Wosven

It can be tricky, if you modify the size of the image, and it's automatically updated. The result can be different, or badly cropped in the frame... only displaying details.
That's why I usually tend to check each update of content…

If black is blacker, the white paper will look whiter because of the contrast between the two. The actual whiteness of the paper will depend solely on the particular choice of paper stock.

It is exceptionally torturous to have the option to change brush size via [ and ], but then not have any shortcut keys at all for changing the hardness the same way. Also, why don't we just have the ability to add custom shortcut keys in the settings? It seems it should be trivial to allow a user to map an action to a custom keybind...

Using Ctrl + Alt is not quick enough and not precise enough since it relies on freeflow hand movement on a small 2D plane (especially impossible with a mouse). It's much faster to do precise increments with 2 keys only.

Please and thank you.

Podcast illustration. Hope you like it.
Behance gallery

I suppose this is a Multiple Master (MM) Type 1 font, which I think is only supported on legacy systems (and on Windows used to work only with Adobe Type Manager). It is a bit different on mac but it seems that on Catalina and even on Sierra there is something that eventually breaks the support and causes apps to either rasterize the text using such fonts, or convert it to curves.
I picked the font (consisting of nine PFB files) from my old Adobe Font Folio 8 but not even FontLab 7 or FontLab Studio 5.6 could open these fonts for editing.
There is an anecdote on Wikipedia about Multiple Master version of Adobe Jenson:
 

1. Create the needed number of square, tag them with a same colour and a stroke, space them as needed and put them below everything
2. Duplicate the document, and keep only the part with the icons and squares, delete all the other artboards and content, ungroup the objects and get them out of any Layer, before deleting the Layer.
3. And that's where the lack of "redo" or other iteration through selected objects is really missing in the apps:
use the Artboard tool,set it on "selection", and select one by one each square, and click on the button "Add an artboard" (don't use the "convert to artboard" option in the menu, since it won't add the objects above inside the artboard).
4.Select all the squares (similar tag colour), and set the stroke to 0 and no colour (or delete them)
5. Use the export persona
 
Being able to duplicate some slices would have been another good method if it exists... since we can select different ones and align them (but not resize them once selected ).

Or you can have a yellow /!\ on the top of your frame, you just need to click it to refresh the link.

One is simply an image, and the other one is a picture frame, with more options since you can modify the frame, auto-resize the image inside, etc.

I also thought that unchecking the option produced uncompressed JPEG images.

Could this be a bug in Affinity Publisher?
 

The first edition is not a sacrosanct edition!
In a new edition, text is added, text is removed, and text is moved. The same applies to the notes, which are also added, removed or moved.
Should the order of the old numbering of the corresponding notes be respected?
No, of course not, because that would be a headache without a name. All notes are therefore renumbered in relation to the new text.
The said note will then be referenced in academic works with the edition number [2022 A, notes 17 and 18], or if the second edition is used [2022 B, note 17, and 19]. Note 18 become 19.
You can also number the notes not from the beginning to the end of the book, but by chapter or other division. This makes it possible to keep most of the same numbers through successive editions.
 

That is to my mind wrong thinking. References are always going to be broken by new editions, that is why the publication's edition number is included in the reference.

You can add multi-channels colour for small text (it's better to have i.e. only black).

We did some tests here:
But what would be interesting is to knowmore about the "larger discussion":
 

Hi everybody. Here's my second project with Affinity Photo. What I like about it is the fact that I took the picture for the train. I mainly played with Hue and black and white filters as well as gaussian blur. 
I love Affinity Photo although it started crashing unexpectedly. I checked the Forum and it would be a faulty third party plugin; I don't have any. Did anybody experience that?

Sometimes, ID's files can be corrupted and bugged... the first reflex is to save as... and if it's not enough, we try export to IDML. This can take longer depending of the file. It's also possible opening the file or IDML with another ID version will correct the problem.
I didn't looked at the resulting IDML, but it's possible it's checking and deleting any data or propertie unused by the document, or causing trouble, as a repair mode.

Hi @nawkboy and welcome !
For this, you need to use the Fonts manager (Menu Document).

 
You click on the missing font in the list:

 
It'll be displayed, and you'll be able to correct it:

 
Just click again until the "missing" status disapears.

No seriously working DTP person would "just install" a him/her totally unknown programm that - moreaover - is not just "same same as Indesign" and print a book, work sth. out or whatever. They had to get used to it in order to "guarantee" the qualitiy they stand for. Do you pay their hours to do so, too? My DTP and visual collegues learned Adobes Creative Suite as I did 20 years ago at university od arts. After aprox 20-30h working with publisher I would say "ok, I get along with it", but exporting a print pdf for a expensive book or so - puh...one wring setting and you waste thousands of euros and lose possibly a customer or two...

I performed a quick reality check in IDML to X direction (ID CS6, QuarkXPress 2022, Viva Designer 10, APub 1.10.4), and except for Serif (and Adobe), the results were depressing. The test document was a finalized print job (successfully printed, 100% preflighted, cleaned and totally problem free), saved as a package with 330 pages and roughly 2GB of images linked, but otherwise very simple (e.g., its "footnotes" are manually created sidenotes). As this is just a single test, and I have no further experience on the latest version of QXP, and very little on Viva Designer, I cannot say anything about how typical their crashing on opening IDML documents is, but I have opened IDML documents with Affinity Publisher often enough to be able to say that even if it supports only a sub set of InDesign features, it generally does a pretty good job.
 
As for doing it the other way around (from native X to IDML), it should at least theoretically be equally possible (and ideally as robust as opening Adobe created IDML files is in any post CS4 version of InDesign). But considering that QuarkXPress and Viva Design have had support for interpreting IDML already for years, and they still fail in opening a document that does not use any of the advanced features of InDesign, it is safe to say that to stay professional and productive (not to say co-operative), there is point in staying with native documents, in both ends.
UPDATE: I subsequently tried to open the same file in Xara Designer Pro X v17, but it crashed, too. I then tried it with QuarkXPress 2018 where the document opened fine. It should be noted that even if IDML files can be opened, text (especially if fully justified and hyphenated, or wrapped around objects) will be wrapped differently from the original, so even if data could be exchanged both ways, the layout would typically be more or less messed up. As for Viva Designer's support for native .INDD, the conversion is server based (the original files will be sent over the Internet) so they are possibly actually opened in InDesign and then saved as IDML when sent back.

That’s a tricky thing to do well with a single three-letter word, and I think you’d need a more contrasty background than you’ve used in your example. If it were me I’d forget about the heart-shaped background, keeping the Ms as they are and using a heart for the O.

Obviously, you can't. So among other things Affinity will not be able to use footnotes or right-to-left text until those features are implemented in the Affinity apps. It does not seem very likely that is going to happen anytime soon.

I don't know why we cannot just have a Cookie Cutter / Die Cut tool or method that would automate this. Slice through the curves at the intersection of the shape you draw or choose to use as a cookie cutter.
Hell, even a Knife tool or Scissors tool would be great for this sort of work.

It would be interesting to see how VivaDesigner works with InDesign in round tripping, say a couple or three times back and forth. A brief look at the Viva site said they use different hyphenation dictionaries. From the site's PDF on Exchange with InDesign... This list is dealing only with Text, not other things in DTP there is another set for that.
In VivaDesigner, avoid options that are not available in InDesign:
Character Background, Character Frame, Paragraph Background, Paragraph Frame, hyphenation quality, text writing direction, Baseline Orientation, Line Counter, outline drop caps, drop cap indents, Layouts, Layout Style Sheets, Layout spacing as well as special Footnote and Endnote options. There is no list of things to avoid using in InDesign for exchange to VivaDesign.

Feature parity in-so-much as Serif can program same/similar features is, will be, always a race but can never truly be attained (there are things/capabilities ID has Serif has stated will not happen or take a "long time" to happen). However, APub's advantage is Adobe is adding new features at a snail's pace.
In-coming feature parity (as much as Serif can) can be attained over time. I don't think anyone thinks that can happen in one or two major releases. If they do, they are going to be sorely disappointed.
However, Serif can/could provide as good of .idml export as they can its import/opening capabilities. As one (opening) gains capabilities, so too could its exporting.
Even today, within Adobe InDesign, successful collaboration between disparate ID versions is always at the lowest common feature denominator. That is, capabilities of the lowest ID version dictates what a person with a newer version can/should do as regards using features not in the lower version. The same would apply to a successful collaboration between an APub user and an ID user.

The file in question isn’t a TIFF file, it’s a CR2 file with an incorrect extension.
I’ve seen something similar on numerous occasions when opening files in IrfanView, where the program detects an incorrect extension (e.g. a PNG file masquerading as an ICO file) and offers to rename the file. It would be good if the Affinity apps could do the same.

@ahnay Did you modify the title and deleted the content of this thread after getting an answer?
Don't do this, now the title and the answers don't means anything usefull for other users, when it's the purpose of this forum.