O. Chevetaigne

A question for experienced logo designers:
 
When tasked with creating a new logo, how do you deal with the issue of size?
 
For example, the client may want to use the logo on a business card or small thumbnail on a website, but may also want to use it on a large banner.
 
If it is all vector it should be scalable - but at what size do you begin designing originally?
 
Any other tips or methods you've found that would be helpful?
 
Thanks!
 
:)

I mean, for whoever have been using graphic software, specially a wide range of it, like 2D and 3D, and a wild variety of uses and profiles, it is pretty clear that what benefits us is several approaches, independent, and so, not leaving you, the user, under the rain when a single, dominant, with all the freakin' cake for its own, decides to set hyper high prices, and/or forced subscription models.  You have almost everything merged under same umbrella, and if this umbrella decides to milk money from you and diminish the freedom of usage and purchase options, you're left there with no other option...Congrats... Also, a bit of a myth.. When one gets enough expertise in software, one can build super complex workflows in most tools that really care for the professional. Affinity does. Corel, too at least in some of the apps. 
 
I could write a book, despite being most experienced in Photoshop than in anything else, or maybe, thanks to that, of the so many points, here and there, where other apps do BETTER the stuff than PS. Indeed, I have right now about 5 mid/low cost ones  in my mind, that do rather better for any comic author/illustrator/painter. Just how terrible would it be even if there was not a Corel Painter out there, or not even a Clip Paint Studio/Manga Studio. Heck, so much people trapped for ever in whatever despotic decision of a single company. No, thank you very much, but let's have a better idea/solution... Again, is countless the pissed off people with : Freehand elimination, Fireworks, (even Page maker! Not every body loved that), XSI, a very large etc. IE, MS acquired a bunch of excellent apps for vectorial design from a Japanese company (sorry, can't remember now the name, but can dig it easily), (I believe it was lke 3 or 4) by acquiring a company, it went downhill, in reality, stopped development, went way of the Dodo, to finally offer it free, but non updated, and lastly, I believe now is not even offered the download. Even while some were as innocent as to believe it was being a merge that would serve to improve those Japanese jewels (better funding, using also MS technology, blah blah. But I knew the story from other cases  ). 
 
Truespace had a ton of bugs, but a large community. Finally it got acquired (owner sold it for good money, like any of us would), and the development stopped, though they were as kind as to offer as free download a last version (7.x , can't remember exact one): of course, that's the end for any app, at least closed source ones.
 
The great high detail modeler , Sculptris, a sweet tool offered by an individual for free, had an extreme speed of develoment till got acquired , and the guy contracted by Pixologic (it was really imo a two fork matter, the guy was REALLY good). These people are certainly user friendly, so they had the great move of keep offering it for free. Still is, and even created a forum section for it. But oh surprise, no further real development on it. It was indeed gonna be serious competition at least in the low range of usage it'd allow. A bunch of customers not having the top market needs (ie, not video games studios in the AAA range) would just grab it instead of purchasing Zbrush or similar.  Us as users got benefit from that ? nope... it'd rarely would have make serious damage to Pixologic, but yep loosing certain number of sales (is a clever move from them, but risky).. We'd have today a much more evolved free or very low cost app for our high detail modelling stage. Even so, this is the most gentle, by very far, action you can find when a large company is trying to eliminate competitors that might become a danger. (or which are, already) And it is because the style of Pixologic has been always very user friendly.
 
Of course, many of those are purchased once they are close to disappear for financial probs...but a ton of them just are offered a good sum to the owner.... Usually , it was his/her baby, and treated with care...once purchased, most times the intention is even badly disguised: Trash the app. No passion for it at all, other than a strong desire to eliminate it as fast as possible. Many times is just after the target of you only haveing ONE option to purchase. They wont fight/invest to eliminate those that are less of a threat, or... that have already too strong numbers of followers.(in case they actually care for that kind of thing)
 
Also, the argument of "hey, you are late", is not considering one (very) important  aspect. I fully respect your opinion, btw, but imo, maybe that statement is perhaps not taking in consideration one of the main factors of the strong following Affinity has: Some ppl are REALLY pissed off with the imposed renting. And other...issues with certain monopolies. Some do need already an app, can't wait. So , or will stay in Adobe's boat, or just will purchase Quark. Or depending or their needs, will stay with the older serif's app,  or just use Scribus. But I firmly believe several of those will jump ship to get into APub once is out. 

Affinity Designer will accurately create a pdf when cmyk is used for elements when exporting to a cmyk pdf when the document profile and pdf profile match. The same is true when a document is designed in rgb and the same rgb profile is used for output. Any other output condition used that differs from the document profile will cause a conversion.
 
How much difference there is depends on the colors used. So if rgb is used that cannot be represented in cmyk there will be a definite color shift, more so as one uses rgb further away from cmyk's gamut. Color shift can/will also occur when going from the document cmyk profile to a different cmyk profile (along with ink densities).
 
Accurate color can only be assessed using Acrobat and pdfToolbox and their color inspection tools. Visual comparison can also be done using Adobe Reader. Other pdf readers may not be truly color managed and most will not accurately represent transparency and overprint conditions. 

For me it depends but in general for vector art or elements, yes. I do leave continuous tone images as rgb in general. 

If you use 400 dpi it will make absolutely no difference to quality. The file size will be bigger and it will slow things down a bit, but that's about all. Do so if you wish, it wont improve the quality but it wont hurt it either.
 
Websites are pixel dependent, not resolution dependent. I think that's the right term ?
 
i.e. If your browser is 1024 pixels wide, an image of 512 pixels will fill half the screen. If you make the image 1024 pixels, it wont double the quality, it will double the size. So 1024 pixels will fill the whole screen.
 
In other words, if the website say 100 pixels x 100 pixels, you must make it 100 pixels x 100 pixels, or it wont fit !

Normal four colour litho printing is done with a LPI (lines per inch) value of 150. For that you really need 300 pixels per inch. i.e. twice as many pixels, to get the right quality
 
Some very high quality litho printing is done at 175 lpi or (very rarely) 200 lpi. This is very hard to do and needs the right paper, the right ink, the right printing machine, the right image and so on. 
 
That is what 400 is about, very high quality Art print type work, but for 99% of printed jobs, 300 is perfect. In case you are wondering. there is no advantage of using 400 dpi for a 150 lpi printing job.
 
In other words, unless you are told different, for printing always use 300 dpi.
 
For web sites, they vary so much with Retina displays (as Alfred says) you need to know the pixel resolution for each image. But never mention inches for websites. They have no use whatsoever. 
 
If anyone quotes inches for images (website), They don't understand.
 
For example, 72 pixels (an inch according to some) is a hell of a lot smaller on a smart phone than on a 50" TV. Although both are likely to be 1920 pixels. Neither one will display 72 pixels at one inch.

Great points, and I *really* want to like Affinity. The decider, though, was I also wanted to learn Illustrator, and to get Illustrator, you have to subscribe. If I'm going to get PS, might as well use it. 
 
It's unfortunate - I'm considering a career change into graphic design or something similar, and not many companies are requesting Affinity (or Pixelmator) experience.
 
I'd love to tell Adobe to stick it too, but for now, I have to maintain the status quo. I'll be watching from the sidelines. 

I like Pixelmator a lot, but it's not yet as "robust" as PS.  (PS has a big head start on Pixelmator and AP).
 
In case you haven't heard, the dev team has announced that Pixelmator Pro is coming "this Fall".
 
It looks as though they won't be announcing the pricing until some time closer to the actual release.  
 
Personally, I'm hoping that they aren't going to adopt a subscription model for this new app. That's a large part of why I want to say "adios, Adobe!"
 
As for learning a new interface - I hear you!
 
But all pain and frustration aside, it's good for us cognitively to keep challenging our minds.  At least, that's what I try to tell myself whenever I can't figure out how to get an app to do what I'm trying to get it to do!
 

 
 

PIxelmator (for Mac) just announced an update (V. 3.7) that supports HEIF and High Sierra (including "the ability to launch Pixelmator from the Photos app and save edits back to original image").

Thank You, Fernando, Mike and gdenby!
 
:)

For more information about the launch and how to buy go here. 
 
Here's a recap of the new features in Photo 1.5, along with tutorial videos which will accompany the features...
  Focus Merge Support   Focus merging allows you to generate a detailed composite image from a number of images focused at differing lengths. Use File -> New Focus Merge to get started.   Video tutorials: Focus Merging Focus Merge Retouching Focus Merging Bracketed Images   HDR Merge Support   HDR merging lets you create a deep, unbounded 32-bit image from a number of exposure bracketed source images. Use File -> New HDR Merge to get started.   Video tutorials: HDR: Merging and Tone Mapping HDR: Tone Map Presets HDR: Panoramas HDR: Preprocessing HDR: Advanced Editing HDR: Ghosts Removal   New 32bit RGB Editing Mode   Photo now offers a full compositing / editing environment for 32bit unbounded images.   Video tutorials: HDR: 32-bit Editing   32bit Develop   Photo can now Develop RAW files directly into a 32bit document - so all highlights / shadows are preserved and recoverable at any time.   Video tutorials: 32-bit Raw Development   OCIO (OpenColorIO) Support   Photo now support end-to-end OCIO colour workflows.   Video tutorials: OpenColorIO Setup OpenColorIO Adjustment   Tone Mapping Persona   Full tone mapping Persona for both HDR and LDR images. This is obviously best used with an image merged by HDR merge - although you can use it on any image.   Video tutorials: Regular Tone Mapping   OpenEXR / HDR (Radiance) / 32bit TIFF Import / Export   Photo can now import and export .hdr (Radiance, RGBE) and .exr (OpenEXR) images. It correctly deals with 0-alpha cases (as per the OpenEXR spec) and generally operates in linear space. It support multi-layer EXR files and offers control (through Preferences) over alpha association and premultiplication.   Video tutorials: OpenEXR Multichannel Import/Export OpenEXR Import Options   Macros   Using the View -> Studio -> Macro and View -> Studio -> Library menu items, you can access new panels which will allow you to record actions, save them, then play them back later. You can also store them in a handy gallery.   Video tutorials: Macros Macros: Equations   Batch Processing   Using File -> New Batch job, you can queue up processing on a large number of files. You can resize, convert format and apply any number of macros to each file. The batch processing happens in the background - so you can continue working whilst the jobs are processed.   Video tutorials: Batch Processing   Live Projections   Photo 1.5 contains a new mechanism which allows you to edit an image in different spatial domains - we currently support the “Equirectangular” domain (360 pano - Ricoh Theta, etc.). You can use all tools when editing - and you can convert back once you have edited. This is especially useful for cleaning up stitching artefacts, or artefacts at the zenith / nadir of the image. Use the options in Layer -> Live Projection to get started.   Video tutorials: 360 Live Editing 360 Advanced Editing 360 Retouching 360 Multiple Views Live Perspective Projection    Improved Pixel Tool   The pixel tool is improved in 1.5 - you can hold shift when dragging to constrain the direction of painting (sorry we did not get this working sooner!). You can also select what happens when you hold Alt and drag - erase to transparent, erase to background colour, or erase to whatever the nominated snapshot / history location is (like in the Clone tool).   New “Pixel Art” Document Resizing   Photo now contains an alternative way to resize a document - using well known pixel-art resampling algorithms. If you work with pixel art and want to use this feature, it’s located under the Document menu.   Video tutorials: Pixel Art Resize    New “Accumulation” Brush Dynamics   Many users have asked for “Opacity Jitter”. For us, opacity is a constant thing and will remain constant. However, we have added a new property to brushes - “Accumulation” - which should allow you to get what you need         Text Styles   Affinity Photo now has the same Text Styles support as Designer - it’s all shared code so it should work right out of the box         New Marquee Modes (Polygonal, Magnetic)   Photo now has 3 modes for the freehand selection tool - Freehand, Polygonal and Magnetic.   Video tutorials: Freehand Selection Tool   Even more RAW cameras supported   Over 70 new RAW cameras are supported.   Improved Metadata Mining   Our detection of RAW / JPEG / etc. metadata has been upgraded and some serious bugs have been fixed.   Massive Improvements to Export Persona   Our Export Persona has seen huge upgrades in this cycle - you now have total control of exactly what resolution sets get exported. You can also use our handy batch export builders to quickly generate content for external consumption - ie. Xcode .assets - even Spline compatible metadata can be generated!   Layered TIFF Interop   Users have constantly asked us to support “Layered TIFF”. Layered TIFF is not a thing. TIFF with embedded data is a thing - and I’m happy to report that we now import embedded PSD / Affinity data and can write TIFF with embedded Affinity data.   Halftone Filter   We have a marvellous new halftone pattern filter in 1.5 - it can approximate monochrome, colour, circular and line halftones.   Video tutorials: Halftone Scanlines Effect   Improved Apply Image Filter   Users can how use the current layer as the source for Apply Image - or drag any layer from the layers tab into the dialog to use that as thr source. We also offer handy equations in the filter to control how channels are transferred - in an arbitrary colour source.   Video tutorials: Apply Image Apply Image: Equations   Improved Select Sampled Colour Filter   You can now select by intensity in the select sampled colour tool.   Equations Filter   A new Equations Distortion filter allows users to create custom spatial filters.   Video tutorials: Equations filter Macros: Equations   Dust & Scratches Filter   Many user have asked us for a “Dust & Scratches” filter - so we have made one. It’s extremely useful for removing sporadic small defects in images. Please let us know if it works for you.   Video tutorials: Dust & Scratches Filter    “Edit in Affinity Photo” Photos extension   This is something which we didn’t think we could do - a Photos extension for Mac OS 10.9 and above which simply allows you to use the full Photo app to edit your images - and stores the changes you have made as a layered document.   New Colour Picker Tool   After literally thousands of requests, we have implemented a dedicated picker tool for colours.   New Clone Sources Panel   We now have a new studio panel which allows you to store up an unlimited number of global sources for the Clone / Healing brush - it even works across multiple documents.   Video tutorials: Clone Sources Clone Sources: Texture Creation   Direct PSD Write-Back   One of the most requested features - direct write-back to PSD. A number of 3rd party DAM applications will happily deal in PSD - but until now, Photo required you to File -> Export for PSD. No longer! You can now just hit File -> Save! You will need to turn this on - in File -> Preferences - please read the warning there carefully!   Video tutorials: Direct PSD write-back (round tripping)   No Thumbnails Option   This is more a Designer feature, but I promised it some time ago so here it is - you can choose (in Preferences) not to write out a thumbnail with your documents. This has the advantage of making your documents use less space - but obviously you won’t get Finder thumbnails, etc.   Improved Vectorscope   Our old HSL vectorscope is no more - replaced by a vastly more appropriate Rec.709 YUV scope with an improved graticule         Improved Photoshop Plugin Support   We have found a significant bug with our plugin code - it has been fixed       :) We are now finding the majority of plugins work properly.   Multi-monitor Colour Profile Support   Sorry it took so long to get this fixed - we now can profile different on different monitors.   Adjustment Performance Improvements   Found and fixed a simple issue which made changing adjustment parameters appear to be slow. Fixed.   Automatic Lens Corrections   Automatic lens corrections (distortion and vignetting) are now supported for a wide array of lens profiles. This option is available in the Develop Assistant (enabled by default).   Video tutorials: Automatic Lens Corrections  
Improved RAW Colour Handling
 
The way colour operations are handled in the Develop persona has been improved - the difference is most noticeable in images with intense, saturated colours (think low light photography with lots of artificial lighting).
 
Video tutorials:
Raw Colour Quality     This update also includes literally hundreds of fixes and small improvements, some of which are listed below:   - User control over two pass rendering on Retina devices. - PSD import / export improvements. - PDF import / export improvements. - Snapping improvements - candidate-free snapping, gaps-and-spans (Alt key in Move Tool), so much more! - Performance and stability improvements for macOS Sierra.

Hi Catlover
 
Don't worry we're not planning on switching to subscriptions, as mac_heibu said it's just another option that can be used by developers for the Mac App Store, but it's still the developers choice whether to use it or not

DAUB Markers are not set to deal with Tilt but I left the Rotation Jitter empty just to leave this option open to users.
 

Now some clarifications.
 
Tilt is usually the angle between your pen and tablet surface (or its complementary).
The one that allows you this
 

 
 
To be more precise there are three angles dealing with pen/paper interaction, using Serif's notation:
 

 
If your pen tablet supports those Affinity allows to bind them to different Jitters.
 
All Wacom pens support Tilt (that Affinity splits correctly into Tilt and Angle )
Only Wacom Art Pen support Rotation (which is basically pen's barrel rotation, so shape rotation).
 
In the case of Markers it is a design matter: the very best marker dynamic cannot yet be reproduced, in particular chisel-shaped ones.
 
Chisel-shaped markers allow different strokes depending on:
 
Barrel orientation - And it is OK
Can be bound easily to Rotation, but you need a Wacom Art Pen to reproduce this.
 
Tilting angles 
These are available, but they should be bound to the Shape Jitter to shrink/enlarge your nozzle in order to reproduce the correct chisel intersection with paper. Unfortunately Shape Jitter currently works only for Round brushes and Square brushes, not for Texture Intensity brushes.
 
A square brush is the best shape to approximate a chisel nib, but unfortunately this type of brush doesn't support yet Rotation Jitter.
 
So the best solution so far is a Round brush.
Unfortunately texture would not be that best, but if you're more interested in dynamic this should not matter.
 
Anyway, being there, I'd expect Shape Jitter as new feature sooner or later.
Moreover I'd suggest to split it into Horizontal Shape distortion and Vertical Shape distortion to have more possibilities.
When those are ready I'll provide an upgrade to this set!  :)

No, it is not that difficult …  :)
 
Basically, you can think of rasterising as a process of taking information from a certain source and transform it into pixel information. The outcome of a rasterising process will always be a pixel layer. And the basic parameters for calculating the pixel information are taken from your document and the respective source. There are at least four main areas of applying the rasterising process:
Placed objects Vector objects Layers with modifiers like masks, effects, (live) filters, or (live) adjustments Pixel layers Let me quickly describe these applications one after another:
Whenever you place an object in a document, it will show up as an image object there. The placed object will retain most of its properties, such as the native resolution, while some of its properties get changed, such as the colour profile. Rasterising an image object will turn this object into a pixel layer, thereby stripping the original properties from the object and rendering it at its current size into the document.​ Whenever you rasterise a vector object, such as a curve or a dynamic shape, the vector object will be rendered into your document as a pixel layer. Since the vector information will be transformed into pixel information, you will loose the editability that is typical for vector objects, but you will gain all the editing options that are typical for pixel objects. For example, you can make pixel selections now or use the eraser on your new layer. Now suppose you nested modifiers like masks, effects, (live) filters or (live) adjustments to a layer of any type. Then these modifiers will appear as children of your layer in the layers list. When you rasterise the layer, the information that is contributed to the layer by the modifiers will be merged with the information provided by the layer itself, and the outcome will be once again a pixel layer. Rasterising a layer with a lot of modifiers applied will free system resources, since these effects don’t have to be calculated anymore. But you will loose the option of editing the parameters of the applied modifiers. Finally, suppose you have a pixel layer that overlaps the document boundaries. By rasterising the pixel layer, you will in effect trim that layer down to the document size. The overlapping areas will be lost. Furthermore you must be aware that some other processes require the rasterising of layers beforehand, like the application of certain effects. Hope these explanations make sense, and help to clarify the issues a bit.
 
Cheers, Alex  :)

Hi, HYR  :) 

I examined your PDF and it looks like a Designer bug.
 
The document actually contains your bleeds, but the groups (from artboards) are set to clipping masks. Look at the picture below, I did a screenshot of your opened PDF with the masks (crops) disabled. You can also simply import your PDF back to Designer to see this.
 

 
I also tried recreating your design on my own and exporting and got the same results. When exported as individual artboards, no problems, grouped, same trouble.
_______

However, I don't see any point in doing any print design composed from multiple artboards. If it fits your workflow, you probably have only one solution.
 
What I do on every print job is pre-press preparation.
I create a new document with the same dimensions (in your case the dimesion of all 3 artbrds combined) and paste my design in it, including everything.
Then I convert texts to curves, clean the shapes and layers, check the color formats, etc (not neccessary with your test design). Then, of course, the export is not problematic in any way.
See this image, you can see I imported the design with bleeds. 
 

 
It seems like a lot of additional work, but I found out the pre-press prep in the new clean document is important to me, since I can do all the simplification before print without messing with my original file. Plus you basically need to do this only once before sending to printshop, so it's not that bad... :) 
 
Here is the result PDF
and
here the source file
 
Hope it helped :)

-

Hi Jens,
 
This thread might help a little regarding which to choose - the 9.7 inch or 12.9 inch iPad Pro:
 
https://forum.affinity.serif.com/index.php?/topic/18791-ipad-pro-apple-pencil-users/?hl=apple+pencil
 
:)
 
O.

Jens,
 
Some more info which might help you make your choice:
 
Jason Snell compares the 9.7 inch iPad Pro to the 12.9 inch, in his recent review of the 9.7 inch model.
 
:)

The Grey Learning courses for the Nik Collection (by Photographer/author/educator Tim Grey) are now being offered for free.
 
(Don't know if enrolling for these free courses requires any other commitments)

Hi amnesia,
Welcome to Affinity Forums :)
The Develop Persona is where you convert/process RAW files. Lightroom does it but it's also an assets managements software - DAM - (it's able to manage libraries and apply settings to groups of images etc). Affinity Photo doesn't manage libraries. We will have a separate software specifically for that later.

Hi ngineergeek,
 
maybe these older posts are still useful for a proper understanding of image and pixel layers:
 
https://forum.affinity.serif.com/index.php?/topic/13651-layers-and-masks-concepts/?p=60276
https://forum.affinity.serif.com/index.php?/topic/13815-couple-of-questions/?p=66856
 
Cheers, Alex  :)

I fully sympathize with the issues of a "broken" CS6 and extortionate subscription for CC. However, I think the iPad has such a gaping hole with respect to professional illustration and photo tools, that it is very sound reasoning to try to get there ASAP.

I'm one of the designers you refer to. I reluctantly pay Adobe a fee every month to use InDesign. I'm not opposed to subscription pricing, but I do think Adobe's pricing is extortionate; so I've long been looking for an alternative.
 
I agree, that Affinity can be that replacement for a lot of people. Small design houses, freelance designers, students - these are the people and businesses that Affinity should target. Move on to much larger companies and agencies, and you will be hard pressed to move any of them away from tools and workflows that they have heavily invested in. It has to happen eventually... just look at Quark, but releasing three Mac apps isn't going to make it happen. Half of Adobe's dominance isn't how capable their tools are, but how ubiquitous their tools are.
 
I was looking forward to a speedy release of Publisher as much as anybody, but it's hard to fault a company for focusing development on an emerging technology where (if done well) they could arguably own customers mindshare.
 
A 30 year old interaction model (desktop PC's) won't dominate in the future, it can't, technology moves too fast. I won't claim that the likes of an iPad is ready to take over and power businesses worldwide right now, but I do believe that thinner, lighter, faster, and more natural (like pen on paper) devices like it are the future in an industry such as design.
 
So while Adobe faff about making gimmick apps designed to tie you further into their world, and require their desktop tools for any meaningful output; someone like Serif can concentrate on making apps that can actually be used for professional output. The next generation of designers will flock to a great app on a device they love, and happily wave goodbye to the desktop. Companies like Adobe will show themselves to be the dinosaurs they are, and continue extorting larger businesses until they're forced to die or change (there's definitely a little hyperbole there).
 
TLDR; There's definitely money to be made by releasing desktop apps, and still years where the desktop will dominate; but there's more money to be made by owning the mindshare of a generation raised on touch devices.
 
Can't say I blame them for focusing a little more on something like the iPad Pro. If released quickly, Affinity Designer could see them on stage at the release keynote for the next iPad Pro.

Best news so far this year:D I received my iPad Pro the other day, together with Pencil and it is the hardware version of Affinity Designer, so naturally you have to create the software to the hardware. 
I am using Autodesk's Graphic so far, together with Procreate, both of which aren't bad, but if you can manage to create an iOS-version only half as good as your OS X-version, you have a client:) And if it works together with the OS X-version, all the better. Can't be beat then. And if it will have the Pixel Persona... oh wow... :D

You're welcome!
I'm not an hw guy as told before, my approach with tools is really basic and pragmatic.
I find Adonit products well built and professional, but I waited too long for a proper implementation and responsiveness...
Anyway I think that these actors are almost guiltless.
 
Adonit? They made their best... SDK, R&D, partnerships, new products...
Software houses for SDK implementation?
Even Bamboo Paper paired with a Wacom stylus works so and so...
Former iPad generation was not designed to work with styluses. Period.
 
Now let's see what will came out do with the new technology in terms of third party styluses.  :)
 
I bought an iPad Pro for your same reasons and waiting for Pencil (there are some issues with stocks because in Italy and Ireland delivery expectations are 4-5 weeks... :( ).
The concept of "workstation" is today really fluid.
Start my work somewhere, continue it on my desktop and than back to mobile for sharing/feedbacks/presentation.
 
I'm sure Affinity crew will offer us breath-taking solutions for iPad Pro.