loukash

I think it will come eventually, we are still on V1 and they have tons of amazing features for the price point. As much as I want those things added I always feel greedy as it is all pretty amazing for what you pay for the software. 

Something like this should be possible via Master Pages. I haven't used it yet, however.
Watch the tutorials. This one was it, I think: affinity.serif.com/tutorials/publisher/desktop/video/390003719

That's nice and all, but the Outliner is also a Photo feature, so it would be an upgrade for that program as well.

Other recommendations:
if possible, export as vector SVG files. In this case there is no need to worry about multipliers. Do make sure the SVG code is responsive, and automatically scales up and down in a HTML tag container.
  Even better, if you deal with GUI elements, work with the built-in framework GUI options. For example, instead of exporting that flat button design as a bitmap, use SVG. But if that same button design can be replicated using HTML and CSS styling code, definitely run with that last option.
Built-in GUI components tops SVG which tops bitmaps.
  If it can be helped, never use JPG for sharp looking text, line art, logos, vector work, etc. JPG works well for photos and multi-tone images, but visibly degrades those aforementioned types of graphics due to the lossy compression algorithm
  Instead, use PNG. If your work consists of less than ~256 colours and tints, indexed PNG files are preferable and save file space. The best way to compress a PNG is worth an entire post by itself. Suffice to say, to best compress and optimize PNG files dedicated tools are required. Image editors are not that great at it. I use ColorQuantizer, which is (in my opinion) the best PNG optimization tool currently available. Only for Windows, though. But worth it and free! http://x128.ho.ua/color-quantizer.html
  WebP is also excellent for both photos as well as sharp non-lossy assets (WebP support both lossy and non-lossy), and supported by all major browsers now. Except, of course, Apple. Safari does not support it. 😞 Neither does Affinity, which only opens these files, but does not export to webp.  
@Ali1 Your original issue has to do with attempting to export a 600x100 px asset "as is" from a vector package. In my experience there is just NO chance to get a good quality acceptable result, even in Illustrator. This is caused by a couple of things, such as non-decimal positioning, which adds unwanted soft anti-aliasing to the edges.
What works well to maintain high-quality sharp looking anti-aliased low resolution assets are the following steps:
work at a 3 to 4 times higher resolution. export at that bitmap resolution. Optional: perform some pre-downscale sharpening. open the result in an image editor like Affinity Photo, and scale down to the required lower resolution. Optional: perform some post-downscale sharpening. the result will be much better looking. Ideally use a downsampling algorithm such as Catmull-Rom. This works extremely well to maintain sharp details. Unfortunately, most image editors do not support this.
Of course, if you are already working at a @3x or @4x multiplier, the above steps generally are not required, because your base resolution is already very high. But it depends a bit on the image editor: the only way to check for quality is to go though the above steps at least one time, and compare your manually exported version with the automatic ones.

Some confusion regarding web resolution, PPI/DPI, how to prepare for the web, and such.
DPI is completely irrelevant for web and screen (mobile/tablet/desktop) work. Forget about DPI or PPI. It tells nothing about the actual resolution of a file. 1 pixel can be saved at 50000ppi, and a million pixels at 1ppi. It is merely a parameter that tells print software at what relative size it should be printed.
  Technically DPI is the wrong term in Affinity's dialogs. PPI (Pixels Per Inch) is the correct term.
  For web/screen export, think PIXELS. When designing for screen output only pixels count. Forget PPI! Screen tech and software ignores that parameter.
  In the early BFP (Before Flat Panels) resolution of screens was more or less related to the size of those screens. The larger the CRT screen, the higher the possible resolution. 1 pixel equated to 1 pixel. I was very simple to calculate the required resolution/pixel dimensions of an asset for a web page: just export at the exact pixel size required.
For example, if a logo had to be placed at 600px by 100px, that is what you exported and prepared it at. PPI was (and still is) entirely irrelevant.
  Things changed quite a bit AFP (After the introduction of flat screen technology). No longer can we relate the physical size of a screen to its physical pixel resolution.
The first iPad had a 1024x768 resolution. The iPad 3 introduced the retina screen, which offers double that: 2048x1536. The screen size did, however, not change.
Nowadays much smaller screens than an iPad screen are capable of displaying higher resolutions than that.
  Desktop screens display 4K or even 8K now, but the actual physical dimensions of those screens are similar or the same as the previous generations.
  This poses a problem to screen/web designers: at what pixel dimensions should assets be produced?
To solve this problem the concept of MULTIPLIERS was introduced by screen designers.
  The multiplier tells the designer at what pixel dimensions a bitmap asset should be exported. The goal is to hit the native pixel resolution/dimensions for each targeted platform/screen (or close to that resolution).
Example iPad 1: assets are exported at the native resolution (related to 1024x768 pixel screen). We prepare @1x: 600px by 100px.
Example iPad >3: this is a device for which we prepare @2x assets: 1200px by 200px
Result: we deliver two assets when our target platform is the regular iPad.
  For web export, at least @1x and @2x assets are required. When using the correct responsive <img> tag code, a browser will load up the correct version depending on whether the screen it is viewed at is retina or not.
At this point the screen designer must realize that only providing a @1x asset will result in fuzzy looking bitmap graphics on a retina screen.
  But many handheld devices have far higher PPI resolutions (recall that PPI tells us about the relationship between the screen size and the native screen resolution). Very small screens at incredible high resolutions. @3x, @4x, and even @5x.
How do we figure out the multipliers?
Answer: we check the configurations, and calculate the multiplier. Luckily, someone already did this for us:
https://material.io/resources/devices/
  This means that BEFORE designing any bitmap screen asset, the designer MUST decide what the highest target multiplier must be.
And create the bitmap asset at that highest resolution.
  At this point a "pixel" as a unit is unsuitable as a base unit when discussing the dimensions of a bitmap asset. Therefore, DP and PT units were introduced. DP ("dip"(s)) is a Google coined 'unit'. PT (point(s)) is Apple's preferred 'unit'.
  Example: We need to prepare a 600px *100px bitmap asset. When we communicate this to our fellow designers and developers, we no longer use pixels, but either dips or points. 600dp/pt by 100dp/pt.
Next, we must decide on the highest multiplier: with @3x we target most devices right now.
We then define the highest resolution with the formula 3x600 and 3x100.
We create a new document at 1800px by 300px, and work at this base resolution.
This is required for all our assets in this project.
  When the final asset is to be delivered, export all multiplier versions with a standardized prefix or suffix which indicates the multiplier.
In our example above, that means three bitmap assets: logo.png, logo@2x.png, logo@3x.png

   

@muelli75, you're aware that you can set up FontExplorer to auto-activate fonts even with Affinity?

I've only been using it "experimentally" so far because in general, I've always found font auto-activation an annoying feature, and I've never used it with Adobe apps either.
For Affinity, it only works while the FontExplorer app is running. (And that's totally okay with me.)

For the record, here's my report from a month ago:
 

What you're looking for is the Nik Analog Efex. Works as a Photoshop plugin in Photo.
The old free Google version should be still available for download from various sources, probably via archive.org.
Search the forum for Nik Collection.

Yes, you can use symbols – or linked layers in Photo – as a "remote control". Via Photo's Links panel you can actually easily enable and disable Symbol attributes that should or should not sync. (You can achieve similar results by temporarily disabling the "Sync" button in the Symbols panel, but the Links panel gives you immediate control.) The great thing with the Affinity ecosystem is that you can seamlessly switch an open document between Designer and Photo (and Publisher, of course) on the fly.
Here's an example I posted a few weeks ago in another thread:

aph_placed_image_as_mask_remote_control.mp4 Another similar example screencast from yet another recent thread:

ade_aph_apu_linked_symbols.mp4  

In other words:
Much like a baker should learn to know and understand the different types of flour which they need to bake different types of bread, a designer should learn to know and understand the different file formats they will be using for their designs.
And much like there is no "best" or "worst" flour, there is no "best" or "worst" file format either. (Although, in both cases, some can be avoided altogether, haha…)
… what you want to achieve as a final result.
(Disclosure: I do design for a living, and since eight years I'm baking my own bread as a hobby… )

Rather than haggling over what should and what shouldn't be in a context menu, I'd prefer a fully user configurable (context) menus altogether. Everyone can then make up their own mind what they need in there and what not. Yep, like the apps from the company that rhymes with schmadobe!

That sounds as if this is supposed to be the "big feature" for v2.0 then.
Oh well.
Enjoy my IDML template, folks:  linked_text_on_path.idml

In other words:
Much like a baker should learn to know and understand the different types of flour which they need to bake different types of bread, a designer should learn to know and understand the different file formats they will be using for their designs.
And much like there is no "best" or "worst" flour, there is no "best" or "worst" file format either. (Although, in both cases, some can be avoided altogether, haha…)
… what you want to achieve as a final result.
(Disclosure: I do design for a living, and since eight years I'm baking my own bread as a hobby… )

In other words:
Much like a baker should learn to know and understand the different types of flour which they need to bake different types of bread, a designer should learn to know and understand the different file formats they will be using for their designs.
And much like there is no "best" or "worst" flour, there is no "best" or "worst" file format either. (Although, in both cases, some can be avoided altogether, haha…)
… what you want to achieve as a final result.
(Disclosure: I do design for a living, and since eight years I'm baking my own bread as a hobby… )

I have already posted this a few days ago, buried in a partially related thread, but reposting here for "posterity".
I was attempting to divide one simple closed path with a few crossed free form lines. I.e. essentially wanting to create a jigsaw puzzle. A divide path functionality that I may have been using with FreeHand already back in the mid-1990s. And now: can't do! (Well, "could do" by adding nodes one by one on crossings, breaking and rejoining paths one by one, as was proposed in an earlier post in the aforementioned thread.)


Definitely not what I wanted to get. The divider paths were open for a reason and must not "auto-close". The resulting forms cannot be cleaned up to the desired effect. Not to speak of more complex forms and paths.
After spending literally an hour trying to figure it out in Designer and looking for workarounds, eventually I copied my simple paths to Illustrator CS5 (which still somewhat works on MacOS El Capitan), clicked a button, copied the divided form back to Designer. Task done within a minute:

I think this is caused by this:

Ever since this silly "feature" was introduced in Mac OS a decade or so ago, one of the first things I'd do when setting up a new user account is to switch to "Always".

Argh, read too fast, missed that! thanks!

From the first post, it's already rasterized: "I have a multipage scanned PDF file (each page is an image)."
 
You can do it with a Master Page, but there are a couple of tricks:
You need to make sure the Master Page layer is on top of the other layers on each page. Normally it will be at the bottom. So, apply your Master to all the pages. Then select one document page to edit, and in the Layers Panel right-click on the Master Page layer and choose Edit Linked. Then on the Toolbar click the Move to Front icon, or use Layer > Arrange > Move to Front. Then click Finish in the orange bar. That will put the Master Page's layer on top on all the pages that currently exist. Note that if you add more pages later, you'll need to do this again.
  Next, select your Master Page and edit it. Add your adjustment layer, and then with the layer selected Group it with itself (Ctrl/Cmd + G). If it's on its own, not part of a group, it won't have any effect. (I believe the need to Group it is a known bug, not yet fixed.)

A MacOS Automator service plugin/workflow, programmed by yours truly:
“Activate All Affinity Studio Panels”
FAQ:
What does it do?
It contains a nifty AppleScript code that goes through the menu View > Studio, checks for all panels without a ✓ check mark and activates them all at their respective last position (if any). That's all. Why does it do that?
Because otherwise you'd have to repeatedly open the menu and the submenu again and again, activate each panel one by one. Which is – pardon my French – a major p.i.t.a. As in, literally, a pain in the arm. Been there done that. How do I use it?
Upon installation in ~/Library/Services (see included ReadMe) or in /Library/Services if you want to activate it for all users, you can run it from the Affinity Designer/Photo/Publisher menu > Services > Activate All Affinity Studio Panels. You can assign a custom keyboard shortcut via System Preferences > Keyboard > Shortcuts > Services. Heck, you can even disable it from there if it annoys you. (But why should it? Hey, it's a Good Thing™!) It will only do its Good Thing™ while one of your Affinity apps is running frontmost. Should you accidentally launch it while using another app, it will only inform you that it can't do anything. Can it do any harm?
I don't think so. But if you're paranoid, open the *.workflow document with the Automator app and see for yourself. It's open source. What does it cost?
It's free as in beer. That is… feel free to contact me if you'd like to buy me a beer. I won't say no! Where can I get it?
loukash.com/download What's there?
You'll be able to download a file named "Activate_All_Affinity_Studio_Panels_v1.0.zip". Inside the ZIP archive, there are two files:
• Activate All Affinity Studio Panels ReadMe.pdf – which you should read, obviously…
• Activate All Affinity Studio Panels.workflow
That's all. My website runs on Wordpress, so it will automatically attempt to set a few cookies. Feel free to reject them. Enjoy!

Definitely not.
The actual power of Symbols.
If anything, the ADe's Symbols and the APh's Links panels should be merged because those do basically the same thing.
See this example which I've recorded just yesterday for another thread:

ade_aph_apu_linked_symbols.mp4 You need to create symbols in ADe, but then you can link and unlink any of its attributes via the Links panel. The "Symbol" type of container "only" (it's likely a complex thing behind the scenes altogether though) expands on the linked layers feature.
That aside:
create a symbol add it to Assets it will remain a symbol even as an asset Voilà, there's your global symbol.

If you also have Publisher, and if the DIMx layers contain live text, you could use Publisher's Find & Replace panel and its regex search either to blank out the text frame content, or at least quickly jump from one text object to the other.
Other than that, an external macro utility could be programmed to traverse through the Layers panel, double-click each layer's name and copy it to the clipboard, analyse it, and delete the layer if its name begins with "DIM". E.g. Keyboard Maestro on Mac definitely can do these kind of things with Affinity apps. (Been there done that. ) It would take, roughly said, perhaps 10–20 minutes to set up and test it, but if there are like dozens or even hundreds of such layers in many documents, it would definitely ease the p.i.t.a. (as in, literally: pain in the arm) in the long run.

Definitely not.
The actual power of Symbols.
If anything, the ADe's Symbols and the APh's Links panels should be merged because those do basically the same thing.
See this example which I've recorded just yesterday for another thread:

ade_aph_apu_linked_symbols.mp4 You need to create symbols in ADe, but then you can link and unlink any of its attributes via the Links panel. The "Symbol" type of container "only" (it's likely a complex thing behind the scenes altogether though) expands on the linked layers feature.
That aside:
create a symbol add it to Assets it will remain a symbol even as an asset Voilà, there's your global symbol.

Same as in Publisher: activate the Frame Text Tool and drag a rectangle.
This affects only the text, not its container.
Hence either click the Revert Defaults toolbar button, or select Edit > Defaults > Revert – both does the same thing.
I can't see anything, there is no image to look at.

So…
What you can already do now is:
create layers

  switch to Export persona convert layers to slices export, e.g. as GIF

  use one of the zillions of free 3rd party apps to create your animation

Alright, @rodsal23, so you want to animate layers?
And you can!
Here you go:

ade_animation_layers.mp4 As you can see by the clock in background, it's no trick, it happens in real time. Each loop is executed per simple keyboard shortcut.
But I admit it's slightly "cheated", as in: it's not Affinity that performs the animation.
Sooo…
If you need your animation "preview" now, your workflow will have to include an external macro utility.
On Mac, you can do fun stuff like that with AppleScript's System Events via Automator services.
Or much more comfortably with a macro utility like the incomparable Keyboard Maestro:

(Windows folks are on their own, sorry. But the principle will be the same)
Have fun!