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loukash

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  • Member Title
    Lukáš

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  1. When they are ready, they will simply post it. It really, really as simple as that.™ Until then, be creative and enjoy the latest version.
  2. Ah, yes, I forgot to mention it. But using the text frame inset via Publisher's Frame panel is only a "quick'n'dirty security measure". You can just as well apply a paragraph style with indent and space before to keep the characters inside the frame. Or continue using artistic text while placing it in a parent blank rectangle shape that would "mimic" the static frame for the warp group. There are many possible workflows to achieve the same goal. Publisher is no requirement here.
  3. Also, I don't think it's a bug. There are just certain limits to how multiple complex features can interact. A solution would be an option to dynamically bind the warp group bounds to the bounding box of its content, i.e. when the content bounding box changes, the warp group bounding box changes accordingly as well. This is currently not the case: once created, the warp group remains static. On the other hand, such an option would inevitably lead to other "unexpected results" elsewhere. That's the price of complexity, I guess…
  4. @TrentL, at 0:30, you're saying that one "can export as graphics to bring the effect to Designer". Well, yes, one "can". But why even bother with such a clumsy and adobish workaround when you can simply go and File → Edit in Designer?! No matter what you do in Photo, you can always seamlessly switch between either of the three apps and add or edit whatever you want as you see fit. There are almost no limits whatsoever. And that's the Affinity Killer Feature. That's what you should be always stressing in your – otherwise well done – tutorials.
  5. @albertkinng, here's what I mean: A Warp Group is always created based on your selection bounds. A scenario which will result in a bad warp: You create a warp group based on an artistic text symbol without any descender. The warp group size will exactly match this artistic text bounding box. You change the text using characters with descender, The artistic text bounding box will change in size. The warp group will not change in size. The descenders will be outside the warp group bounds, incorrectly distorted. Hence you should be using frame text where the bounding box – and thus also the subsequent warp group – will always remain static.
  6. There was also a bug ("happy accident") report recently where under certain circumstances selected layers will be renamed to the same name. I don't remember the exact steps to reproduce it though.
  7. This looks like a known "phenomenon". Or perhaps a bug, what do I know. You're using "artistic text" for the logotype which dynamically changes the size of the object bounds. Try frame text with constant frame size and padding instead, so that the text never appears outside the frame bounds. You may need to create a new perspective group for that, however.
  8. No worries. You are now on my ignore list, thus I will never waste your precious time again. And vice versa. Good luck!
  9. I'm sorry to say that I think this is not a Good Idea™ because often you would want to see all stroke parameters laid out upfront, not buried under popover panels. Also, the Appearance functionality is a Designer exclusive, whereas the Stroke panel alone is just as important in Publisher for fine adjusting text outline attributes. Then, Color parameters have so many different variants that you would have to literally merge the whole Color panel into the Stroke panel. Whenever you want to apply color to strokes, you always have the color panel flyout handy on the context toolbar. And lastly, I, for one, hope that the Stroke panel will eventually gain more functions. Those will need the currently free real estate.
  10. Fair enough, I definitely didn't lose any sleep over this issue. Although it's an interesting phenomenon for sure.
  11. Thanks for the math. My approach to all this is more of intuitive nature, since my last math/algebra/geometry lessons were about 40 years ago…
  12. Yes, in the physical world. But here we're still fully in the digital domain, and the halftone pattern is still just a bitmap approximation using pixels.
  13. Cell size "6" at 0° angle is an area of 6×6 pixels. But by rotating the angle, you cannot rotate the actual pixels. Those will always remain at the right angle. The rotated pattern thus will become irregular, causing a kind of moiré. That's the sheer nature of pixels. Pixels, not dots. (If anything, blame Serif for misleadingly using the term "DPI" rather than the factually correct PPI. ) If you need a finer pattern at 45° angle, increase the cell size value. If your image doesn't have enough pixels for a smooth monochrome cell size of, say, 24, resample the image to 1200 ppi to interpolate more pixels. This is a very similar scenario like when we use 1200 ppi images to get a sharp print of graphics or logos. As opposed to photos where 300 ppi will suffice for standard offset or digital print.
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