chooser and applied Times to the whole text — but since this triple greater than symbol does not exist in Times, the Apple Symbols font was used to embed the character.

Very clever! Thank you.

Best to do is to export first to a local drive and then transfer it to your One Drive. Applications (not only Affinity) are not very good at saving directly to a cloud or network storage.

In that case, I would advise to check if in Publisher Préferences > User Interface the delay set before displaying tooltips is not too long…

On my Mac, this symbol ⫷ ⫸ exists only in 2 fonts, Apple Symbol and STIXGeneral-Regular (that I installed myself because it's very very complete). Thus, whatever the current font is, if I insert such an uncommon character via copy-paste or the character chooser, Publisher will use one of these two possible fonts to display it, even if it does not exist in the current font, and warn me that the sign is missing in the current font with the exclamation point before the font name and with the preflight panel alert.

In the Swatches panel, there is a field Recent, where you'll find the lastly used colors or gradients.