loukash

Well, the display resolution vs the zoom factor will definitely affect what you're seeing when it comes to such subtle nuances.

Document > Unclip canvas or: File > Edit in Designer add artboards as you see fit File > Edit in Photo place your other image layers into the artboards to move the artboards with the objects, disable Lock Children

Do you have an example document?

A very minor annoyance, but it's slightly annoying me as well.

When I export as 24-bit PNG, open it in Photo and view it at Pixel Size zoom factor, it looks exactly the same as your original document also viewed at Pixel Size zoom factor. So, to tell you what may have happened, you may want to attach the PNG as well. But in general: zoom factor matters. Artifacts or banding can be the result of your computer display attempting to antialias and compensate for non-integer zoom factors.

affinity.serif.com/en-gb/90-day-affinity-trial In short: not directly kind of nope nope half yep depends; but if set up correctly and pixel aligned: nope don't know

I meant "the same" as in: It will always open in Designer first, regardless if embedded or linked. Correct, but… You can then simply reverse the workflow: File > Edit in Photo double click the embedded document edit away close the edit window/tab File > Edit in Designer – and you're back

No, it's the same. But nonetheless, Photo is then really just literally a click away: File > Edit in Photo

Nur eine kleine Zwischenbemerkung bzw. ein kleiner Englisch-Nachhilfeunterricht: "loose" = locker, lose Was du eigentlich meinst: lose = verlieren Die Aussprache ist allerdings ähnlich.

Good news! A very "quick'n'dirty workaround" would be switching to Designer and drawing the rough path with the Pencil tool. A curve cleanup with the Node tool will then work the same back in Photo as well.

Again: And: Hope that helps, finally…

The actual issue that I'm seeing here is the lack of a reliable CMYK preview within Publisher/Designer. You really have to export a PDF first that you can inspect with a reliable tool like Acrobat to see what will potentially happen in print. And more often than necessary, you may want to bang your head against a wall. That's bad. And that should be fixed. The actual behavior of the adjustment layers from the placed Affinity document is completely logical, as already outlined in The software only does what it's told. This is how the different layer modes and hierarchies are supposed to work. The adjustments remain interactive in a placed document. At best, it would be nice to have an option for placed Affinity documents à la "Preserve Alpha" or something like that. So, if you want the adjustments to affect only the "Background" layer but not anything below, nest them, as demoed above. This workflow (as opposed to a "workaround", vive la différence) is as simple as double-clicking the linked object and edit it in the Photo persona to fix it accordingly.

Yeah, I've noticed this, too. It's the same in Panorama that I'm using quite often. I found it being a rather confusing and inconsistent UI compared to the standard behavior, so eventually I gave up on cropping in the other personas.

I don't remember if that's a new "feature" or not, but the document Baseline Grid now only becomes visible if you make it active in the Baseline Grid Manager.

Upon a few more comparative tests, it looks to me that adjusting a marquee selection using the Transform panel (or the Move tool, for that matter) always applies 0.1 px Feather even though its value is set to 0. So… … this is definitely the best method:

Aaah, now I got it! This is weird. Same in Photo, by the way. Looks definitely like a bug to me. To work around it, start the selection with Select All, then adjust it from the Transform panel. Be aware, however, that this may be accompanied by other weird things, like values you're typing not wanting to stick at first. Like I had to type H "200" first – which then resulted in "268.766404" (!) – before I was able to type "378" that would stick. Also at least a few times I seemed to get a correct result by enabling and disabling Antialias before making a selection.

Your document seems to be corrupted. I would probably start over, rather than investing too much time into troubleshooting. I've had similar document corruptions happening in InDesign or Illustrator as well, and usually starting over turned out to be the fastest solution. But let's await a comment from a staff member (if any). In any case, when copying objects from Designer into a Publisher document, make sure not to copy full artboards. While the Affinity document format is pretty universal in terms of accomodating features from either of the three apps, it cannot mix artboards and spreads: it's "either or". Also, there seem to be many, many fonts active. Perhaps you may want to convert the logotypes to curves before pasting them into your layout.

And sure you can: start to follow this forum section: forum.affinity.serif.com/index.php?/forum/4-news-and-information every new update will be posted there, and you'll get a notification in the respective announcement you can look up what exactly has been updated then you can decide if you want to update your MAS version or not Example:

Not that I'm aware of. Which is ultimately a Bad Thing™. But fear not, as every so often, there's always at least one ugly workaround. And this one goes: don't bother hiding the layer, group it instead, so that it's alone in a new group layer group the pixel layer with itself drag it over its parent group layer thumbnail to turn it a nested crop/pseudo-mask layer; the image will be hidden while the group layer will remain selected hide the pseudo-mask layer start painting; depending on your Assistant settings, a new pixel layer will be automatically created inside the group To enable the now invisible "mask" layer again, simply drag it from it's "masking" position elsewhere. You can nest groups of groups into further groups to completely hide them and make them non-editable. Note that when nesting multiple hierarchies in Affinity v1, the "grandchildren" will seemingly disappear. They will reappear upon releasing all the nested layers (right-click the layer > context menu > Release Mask). It is also a good idea to name your layers and groups, so that you can keep track of what's where.

File > Edit in Photo add your live filters File > Edit in Designer – and you're back with everything intact Assign identical keyboard shortcuts in all three apps. I've opted for: File > Edit in Publisher = ctrl-option-cmd-1 File > Edit in Designer = ctrl-option-cmd-2 File > Edit in Photo = ctrl-option-cmd-3 Either that, or open your document directly in Publisher – doesn't matter whichever suffix it has – and switch between Publisher's personas. For consistency, I'm using similar custom shortcuts there: option-cmd-1 = Publisher, option-cmd-2 = Designer, option-cmd-3 = Photo persona In other words, regardless the document suffix, the Affinity document format is "app agnostic". It can be edited in any of the three. There are only a few things that are exclusive, for example a layout document can be either spreads or artboards, but not both.

I see: white level 1%. I thought that this was what you originally wanted to do. However, you're not using the original image, yours is already slightly posterized so that the lines are #000000. It won't work with the original image, however: forum.affinity.serif.com/uploads/monthly_2021_04/1359488935_Originalimage.jpg.f3f9ab3af19520abf80bff7bd315f217.jpg

I wonder what am I doing "wrong" that I can't reproduce it…? :D

Still in the same Single Adjustment discipline, you can further clean up the artifacts and adjust the contrast by using and abusing a few layer effects:

Alright, back on topic: And the winner in the Single Adjustment discipline is: Gradient Map @ Hard Mix

In any case, I can't replicate it by any means when cropping your image exactly by the steps you've provided in your first post. I'm getting a perfect new 672×378 px image as a result. This is on MacOS El Capitan.