deeds

I suspect the amount of upgrading suite users is significantly less than the number of new suite buyers convinced by the fact that this Suite has reached version 2 status, and is therefore worthy of considering as an investment of time-to-learn (the most expensive part of switching to a new creative suite) and by the fact that they're being offered the same discount as existing users and therefore they're feeling targeted/welcomed/embraced/encouraged etc... as they also have no idea about the reasoning for this all encompassing discount... it feels, therefore, like it's time they jumped in and gave it a shot as a suite. It's a great pity that Affinity hasn't found a way to inject an upgrade button into one of their v1 updates so that users that have recently bought could directly communicate via their licensed version of v1 to request an upgrade pricing discount FOREVER, regardless of current new user discounts of the v2 Suite and individual products. However, it's still possible. Affinity could provide an update to v1 that inserts an upgrade button which queries the license/machine/owner registration details such that an informed decision can be made by Serif as to the time the owner bought into the Affinity software. Upgrade pricing discounts, from one version to another, commonly aren't time limited in the manner that promotional and launch discounts are.

I recently tried Amadine, a tiny drawing app. It blew me away that this little app had a better workflow for this kind of creative reutilisation of a "style". I made a complex set of effects upon a box, fiddling with shadows and bevel looks etc. Then drew another box. It had all the same effects of that just created and last used "style", even though I'd not yet saved it as a Style, and didn't yet even know if Amadine has such a preset saving system for effects. But what was utterly amazing is how this immediately sent me into a creativity frenzy. I had fun doing stuff in a 2D vector app for the first time in a long while. It was joyous. IOW: I agree... workflow and bugs need to be worked on by Affinity, in equal measure with their new UI and features and version count increments.

when delete pressed: if gradient nub selected, delete gradient nub A conditional that seeks to find if something other than the layer itself is ALSO selected would prevent this, and repurpose the delete operation for the highest order of user selection. This isn't technically repressed by anything other than a lack of consideration for keyboard operations, and doesn't need nodal focus or any other kinds of technical consideration because there's gonna be a state system somewhere that's aware of the gradient nub being the current active selection. It does bring to mind a question: How many other things in the user's common and general usage should the delete button operate on as a means to provide a sure delete operation without needing to interact with the UI or otherwise having to engage complicated tabbing to focus on a button to virtually press?

am from the STrain of 68000 divergence

I'm not disagreeing. And would never install something that was so horrendously advertised. Gave me Swiftkey shudders. Agree with you... should be an offline, optimised spell check and grammar facility, especially given that one of the apps is called "Publisher" and the ultimate goal of all design works is... publishing, in one form or another... so we need an "Editor" of some sort to look over our shoulder, that's better than the one in Microsoft Word and significantly faster than direct entry within Indesign.

I don't think so. Perhaps the way I use effects is extreme. I've brought it up a couple of times and been dismissed in various ways. I've also mentioned bugs in how they render at different zooms, where they no longer correlate with how they'd actually look as effects when exported at actual size. I don't know how or why this is all done so badly, especially given that some of their effects are quite good. The 3D effect, for example, is quite uniquely powerful for sharp edges, but it and the bevel and graded shadows only render correctly at 100% and higher zooms. If you zoom out to see your effects in context, they're distorted crazily. Perhaps effects and performance got sort of a abandoned at a certain point when the focus shifted to Publisher, where they're much less needed.

The user name is even more interesting than the big text, but not more interesting than the proposal, which is a very good idea. Custom corners would be amazing. Especially if non-destructive.

Once a user has picked something up to move, and is dragging, can the 'c' key being held down be used as a "modifier" to indicate the user is intending to clip/contain on mouse/touch release - and a frame highlight of that which is being hovered over indicate which object it's going to be inserted within?

Are you deliberately ignoring the point that this is an asinine default shortcut, or did you miss it?

Affinity copied Adobe, and didn't look at Freehand, Xara, Fireworks, Corel or any other 2D tool from the past, nor consider their own opinions on what might constitute better workflows. Many have tried, throughout the life of version 1, to get them to consider work flows of the modern era (anything since the 90's), but they've resolutely persisted being Adobe-Lite products plus an under utilised Persona feature. IOW: good luck getting them to consider this. Don't hold your breath. I support your idea, wholeheartedly, as a lover of Corel often stuck on a Mac without it.

Given the cost of energy in the UK, that'll significantly lower their costs, too...

Agreed! Working in AI is extreme tedium. Worst of Adobe's products, and that's really saying something, as they have some shockers. Corel is the great secret, still. When working with others on something complex, they never realise I don't use Adobe for creative works, as I export from Corel, open in Adobe, export for the others and send. It makes the whole process smoother, and prevents the inevitable discussions about which software is best, which wastes too much time. I do much the same with Affinity to Adobe if it's just simple vector works, as for this I think Affinity is nearly as fast as Corel, and it saves me turning on a windows machine to use Corel. If Corel worked well on a Mac (it doesn't) I'd probably have never tried Affinity.

IF I need to share in a collaborate manner, with others using Adobe software, I either use Adobe (or CorelDraw) so that I can export as a stable Adobe AI file for them to work with. Affinity can't do this, so you always end up in that trial and error circle that REALLY pisses off the people you're dealing with, adds immeasurably to the time it takes for things to be worked out between your groups/fellow workers, and eventually curtails what you can do creatively, too - both as a function of time lost and for technical reasons regarding compatibility of features etc. If you really don't like Adobe and/or refuse to deal with their subscriptions, CorelDraw has a quite good Adobe Illustrator export feature. And CorelDraw is still much more powerful and fun to use as a vector tool than any of the current competition.

It is if you (and the royal you) don't concisely sympathise with the OP.

who do you presume to speak for, or this a pronoun for you?

this is a direct comparison ^

You're making a wrongheaded comparison. Adobe is a creative software platform provider, Mac is a hardware and OS platform provider. It's for companies like Olympus to use the tools they're provided (by Apple) to create readers and writers of their various codecs, so that Apple can then include them in their OS releases. Olympus, and many others, have chosen not to do this. Probably the biggest contrarian to the Apple way is Yamaha, who steadfastly believe they've can be late in updating anything that relies on the MacOS. With the release of the M1 and M2, this is now working against Yamaha, as the new Apple platforms are now quite incredibly performant for music making. Similarly, the M1 and M2 and their fast storage are great for photo work, so it behooves everyone making photo taking devices and codecs, and photo editing software, to provide the best possible codec support.

I think you've just described ACDSee https://www.acdsee.com

This is far worse than anything your target's writing, and is subsequently revealed as some kind of hypoxic irony, ironically, that avoids any and all substantive points of the OP.

It's not just Apple arrogance. Every company with compression/decompression patents/technologies and transport protocols and even different port and communication hardware, has been battling to get relevance, traction, lockin and/or payment for their facilities. The most infamous of these endeavours is the last 25 years of Sony, but they're not unique in the manner, just the scale. This goes way past still images, and has been an extreme battleground for both video and audio for decades. Apple, in all fairness, has been much more giving in terms of the provisions of ways for unique users (like Olympus and Yamaha as two examples) to support their upcoming operating system versions, often close to a year in advance, but companies like Yamaha dig their heels in and hope that they can niggle them by not supporting their endeavours with their facilities, therefore disquieting end users - like you. I'm not as sure as to why Olympus hasn't been more supportive of Apple and even Windows users of their image codecs. I've known some of the lead designers and researchers at Olympus over the years, on their camera tech teams, many beers together in summer months, and they're good guys that work very closely with their manufacturing teams to make their cameras as light, fast and cheap as possible. There must be something odd on the software side as this behaviour is at odds with their camera making philosophies. A lot of this niggling of Apple behaviour by third parties is supported and encouraged by the two big rivals of Apple (Android/Google and Windows/Microsoft). They know the convenience not being there is a reason for prosumers and professionals to switch, and that these users have more influence on causal users than anything else. So they try to help 3rd parties have reasons to not update for MacOS... etc So there's never an easy route if you're on the outside of this, with something like Olympus RAW files, you're basically going to have to setup some kind of conversion facility that batch converts the files to something more compatible, if you want a convenient work flow. Affinity could include readers and decompressors for all the various still images, and even work with the makers of all cameras, but I don't think communication is their strong suit.

How well does this format handle imported clipart?

Have a read of this woe: https://discussions.apple.com/thread/254004895

That's ok, that it doesn't make sense to you... you weren't expected to understand it. Hence the jovial manner this elimination of possible conflicts suggestion was made. That's eliminated conflict between apps for resources, which can sometimes occur (more often than you might expect, much more than you can make sense of), thank you for testing that. Well done. Now to divine if the conflict is with hardware, the most likely being that the 30% CPU is actually Affinity trying to communicate constantly with your GPU, since (despite some not liking the "bashing") Affinity are not absolute experts in GPU programming and are trying to make a graphical app for multiple platforms, so using compromised (not optimised) means of addressing all manner of GPUs on all manner of platforms. To see if it's a video card communication issue, update your video card driver to the very latest STABLE (not daily, not bleeding edge) driver version. You seem to be somewhat technically proficient and probably know how to do that. Having done that, let us know exactly which CPU you have, which motherboard, which GPU, and which version of the driver you've got installed. And test performance with the stable GPU driver, after a restart. Is there anything else non-standard about your system?

Close Microsoft Edge when using Affinity. And never reopen Edge again. Only partly kidding. Opera is the most efficient browser for CPU and GPU usage. Vivaldi is about the worst. Google Chrome is second worst. Firefox varies too much to comment on. Generally speaking, if you can work without a browser open you'll be more productive AND your computer will run faster. This forum is testament to this fact, alone Close all programs you don't need open, and restart your computer, and then only open Affinity Designer. If things run cooler, it was fighting for resources when other apps were open.

CONGRATULATIONS!!! Want a medal?