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About LCamachoDesign

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  1. I've searched this topic but couldn't find anything going into the point I'd like to make, at least not directly. I feel the development cycle of Affinity products is unreasonably long. Version 1.6 was released on November 2017, version 1.7 was released June 2019. That's 1 year and 7 months! I think it's a lot more reasonable and useful to everyone involved to release one new feature or improvement every month or two months at latest. I understand that larger features take a lot of time to develop and sometimes require changes to the underlying architecture, these can't be pushed out monthly obviously. But a lot of the pain points of Affinity suite are often small naggy things that could be fixed/changed/added within a month. Take the Swatches panel for example. Renaming, editing colour value, changing global/overprint/spot status, are all done with different right click menus and dialogs... but Affinity already has a near perfect unified dialog for this, just go to Swatches > Add Global Colour. The finish dialog would need a toggle defining the colour as global/regular at the bottom, and a toggle to name with swatch with the colour value at the top. Then a very quick fix for this pain point would be showing this dialog when double clicking a swatch and get rid of all other menus and dialogs. Let's say Affinity replies "great idea, we'll do it!" … right next to "we'll show it to you in a year and half! Talk to you in 2021!"... Thanks I guess? I'm pretty sure this feature could be pushed in a 1.7.2 release instead since most of the work is already in place, it's just a tweak to the interface. Another confusing choice in the Swatches panel is this, create a global colour then right click it and do Add Chord to Swatches > Tints. All tints added are regular colours... if I right clicked a global colour and asked for tints, there's a very good chance I actually want all these as global colours too... I now have to right click and Make Global each and every single swatch... The fix for this is making the chord swatches the same type as the origin right clicked swatch. Again an easy fix. Affinity might think I'm some sort of brilliant UI engineer (as if...) and implement this, but if it takes waiting until 2021 to see it then it's not so great. This could be included on 1.7.3 instead. And so on with all the small fixes and changes here and there. This does not stop big features coming out as major point releases, these can still happen obviously. But bringing QOL improvements every month is a much better approach to deal with issues and difficulties that manifest on day to day work. Thanks!
  2. I'm going to bump this topic with my +1 I've recently tried the iPad version of Affinity Designer and the touch interaction is much better! I disagree with bringing the whole iPad UI to the desktop, mostly because there's some key features missing in the iPad (global colours, swatches on layer styles...), but I do agree in bringing the Windows touch interaction to the iPad level. Thanks!
  3. When you select a path with a vector brush already applied, the Brushes Panel should show which brush that is. Right now it's impossible to know for sure which brush have you applied to a path once you deselect it. If you look at the attached image the applied brush is clearly not the brush shown in the Panel. When you select the path the Panel should automatically select the correct brush (which is a few brushes up in this particular case). I'm requesting this under the desktop section of feedback, but this same request is equally valid for the iPad. Thanks!
  4. Ability to apply colour swatches to layer effects, such as the pictured Colour Overlay. Right now you can only use sliders and wheels on these. This is particular useful when used in conjunction with global colours. You can apply a global colour to a large number of layer effects, and change every single of them instance just by editing the global colour. I use this a lot in illustration, rather than paint any drawing in it's 'final colour', I have the brush set to black and the layer with a colour overlay effect attached to a global colour. If I later want to change the illustration colour I just edit the swatch. Thanks!
  5. I've searched around and while I see people asking about this, doesn't seem like there's any kind of formal request for this feature so here's one. Essentially it's what the title says, please add the ability to create, edit and apply global colour swatches in illustrations and designs done on the iPad. Global colours are a fundamental part of vector design and illustration, the need for this is vital! Right now the only workaround is to create them on the desktop and then open the file on the iPad, but this has limitations besides not being able to edit the swatches on the device itself. For example if you apply a global to an object, the swatches panel will not indicate in any way that the colour is apply to the object, unlike in the desktop where you can see the swatch highlighted. Thanks!
  6. +1 on the ability to create, use and modify global colours. I've recently got a hold of an iPad and discovered this issue. Kind of a show stopper since I use them extensively... I also noticed you can't use swatches, even the normal kind, in layer effects such as Colour Overlay... I honestly think the swatches panel needs a big overhaul, both desktop and iPad. I mean just have a look at the how the Swatches panel works on Illustrator and copy it, then sprinkle a bit of InDesign features into it and you have a perfect panel. No need to reinvent the wheel. I'm always puzzled on how these things happen, Adobe's swatches panels are widely known, there's no way the team didn't know them. It's almost like they decide on a meeting that "we know these panels works great, so instead let's make something similar, but that works worse!"
  7. This bug is rather tricky to explain in words, so you'll just have to look at the attached documents and images. Pay attention to items circled in red on these images. Open the attached Test.afdesign file Notice how the blue rectangle looks like and how the effect was achieved in the attached Affinity.png image Export the Affinity file to a PDF/X4, default settings Open the PDF in Adobe Reader (or any PDF reader), notice how the white texture is almost invisible as seen in Acrobat.png image Open the PDF in Illustrator CC 2019 Examine the clipping mask and group structures, notice the group containing the white brush texture has 20% opacity applied as shown in Illustrator-1.png Set the said group opacity to 100%, as shown in Illustrator-2.png, notice how the brush texture looks correct now Affinity Designer is rasterizing the opacity of the brush texture layer, then applying the opacity again to this rasterized layer. So the final transparency is 20% of 20%, that's 4% transparency at the end. Strangely this bug does not happen if the Colour Overlay effect is not used, check the Test-NoColourOverlay.pdf file. Moreover, this bug is transversal to all Affinity apps. You can trigger it in any of the apps. Even more interesting, this bug shows even if the file is not directly exported, you can trigger it in Publisher by linking to the file. This one is easy to explain in words: Open Affinity Publisher and create a new document Use File -> Place… and place the Test.afdesign into the document anywhere visible Export the Publisher document using the default PDF/X4 settings The same bug will show up in the exported PDF The only work around I've found so far is to disable "Allow advanced feature" under "More..." PDF export. This flattens all transparency. Or use other presets (X3 or X1a) that don't support live transparency anyway. The issue with this is these presets don't output that good results in Affinity... X4 is the best to keep fidelity to the original file. Thanks! Test.afdesign Test-NoColourOverlay.pdf
  8. If you change the displayed/active artboard of a multi artboard Designer file placed on a master page, this change won't be reflected on regular pages. It always shows the artboard that was first visible upon placing the file. It's possible this also happens with other types of multipage documents (Affinity Photo, PDFs) but I only tested with Designer files. Steps to reproduce: Open Affinity Designer Create a new document with 2 Artboards Draw a purple circle on the first artboard and a blue square in the second, just so they're instantly recognizable Save it somewhere, you can now close Designer, it won't be used anymore Create a new Publisher file, check Default Master so a master page is already applied to any pages added Add a few pages to the document, let's say 6, just so the issue is more evident Double click Master A in the Pages panel so you can add elements to it Place the Designer document you saved on step 4, by default it should show the first artboard, the purple circle Notice the purple circle is correctly displayed on all pages where the Master A is applied Back on the Master A, select the placed file and use the context toolbar to change to the second artboard You should now see the blue square on the master page as expected Notice that the blue square is not being shown on the pages where the master is applied, instead you continue to see the purple circle This is not just a visual bug, if you export a PDF all pages will indeed have the purple circle instead of the blue square Thanks!
  9. I'm seeing a similar problem on the Table panel. If you look at the colour swatch on the context toolbar at the top and the swatch on the Swatches panel, you'll see they both are the a darkish blue (C100 M10), but on the Table panel it looks like a vivid blue that's not even possible in CMYK. Thanks!
  10. Ok, so Adobe is using a fixed value while Affinity retrieves the value from the font itself. That clears it. Thanks for the answer!
  11. I'm not sure if this is a bug on the Affinity (or Adobe's?) suite, or something else I'm not understanding. I'm betting on something I don't understand so I'd like to hear a word from someone knowledgeable in fonts. I've noticed the character leading default value is smaller and variable in all Affinity apps, while on Adobe with value is larger and fixed. On Adobe's software, no matter what font you choose, you will always get the same default leading value for a certain font size. Let's always use 18 pt for clarity sake. So in Adobe you'll always have a (21.6 pt) character leading value for a 18 pt font size, regardless of the font chosen. On Affinity for a 18 pt font size the leading will normally be (18 pt) too, but this value varies with the font chosen. I've only seen it going higher than (18 pt), but normally just a few decimal points. For example some fonts have a leading of (18.6 pt), others (18.4 pt). I have noticed an outlier though, Gabriola has a huge (30.6 pt) leading. For what it's worth, the Affinity values seem a lot closer to what I'm seeing in LibreOffice, for example Gabriola has a huge leading value in both. I'm not sure what to make of this... anyone knowledgeable in fonts can help me understand what's going on? Thanks!
  12. I'd prefer that double clicking a swatch would open a dialog box similar to the Add Global Color dialog. There you'd be able to change the swatch name, color value, global and spot color properties, and preview how changing the color affects the artwork with clicking OK to confirm the change, or Cancel to discard it.
  13. If you make a copy of a global color the new color will have the exact same name as the original. This causes all sorts of problems since no two swatches should have the same name. Steps to reproduce: Create a new global color in the Swatches panel, notice the name Right click it and choose Make Copy Check the name of the new global color, it's the exact same as the original Strangely, this does not happen to regular colors. If you make a copy of a regular color the app will always change the copy's name. Thanks!
  14. The color mode/selector in the Add Global Color dialog, found in the flyout menu of the Swatches panel, is always in HSL Color Wheel. This is independent of the document color space or the type of color selector you chose in the Color panel. If you change the color selector in the dialog to something else like CMYK Sliders it will revert to HSL as soon as you open that dialog window again. Thanks!
  15. The color picker found in the Add Global Color dialog dialog only picks colours in RGB, independently of the document color space. Steps to reproduce: Create a new CMYK document Create a new object on the page, for example a rectangle with C:0 M:0 Y:0 K:20 Open the Swatches panel From the Swatches panel flyout menu, chose Add Global Color Use the color picker found next to the drop down menu to pick the color from the rectangle Notice the color value is expressed in RGB rather than CMYK Thanks!