loukash

Here's a link to the full article if it's of interest though as you say being based in Switzerland, you don't necessarily have to care.
https://qz.com/1033265/germanys-century-long-debate-over-a-missing-letter-in-its-alphabet

Also, you may want to type a more thorough summary of your exact issue into your posts as text.
No offense, but having to listen to such a video to understand what the issue is about is almost as annoying as people who are sending 3 minutes long voice messages rather than typing a five words SMS that would contain exactly the same information (and I do know people who do exactly that… ) 
Merci  

Yes, either there, – or top right, next to the existing layer lock. To get the space for an additional icon in the top bar the text "Opacity" could get replaced by an icon + tooltip.

The command "Lock Children" appears outside of the visible toolbar area and needs to get an extra click on the arrows at the right end to become visible (+ accessible) – even on a 24" monitor.

So I wonder if there is a chance to get it moved to a different position?
For instance I would not mind, in situations "Lock Children" is usable at all, not to have the "Picture Frame (Picture Frame)" text at the left edge of this toolbar but rather to be able to use this space for hidden items of the bar instead.
Also I wonder if there would be a way to assign a shortcut key command to access "Lock Children" without that additional mouse clicks. Unfortunately it seems not to be possible because this feature has no menu entry.
Is there any modifier key I can hold when transforming a picture frame to lock its child temporarily – instead clicking the option to become visible and ticking "Lock Children"?
By looking for any alternative use I noticed that the Help, neither on- nor offline, doesn't find it on a search for "Lock Children" or "children" – which appears odd because it is a fundamental feature. Accordingly "Lock Children" is not mentioned in the Picture Frame article.
 
 

On Mac, the problem is that lots of this "good old software" was 32-bit only and won't work on Catalina or higher.
But we're getting now into an off-topic nerdy territory, so let's leave it at this.  

FreeHand could do object styles decades ago:

fh9_object_styles.mp4 (Yep, that's my FH9 running in SheepShaver on MacBook Air 15" M2 Ventura… )

A 2013 Mac that can run Catalina shouldn't have many issues in that regard. Affinity v2 runs fine on my 2012 MacBook Pro that cannot go higher than Catalina at all. Even my 2008 MacBook Pro is fully 64-bit but it can't go higher than El Capitan and thus only Affinity v1. But it works.
Yep. If anything, then lack of RAM will be quite an issue with Affinity Photo. My 2008 MacBook can only have 4GB, and this is very noticeable when editing "lots of pixels" compared to the 16 GB in the 2012 MacBook, even though having now an internal SSD speeds things up massively compared to the "old school" spinning hard drives.
The good news is that a 2013 Mac still should be user upgradable.

File → Export → select "PDF" from the popup menu → File Settings → Preset: → select "PDF/X-1a:2003" click "Export" voilà

The issue is related to complexity of colour and values falling outside of the gamut being used for colour processing (Photo uses ROMM RGB internally for raw development). I wouldn't advise underexposing whilst shooting to try and mitigate the issue, as that will compromise the quality of your images: rather, it's something that needs to be addressed by Photo's RAW development (it is being looked at).
Magenta solarisation in saturated blue areas is typically seen when one or two of the components (R,G,B) have negative values—from user reports, this is the most common form of artefacting. Other issues can occur as well, such as worsening of colour fringing and banding around intense areas of light.
There are a handful of solutions that exist for this issue, and thanks to the open nature of the VFX community they are fairly well documented. I've recreated one of these solutions (a colour matrix shift that protects 'core' values based on a threshold) as a macro. If you want to continue developing your RAW images in Affinity Photo, you're welcome to try it and see if it helps?
To use it effectively, you need to develop your RAW images to a linear unbounded colour format. This is easily done via the Develop Assistant settings. Here are the steps:
Install the macros (drag-drop the .afmacros file onto Affinity Photo's user interface) Without opening a file, go to the main assistant settings (the robot icon), then click the "Develop Assistant" button to go to the RAW development settings Change RAW output format to "RGB (32 bit HDR)". Important: leave Tone curve set to "Take no action" Open your RAW file and perform any initial editing, then develop it Run the "Gamut Compression (sRGB)" macro. You can also try the Tone Mapping variant, which will compress the dynamic range. This may be useful for scenes with intense lighting. The ROMM variants are for if you want to edit in a wider colour space—the usual caveats with colour management apply here... The image will be corrected, then converted to 16-bit per channel precision so you can continue regular editing Here is a screen recording of the process as well:
 
Screen Recording 2023-11-09 at 11.58.06.mp4
I've included the old gamut shift method in the macros as well, as you may find that you prefer the result depending on your own imagery (it tends to produce a more saturated result).
 Hope that helps,
James
 
 
JR - Out of Gamut Colours Fix.afmacros

I share the intention of this request.
Never the less, there are workarounds. If you think „I need something like a vector function“, then you can often simply use a vector function for that purpose.
e.g. deleting a straight line with adjustable end points: draw a vector line by pen, or vector brush, set blend mode to erase.
you cat deactivate anti-aliasing to get hard edges / staircase effect. You can adjust width and even pressure profile.
I know switching personas is an extra step, but I actually often use small vector shapes with snapping to achieve a pixel perfect workflow.
When finished, simply merge down or flatten to get a single bitmap layer.

Sorry that I'm confusing you all a bit. I'm new to this.
I am trying to adjust the colors of myself in the photo to make it look more graphic. I put it in a separate layer.
Yes, I think it's the curves adjustment to put more contrast in the photo.
I will check out the affinity tutorials. Thanks for the link.

Thanks for your kind words NotMyFault, it's certainly appreciated
Just to confirm, I've logged this as a requested improvement with our development team internally & I'll be sure to add your 'vote' to this now!

I can't imagine what that would be.

I'll leave it up to the developers to solve it…  

Is there a way now to organize the colour panel better? I have hundreds of colour swatch groups that I would like to organize better than the current one long list approach. Nameable folders or something similar would be ideal. Cheers for any response. 🙂

That only works for text that you have Selected, or for the single character at the cursor position.
But you could use that to find the Unicode value for the character at the cursor (or look it up in the Glyph Browser) where you'd see that  ß is U+00df and you could then do a reg-ex search for \x{00df} to find all of that character, and nothing else.

Agreed.
And if they cannot be identical for technical reasons, then one of those should be renamed correspondingly.

The Live Denoise filter is working in my testing - though as above you will see different results when compared to the destructive version.
Live Denoise not applied (100% Zoom) - 

Live Denoise applied (100% Zoom) -

Both examples above Rasterised, with top layer set to 'Difference' and then inverted / zoomed (as the noise difference is harder to spot at lower zoom levels on a black background) - (400% Zoom) -

The above shows that the Live Denoise Filter is correctly affecting the image in my example. I've tested this across both macOS and Windows, using the below file -
Live Denoise.afphoto
You may need to adjust your Live Denoise filter settings to see changes apply to the image, as the Live filter does not scale the effect of the Denoise, unlike the destructive version, as mentioned above.

Good idea

I think the same question should be considered for other searches as well, where some will want no difference (Schuss = Schuß) while others would be able to find only specific results: 
smart quotes vs. straight quotes (see this topic) ; common ligatures like ff fi fl ffi ffl ſt st ӕ œ ij

As stated here, there should be a way to handpick a certain artboard that is used as a thumbnail for the template section (and file system)
I work with artboards... a lot. And the previews in the File=>New dialogue are really small..
-thx, Dave

Affinity doesn't use the NSText framework so MacOS cannot affect it directly.
However, the global MacOS language settings do have an effect, as already known by all the previously documented (and hopefully fixed?) bugs caused by Affinity's Preferences→General→Language settings…
To make the feature/behavior more "transparent", it might be a separate option either in the cog menu, or e.g. in Preferences→General→Text.
Not sure how to name it though: "Smart Language Aware Text Search" or something? 

First of all, this post violates the principle of ONE REQUEST PER THREAD which is spelled out clearly here:
https://forum.affinity.serif.com/index.php?/forum/52-feedback-suggestions/
 
They most likely did and designed the tool accordingly.  Not everyone works the same way or wants their tools to work the same way.  You will need to be more specific if you want this to have any chance of going anywhere.
 
If I am correctly interpreting this there are a few options already:
In Designer you can use symbols.  You can also access these from within Publisher by using the Designer persona (if you have Designer), and if you also have Photo, you can access most of the tools of the Photo persona by switching between them within the same app. In Photo (possibly only on the desktop versions) you can save the common parts in a separate file, set your placement policy to Linked, then place the file within the intended document.  Updating the original file will then cause those updates to apply to all of the linked instances within the document where they are placed (but you obviously need to keep the linked-to document along with the one in which it is placed). If the "thing" you want to keep copied is a single layer and not a group or other compound object, you can also use "Duplicate Linked" in Photo to create a copy that will be linked back to the original, and use the Links panel to identify which of various types of properties are kept in sync between the linked copies.

Nic podezřelého. To akorát Color Picker si chce "nahrát" pixely mimo okno aplikace a k tomu systém vyžaduje svolení uživatele. Viz System Settings → Privacy & Security → Screen Recording

Thanks @loukash that's also been logged now.