Bryce

Hey @Bryce,
I've been able to replicate your issue with the warp group on a master page failing to visually update pages which have the master applied, I've now logged this with the developers.
 

mac OS - 10 computers x3 apps = 30 updates.
Each one wants to update from the web. Are there updaters to download and put on a server instead of each one doing their own download?

Hi Walt,
I was getting to go back and answer my own question. I see I can also click on the keys and download, which I knew, but the full version app can overwrite without need to reenter everything.
thanks for pointing that out!
Bryce

Actually, it was Aldus Freehand - at least when I used it. Loved it. When AD came out it reminded me more of Freehand than IL and that's what got me started again.

I learnt Illustrator first (it's what they taught us at uni), which is probably why I preferred it. I never quite adjusted to Freehand's drawing tools. But whichever one you happened to prefer, the competition between the two apps was good for everyone.
 
Yes, a truly anti-competitive move—one that benefited no one but Adobe and its shareholders. At the time I was naively enjoying the promised integration of Macromedia's web tools (Fireworks, Dreamweaver and Flash) with the classic Adobe apps, and didn't realise that Adobe was becoming too big and too powerful. Within six years of killing Freehand, they killed perpetual licenses too—another big middle-finger to customers like us. Since then, I've come to believe that we all suffer when we give too much power to big companies—one of the reasons why I'm very happy to give my money to Affinity instead of Adobe (even if Affinity's apps still have a way to go).

I love it!  Great job!  And thank you for not being subscription based...  Now, if only you'll make something to compete with Premiere Pro & Audition as well as PDF, I can kiss Adobe goodbye forever

Great idea.
Could be placed in an "Inspector" or "Appearance" panel, together with "overprint" and such.

Thanks for confirming that for me and I'm sorry to hear this!
I can verify our team are aware of a bug whereby when exporting through the Export Persona with 'Cloud' folders on the system (even when not exporting to them), this can cause the Affinity app to 'hang'.
This issue is logged with our team and we hope to have it resolved in a future update - I'll be sure to 'bump' this issue with our team for you now.
I hope this clears things up 

Again, a topic conjures up fond memories of FreeHand.
FreeHand had just one kind of text object. It could be set to auto-expand horizontally (i.e., becoming functionally equivalent to a so-called "art text" object in other programs) by simply doubleClicking the right middle handle. It could be set to auto-fit its contained text vertically by doubleClicking its bottom middle handle. The text objects could be bound to and released from paths (instead of being treated as a separate "path text" object). They could be threaded, whether bound to a path or not. They could be set to auto-expand when bound to a path, thereby preventing the problem of accidentally truncated text in complex maps, as is so chronically common in maps built in Illustrator.
This is conceptually parallel to the fact that FreeHand also never had any need for two separate selection tools. Its single selection tool enabled you to edit paths at the whole object level and at the node editing level. That elegant interface design made path drawing far less tedious, more fluidly efficient, and more powerful than any drawing program that insists on following Adobe's hideous model of two primary selection tools.
Macromedia finally gave in to ill-advised "demand" from Illustrator users to add a second pointer tool. When added, it provided absolutely no additional functionality. It was literally nothing but an accommodation to Illustrator-habituated users who just refused to learn that it was absolutely unnecessary. FreeHand users simply ignored it. It was not until FreeHand's very last version that its white pointer did anything that the black pointer didn't, and even that was a minor detail that could have been implemented without adding another tool.
Despite Illustrator's two selection tools (three, really, when you include the ill-conceived "Convert AnchorPoint Tool")--actually because of it--Illustrator to this day does not "know the difference" between a path being selected at the object level versus merely having all its AnchorPoints selected. This causes all kinds of silly inconsistencies such as being unable to use the Break Anchor Point command when all of a path's Anchor Points are selected. (You have to unintuitively de-select at least one Anchor Point for it to work.)
Because object selection is so bedrock foundational to an object-based program, its tedious effects "cascade upward" throughout the program's interface. In a nutshell, it's what makes working in Illustrator feel as frustrating to beginners as trying to eat spaghetti with a single chopstick.
It's because Illustrator's white pointer behavior is conceptually "upside down" from intuition. It's the selection tool you have to use to edit a path.  But its first click always selects the most "internal" sub-part element of whatever construct you are trying to manipulate. Rather than intuitively selecting an object of interest and then "digging down" to its subparts with subsequent clicks, Illustrator's scheme first selects some "molecule" of the object of interest and requires use of a modifier key and subsequent clicks to "back out" of it to each next higher level.
It's metaphorically like getting up in the morning and needing a pair of socks. So you intuitively try to open your sock drawer. But your hand passed right through the closed drawer, and the only thing you can grab is a single thread of a single sock. So you have to then use both your hands to select a single sock, and grab again with both hands to grasp the folded up pair. All this "Bizzarro World" behavior instead of simply opening the drawer and grabbing the pair of socks.
The beginning of the end of FreeHand was not the Adobe acquisition. It was when it started to emulate Illustrator's hideous interface.
Unfortunately, because things like selection tools and text objects are foundational to the program built upon them, I'm sure it's too late to back-track the existing conventional-wisdom (i.e. "like Illustrator") in either case. But I say again: If you want to build a better drawing program, Adobe Illustrator is not the program to emulate.
JET

I was a PagePlus user back from 1993. I find the the new apps very refreshing. not much changed throughout the years with Serif other than small upgrades here and there for Windows OS. It's nice to see Serif saw the future and took it. It was not with Pageplus. i had moved to the Mac and the only way was to use Parallels. Now I can use it on anything and it's tremendously more powerful. I would sacrifice all templates - I don't need them. I want tools to get the job done and Affinity has put Serif on the right path. 

Fair enough.
As for Calendars, PagePlus and Microsoft Publisher are the only ones I can think of. Xara Designer may do it, but I'd have to research more into it. For the life of me, I cannot remember if Deneba Canvas did calendars. Probably not. I'm also not sure if Pagestream has kept up with development to provide these facilities. There also used to be Green Street Publisher, but that was aimed more at the home user, despite having excellent bar code creation features built in to it.

it was marketed as professional, but we never took it seriously because it never could output correct PDF's. They were always RGB even if the colors were correct in the file. Pageplus could export separations but we do not want the programs exporting them. Printers need to control how the files are exported and separated for their equipment and imposition purposes.
Affinity programs can export correctly with spot colors and pantone colors in the exported PDF files.
I always wanted PagePlus to export right, but it couldn't. I still use it for things such as calendars and other items because I don't know of any thing else that can do that. I then export the files as PDF, correct the colors, and then import them into Affinity or Adobe (pretty much have left Indesign). If I could find another generic calendar maker, I would drop Parallels and Pageplus, but for now I haven't found anything that competes with this old program.

I was a PagePlus user back from 1993. I find the the new apps very refreshing. not much changed throughout the years with Serif other than small upgrades here and there for Windows OS. It's nice to see Serif saw the future and took it. It was not with Pageplus. i had moved to the Mac and the only way was to use Parallels. Now I can use it on anything and it's tremendously more powerful. I would sacrifice all templates - I don't need them. I want tools to get the job done and Affinity has put Serif on the right path. 

I was a PagePlus user back from 1993. I find the the new apps very refreshing. not much changed throughout the years with Serif other than small upgrades here and there for Windows OS. It's nice to see Serif saw the future and took it. It was not with Pageplus. i had moved to the Mac and the only way was to use Parallels. Now I can use it on anything and it's tremendously more powerful. I would sacrifice all templates - I don't need them. I want tools to get the job done and Affinity has put Serif on the right path. 

I was a PagePlus user back from 1993. I find the the new apps very refreshing. not much changed throughout the years with Serif other than small upgrades here and there for Windows OS. It's nice to see Serif saw the future and took it. It was not with Pageplus. i had moved to the Mac and the only way was to use Parallels. Now I can use it on anything and it's tremendously more powerful. I would sacrifice all templates - I don't need them. I want tools to get the job done and Affinity has put Serif on the right path. 

Welcome to the Serif Affinity forums, @krasnit.
First comment: Publisher is what you would probably use, as a PagePlus user, not Designer. If you buy Publisher it comes with several templates, but probably all are more complex than you would want for a newsletter.
Second comment: If you have a template in PagePlus that you like, you can probably export it as a PDF, and Open the PDF in Publisher. That will get you something close, though not perfect. But the adjustments you would need to make would be straightforward.
Next: You do not need to be a "web programmer" to do this. None of the Affinity applications involve web programming.
Finally: The purpose of the Affinity application suite is to have a set of applications that work together, sharing a common data format, and available on Windows, MacOS, and iPadOS (rather than just on Windows as the Serif "Plus" applications were). It is a completely new set of applications, designed from scratch to allow the common data formats, interoperability, and multi-platform support.

Welcome to the Serif Affinity forums.
No, there is no mechanism to import .ppp files, and if I remember correctly Serif have said they do not plan to provide one. It would be a lot of work to develop an importer/converter, and due to functional differences between the products it would not be perfect.
You can either keep usiong PagePlus in parallel, or use it to export all your .ppp files as PDF files. PDF files can be used with Affinity Publisher, and may transfer better than an importer/converter would if it existed. It still won't be perfect, but it's probably the best you can do other than using PagePlus for those projects if they need to be updated.

I just uploaded the files.
@Anto - all pictures are the same size 5x7@300. I want them to shrink to put on buttons. 
@walt.farrellI was using picture frames. I'm not sure how to data merge pictures without frames.
 

I used to use the 1 bit bitmap tiff an awful lot as an Adobe user. I can't find a simple way to drop a bitmap into a document and colourise it within the document, and also have a transparent background. I know I can create a png with transparency and drop that into a designer or publisher file, but this is no good when working with line art. You simply can't do it with the same quality.

Thank you for the nice talk. I'm out for good.

Welcome to the Serif Affinity forums, @volker epting.
The Affinity applications provide only a subset of the available Pantone color palettes. The Affinity Store documents the ones that are included at https://affinity.serif.com/en-us/designer/full-feature-list/ which shows:
I see all of those in my copy of Designer (on Windows), and they should be present on yours, too, in the Swatches panel. But if your printing company wants a different one than those you will need to obtain it somewhere else, and add it to Designer yourself.

@Bryce You have to add Layers (e.g. with the Add Layer button in the Layers panel) and move the Elements into those Layers and use an export preset that has the option to include Layers (hiding under the More button). For demonstration purposes I attached two files for you to look. And don't worry, you can open the afpub even in ADesigner.
layers.afpub layers.pdf

Neither InDesign/QuarkXPress/VivaDesigner have a document dpi. If this old bug is still there it needs fixing. 

Unlike the most recent Adobe Apps icons, the Affinity trio has enough contrast in that regard.

Best regardS

Yes. You can see exactly what I mean here with LibreOffice, which has customisable tool bars/menus/context menus. There is no direct equivalent to what you want, but let's say you want an option to capitalise every (highlighted/selected) word - something which LibreOffice offers. This is not in the standard context menu, but I just added it in a few seconds. The 150%/Page Width/100% are also not standard, but I added those too. It's sometimes far easier to just right click over something and have the option that I want.