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Everything posted by fde101

  1. Not available in Photo and acts as if always enabled. I agree that pasted items which would otherwise be outside the document's boundaries should be re-positioned inside of the boundaries (whether actually centered or not) in order to be visible upon creation. This should always happen in Photo, and should also happen in Designer and Publisher when Clip to Canvas is enabled.
  2. There is nothing wrong with something being old. Sometimes things were designed so well at the beginning that every attempt to improve on them has made things worse. So, you are using an old computer and complaining about software using old techniques? As far as I can tell the only difference between File->Save, File->Save As and Image->Duplicate is that Duplicate might leave both documents open, while File->Save As closes the original when opening the new one?
  3. fde101

    Warp Feature

    Isometric is not the same as perspective. Note that the tools in Photo are *raster* tools and will rasterize whatever they are applied to. There are numerous other threads already requesting *vector* versions of these tools for Designer and Publisher, which is really what we should be looking for. Also would be nice if they could be applied to artistic text while keeping it as editable text (not as important to do this for frame text).
  4. I don't think spelling falls under paragraph settings. You can have multiple languages mixed together in a paragraph so that is really a character attribute.
  5. This wouldn't require a new adjustment, only adding a color picker tool to the existing one. I think that is a great idea.
  6. fde101

    Name layer as file name

    Welcome to the forums! Please consider changing your username as using an email address makes it publicly visible which can attract the attention of spammers (you could start getting a bunch of additional unwanted email in your inbox...). The filename wouldn't really make as much sense to use in this situation because the concept is that you are opening the file and thus ALL of the layers are part of that file, not just that one. Most layers in a typical Affinity software product document would not be tied to specific outside files and thus there would be no filenames to use in naming them. Using the filename for an outside file that is copied into the Affinity document also has the potential to become misleading, as the name of the original file could be changed but it would not change the name on the layer that was created. I suspect that "Background" was chosen because it is what Photoshop users would be familiar with (it is the name that Photoshop gives to the first layer in a new document).
  7. You could try experimenting with the targeting options to see if one of those might help you to place things closer to where you want them: https://affinity.help/designer/en-US.lproj/index.html?page=pages/ObjectControl/target.html?title=Targeting objects Another option might be to place your layers panel on a separate display and flip it upside down?
  8. Do they use fonts which are not installed on the system where you are running the Affinity software, by any chance? If so, that might be the issue, as the Affinity programs do not currently handle the embedded fonts from the PDF file.
  9. The "Emoji" list on this forum is desperately missing the one that is eating from a bag of popcorn. The forum won't even let me submit a post with a Unicode one pasted in. Lame. Connector lines would not be a bad feature to have added to Designer, and some users could get a good amount of mileage out of what should theoretically be a relatively simple addition, but at the same time I can't see this having the same priority as a number of other requests that have been floating around for some time now. Would be nice to have eventually.
  10. I believe it already does - check the History studio panel...
  11. fde101

    Color Exporting Issues

    Just another way of wording that: If you *assign* the profile you are telling Publisher that you have correct color values (CMYK *numbers*) but the wrong profile was previously assigned, so Publisher needs to reinterpret the existing numbers using the newly assigned profile. I you *convert* the profile you are telling Publisher that you have correct color values in the already-set profile but now need to use a different profile, so Publisher needs to change the existing numbers in the document to their closest equivalent in the new profile.
  12. fde101

    Weird Brush Size Increments

    This sounds so much like a preference in the making... From one perspective, using percentages for this makes a lot of sense and is fairly straightforward compared to using some kind of stepping function. For vector work you *might* get away with this much of the time. From another, however, the use of fractional pixel sizes for a raster brush is indeed rather strange, and simply trying to round this is kind of sloppy... Assume for a moment that you round up when increasing the brush size and down when decreasing. Starting from a 1px brush you wind up with: 1 * 1.15 = 1.15 -> 2 2 * 1.15 = 2.3 -> 3 3 * 1.15 = 3.45 -> 4 4 * 1.15 = 4.6 -> 5 5 * 1.15 = 5.75 -> 6 6 * 1.15 = 6.9 -> 7 7 * 1.15 = 8.05 -> 9 9 * 1.15 = 10.35 -> 11 11 * 1.15 = 12.65 -> 13 etc... continuing with that pattern: 15, 18, 21, 25, 29, 34, 40, 47, 55, 64, ... If we then match this going downward by always rounding down, then starting with a brush size of 309 (which is reached by the above pattern after a while), you get: 309 * 0.85 = 262.65 -> 262 262 * 0.85 = 222.7 -> 222 222 * 0.85 = 188.7 -> 188 and continuing: 159, 135, 114, 96, 81, 68, 57, 48, 40, ... Note that the pattern coming downward does not match the numbers from the pattern going up. That means that implementing such a scheme will lead to brush sizes that cannot be returned to by "going the other way". NOTE: 40 -> 47 -> 55, but 55 -> 46 -> 39 Simple rounding won't work with the smaller sizes because 1 * 1.15 = 1.15 which would round back down to 1 and the size would never change. Simple rounding on the way down won't work either (2 * 0.85 = 1.7 -> 2). I would be ok with the pattern of jumps if it were consistent in both directions, but the fact that going up a size and going down a size don't match is something I find rather... not to be liked?
  13. fde101

    Apple Pencil

    I was curious about this so I looked it up: https://discussions.apple.com/thread/8425274 According to that page, "N" is apparently substituted when a device is provided as a replacement for a broken one. "F" is used for refurbished devices.
  14. Slice? Isn't that an export persona thing? Have you considered placing it in a symbol? "Variables," including file name, are a feature of Publisher, not of Designer.
  15. This topic has come up a few times in past threads. The general response from Serif has been (in essence) that they intend to offer a tracing feature at some point in the future but they are not happy with the way the feature works in most existing programs and want to make sure that when they do implement this in AD they do it right.
  16. I wonder if something like this could leverage the undo history that can be saved with a document? Simulate doing an "undo" back to some past point in the history of the document to produce the first "frame" then "redo" one step at a time for each new frame? It looks like Procreate might actually be doing something similar: https://procreate.art/discussions/3/6/27060
  17. There are two major types of color systems used in printing: Process colors, such as CMYK, are mixed within the printer itself. The printer typically has at least four basic colors of ink and will place patterns of that ink on the page such that they blend together visually to form a wider range of colors. Nearly all such printers include the four basic colors (Cyan, Magenta, Yellow, Black), and there are some that have additional basic ink colors to work with (high-end photo printers for example). If you are using a typical home inkjet or laser printer, it is almost certainly using process color. Spot colors are mixed before being printed with and presented to the printing process as individual, pre-mixed colors of ink. This is used in more traditional printing processes such as letterpress and screen printing, and there are a handful of digital presses out there which are capable of working with them also. Spot colors generally provide fewer different colors per print as the cost of a print increases with the number of spot colors used, but can be used to print colors that cannot be readily mixed by most process color printers (even going as far as metallic colors and pastels). Because different printers might use different spot color inks, standards such as Pantone were developed to ensure consistency from designer to printer. The Pantone system has swatch books that they sell for $$$ which indicate how to mix Pantone compliant inks to produce colors that match the ones in the books. Designers use the book to pick out their colors from the swatches, and printers use the book to determine how to mix the inks when setting up a print job that they receive from the designer. The Pantone system includes colors that cannot be accurately reproduced in CMYK. The benefit of the color bridge system is that it has a selection of over 1800 Pantone colors that have somewhat close approximations in CMYK and could thus be reproduced fairly closely on CMYK printers. The official color bridge guide ($300 so not cheap) shows swatches of the Pantone spot colors right next to swatches of the matching CMYK colors which use process printing; you can tell even from pictures of the guides that not all of the colors are 100% matches, but they are at least somewhat close: https://www.pantone.com/products/graphics/color-bridge-coated-uncoated Note that some of those colors cannot be reproduced accurately on a typical computer display either. I am less familiar with the HKS system, but from what I am finding on their web site, it appears to be based around spot colors as well, but has a set of basic colors that are similarly capable of being rendered in CMYK. These basic colors may give a closer match for CMYK printers than the Pantone colors will if I am correctly interpreting what I am reading. That said, the color bridge system colors are close enough that there is no particular reason you could not build your own color palette including colors from both systems or any other colors for that matter as long as you test them first. You can do what you did for the HKS colors and print samples of what you wind up with to see how closely the various printers actually match up with what you are seeing on the screen. Sticking with the colors from the standards though means you are less likely to wind up with wildly bad matches if you need to change printers later on. Of course, if you do wind up doing any jobs using spot colors, you need to use whichever system the printing company is using. In the USA for example that will almost always be Pantone, but it may vary depending on where the job is being printed.
  18. Yes, Serif has said in other threads on this subject that they do not expect INDD files will ever be supported, but they hope to support at least importing IDML files at some point in the future. It is unclear if they intend to support exporting them or not.
  19. I think you might possibly be confusing the color space conversion with color matching which is done because of the differences between display colors, printer inks, etc. Not all ink is created equal. Starting out with CMYK 100/50/0/0 against some particular standard and printing to a specific printer will cause the values to be adjusted based on the characteristics of the ink that printer uses, in order to try to closely match the color of that standard based on the characteristics of the particular ink. If you turn off the color management then you might use the specified amounts of ink but the actual observable color won't match what you expect. I can send a purely black document to my color laser printer and it will still mix a bit of color into the black ink because the black ink is not "true" black as per its profile. High-end printers are more likely to have higher-quality ink that more closely matches some standard or another, but even those go through calibration against some profile and the ink that comes out may not be an exact match for the CMYK values coming in. While having a swatch book could certainly help if the printer is actually calibrated accurately, the benefit of the "color bridge" set is that it is designed to provide colors that have similar matches in both process and spot color spaces, selected for being printable. Even without the swatch book, restricting to that set of colors means using colors that should be possible to reproduce somewhat closely on any given printer, so you don't wind up choosing screen colors that a printer is not capable of reproducing. If the calibration of the screen and printer are off, then swatch book or not, it will never quite match up. For that level of matching the proper hardware is essential. The profiles that come with the screen or printer will give a better match than not having a profile at all, but any two of the same display or the same printer will not have exactly the same profile, and the profile changes as the devices age, requiring periodic updates to those profiles. If someone is using 3rd-party ink with their printer (a very bad practice for numerous other reasons also) then that ink is unlikely to match the characteristics of the manufacturer's ink and will thus require a different profile, which they are unlikely to provide. If choosing screen colors that are out of range for the printer, then it will never match up quite right with or without calibration - you would be seeing colors on your display that the printer would be incapable of matching. This is what restricting to the pantone color bridge set can help to avoid, as the colors should be at least theoretically possible to reproduce, though the match will still only be as good as the device profiles being used.
  20. All PostScript printers support both on input (plus a few). All PDF printers support both on input. In the end, the ink itself is CMYK, so the printer obviously needs to have the data in the CMYK color space at some point. Converting CMYK to RGB only to convert it back to CMYK at the end of the process would seem rather silly... but granted that I've certainly encountered stranger things out there.
  21. The ability to create fields in a PDF is something that has been brought up before in other threads; this is not currently implemented in Publisher.
  22. Printers never work in RGB. They are always CMYK, in some cases with an extra color or two thrown in. Some printers (particularly those that accept PostScript) will accept RGB colors coming in, but convert them to CMYK before actually printing. Since the color gamut that a printer can reproduce is usually smaller than the gamut of a typical monitor, using a CMYK color space with its more limited range helps to reduce the usage of colors that the printer won't be able to handle. Setting up your document with a color profile matched to the printer can help even further if you know that is the only printer that the document will be printed on. The exception would be if a printer does support those "extra" process colors - something like a 6-color inkjet or an HP Indigo or the like - then the printer can actually handle a wider color gamut than CMYK and using that could artificially limit the range of colors that you can work with. Another option is to limit yourself to using the Pantone™ process colors found in the Swatches palette (try the "color bridge" set). Those should map well to most color printers.
  23. You could consider pointing out (assuming this is true) that InDesign files were not given as a requirement when the work was negotiated and that you are using more modern software whose authors did not choose to include support for that particular format? When people ask me for Word files from something I create on my Mac (without Word, and which they are not going to try to edit) I always tell them I can try exporting to a Word file but that I make no guarantees that the Word files will be correct, and that they should check the included PDFs to see if the Word documents translated across correctly...
  24. Yes, this is not the first time this has been mentioned, and I definitely agree.
  25. You can have more than one document palette, and each can be [re]named. The name it imports with would be the name the palette had when exported, not the name of the file used to contain the palette upon export. "Document" is the default name given to a document palette when created. This is appropriate as only document palettes may contain global colors. These sound like bugs.