Bryce

That definitely looks like you have View > View Mode > Clip to Canvas turned on.

One way is from File > Document setup > Color tab choose either Gray/8 or Gray/16.

The purpose of Soft Proofing is to let you see how the image will probably look when printed, and compare that with how it looks on the screen. They can never match completely, of course, as one uses transmitted light and one uses reflected light, but the idea is that by soft proofing and adding additional adjustments you should get the printed version closer to what you see on the screen.
If you think the prints are coming out acceptably without soft proofing and additional adjustments, I'd say don't worry, be happy

I think you misunderstand.  Go back too far and the GPUs themselves (or their drivers) don't support compute at all.  On those new enough to do so, where Photo *does* allow it to be enabled, people are finding it is actually slower when using GPU compute than when it is turned off.  The hardware cannot keep up to the point that keeping the processing on the CPU is actually faster than using the GPU because of the requirements of a program like this.  It is not that GPU is not supported by the program, but using it on older GPU hardware (or possibly due to lower-quality drivers) results in slower performance instead of faster.

If apple have made it possible for us to achieve better results , what should we do? The same amount of effort are going into both and one is giving better results because of the Mac ecosystem. Complain to Microsoft as we want everything to be the best. Why would you assume anything else? Our answers are honest and open. 

Strange, it is MUCH more smooth on my not so beefed-up system [i7-4770, 16 GB RAM, GTX 1660 Ti, SATA SSD etc] with 16 Mpix image!
Show us your performance preferences, maybe you have selected WARP renderer?

vincentlepe
his answer is correct. close your Publisher and open both designer and Photo then close them and open Publsiher. It didn't work for me and after doing that it was fine.
One last thing is you have to own them both to get both buttons working.

vincentlepe
his answer is correct. close your Publisher and open both designer and Photo then close them and open Publsiher. It didn't work for me and after doing that it was fine.
One last thing is you have to own them both to get both buttons working.

@Petr Stark
Welcome to the Serif Affinity forums  
Have you run each application at least once?

I had this problem but closing Publisher, opening and closing Designer & Photo, and then re-opening Publisher worked for me, may be worth a try for you

Before the announcement I thought the idea to switch between apps was a great idea, but now we see how we really can work in the same workflow instantly is much better than I could imagine. Actually a very briljant idea!
I say; Adobe eat your heart out! Next year 3 milion Affinity users.
Thanks Serif for this Studiolink idea! This is indeed a great timesaver and makes everything even more fun to work with!! I'm so glad I once made the switch to use products made by this enthousiastic and clearly passionate team with a great vision!

If you want to create a webpage visually and not so skilled in web development, try these:
Nice Page
https://nicepage.com/
Mobirise
https://mobirise.com/
Pingendo
https://pingendo.com/
Bootstrap Studio
https://bootstrapstudio.io/
 
They're all modern and responsive(mobile friendly)

Illustrator is opening an AI file inside of the EPS.
If that EPS did not have the AI file portion, it would open the same in AI, as meshes (which is what the gradients are made of), are not a valid EPS constructs (same goes with PDFs). They are always broken into pieces in order to emulate the meshes.
Stock image sites should have a warning anytime a user uploads an EPS that contains embedded AI portions that have meshes in them clearly stating what will happen if opened in an application other than AI.
I don't know of any application that can open an EPS made with Illustrator that contains meshes and have those meshes remain intact. That includes CorelDraw. However, if that file is resaved as an AI file with or without the embedded PDF portion, CorelDraw retains the meshes. The screen shot is from within CorelDraw:

Even when AD has mesh capabilities, what you are getting in AD is what you will always get (pieces parts of the meshes) because the meshes are only to be found in the AI portion of an EPS and AD will likely never be able to open an AI file directly (especially the embedded AI portion in an EPS file).
Sorry.
Mike

I recently upgraded from the App Store. If you do not see the upgrade button, press cmd and click on 'r' and there you are!

Try selecting the object, then looking in the Color panel. It should tell you the fill color of the selected object:

You can split more than one now. You just hold down shift while you click on all the points you want to split and then split all at once when you click Break Curve. Maybe I'm missing something?

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Hi gafvert,
As explained above this situation is a little exceptional because we are preparing to release the first version of Publisher and we need to ensure its compatibility with the rest of the suite (personas integration, file format compatibility etc). We used to release updates more frequently and as soon as Publisher is out, I do expect updates return to their usual pace.

I'd agree that publishing more updates with smaller improvements to show that active development is taking place would be great. Since the software is very much a developing product with many features not yet implemented I would have expected much more frequent updates to reflect this. In fact, I've more than once spent time looking for "check for updates" settings, wondering if I've somehow disabled updates or missed new releases since I'm still on the same version I bought a year ago.

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Thanks @walt.farrell. That's what I would have wrote back.
By all the actual scammers out there Serif desevers a honourable mention that they are not.
@BitzSec: They want you to be 100% satisfied or you get your money back. And they really mean it.

Hello People !
i'm back in this topic today to share a quick job i've done recently for a young DJ from Paris in France. Well it is only a Business card model !
He's specialized in Christian music but also does some IT works but the point was clearly on music.
i will share two mockups i have made for him and you feel free to tell which one you would have chose and also please leave some inputs of what you would have changed in there to make it better.
All was done with current Beta version of Affinity Suite, nothing stable version was used.
it is my way of testing to find if there is a bug on what.
i kindly invite @Chris B and @MEB to also check and see what can be achieved with those recent beta versions.
Also i thank @AdamW @MattP and all the team member for the excellent job done with the recent Beta versions, it is a pleasure to work with it !
Take this to ask further improvement to be made to the Live perspective filter, it almost messed up the thing (with the mockup) so i was obliged to go the destructive route.
Please guys don't break it but make it even fluid and better that it is today and also more suited for robust and flexible projects.
Blessings !

Hello Everyone !
Was quite busy but wanted to share this with you.
I've been trusted to work on another project for Naîloth 'the journalist', this one is not yet finished as you can see, the provided photo is of very bad quality and doesn't match and is too much blurry and simply i'm still learning about photo.
Like the previous one, it is intended to make Naîloth visible on the scene and also it gives me a chance to apply few of the stuffs and technics i've recently learned.
Like for the previous, don't hesitate to give me your inputs and advice, telling how you think i can manage to make things better.
Blessings !

Hi Danny,
I personally am not into tats but your work speaks volumes! Great Job!
I too am using Affinity more and more. I have a print/sign shop and a newspaper and every day more and more is getting done in Affinity. 
Here's why:
1. Size: Adobe is limited to 200 inches. I've done over 1200 feet files in Affinity.
2. gradations and transparencies - much more powerful
3. iPad version is fully compatible and as capable as the desktop version.
4. Drop shadows actually export correctly rather than strange squares around objects that sometimes show up in print.
There are certainly things I have gotten frustrated over and that is the massive file sizes but I get over it. Much of the time though Affinity will fix files that come from Adobe. 
Sometime I'll probably post my comics here but I am completely amazed everytime I use Designer. One day I hope to be free of Adobe - though I don't see a replacement for Acrobat (and my plugins) any time soon.

I always wanted to play that game when I was a kid...
I could probably make RPG maps like that, but my eventual goal is to make something like a cross between this:

...and this:

 I've been working on this one big idea for a comic for a good while now. It's something I'll do in 3D, which'll give me a lot of flexibility without as much overhead as drawing everything piece by piece. I recently started to really pick up steam on it, but after hours upon hours of experimenting with the style,  I came to the realization that my mix of solid, bold colors paired alongside more realistically shaped assets just wasn't doing it for me. I thought that something a little more painterly would do me better. Something like the examples above. It'd allow me a lot more detail, and still help maintain my intended style.
It'd also be a lot cheaper on my polycount. Doing EVERYTHING with flat shaded polygons looks neat, but it's a drag on the old computer. This shot, the one that finally made me decide to branch out in style, is over 15 million polygons. I could cut this down to tens of thousands of tris easily by relying on textures more.

The only problem with it is I'm only so-so with painting textures. Which leads me to where I'm at right now. 
I'm still doing it. In fact, I bought a tutorial this last Friday that I've been working on. Upside? It's teaching me quite a bit. Downside? It's got me working on the same texture day after day. My one-a-day plan has changed into a more open ended practice everyday affair.
But I'll have something to show soon, I swur!