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Frank Jonen

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Everything posted by Frank Jonen

  1. Sometimes (like 98% of the time) moving Artboards around creates floating point pixel values in their position and dimensions. This always results in rendering errors (white gaps, wrong export sizes, distortions). The problem has not been addressed since Artboards got introduced. There's no benefit to having sub-pixel accuracy when moving Artboards around on an infinite canvas. It only creates problems.
  2. There is an easy one like that on the Mac btw: https://www.swiftpublisher.com On Windows there's BarTender, great connectivity and features, design of a pedestrian Word document: https://www.seagullscientific.com/software/professional/ Swift seems like a nicer looking PagePlusX when I compare your screenshots with their site.
  3. For the simple reason that InDesign XML doesn't require InDesign, it's XML. You can create and modify it in any text editor. This means you can create hundreds of different XML documents based on your data set. These just have to be parsed by Affinity Publisher. I never said this is a great route, but it's the only one we have with Publisher.
  4. I think at this point our best / only bet is to do it ourselves via the InDesign XML import. A python script that repeats over a certain pattern over and over is not hard to find, even if you’re new to scripting. Someone can probably make a dedicated one and put it on gumroad.
  5. You can place affinity files within affinity apps. Select them and you edit the embedded version of your file. There is no way of sensibly updating them though*, that was forgotten. You have to replace the embedded file each time. *) when externally changed
  6. So you can scale it without rendering quality issues. A motion graphics tool can use temporal anti-aliasing more efficiently when it can use paths to generate its own pixels the way it likes to process them. In Nuke for example you can get super sharp logos if you create a font with the base shapes and colour them in-app once compiled to match. In general, rastering to need vs pixel remapping is very different when it comes to render. Also most motion graphics apps will let you manipulate the vector shapes once imported.
  7. Ha yep! Good catch. I ran it with a single-pass only last night. This is what a 2-pass looks like. Should have done that in the first place. I can see a couple of other issues now with optical alignments that could be better.
  8. Yeeeah… somewhat Here's some inspiration from a working document I'm on at the moment. Note that I've adjusted the placements to skip the periods that would otherwise end up too close to the terminal characters (see 12.1 and 12.2 line). There's a tolerance of course, otherwise things like 12.1.2 would look stray. Leaders here are calculated from the logical outside in. That way it doesn't matter on which side I have them, they're always correct. In edge-cases you have to evaluate it more than once, but in this example it was a single pass.
  9. We read from left to right. In RTL language settings the leader would start at the right. In either case it always starts aligned with the logical outside. Otherwise it would look quite rubbish. That's why nobody does it from the inside out. You'd get this ragged edge on the logical outside instead of a clean line. Currently I typeset it in LaTeX where it is done correctly, render to outlines (since Affinity still can't import PDFs correctly) and place it where I need it. As for the extra spacing: In LaTex my function adds either an x-width, a half-space or an en-space depending on whether the first glyph has an apex going into a vertex, a straight vertical line, an overhang arm or a vertex going down into a serif. That's in addition to the regular micro-typography settings. Something like that would be great to have in Affinity. It'd be rather simple (from a UI POV) to handle that in the Optical Alignment panel with a control character like [leader]. That way users could easily control the spacing in a familiar UI that can be stored in a Text Style.
  10. This is half bug, half feature request. The OCIO config defines a colour picking transform. This should be reflected in Affinity's colour picker. In the past it was just sRGB (I think, there's no documentation on it). With the 1.7 releases we get an ICC looking colour picker that seems to be derived from the colour profile set in the document settings (or an arbitrary one?) The feature request part. Could we do without ICC profiles in 32-bit mode? Just use whatever the OCIO defines as base colour space and run with that? Or standardise on ACES even.
  11. Hi Sean, no problem. It happens every single time without fail. problem lineup.afdesign
  12. When you tab-align right, the main point where you'd use leaders, it fails. This also happens on the AppStore version.
  13. Depending on your documents and use cases mailmerge may indeed work. For me it was more convenient (even on the simpler jobs) to just generate a bunch of files and have the outputs organised in folders without having to do anything afterwards.
  14. Maybe this can help you: I've done similar things before in the past. Hundreds of name variations that all had to be integrated with the document and couldn't just be a quick-dry overprint at ink-time. I've always placed the main PDF as elements in a LaTeX document (often background + generated text + overlay) and wrote a small script to generate and process the tex files. Those either were generated codes from a database (or the script generated them on-the-fly and appended them to a CSV for later import to either a spreadsheeter or a database. In terms for flexibility, my more off-beat use cases were: Generate lettering from text in string variables. All glyphs were stored as press-ready CMYK images in a folder and named to their ISO name making it easy to grab. The run-time for a 400+ entry data set (names to glyphs, names to characters, address, gender based layout variant switcher) was like half an hour give or take to final PDFs. Probably because I was doing other stuff on the same machine as well. That was years ago though. These days I'd write it in Go and run it multi-threaded instead, cutting the time down to about a quarter of that. It's all just simple loops of if… then instructions. Anyone can do that after a short Udemy class (how I learned Go). Especially for clients who just discovered digital offset printing and want to talk to the recipient directly using their names like 20 times on a single page that's pretty much the only way to go.
  15. Will this be addressed (as you said you would) before the release version?
  16. I'm still hoping for Python instead of JavaScript. That way it's easier to have it talk to other applications to get and sync data across. Having JavaScript talk to an application only really works if there's a RESTful API or some other form of URL scheme, which pretty much no one does for internal use. With Python we could talk to pretty much anything to get text into a catalog while it's still being worked on. Also the ML libraries available for Python could really help with doing custom image pickers for large catalogs.
  17. In Photoshop it was easier. It took just one key when dragging to get even spacing to the edges when cropping. No need to rasterise and the document remained intact for future edits. You just couldn't make it bigger again. I'm doing the output in Publisher now. Pages = different crop versions for lossless ideating.
  18. Just the normal way crops work pretty much everywhere. You hold `command` and the crop tool just works as expected. In Affinity that never was the case. To get an exact crop we always have to go through this highly annoying dance of nesting the entire layer stack to a rectangle. Scaling it. Copying it to a new document and saving it from there. Urgh. The opposite side of intuitive workflows.
  19. Not having the opacity as part of the colour picker seems like a bug. We're in a layer context here where all colours are described as RGBA, so having the picker only be RGB seems kind of odd. Maybe a checkbox to lock the opacity like we have in the live filters would be a good solution, so we'd have a choice. There are valid reasons for both but neither apply 100% of the time. It would also eliminate the need to switch back and forth to Designer for the convenience of the opacity tool. Edit: Yes it's indeed a bug. When you bring up the Colour panel you can pick the colours normally. RGB + opacity for each stop of the gradient. It appears the colour pickers used in the toolbar and top tool bar are different from the normal one.
  20. It's the tool you use to scale things. They're usually called 'scale' or 'transform' / 'interactive transform' tools. You pick an object and it shows you the transform handles. Hold the designated key for the desired transform constraint and drag the handles. Now try the same with the crop tool.
  21. I know this has been asked a few times before (because it's weird to not have it). Can we have the same constraints on the crop tool that the scale tool has? Not being able to crop properly and having to create a rectangle, nest the layer stack below, copy and paste to a new document to quickly get the proper cropping is just crazy. But it's what we have to do at the moment.
  22. Keep in mind Adobe also has an ingrained hatred for Linux stemming from the GhostScript vs PostScript days. That's also why their purchase of Substance will leave a bunch of users in the dust when the time comes to do what Adobe always does with acquisitions. But for VFX? Adobe doesn't really care about VFX in the first place. Look back at how insulting they behaved (and still do) with claiming the inventors of OpenEXR were wrong about the format and only Adobe is right about it.
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