Seneca

@Piktom Designbüro I just did some experimenting, and if I have "Allow JPEG compression" checked in the PDF options, I don't get the issue. Odd. I'd rather not have extra compression applied on output, but I'm leaving it very high at 98, and can't see any difference in quality. Hope that helps… but also hope they can resolve the bug!

To simplify the process: please ask first the print shop how they want to have the job, and whether they accept directly an RGB based PDF and do the necessary conversions themselves. It is possible that they can handle a pure RGB job without any problems and will make e.g. the necessary conversion of RGB-based black text to K100 (black ink only) right from an RGB file. 
If the printshop wants a CMYK PDF, and you have the RGB version of the publication already finished, it is a good idea to make a copy of the publication for the print project and make the necessary changes to the copy.
Do the following changes to the copy:
1) Change the color mode to CMYK/8. Use the CMYK profile recommended by the print shop. What to choose mainly depends on whether you are going to print on coated or uncoated paper, and where you are located. In the US (and many other parts of the world) the default CMYK profile of Affinity apps (U.S. Web Coated v2) will be fine for most projects. In Europe something like Coated Fogra 39 or close "relatives" ISO Coated v2, etc. are common. 
2) Once that document color mode is changed, all colors are shown simulating the target CMYK profile, which means that some of the saturation of colors is lost. But your RGB definitions are still there so there is absolutely no need to change your current color definitions or relink any images or change their color mode. The conversion will be done by the CMYK target profile to give you the best possible result when the job is exported to print PDF. There is basically zero need for making any changes to linked images or to use CMYK color libraries or to redefine colors in CMYK. 
3) Except for usage of black color, and specifically in text. That needs to be changed from the RGB black (R0, G0, B0) to CMYK (C0, M0, Y0, K100). You should be able to do that relatively easily if your text is formatted using text styles, or by using Find / Replace feature and looking for formatting where the color of searched text is R0, G0, B0 and then specify that the color of replaced text should to C0, M0, Y0,  K100). It might also be necessary to do similar change for graphic elements containing pure RGB black to avoid excessive use of ink since pure RGB 0, 0, 0 black will be printed as rich black (using all four inks so that the ink coverage will be somewhere around 300% depending on the CMYK color profile you are using). Ask the print shop if they think this kind of conversion is needed -- in large graphic objects use of rich black is often wanted to produce deeper black but this really depends on details so ask the printer. Four-color-black in e.g. thin lines might print slightly blurred due to small registration errors. [This MIGHT be an issue if there are lots of placed vector graphics like charts in the publication since if they are in RGB format, it would be ideal to have RGB black in them to be redefined in K100. But that is a special situation.]
4) If there is need to define colors for any (new) objects, you can continue to specify colors in RGB, if you wish. The visual appearance on screen will be that of the document target, but if you export to RGB, the actual RGB definition of the color will be used. For CMYK exports, an automatically converted CMYK value will be used. The purpose of the lock in the Color panel is to make sure that the actual object specific color definitions do not change depending on the color model chosen in the Color panel. The default is that the lock is turned on (it is a document setting, so the lock is turned on or off as per document, not as per object). As long as the lock is turned on, you can freely switch the color model of the Color panel and check which color values any object will have when exported using RGB or CMYK color model. The underlying color definitions are not changed. But if you turn off the lock, the Color panel will show the actual color definitions objects have, and if you now switch the color model while an object is selected, the color definition will actually change without touching the color value controls, at all. You should be careful not to do that unless you really want to make redefinitions of color values since after having changed an RGB color definition to CMYK (just by switching the color model in Colors panel), the saturation of the color is lost, so if you subsequently wanted to prepare an RGB export from the job, CMYK to RGB automatic color values would be used instead of full-RGB-gamut original colors. When the lock is on, redefinition of the color value only happens when you touch the color value controls or manually retype the value in color composite boxes.
5) How realistically your display simulates the target colors in CMYK depends on how well your system is color managed and whether your display is calibrated. Use of CMYK color libraries might be useful in such situations, but then you should also have printed color swatches since in poorly managed system you could not trust in what you see on your display when choosing colors from these libraries. So in practise, if separate publications need to be prepared, it is wise to finish the job in RGB color mode and then prepare the CMYK publication. Note that as long as you do not have pixel layers in the publication, you can freely switch back and forth the document color mode between RGB and CMYK without changing the color definitions, just to see how colors look in either mode. If you do that, just make sure that you never manually change the color profile at the switch time since change of color profiles results in converted color values unless you choose to use the Assign option (in File > Document Setup > Color).   
6) When exporting a CMYK PDF, you should basically choose to use the document color profile and not change the profile in this stage since if you do, the exported colors will be recalculated and e.g. the K-only black would be converted to four-color black. So make sure that the profile stays, and use the PDF production method recommended by the printshop.
EDIT: As long as you are going to use Redbubble, please read this:
https://blog.redbubble.com/2017/05/designing-in-cmyk-vs-rgb/
If this really describes their process accurately, then my advise is that do not change anything when sending them "print" jobs since they can only use RGB raster files (JPG, PNG and GIF). The colors will be converted in the process but their production method is non-professional in terms of color management and recommendations given here are provided just to avoid customer dissatisfaction when seeing how an RGB design will (inevitably) become less vivid and bright in final products. So when you switch to CMYK color mode in an Affinity app, you can approximate "realistically enough" how your design will look like in the products you are creating using Redbubble. In this context most of what I mentioned above is not relevant. The process they describe would basically mean conversion of an RGB design to CMYK raster image and then converting it back to RGB to produce the final RGB/PNG or GIF file, which is basically waste of time (this conversion will be produced by them, anyway, and inevitably better than the designer could do, without knowing which exact CMYK profile needs to be used in conversion.)

Hello @Neil22th,
Welcome to the forum. Sorry to hear to have a problem with this.
You don't need to switch to single pages in order to export your work to PDF. I assume you are exporting your work to PDF to send it to the printer.
Just select Export from the File menu and choose All pages from the Area pop-up menu and you should be good to go.

I also printed your page on VersaLink C400 Xerox Laser Printer and it prints fine.
So the product is just fine. I think you should check your printer.

Hello @chapolote,
I can reproduce it.

Well perhaps manage your expectations 😉
There's been 12 weeks of development time since 2.0 launch and 2 of those were Christmas/New Year and 2-3 were doing 2.0.3 and 2.0.4 updates so that list would be quite the achievement in a short time, but this is just the start of a 2.x cycle so it's time to tell our audience what they bought into. With no updates for 1.10 for a year and no new features for even longer we have lots of newish users who don't really know us as a company or know that they have bought into a product with free updates with features and improvement. It's been a while and we're excited, but please remember 2.1 is the START of that journey 

Make sure that your blue layer is a pixel layer, then this will work for you.

Yes, it is strange and yes, there must be something in the request for payment that goes to the card provider that triggers some sort of check for approval of a recurring payment and when that approval is NOT present, the transaction is declined.
Meanwhile, I am pleased to report that @Patrick Connor went way, way, beyond his job description and although he couldn't fix the failed transaction, he has waved a magic wand and I do now have an activated copy of Photo 2.

Not the end of the world but misalignments in the Style Panels should be sorted out.
Also spaces between each entry across all the panels in the Text Style should really be standardised to one size.

 

Any chance of posting a screen grab of that misalignment.
My personal take on copying all presents to a new system is that you may end up wasting more time trying to figure out why things don't work rather than just recreating them from scratch.

Hello @Saro,
I will only share my view on the last 2 points – DPI and Colour Profile.
DPI
1200dpi produces best results.  But the higher the dpi the more disk space you need and for comic books 600dpi is more than enough in my opinion. But as always consult your printer first.
Colour Profile
The best way is alway to consult your printer. They will be able to advise on that. And that's why there is really no right or wrong answer regarding Option 1, 2 or 3.

Not the end of the world but misalignments in the Style Panels should be sorted out.
Also spaces between each entry across all the panels in the Text Style should really be standardised to one size.

 

I followed your steps and I'm getting the same readings as you.

You don't have to do that.
On creating a PDF just select Text as Curves in the Advanced Tab, Embed Fonts option.

Thank you @Seneca. It seems the step I missed was opening the apps from my Applications folder. Functioning OK now. Thanks so much. Regards, Robyn

Believe it or not, a rudimentary vectorizer has been included with Affinity from the very launch of Publisher 1!
Before you get too excited though: it only works on images with transparency, for example 1-bit images with alpha channel.
But hey, better than nothing, right?
Place your image into a Publisher document, the more pixels the original image has, the better Select the image and click the Edit Wrap Outline button in the main toolbar Copy Paste = Curves object: there's your image (roughly) vectorized, traced based on the transparency outline Apply fill and stroke as you see fit Optionally convert all the sharp nodes to smooth or smart nodes to make it appear less jagged, clean up as you see fit Tested in APu v1.10.6 Mac and APu v2.0.3 iPad.

Hello @flyleaf,
Please see my attachment. You don't need to do anything except resize the size of the caption according to your needs.
When resizing the caption please use the text handles and not the size handle (the sticking out handle at the bottom right of the text box)
Caption.afpub

I expressed my opinion about it before but I will say it again.
To me being able to export to IDML from Publisher is extremely important. Nobody should expect a perfect match between applications. Even Adobe doesn't guarantee that. But the fact that I can open an IDML file in Publisher, inDesign or QuarkXpress is very reassuring.
Just have a look at  how many people want to open PagePlus files in Publisher and they can't.
To have a common denominator export such as IDML is just great.

Well maybe from some usage point of view, aka once carved in stone. - Though keep in mind that you are cutted of/away from newer apps and technology that have come along. To give you an idea of what I mean is, no more Firefox/Chrome/Safari ... webbrowser updates, Mail.app doesn't support/fullfil >= TLS 1.2, a bunch of interesting apps don't run under El Capitan at all any more (since they are build/compiled for much newer MacOS versions). Xcode 8.2.1 & Swift 3.01 & clang 8.0 are long time outdated and don't support newer build projects etc. And so on ... the list gets long and longer here! - With other words, time goes by...!
RIP. - There comes a time when you need to cut old hardware/software braids whether you like it or not, time and evolving hardware and software technologies dictate this. - And unfortunately for El Capitan, that time has long since come.

Hello @Dukerino,
I tried to reproduce your issue and am unable to. I am on MacOSX.
Are you on a Mac or Windows?
Are you in a position to record a short video that shows the problem?

Hello @AndyV,
Did you manage to solve your problem?
When I select something in Affinity Photo and want to transform it I need to select the Move Tool in order to achieve that.
Selecting the Move Tool will give you the corner nodes you need to perform the transformation.

Hello @Gerard Designs,
Did you try to update Publisher to v2.0.3 and see whether this issue was addressed in the update.

Should still work. I was in that thread--and it was frustrating...

Hope everyone had a lovely Christmas!
I wanted to sneak in another video before the new year, so here you go:
High Dynamic Range Workflows HDR/EDR technology has actually been present in Affinity Photo for a few years now (since around 1.7 I believe), but with V2 introducing JPEG-XL export I thought it was about time to do a proper video on high dynamic range editing. This video was shot in HDR and mastered to 1600 nits of peak brightness, so if you have a display capable of that brightness (for example, the M1 Pro/Max MacBook displays), you're in for a visual treat! For those viewing on SDR displays, the content will be tone mapped and will of course lose a bit of its impact...

I don't think anyone is implying the software is perfect, nor that you're totally at fault. It's the type of reaction and how it will be received / perceived. I can understand the frustration -- I've been there many times (in this case not with Affinity but certainly with others), but to complain in this manner will just look like whining. At best your readers will wonder why you continue to use such "bad" tools. Or even worse they may wonder whether they can trust your expertise when you're "obviously" having issues using the same tools others apparently use without problem. I'm not saying that's literally true, but it's the perception.
Part of being professional is dealing with problems and moving on. The problems are real, but they're not your customers' fault so there's no reason to complain to them.