Wosven

This is exactly right. You can do this in Adobe and it is very handy when working on smaller screens. Lots of little things that I think have come from years of refinement by Adobe. They don't seem like huge things but are very functional for many people in various situations. 

I think I would tend to make my horizontal information small in those panels so I could gain more width in my workspace. I have often tried, in vain, to make it smaller.
 

I realise this post is ‘a bit late to the party’ but I only found it by accident while searching for something else.
One other method is to release the Filter from its current layer and then drag it back onto the layer – see attached video.
2021-10-08 12-42-02.mp4

Hey folks,
I have painted an item card for a trading card game we are developing in class - entirely in Affinity Photo!
Constructive criticism is always highly appreciated!

@DarkClown - The macros will not work with the embedded masks in Adjustment or Live Filter layers. But, if you are willing to create a separate mask layer (as a child of the filter or adjustment) they should work as expected.

But since it does not remember the angle, won't it always be applied in the default left to right direction, which I think is part of what the OP wants to avoid?
You can use the Vector Content Defaults to set whatever gradient you want as the default fill type, but of course that will then apply to every new vector object, not just to those you want to have a gradient instead of a solid fill. ☹️

I miss an item in File menu to "Close All" files.
 
Or maybe also a contextual menu over the file tabs to "Close", "Close All", "Close Other", "Close right tabs",...
 
 
Thanks.

Project Brushes 19 & 30 mixed sample set A2
Uploaded a sample set of the latest brush offerings used for #Inktober 2022.
Attempted to improve the brush set with the addition of PB 30 Comic Grunge and PB 19 Inker Texture samples
Still Consists of 40 Raster brushes but extracted from 7 inker Brush sets.

Updated for Affinity 2 but retained version 1 brush set
Affinity 01
Affinity 01: Original Brush set (Sample sheet removed)
Affinity 02
Affinity 02: Updated version 2 set with adjustment to dynamics to include Distance and Interpolate (Sample sheet as below). Replaced Linear Paint 01 with better nozzles! 
Extracted Brushes
1. PB Inker 19 (Used in 2020) from collection of 60...about to modify to version 3 so will be archived!
2. PB 19 Inker pattern (2020)
3. PB 26  Distressed Pattern (6) Blue
4. PB 26  Distressed Eraser (4) Orange
5.  PB 26  Distressed Paint (4) Green 
6. PB 19 Inker Texture (2022)
7. PB 30 Comic Grunge (2022) 

New Brushes highlighted in red!
Updated using new Affinity 2 brush dynamics
Samples as below:

Affinity 01
PB 19 - 30 - Inker Sample Set 2022.zip
Affinity 02
PB 19 - 30 - Inker Sample Set 2022 A2.zip

Myself, I would do the toggling in the spreadsheet.

Prove it!

I decided on the proofer and I use it regularly to create a batch of rolls. Here are the latest batch, newly proven. There are six more underneath.:

John

Here some features posted:
 

Yes, it looks like if the selection fails, but it is active. I think this is not a bug, but an imperfection.

This  missing functionality is another prime example where Affinity is effectively working against users and their expectations by neglecting  simplicity (wrt UI). Yes, you could achieve the desired results with more than one super creative workaround. But it will cost you hours to find out, more hours to implement, increasing complexity to your design and files.
I do not underestimate that this seemingly easy functionality could cause heavy complexity under the hood in Affinity apps, often resulting in bugs caused by edge cases, and evil users (including  myself) trying as hard as possible to find every issue often caused by those edge cases.
Never the less, the users are the paying customers.
 
BTW: I spend a day to get a gradient following the curve of an non-closed curve shape. Finally made a grayscale gradient vector brush in Designer, and apply gradient map adjustment to changes colors.

you just need angles, and calculate as a percentage of the 360 degrees of the circle, like with the Pie tool. But a added angle can perhaps help design cones in perspective... modifying the center position (this one would need an extra value for distance from the center), it would be useful.
Not being able to set an angle for other gradient is a problem, since you can set the exactly the same in the different panel for gradient. It's the same problem as not having in all the color panels a percentage for opacity.
That's this sort of problems that make Affinity's apps nice toys, when you don't need precision, or lack the time to use tricks to get the result you want.
Some would find added parameters like angle for gradients, opacity for colors, modification percentage for objects cluttering, but other would just find this helpful and necessary to achieve their designs. Meaning you should be master of all the parts of your work. Or it'll end up in bugs or being stuck and needing to switching app.
That's why I only do simple stuff in the apps. When working, time teach me to be in charge and in control of each aspects — usually that's the one you forgot that bit you in the calf.

And that's strange and can confuse, since the primary is supposed to be the first (visible, on top), and secondary is usually... behind. Using "foreground color" and "background color" would have been simpler that this... strange denomination.

And that's strange and can confuse, since the primary is supposed to be the first (visible, on top), and secondary is usually... behind. Using "foreground color" and "background color" would have been simpler that this... strange denomination.

And that's strange and can confuse, since the primary is supposed to be the first (visible, on top), and secondary is usually... behind. Using "foreground color" and "background color" would have been simpler that this... strange denomination.

You're welcome.
I think the problem is that the course is telling you to remove the tools you aren’t using.
That seems like work that isn’t necessary, at best.
Anyway, glad you’re up-and-running again.

06 Spirit
Original: 500mm x 500mm 300dpi Raster
Upload: 1772 x 1772 px

05 Raven
Original: 500mm x 500mm 300dpi Vector
Upload: 1772 x 1772 px

04 Knot
Original: 500mm x 500mm 300dpi Raster
Upload: 1772 x 1772 px

Specs
iPad Pro (2020 Model) 12.9”  iPad OS 15 Affinity Photo 1.10.1  
Still learning… 
framing of composition to guide the eyes  rim lighting atmosphere mood Grateful to have this on my iPad. Look forward to the future powerful updates Serif has in store. 
 
My Piece:

 
 
The Originals:

Thank you for your feedback so far – but I was already aware of the possible ways to repair such a color conversion or switching (assign) profiles temporarily .
I was rather wondering if I haven't noticed yet an according preference or option concerning the app internal handling of black on copy/paste (similar to the one for PDF export with "Overprint black").
I can't imagine of a situation were a color shift of 100 K text on copy/paste may be useful or desired by the user, so this conversion behavior appears as a bug to me. As @MikeW says, it is related to / caused by the specificity of a document color space in Affinity. So I'd expect that the app would at least handle obvious text objects in a special way which ensures to keep their 100 K color with no need for a manual fix after pasting within Affinity. With other words this app behavior feels as if a newer technology (Affinity) conflicts with an older but common and necessary standard (100 K text) – and thus conflicts with its goal of offering "Professional Color – True end-to-end CMYK for professional workflows" (which ironically seems to use a flexible understanding of "true").
 
Actually, I would expect these two 100 K / 50 K colour swatches in the Swatches panel to be stable & resistant to unwanted conversion as in copy/paste. As far I remember this 4 swatches were implemented after an earlier app version, caused by user requests, right? It appears this implementation is 'just' not finalised yet and 'just' needs to get connected to certain app internal tasks and consequences. – I assume that this problem of maintaining 100 K text could be set/fixed independently of the questionable handling of global colour swatches / document palettes and their still missing ability to copy/paste objects with their swatches: for 100 K the swatch always exists but isn't always respected by the app. Apart from the general oddity of non-global swatches, for this app's default 100 K swatch it appears especially weird.

I would say like @Old Bruce , using swatches and styles.
It would really be easier if the apps were able to import swatches from other documents and we could select them an replace them by other swatches via a prompt...
...but we ask this for years...