thomaso

Bist du sicher? Die beiden Programm-Versionen haben doch unterschiedliche Namen, oder? In einem Test mit V1 beta wird mir keine einzige V1 Datei zum Löschen vorgeschlagen … und die beiden Seriflabs Group-Containers automatisch als unaktiviert angezeigt.

Possibly related: … including a workaround:

"AppCleaner" will list the related folders & files with their sizes. If you choose not to delete all of them those may remain available in case you would want to re-install V1 later for any reason. – (I don't know how the "Launchpad" does uninstall / delete apps incl. its system files)

To me the stroke widths are hard to judge via screenshots at differing/unknown zoom levels, so just three notes: • Do all these strokes use the identical black/gray definition? • Make sure the nested images inside the Picture Frames do not have a stroke assigned. Otherwise their stroke may appear and vary/disappear for images that got zoomed within its parent Picture Frame. • Check the Stroke Panel option "Scale with object" for various objects. If activated then scaling a Picture Frame scales its stroke, too. • Same for the fill colour of the Picture Frames. To prevent a fill colour from possibly flickering at the edges of a nested image, select None. Regarding your "Superscript" screenshots: If a font file doesn't contain extra superscript glyphs then the "Typography" option might not work as expected. Alternatively the option for "Super/Subscript" in "Positioning and Transform" might work.

Do you want to crop the exported PDF? If yes, there are online tools available with a few / various features for editing PDF. Or is the issue caused in particular by "inner bleed" in the PDF pages while the print service doesn't want this? If yes, you can deactivate the "inner bleed" in your Affinity document setup + export again. If you export with bleed it will create bleed only at those edges where you assigned it in the layout document.

I am not sure what you mean by "compressing my PageNumbers" but in case you refer to the rasterization I assume you applied the white stroke around the black text as an effect (fx). Effects always get rasterized on export in Affinity. – If that's the case, apply the stroke via the Swatches / Colours / Stroke panel instead.

Two related tutorials: https://www.youtube.com/watch?v=PnSrGoamr2E https://www.youtube.com/watch?v=5nCOB-Yn69A&t=353s (starting at 5:53 min)

In Affinity we don't have an interface to edit any of the four parameters in the Export dialog named "printers marks". I see two options: • There are online tools available to crop the pages of a PDF. Maybe there is one which allows the required precision of 0.1 mm. • Create the document pages in the required total size and place the layout content + bleed + marks accordingly. In this case the crop marks would be handmade and placed on a Master Page and the export would happen with "bleed" and "marks" deactivated. But this would not work if your print service's software wants to use the PDF "bleed box" (currently it is unclear if they will use this). However it appears unusual up to quite strange that the print service requests a PDF with such detailed dimensions in particular since a.) the required horizontal / vertical crop mark areas are different (10.6 vs. 8.4 mm) and b.) there is no crop mark standard that would automatically result in a PDF with this specifications. Since you are requested to deliver a PDF with a precision of tenths of a millimetre: The unit inside the PDF file format is point (pt), there are a few threads in the forum reporting problems with PDF files being rejected by automatic prepress software due to rounded values in the final dimensions.

Yes, the Affinity asset feature is limited in several aspects and works different than perhaps expected and useful (… and than theoretically possible). However, for your styles example (title + arrow font + info) the "Next Style" option could be useful if the content is structured accordingly. It would enable you to apply just one style instead of three. Also, alternatively, saving the styles as a Group or the arrow as character style for instance may make the workflow with the Text Styles panel easier than "searching in the document to copy a fitting one". Another option could be to store the various sets of styled text frame examples on a master page. This page can get accessed easily via the Pages Panel or even with the button "Toggle Master View" to pick a wanted item of the master page + switch back to the previous page.

The fill mode influences the fill in cases where curve(s) of an object are crossing each other and need a decision about inside / outside. https://affinity.help/designer2/English.lproj/index.html?page=pages/CurvesShapes/fillMode.html?title=Fill modes Your M doesn't look like this. Also overlapping nodes can make a fill colour disappear in an object – but they also don't get fixed by your experienced "Smooth Node"/ "Smooth Curve" solution. Below some examples of one certain object with nodes placed on top of each other. In the variants to the right some of its nodes got moved. Each figure is one single curve only with the identical number of nodes. Changing fill mode and/or smoothening doesn't influence the appearance of the fill: If it is a bug you should be able to replicate the issue by creating an M with this font & size + convert it to curves again. Either directly in V2 or in V1 first. You uploaded a V2 file that possibly was edited somehow. – Since the issue did not occur in V1 to you, can you upload the initial V1 document, too?

If titles + bodies follow a regular pattern then it can be more efficient to use the "Next Style" option for one or both styles. Unfortunately this feature works automatically only for manually typed text / paragraph breaks whereas text that gets pasted + a style assigned need to manually select a command in the style's burger menu. This makes me wonder whether it's possible to assign a keyboard shortcut to a style's command "Apply … Then Next Styles" ?

Possibly yours is a layer of type "Image" (or "Curve", "Document" et al.) that needs to get rasterized first to achieve a "Pixel" layer and make a pixel selection affect it as expected.

In contrast to the forum, local contact gives you the opportunity to approach people actively, directly, yourself. While it's unknown which of them are actually Affinity users, in the forum even APhoto users from Plymouth may not notice your thread, one of thousands in the various forums and sub-forums.

The brightening of the image together with the gray interface background appears quite like in the video of this thread which got tagged as a bug: Note, in the meantime the bug's tag got changed by Serif from AFP-5662 to AF-473: https://forum.affinity.serif.com/index.php?/search/&tags=AF-473

Vielleicht ist es eine vom Betriebssystem beeinflusste Einstellung? Ich hatte es vor Jahren ähnlich erlebt, dass Affinity ein Wörtbuch für eine Sprache 'de_EN' vermisst hat, eventuell weil ich mein Betriebssystem auf Deutsch, aber das Affinity Interface auf Englisch gestellt habe. Gelöst habe ich den (absurden) Affinity-Konflikt, indem ich in Affinity die Standard-Einstellung für die Standard-Sprache überschrieben habe. Im Englischen heißt das "Defaults", um es zu überschreiben habe ich einen entsprechenden Textstil definiert, dann mit ausgewähltem Textrahmen im Menu "Edit" ("Bearbeiten") –> "Defaults" –> die "Synchronise"-Option benutzt + direkt danach die Sichern-Option. Es kann nichts schaden, danach das Programm zu schließen + neu zu öffnen. Wenn's geklappt hat, wird die neue Einstellung in der Zeichenpalette auch ohne ein geöffnetes Dokument erscheinen.

What is causing the brightening that also affects the interface background grey at 0:02 to 0:03 min. + 0:06 to 0:11 min.?

After pasting all text into the wanted text frame on page 1 hold the shift key pressed when clicking the triangle symbol to create the text flow.

As variation of Walt's hint you can create a temporary text string that contains all required numbers followed by a paragraph break or even frame/page break and let this flow across the entire document in an according master page text frame. Like so …

The meaning of the instruction in this part is independent from an application and doesn't differ between Adobe and Affinity. The second sentence means accordingly that … • overprint/Überdrucken has to be activated for the spot colour, • layout objects have to get it assigned in 100% (no reduced tint/Ton), And to prevent from rasterization: • no effect/filter/adjustment must be applied to these layout objects, • no image/pixel layer may get it applied, • the according objects must have their layer blend mode = "Normal" + their layer opacity = 100%. Below the swatch creation and use in steps 1-5:

How about asking people directly in Plymouth? For instance students, teachers, schools, … https://www.plymouth.gov.uk/arts-university-plymouth –> https://www.aup.ac.uk/courses/undergraduate/ba-hons-photography https://www.plymouth.gov.uk/city-college –> https://www.cityplym.ac.uk/ https://www.plymouth.gov.uk/colleges-and-training-providers

At about 2:02 min I don't see any "edges", just a single, open curve with a black stroke. – But possible "edge" is what the OP is looking for (without saying or knowing it?), for instance "Expand Stroke" + editing with "Transform Mode"… ? If that's the case then this workflow of slightly moving individual nodes appears rather cumbersome than appealing. It may be more useful and efficient to ask in the forum for directions to a specific design/look/appearance you want to achieve – rather than asking if a few workflow steps can be done while the goal of that workflow is unclear.

You can set this property for a pixel brush, too, but of course only before drawing a line, not to edit its pressure curve after drawing. Regarding your video I must admit I don't understand what is going on at your mentioned around time 2:02 min. The result looks like a copy of the initial curve with some nodes moved slightly. If that's the workflow you can do it easily in Affinity, too. The name "sun shadow" might imply that a shadow effect is involved. Though Affinity offers shadow effect, too, the workaround is quite different and might require an additional mask if it should get created for parts of a layer only.

Hi @Cassio Duarte, welcome to the Affinity forums! Pressing the Option key when moving a basic node in the pressure curve editor enables you to move nodes individually. Clicking on the curve between existing nodes lets you add a new node.

Though this is a follow up of your threads about artistic style & creation technique, it is not "clear" yet what you expect but still requires interpretation of ideas, goals and use of certain words. Apart from unspecific, ambiguous terms to describe one or the other, "style" + "technique" are two independent aspects and properties: While "style" is an individual, emotional aspect (-> "taste"), the "technique" is rather physical, objective and can be 'measured'. Accordingly "style" is a lot more difficult to describe with words than "technique" and can hardly be defined clearly unambiguous, often using comparisons (e.g. "like …" | "as if …" | "more than …") with the hope to narrowing down the range of possible meanings and misunderstandings. Concerning "technique", the term oil painting can mean to be made of oil paint … or refer to a reproduction as print with ink (oil or water based) or a photo/scan of a painting … or be (re-)created manually, drawn (≠ painted) with digital tools ('texture brushes') … or even fully computer generated via artificial intelligence based on and mixed of existing pictures. As soon the picture gets digital it will be 2-dimensional and lack the haptical surface of a so called "original painting". Especially wet paint/ink can be obviously 3-dimensional by varying amount of paint and cause reflections + shadows by its brush stroke texture details varying with the viewing / light angle. Paint with a high part of colour pigments + thickening binder material shows this more than other paint – opposite to pure liquid ink (e.g. water colour) or dry materials (e.g. pencil, charcoal) which don't cause an obvious haptical texture. Especially in earlier centuries oil painting used a mix of techniques: some parts were painted with thick, opaque paint while other areas were thinned with fluid and painted in a 'glaze technique', combining multiple semi-transparent layers of paint and not causing the obvious 3-D surface of thicker application of paint. This aspect in particular can make it hard nowadays to judge or detect from a reproduction (photo / printed book cover) of a painting whether it was initially created with paint or purely digitally. Earlier paintings were often done with the goal to look like photos (before "photography" was invented), as also the later "photo realism", manually oil painted in the mid of the 20th century – and both very different to e.g. "impressionism" where its manual brush strokes where meant to become obvious. So when talking about painting it is useful to point to the specific desired aspects and details. Though David Hockney became a known "digital painter" with results that may impress by a simulation of wet paint they also may appear "flat" and make the digital technique obvious. Price & value are both relative, aren't they? Both are independent aspects, too. Especially if "style" gets involved, visual design (incl. fashion, cars, devices, …) can get extreme prices initially, or over time without a change to the usability or 'actual' value. So, price, value and "style" require communication + agreements of both parties of a deal and don't work in one way only. Although a precise use of terms influences the understanding both parties may have a different understanding of same words until the end of a process or deal. A decade ago there was a website specialised to communication issues + misunderstandings between designers & clients, documented with dialogues, called "Clients From Hell". In the meantime it moved to another site where it still gets fed, and, interestingly, still causes hundreds of reader's comments to certain articles. From that aspect it appears misleading up to useless to describe a situation with "I made it clear that…" – unless there aren't doubts any more. Apart from the two links above, the problem was also demonstrated in faked / comedy plays, a quite known is this video, pointing to the dilemma of client + designer and their different understanding of being an expert + words to describe a desired result:

Sorry, yes – I kind of assumed a MacBook, not an iMac.