Dear Affinity - Team,
I was wondering if it would be possible for Serif to offer a iPad / iPhone App to use the Device as 2nd Screen for quick selection of Tools, filters, Layers or other stuff, to use the screen of the MacBook or MacBook Pro for an lager Workspace to see the photo or image the user is working on.
The Connection between the devices would be via Bluetooth or the local WiFi.
For a number of months now behind the scenes we have been producing a workbook for Affinity Designer, and I'm pleased to let you know it is available from today!
This is a big book - 448 pages, in hardback - and it includes fantastic projects created by some top designers, as well as a comprehensive reference to all our tools and panels, and a set of core skills tutorials.
You can find more information about it here.
Usual price is $49.99 / £37.99, but we are running a 20% discount for the launch making it only $39.99 / £29.99 (+ shipping and handling).
It's worth pointing out that right now the book is only available in English but we do plan to do a German version which should be available towards the end of the year.
Well, the basic thing behind it -if you were asking for that- is that RGB is a color mode whose spectrum is quite wider, is created to represent colors based on light. When the colors are formed by the light of a screen. Which can be extremely intense, bright and saturated. On the other side, CMYK mode, in its several profiles, it covers a range of color which is printable, as are colors based on what a pigment can produce in physical supports. Of course, a full control of the cmyk process is impossible without knowing the paper, cardboard, cloth, etc, at where it is going to be printed. We often don't know fully well that data of the print company, and is not the good way to do it.
So, one system is for color based on light (RGB), the other, in pigments, as would be the oils and acrylics of a painter, or the inks of a home printer.
What I do more often than I realize later on when speaking about it like now, is I often start in RGB (I don't need the plugins and other operations -mostly- that allows RGB and usually not CMYK, that's not one of my motivations, I do stuff with very core operations in any 2D package) , usually even sRGB, then do a first conversion to cmyk , the target profile, too (I do realistic or detailed humoristic illustration) to check what colors are not safe, and then keep blocking, painting, just having in mind in what gamma I'm going to stay, but in RGB. From that point, converting to cmyk is only a check which after it I go back in history, to not loose quality, several times, but I never do the rgb -> cmyk->rgb unless there was some problem or customer requests changes after saying it was only for print, as mentioned.
Yes, working in RGB kind of give you a global export solution as is the more rich version. Even so, can be a lot of problems when not working from start in cmyk, in a project or customer that extremely loves over saturated tones. But then also, the file preparation has a ton more things to care about. specially, attending the particular specs and guidelines (bleed, profile, etc) of the company that will be printing.
Art Rage, Corel Painter, MyPaint, a lot work in RGB mode only !, and seems they rely on a second package for serious workflows: Be it Adobe suite or whatever. That's where AP and AD can come extremely useful for that user base ! If they want to print in offset. (which is a lot of the serious, massive publications)
Even more, if they get the brushes behavior revamp, they can be one stop (like PS actually is) for illustrators, comic designers, etc, not needing any other tool.
About compatibility is "lost" ...hmmm... noot really. I mean, not so bad. Unless we speak of flat design (corporate logos, etc...but there you might surely need Pantones' support, etc) and in the process you are not maintaining the exact cmyk mixes and etc. Done with care you can do the two ways, just knowing you are probably loosing quality each time. Again, it depends a lot in what you are doing and how are you doing it. In painting, you might need to do image adjustments, to over paint and fix things, but nothing dramatic.
Hi everyone!
My name is Tatiana I am from Russian city of St. Petersburg. Please tell me where I can write about the problem with the export of Affinity designer to EPS?
Thanks!
