Bryce

The ability to do the live warp in real time from different angles is incredible! 
The instruction videos show a little of what can be done, but messing around with it last night, you can use it right in the file you are working on. So many opportunities here.
Has other programs had this and I have missed it?
Battle for Sanity.mp4

First the positiv thinks, the performance is great, the workflow on the version 2.1 beta is top.
The only features who im miss is camera raw option after opening the desk when I have more layers and the smart-object option.  
 Thanks for the great alternative to Adobe 

yes, you're right, I have the exact same issue. 

Hi @Amir Anderson,
Thanks for your post!
I can confirm that the maximum size the Acrobat (and most PDF viewers) can display is 200" x 200" - hence the reason you're seeing this warning.
This is not controlled by the Affinity apps, as we are simply using the Adobe PDF format and Adobe choose to only display up to 200" x 200", though the PDF file exported from Affinity can be larger than this and the content outside of this area will be retained/exported as expected.
You can find many posts online regarding this maximum size, as well as posts regarding Illustrator exporting to PDF, which shows a similar warning - 
https://answers.acrobatusers.com/Maximum-Acrobat-page-size-q143051.aspx
This will depend on the specific printer & driver in use, so I would recommend consulting your printers/ printer manufacture to check this - again Affinity has no control over this.
I hope this clears things up

The ability to do the live warp in real time from different angles is incredible! 
The instruction videos show a little of what can be done, but messing around with it last night, you can use it right in the file you are working on. So many opportunities here.
Has other programs had this and I have missed it?
Battle for Sanity.mp4

The ability to do the live warp in real time from different angles is incredible! 
The instruction videos show a little of what can be done, but messing around with it last night, you can use it right in the file you are working on. So many opportunities here.
Has other programs had this and I have missed it?
Battle for Sanity.mp4

The ability to do the live warp in real time from different angles is incredible! 
The instruction videos show a little of what can be done, but messing around with it last night, you can use it right in the file you are working on. So many opportunities here.
Has other programs had this and I have missed it?
Battle for Sanity.mp4

Affinity applications do not incorporate Apple's font controls. And they have said they are not going to.
Apple blocks the fonts based on the internal PostScript Name. So you can buy the fonts and they will still not work because the name is the same. Blocking fonts you own is asinine.
Only way to make the fonts work is to change the name (properly including all the internal fields).

I'm seeing the same thing as Mike.
When first opened it does not show the bleed but turning off and on Show bleeds, then does show the bleeds correctly. It also exports fine using our custom press settings. There is a view bug but I think it is exporting right. I'm using the Ventura .4 and Affinity 2.1 - not beta
Perhaps there is something in the beta not working.

I am seeing an issue but not the one you're reporting.
@Callum when I open Dennison's afdesign file I'm seeing this in the upper right corner (left) - the bleed lines are there but not the content of the embedded PDF which is cropped off at the page edge. If I turn Show Bleed off and then back on I see the PDF bleeding properly. (That horizontal line in the upper right corner of the second screenshot is a custom printers mark so ignore that.) I'm only seeing this issue with the embedded PDF and not with a normal shape. I can't remember if this issue has been previously reported.
Left: Show Bleed is on when opening the afdesign file. Right: after turning Show Bleed off and back on
 
Dennison, I recommend turning Show Bleed off and back on so you can see what's going on. I doubt you intended your customer marks to be visible in the bleed area so perhaps take a look at that.
But regardless, I recommend turning on printers marks in the Export dialog even if you don't need them just so you can see what Affinity is doing. It's impossible to tell from your screenshot of the Export dialog whether or not there's a bleed issue but all looks normal when I turn on printers marks and zoom in on the preview.
I took a look and I don't see any problems either. I recommend turning on printers marks so you can see what's going on because it's impossible to see from your. I see the bleed extending in both directions to the printers marks. I've also attached the exported PDF of this afdesign file with printers marks on and it matches the preview.
test.pdf

Some reading that may provide some useful information for you: https://forum.affinity.serif.com/index.php?/search/&q=Athelas&search_and_or=and
 

that does do better, but I really can't handle dark mode very long. I don't mind for photos but design is just too dark and gives a feeling of tunnel vision.

That's certainly one opinion but I think there are a great many users & potential users who would have little or no use for AI powered features.

I agree. AD has slices that AI doesn't have and that is a game changer for making newspaper ads.
agreed. in the prepress side, I much preferred FH over IL when files came in. FH had the multiple size pages (artboards) long before anything else did and it was intuitive. You would have entire business packages in one file - Letterhead, business cards, envelopes. AD is much closer and that is what attracted to me it 5 years ago to start trying Affinity.

I agree that the Preferences > Shortcuts screen could make it easier to find a shortcut but the Help search feature is working for me. There were some scattered reports of the search field missing when v2 first launched. That appears to be a macOS issue with a newly-installed program. Just restart macOS and it should reappear.

Better yet, how about a choice, upon being notified of the conflict, of deleting the conflict without having to navigate to it. 

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