h_d

It depends a bit on your printer's requirements, but one way is: Suppose you want an eight-page product. You create a single-page master - I called mine "Cover" - twice the size of your standard single pages and rotated through 90º (uncheck Portrait in the Spread Setup). You apply this to page 1 and then your Standard Pages master to pages 2-7: Page 1 is actually pages 8 (left) and 1 (right). Again depending on printer's requirements, you might need to output it separately from the remaining spreads. (Used to have to do this sometimes on a big newspaper system. It was a nightmare. 😁)

A1 is A0 folded in half across the long side A2 is A1 " " " " " " " A3 is A2 " " " " " " " A4 is A3 " " " " " " " A5 is A4 " " " " " " " So all the A sizes are in proportion, and if you're working to those standard paper sizes then your work can be scaled without distortion. . Pure vector graphics are scalable to any size, so theoretically it doesn't matter what size you design at. It's only if they have raster fills or images that scaling can become an issue. Both stars are vector graphics - the large one is a scaled-up version of the small one. (The strokes have not been set to 'scale with object'.)

As I understand it, raw files are always saved in colour, and even if you set your camera to shoot in monochrome (.jpg format), the resulting image will almost certainly be saved in an RGB colour space. Affinity Photo will convert such images to true greyscale, but there are no specific settings or adjustments to replicate colour filters. There are various adjustments - for example Levels and Curves - that may get you the effect that you want, but would need a fair bit of experimentation. It's also quite possible that colour filter settings are available in-camera. Certainly on my Panasonic GX-9 I can set up to shoot monochrome and apply red, orange, yellow and green 'filter effects'. How closely they correspond to a physical filter with black-and-white film I'm not really qualified to say. I would say if you want to get the true effect of an orange filter, then buy one, shoot 'pseudo-monochrome', and then use Affinity Photo to convert your images to true greyscale. An alternative might be to buy (at some cost) a dedicated monochrome effects program like Silver Efex Pro.

Hi @Limpzen and welcome! You can do it with a data merge in Affinity Publisher, not sure if there's any easy way in Affinity Photo. There's quite a lot of steps but post back if you're interested.

It has nothing to do with adding one file to another. If you open the pattern page on its own and change its dpi, then the size of the cutout corner in the bottom left changes. What is slightly less noticeable is that the size of the rounded corner in the top left of the upper object also changes. Both of these corners were created as cusp nodes. I can't find much information about them in the help files, and I'm not familiar with the way they work. But one way to get round the issue is to select the Move tool, then select each curve and click Convert to Curves in the Context toolbar: This redraws the objects with standard nodes, and you should now be able to change the dpi without changing the sizes of the corners (I wouldn't call it 'skewing' as that implies a slanting change of shape). ADD: before and after, using the Node Tool:

.png files don't support CMYK. Even if you use Affinity Photo to convert them, and they appear to be converted, if you save, close and re-open them in Photo they will still be in the RGB colour space. At the very least you'll need to open your .pngs in Photo and export them in a print-friendly format.

When I select the rounded rectangle and then the Fill tool, I get a rectangle that extends outside the boundaries of the document: Simply dragging the Fill tool over the object (from bottom to top, as the gradient is reversed) gives me this: Which exports without rasterisation. Not really sure why, though - maybe there is a slight shear on the original fill. Add: (The forum software seems to be adding an extraneous full stop at the end of the OP's link, which is why it doesn't work first time. Uploading files to the forum itself works far better.)

Just for the sake of completeness, here's me launching, quitting and then re-launching all three Affinity apps after restarting my 2018 MacBook Pro: Screen Recording 2022-04-16 at 14.15.29.mp4 Remember, I bought Photo and Designer from the Apple App Store and Publisher direct from Serif. In sequence, I launch Photo (40+ bounces), then Designer (40+ bounces), then Publisher (six or seven bounces). I then quit Photo, Designer and Publisher (the dots in the Dock disappear as they quit). I then relaunch Photo, Designer and finally Publisher. On the second launches, all three apps become active after around four or five bounces.

Me after a reboot: Screen Recording 2022-04-16 at 13.25.30.mp4 (I've zoomed in on the dock: the desktop background goes purple when Affinity Photo eventually launches.)

Did you buy it from the Apple App Store or direct from Serif? And if the former, does it happen every time you launch or only after a reboot/logout/couple of days' non-use? If so, you might want to read some of the 130+ posts in this thread. It may be down to an issue with Apple security and sandboxing which Serif never seem to have properly sorted out. (Every other developer on the App Store seems to have managed it, so go figure...) It happens to me under the circumstances I've outlined above - on first launch, the application icon bounces 30 or 40 times in the Dock before the splash screen appears and the application interface becomes available. It happens with Photo and Designer, which I bought from the Apple App Store, but never with Publisher, which I bought direct from Serif. I would say it happens more frequently with Monterey than with earlier versions of macOS. I may be wrong. And no, I don't have large numbers of fonts installed. And as for "binning the product", that's up to you. Personally it's one of those things I've learned to put up with.

You've got some bottle.

Just to expand on @Old Bruce's suggestion: Here I've pulled in vertical guides to each side of the image, enabled snapping in View - Snapping Manager, drawn a frame text box snapped to the guides and then set the text alignment to centred with no first line indent: Screen Recording 2022-04-15 at 16.22.11.mp4

If you're starting from scratch and want a shape with perfect bilateral symmetry then one way is to draw a rectangle for the base, then a single triangle to the required size on one side. Duplicate the triangle across to the other side (I switched to the Move tool and then used cmd-drag on macOS). Select all the elements, pull down the Layer menu and choose Geometry - Add: Screen Recording 2022-04-15 at 08.33.01.mp4 Then switch to the Node tool. This lets the software take care of the tough stuff... Alternatively you could draw half the shape, duplicate it, flip the duplicate horizontally, align the two halves and then Add. (PS an equilateral triangle has three angles of 60º.)

Click the object with the Move tool and then use the Transform panel (View - Studio - Transform) to apply a rotation about its centre. You can also use the Point Transform Tool to rotate about any point you like. Again, you can apply specific values in the Transform panel.

The reason is that your two text frames are on Master A: that's why they have crosses in the corners and you can't change their shapes or delete them. But the text is local to page 1 of the document. When you add a page at the beginning of new-interior.afpub (either your cover or just a blank page), your original page 1 (a right) becomes page 2 (a left). The frames on the subsequent pages are re-created from the elements on Master A, but the text has nowhere to go. The images are on the local page, not the master, so they survive the insertion. One solution: Before you add the new page, click on the left-hand text frame. Pull down the Layers menu, choose Master Page - Edit detached. Cut the text frame from inside the Master-A - Right group of layers and paste it into the local page layers. Repeat with the right-hand text frame. You'll get something like this: Now you can insert your cover page at the beginning of the document, and the text frames will behave in the same way as the images - they'll be transferred to page 2: For a more permanent solution, use master pages for master elements (like page numbers and the horizontal bars) and draw local frames for local text.

No need for a shortcut as far as I can see. To get the behaviour shown in your .gif, start with one node selected, and then click with the Pen tool where you want the next node to appear. pen tool.mp4 (Hope this video works better than the last one I tried.) If the tool is in Polygon mode (as above), you'll get the angled line shown in your gif. In Pen mode, you'll get a smooth Bézier curve.

Might be worth watching this https://www.youtube.com/watch?v=PxxqN_5mNo0&t=2s (Obtaining optimum colour on your Epson printer). It's nine years old and goes on for more than an hour, but it's an experienced Epson engineer explaining how to get the best out of your printer, at a very technical and detailed level.

As @GarryP says, it's hard to know for sure without seeing the full picture. But my guess is that your image and its white background are both on a single layer, and that you need to separate them out onto their own individual layers. Otherwise you're applying your Outer Shadow to the outside edge of the white background, and it won't be visible. A bit like this:

As far as I can see, cmd-drag gives an immediate snapping effect. But if you release the cmd key before you stop dragging, the cloning effect stops and it becomes an ordinary drag-to-move. I don't think there's any difference at all between the final results of 'clone' (with cmd) and 'copy' (with alt/option). Both methods give you a duplicate object on a new layer, both methods can be followed by cmd-j to step and repeat. The 'official' way seems to be cmd-drag: Alt-drag may be more of a macOS-wide shortcut that 'just happens' to work in Designer.

Alt-drag (option-drag on my Mac) ignores snapping. If I option-drag to duplicate and then remove my finger from the option key while still dragging with my trackpad, the duplicated object snaps to the original. Add - if you're on a Mac, cmd-drag 'Clones' selected objects and the clone will snap immediately. Might be worth trying with ctrl-drag on Windows.

If your file really is 'black and white' - ie greyscale, like this: then you'll need to convert it to one of the colour modes (RGB most probably) before you can colourise it. Pull down the Document menu, choose Convert Format/ICC Profile... , convert the Colour Format: and you can then use a Recolour Adjustment (and others if desired) to get the effect you want:

Affinity Test.mov

The forum seems to be doing something odd to these videos. I downsampled the second one to 480p and uploaded it in a new post, which was immediately (and apparently automatically) deleted. I can see and play the first two in my attachments, under my forum profile. The third, downsized, version is listed as 'not available'. I'll try again in a further post.

I can see and play both in Safari (macOS 12.3.1 Monterey) but not if I open the page in Chrome or Opera. After supper I'll try to convert them to .mp4 and see if it makes any difference.

In Preferences - Tools, uncheck "Select object when intersects with selection marquee". This will mean that objects are only selected when they are fully surrounded by the marquee. Then you can drag the marquee half-way over the previously selected objects and they won't be selected: As in this video: Screen Recording 2022-04-05 at 18.59.06.mov (Although personally I would just drag round the whole lot in one go...)