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Barry Newman

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  1. I have observed from the sidelines how a very small percentage (single digit well below 1%) of Affinity's customers dominate this forum and feel compelled to comment on all new suggestions. I am amazed at how few people are involved and how much they dominate. I miss the functionality from other forums where you can see a member list and sort by the number of posts. Statistics on how few percentages actually fill this forum with their perspective on everything would be interesting. From my experienced point of view, this is not a community here, but a highly limited group of primarily men. A fan club. It is highly suspicious that so few spend so much time here; it's as if they are always here and not out in the world or inside Affinity creating. I strongly agree with those who believe Canva should establish a new forum, start afresh, and ensure that new customers and customers from other social platforms can participate. On top of that, countless other issues arise, so here is some help for new users to navigate the artificial reality in here. Online Disinhibition Effect When people communicate online, they often behave differently than in real life. This tendency, known as the "online disinhibition effect," can lead to more aggressive or dominant behavior. The dominant users may feel freer to express their opinions and opposition without worrying about consequences. Echo Chamber Effect A forum dominated by a small group of users can create an "echo chamber," where the same opinions and viewpoints are repeated and reinforced. New ideas or criticism may be met with resistance because they threaten the established consensus within the group. Social Identity Theory These users may see themselves as protectors of the forum's "identity." According to social identity theory, groups can develop a strong internal solidarity and resistance to outsiders, which may explain their reluctance to accept input from new users. Gamification and Status Seeking Some users may be more interested in gaining high status in the forum through the number of posts and likes rather than creating graphics. The forum's structure may reward activity over quality, attracting those seeking recognition and influence. Resistance to Change Many people are naturally resistant to change, especially when they feel their status or position is threatened. The dominant users may resist new ideas or technologies because they feel comfortable with the current state and fear losing their influence. Personally, I am infinitely tired of seeing the same people comment with the same tendencies, claims, and reactions. We already know what you stand for and against after thousands of posts, so let others have a chance and listen. We all use graphic programs in various ways and have different or greater needs. My biggest and most genuine concern is that Serif has used the smallest group of customers as input for all development. You can hardly make a bigger mistake than that.
  2. It's not just about tidying up creative elements, it's also about arranging them. Faster than with guides and traditional cumbersome methods. But with less control, of course. Sometimes automation does it well enough.
  3. Tidy is also a neat feature, I don't need it but I guess Publisher users would like it:
  4. He is wonderful, mature, thorough, and better at pre-marketing than Serif to customers who don't need a 2-minute music video with effects and kapow. Send him chocolate, Serif! He communicates to a segment that is never thought of anymore. But which is becoming increasingly bigger.
  5. Exactly. And contrary to what many hobbyists believe, there can also be a negative return on investment in a cheap product, simply if the user interface is poor, the applications crash, the program imposes limitations, or it never gets significantly updated over time anyway. The word investment is key here. And that's probably the key to why there's not a trace of anything but insignificant amounts of professional customers at Serif. The professionals can see that it's an investment that will end badly. Both in terms of deficiencies and future prospects. Beyond everything else I've described, I find myself taken more seriously both professionally and as a customer elsewhere. Directly in interaction with the companies first and foremost, but most certainly in the form and features of the product. It's something that mature and adult individuals appreciate.
  6. It probably ends there. On the bright side, as I mentioned, the disappointments animated me to buy other software made by companies that deliver quality and up-to-date, well-thought-out user interfaces. The high expectations for v2 ended in a bitter disappointment, which indirectly was a serious warning that Serif either can't or won't turn the product in a contemporary direction and improved form. It's as if the old architecture and UI are to be milked to the last. I also don't think I'll be putting money into a v3. Too much time has gone by for anything to be coincidental, and I don't need to waste my life waiting for miracles either.
  7. Currently, I'm not experiencing major bugs in Designer, but from simple use of Photo and to some extent Publisher, it's evident that Serif has inevitably reached the point where the consequences of accumulated technical debt and the buildup of poor user interface decisions are becoming apparent. Serif completely missed the great opportunity with version 2 to avoid ending up in this miserable situation, but instead chose to make new and worse mistakes. However, the advantage for us customers will be that, at some point, the motivation to switch to other programs becomes much greater, as does the benefit.
  8. Yes, for some reason I didn't include π, but then again, I wasn't writing a thesis to be judged and dissected here, so we're leading the readers into yet another AFFINITY forum sidetrack, but it was a description of how alien this mathematical approach will be for many GRAPHIC DESIGNERS. Remember: complexity breeds complexity, complexity stifles usability, the more complexity, the less usability, the more chatter, the less focus and progress.
  9. Ah, the conundrum of trigonometry and its 180-degree notation, a topic that can indeed perplex even the most astute minds. Allow me to elucidate this matter in a manner befitting the complexity of the subject at hand. The crux of the issue lies in the fundamental disconnect between the mathematical world and the experiential world. Mathematics, in its purest form, is a language of precision, a tool for expressing the exactitudes of the universe. It is a realm where a circle is divided into 2 radians, equivalent to 360 degrees. This division is not arbitrary but is based on the properties of a circle and the number a mathematical constant that is the ratio of a circle’s circumference to its diameter. However, for the layperson, the world is not experienced in radians but in degrees. When we think of a circle, we think of it as being divided into 360 degrees, a concept ingrained in us from a young age. This is the language of navigation, of maps, of time. It is a language that is intuitive and experiential, not mathematical. The 180-degree notation of trigonometry, therefore, can be a source of confusion. It is a mathematical construct, not an experiential one. When we rotate an object, we do not think in terms of 180 degrees or radians. We think in terms of a full rotation, a full circle, which is 360 degrees. In essence, the 180-degree notation is a mathematical abstraction that does not align with our intuitive understanding of rotation. It is a language that speaks to the precision of mathematics, not the imprecision of human experience. And that, in a nutshell, is why trigonometry with 180-degree notation can be a challenging concept for the non-mathematician to grasp. It is a clash of languages, a clash of worlds. It is the eternal struggle between the exactitude of mathematics and the imprecision of human experience. And it is a reminder that, while mathematics can describe the world, it is not always the language of our lived experience.
  10. It may be a bit of a stretch to label it a basic tool, yet it is an infernally useful instrument, one that might reasonably be expected in drawing programs such as Affinity Designer. Hence, I posit that the program, in its current state and age, is lacking a blend tool. There are numerous scenarios wherein it automates tasks that would have taken a prohibitively long time to execute manually.
  11. Layer states, you say? That's a serviceable idea, but I'll be jiggered if the macOS user interface doesn't look like a hasty scrawl done with a fountain pen on a kitchen roll.
  12. Why on earth are there no hints available in the interface - status line or somewhere else. I don't think people will ever find this feature. That is just how people just software now, not like in the 90's.
  13. Blimey! It doesn't sound like the changes Ash described about changes to how files are accessed were helpful at all. Back to square one.
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