abra100pro

Same here - in my understanding it cannot be that hard - however I struggle with it again and again.

Thanks Lagarto - the Pantone has nothing to do with it - I just switched shortly to it and then back to show that I really have selected the right swatch colour. But your answer above is interesting - I have to dive into this a bit more... I usually start with UncoatedFOGRA CMYK. I understand that the CMYK (and all other model's) colours is interpreted by not only the HEX code but other things like Profiles. I'm still confused about when this happened. I use this swatches in AD and APub in different documents.

Thanks for all the feedback! I didn’t know about Fogra being "out of fashion" ;-). The prinshop guy said fogra was fine with them. (I must say, the guy is technical head of one of the largest printshops in Switzerland. They do fantastic and complex work). What I do not understand is that the CoatedFOGRA-profile ads yellow to a paper known for being at the yellow edge by itself... I must say that we didn't have these problems when I did exactly the same in Illustrator. Could it be that the profile from Affinity has a problem?

I was on the phone with my very experienced printer dude. He said that we have inconsistency in colour values. My situation: I create documents for different types of carrier media - mostly coated or uncoated papers. How do I make sure that a certain blue is the same as close as possible on coated as on uncoated paper? The guy from the printershop says that the PDF made in Affinity designer with CoatedFOGRA (CF) 39 has quite different CMYK values than my original file - a certain blue tone has 6% more yellow than the uncoated version which leads to a really different kind of blue. It is kinda hard to explain in English - (even in German it's not easy for me),. I create a Document in CMYK/UncoatedFOGRA and design a blue shape with the CMYK values 89 56 0 0. With UncoatedFOGRA at PDF-export he gets values of 84.5 53.something 3 0 and worse: with CoatedFOGRA he gets different values and among them 6% yellow which leads to a "complete" different blue. Considering (according to him) that coated paper has per se a yellow tint he (correctly) states that we will end with approx. 12% more yellow which is a galaxy away. I must admit that I am not the profile pro. My background is multimedia production. In my understanding I design a certain colour and the profiles just make sure that the material it is printend on is taken into consideration. I'm confused and really appreciate any clear and easy advise. If you do have pity with me - please explain it as if I was 9 ;-). Thanks a ton.

I made it by entering the hex value into the hex-field and adding it to my swatches. I use theses swatches ever since and due to a colour conflict with the printer I counter checked to find the value being different. I dunno when It happened - I just know that I did not change the swatch.

I made swatches for this customer and never changed the colour. My docs all have CMYK/8 and I export them to either Coated or Uncoated FOGRA profiles.

Oh, great, thanks a ton! As always: quite easy when you know it!

See movie: Same shape - two different colour values. apColourdiff.m4v

You're right. No rocket science. However - many of the issues can be defined so differently that it is hard to find them. I call it "free transform", you may call it "perspective deformation", another one "3D distortion".... endless... However: we can shorten this: it is as it is, let's work with it! Give my best to guess the right topic.

How am I supposed to find pantone 2935C here? Move over a colour and can't even make out a pattern in the numbering... Did I miss the obvious?... Thanks for any help.

Thank you very much for your feedback. I really dislike the forum - the same question or problem being asked multiple times - with different answers - quite a mess...

My number on feature request is free transform of any element - see movie. It would be a quantum leap in vector design. adFRTransform.m4v

What sense makes a non-automatic hyphenation? What do I tell the programm to do with this checkbox? Besides: Affinity Publisher does not get it right, too:

Hi Please see movie - there is a text fragment on top of the shape which I consider a bug. Update: I found out that it only happens when I assign the wrap to the group consisting of the red shape and the white text - however: still strange... apTextwrap.m4v

First of all: Thanks for this comprehensive explanation! This is a lot of work and time, I know. I already expanded the arrows. And (to serif:) If I explicitly place an box that is larger than all inside it - which is confirmed by selecting all and seeing, that all inside the mentioned rectangle has its bounding box inside the rectangle I really expect the width, height and proportion to be defined by this very rectangle in all applications of it. And please: It makes absolutely NO sense to consider the X- and Y- values of the artboard on a canvas that has absolutely NO reference to whatever in the output/result. Please, Serif, remove this relation - it slows down my otherwise very fast workflow when designing with multiple artboards. Thanks! So, yes, I consider this a bug, too.

Thanks for the info - It wasn't the problem - I tried whole pixel values after my first post. I really wonder what it is with these fractions anyway - worst occurrence: having the artboard not exactly "on a pixel" has influence of the export-proportions - this is more than weird and makes no sense at all.

When I export two graphics with exact the same size they end up with different heights - see movie. An I making a mistake or is this a bug? Any help welcome. adExport.m4v

Didn't work in AD for a german text. See screenshot. Always newest available AD on Mac Catalina.

I have 5 artboards in a document - all of the same size. I want to add margin to them so I choose Document Setup and 8mm Margin - after confirm and reopen Document setup the margin is deselected. So I try again but this time I select all the artboards in the layer palette. Same (unexpected) result.

Thanks, Walt, for clearing things up for me.

See movie, file attached. apGroupChangesFont.m4v apGroupBug.afpub

You must not move it with the mouse - but with the cursor keys (together with SHIFT they move in bigger steps).

Why are there 2 settings for what seems one function (see images at the bottom conserning hyphenation)? and makes no sense to me. And: It would be marrvellous to choose the language for the whoe document in the document settings - it still may be locally overwritten. But it is a bummer to degroup everything ina large document hust to make sure you got all textblocks when choosing the language.

Oh, wow, yes, that is exactly what I was looking for. Thanks!

When you select something it gets these handles around it. Sometimes they disturb your view of the whole when moving the selection - especially if you nudge them to the best place with the cursor keys (left, right, up and down). I found out that these handles disappear when you hold the spacebar. Doing so you can then move/nudge the selected elements without distractions.