badcat

Would like to see an option allowing the conversion of Designer files that include multiple Artboards to Publisher Pages. Currently it seems as though all Designer artboards are converted to a single giant page in Publisher.  I have built a number of 24 - 60 "page" files using Designer in hopes that Publisher would have some option to see the artboards as pages.
Bonus Request: Allow entering "Number of Pages in the New Document dialog, saving a step from going to the "Add Pages" dialog.
thanks!

Agreed. This still seems to be the case. And... there's also still no way to search Swatches when making Global colours.   
Would be much easier if we could just right click on the colour and choose "Spot" like we do with "Overprint".
Worse.. when any edits are made to existing Spot Global colours, the colour loses the Spot attribute. 
EDIT:  FWIW, editing a Spot Global colour in Publisher KEEPS the color as spot.  (Go figure.)  Please fix this in Designer.
 

The default Grays palette available in Affinity Designer and Publisher is not CMYK-based, so if you apply the Black swatch from that palette, you'll get a rich black. Define your own 100% K black swatch and use that one.

Would like to see an option allowing the conversion of Designer files that include multiple Artboards to Publisher Pages. Currently it seems as though all Designer artboards are converted to a single giant page in Publisher.  I have built a number of 24 - 60 "page" files using Designer in hopes that Publisher would have some option to see the artboards as pages.
Bonus Request: Allow entering "Number of Pages in the New Document dialog, saving a step from going to the "Add Pages" dialog.
thanks!

I guess the main reason is what I initially mentioned - I want to see a difference between path object vs text object (that I do not have access to the path). My expectation for this comes from using other applications such as Aldus Freehand, Adobe Illustrator, Autodesk / Picta Graphic, QuarkXPress etc - which all handle text vs path object with a visual difference.

Hi chuckymendoza,
Welcome to Affinity Forums :)
Sticky settings are already being implemented (work in progress) in the latest Photo Beta (1.5). I believe they will cover the export settings too.
I agree that Nearest Neighbour is probably the less used of all the algorithms listed.
Thanks for your feedback.

A personal pet peeve of mine is design software that's not designed.
 
AD exhibits this in many ways, but most noticeably in how colour selection, picking and application is ... "designed".
 
I'm not a fan of how Illustrator handles this, either, for the record. But they have legacy as an excuse for not modifying the processes within their wonderfully nostalgic UI conventions and UX inconsiderations.
 
Plus Adobe appears to actively hate their users, so there's that, too.
 
Affinity is starting with a clean slate, and seemingly taken the worst of existing conventions of colour application processes and even managed to find some of their own uniquely special and horrid procedures.
 
The "eyedropper" tool's processes are indicative of either a precious sense of humour or just plain undesign.
 
Anyone else find these things to resonate, at all? 

The eyedropper function (really in both apps) is clunky at best. While it's possible I'm using it wrong, I can't fathom any other way it's supposed to be used.
 
Additionally, under the select menu, the "select sampled color" option seems to not work at all.

A tool that distorts groups of objects would be extremely useful - the most obvious use would be to distort  groups such as squares laid out in a checkerboard or tiled floor design add perspective. Ideally with no restrictions on the directions of distortion - similar to Free Distort.
For me this feature is actually essential rather than just useful.
Thanks
 

Affinity Photo and Affinity Publisher will be separate applications but all applications share the same file format. The applications will also be able to switch to each other to edit content without losing undo history.