thomaso

What are this aspects? If I place the cursor at the end of a line then I get the next line selected by a short move downwards (or: shift + down-arrow key) … whereas if I drag-select a line horizontally I need to care more precise for both the start & end (while this method seemed to cause your issues + this thread). Same for paste: If I place the cursor at the end of the previous line then I don't have to delete a break because the existing brake just gets replaced by the pasted. Also this gives the choice if I want to create a new line. In your initial video you did create multiple empty paragraph brakes before pasting. Nevertheless, I don't think that pressing the return key before or the delete key after pasting makes a difference in workflow efficiency. Apart from the drag-select method and the logged issue: Doesn't triple-click (anywhere in a line) work for you to select the entire line? – Or is this a macOS feature only?

They exist for image size, unfortunately hidden in a parent button "Properties", maybe for the sake of permanent tooltips. Plus one button to adjust the frame size to full current image size (w & h).

There is nothing extra, it's just a different start position for selection & for pasting: both at the end of a line. Also you could try if the selection via triple-click in a line works more reliable than dragging. Nevertheless, maybe I am missing the point in my V1 … since DWright created a bug tag and logged the topic.

As a just aesthetical question (= taste) you may get tons of opinions without detecting what the readers of your product would want or possibly appreciate as a new invention or surprising development. Personally I prefer to avoid using any 'decorative filler' object and prefer white space instead (or larger cells in case of a crossword grid with less cells). To me one of the worst design decision are books with a coloured bar on every page (maybe with the idea 'colour is friendly' or 'page numbers are too naked without a background').

For inline pinning there are various options that even may conflict with each other or be influenced by other settings. For instance you may manually adjust a pinned image size (e.g. by dragging its handles) without altering the scale setting in the Pinning Panel. In the screenshot below all are set to 'No scale' but don't have identical size. Or the various possible spots for vertical adjustments: base position + borders for pinned objects and leading + leading override + baseline shift for the surrounding text. Also values can be relative or absolute and also be related to options in other panels (e.g. leading). To me it makes sense to use relative values for instance if a the font or size gets changed – while Affinity tries to avoid overlapping of pinned objects with the surrounding text (it feels like the 'Text Wrap' option but appears to work not identically). Honestly I can't tell the principle in all details and often I need several trails to achieve what want. Possibly it is not coded with an obvious or consequent logic, similar to the detail for Floating objects that get their anchor auto-created at an unexpected text position, often in a line above the expected one. So for questions it would help to see screenshots with current settings or a file for inspection + your description of the wanted result.

News from my diary: Today I adjusted the contrast in screenshots with Affinity to increase the readability of text on a dark background. How can I colourize the third line in the body copy below?

Same editor? This makes me wonder whether the OP's question concerns consistency (maintained cell sizes) within one book or rather a minimal size. Consistency: Interestingly the cells in number square puzzles are often larger than those of crossword puzzles – although they could be read in a smaller size easier than multi-celled crossword puzzles.

As non-native English speaker and noticing English as both app & system language in your screenshot I am just curious: Isn't in English Foto generally written as Photo while AF refers to AutoFocus rather than to APh?

It sounds like a matter of taste AND is influenced by some more aspects: Number of characters per line | horizontal alignment | varying fonts, weights, sizes | indent(s) | leading | space before/after | number of lines per page | margins. Thus recommendations might be more reliable if you post spread screenshots (or PDF) of your considered variants, especially since you ask for possible, individual deviation from known* do's and don'ts. *which possibly don't answer your question as principle, absolute rules, e.g. here or there.

Still I'd say a cell size of e.g. 7 or 9 mm isn't sufficient to answer your question … if we don't know whether this cells include the questions/descriptions, their text lengths and font size. For crossword puzzles you might generally consider the age of your target group, e.g. a possibly preferred use by older people with possibly reduced eye sight. The acceptance also will vary with the individual size of handwriting which can be quite different. I'd recommend a little research of existing crossword books to get an idea of an acceptable min/max cell size. Or print out sample layouts / cells and let a few people fill the form – or let them write some words in capitals without any visible cell or line grid to get an idea of their 'native' handwriting size (although this is often larger than common crossword cells or in the limited space on a postcard for instance where the handwriting size may get 'automatically' smaller to the end/edge to add more text). Note that a common cell size on school material / chequered exercise book is 5 mm. (while I don't know whether there is a global standard). Another clue could be the common text size on product packaging in their ingredient tables. (Personally, I wonder why their tiny sizes are legal given the legal requirement for this information.)

15 and 23 aren't sizes but numbers only. Without mentioning any physical unit the acceptance may be even larger, e.g. 50 or 100 cells for a crossword puzzle, actually it could have an unlimited number of cells to work with, for instance as an online 'book' (e.g. editable PDF form) where the screen view allows scrolling/panning and zooming.

The profile appears to matter in this case. There is a known bug with the Apple Wide Colour profile: https://forum.affinity.serif.com/index.php?/search/&tags=AF-473 Itt was reported by @Serif Info Bot to be fixed, so you might need to update your version:

Hi @IvashistaI, welcome to the Affinity forums! You can limit an area for editing by a Mask. https://affinity.help/photo2/English.lproj/index.html?page=pages/Layers/LayerMasks.html?title=Layer masks With a Luminosity Range Mask you can narrow it down to the highlights. https://affinity.help/photo2/English.lproj/index.html?page=pages/LiveMasks/mask_liveLuminosityRange.html?title=Live Luminosity Range Mask Nevertheless, as @firstdefence mentioned, overexposure is harder to fix than underexposure and might contain RGB 255/255/255 only. As workaround you could colourize the area instead, e.g. by painting a colour with an according soft edge and low opacity.

So you did want to fill the hole? – I must admit I can't follow your text description. Apart from the fact that you solved it yourself in the meantime: To get what I did you can use the curves in the state of your screenshot, then choose Geometry > Separate curves. This will bring back two (or more) independent objects. Then you can start again to investigate the objects or move their node positions … and also to apple Geometry > Add to achieve one object without the hole. But note: Two nodes of crossing curves will never get merged to one common node and maintain the shape.

See also:

... or switch the Range to "Entire Document" (or "Odd Pages") with the already entered page number "337".

This sounds contraditory. You want it exactly like the quoted example … but with a hole? How would the hole be limited/created if not by a curve (as in your current example)? As Walt mentioned, this is hardly possible. Depending on your current curves it would need to create nodes at T, Y or X junctions of overlapping curves or to merge two corner nodes of two rectangles to one common node. Such is technically not available with the Bézier curve maths.

I am not sure how you got there and where you want to go but maybe this helps: You can either choose Geometry Merge Curves – or Geometry Add. The results may vary. For instance after merging two ellipse shapes I can fill the hole in the resulting Curves layer (plural) by switching the Fill Mode (menu Layer) … whereas choosing Geometry -> Add for the two selected ellipse layers results in a Curve layer (singular).

The "desktop" is not an area of Affinity but rather the area behind an app window. https://techterms.com/definition/desktop When you drag an image from your explorer (win) or finder (mac) into the Affinity app window then there are two options: • dragging onto the pasteboard or interface (e.g. panels) then the image gets opened as new document without any cropping. • dragging in an existing document onto the canvas (artboard/page) then the image gets placed and may appear visually cropped if the existing document has smaller dimensions than the dragged image. If you then choose "Unclip canvas" the full image gets displayed and its canvas gets the size of the image.

I can't try V2 but there seems to be a simple fix by a slightly adjusted workflow: To ensure that an image as first character of a line gets selected and copied you can extend your selection up to the end of the line before, in your example for instance: Start to drag-select at the end of the previous line (= place the text cursor at the end of the previous line behind "dog", then hold the shift key, then click behind "dog" of the next line). This results in a selection like this: Then place the text cursor at the end of the selected line + use "paste". This will insert the paragraph (or line) break + the copied line as wanted. Result after "paste":

It happens to me occasionally in macOS (Firefox) in a slightly different way: After pressing the submit button the editor remains open as if submit didn't work. Then it appears that my reply has been posted but a page reload or redraw issue doesn't display it to me or reload/redraw wasn't executed. Then a manual page reload fixes this and displays the submitted post. If I reload a forum page while I'm creating a reply, it first reloads with a blank editor window "Reply to this topic...". Then when I access the dialog box, my current text or last edit is displayed and can be resumed and submitted. This allows me to even leave this page, e.g. to read another page of the current topic or select a quote and continue with my response.

Does it work for you in a text frame (not a table cell)? If not: Does your used text style have a "Next Style" defined?

Perhaps brush is an option …

For larger noise I used "Add Noise" on a copy, then changed its Blend Range Curve (top right, selected) or/and the Blend Mode (Lighter / Darker Colour). But I think there are smarter, more flexible and precise ways to do this, for instance with "Procedural Texture".

Yes, I thought so from your earlier posts … but this thread's title literally says "in V1".