ashf

And a (very!) bad example is Apple's iTunes, which grew from a nice little music player into a confusing monstrosity.

Would be nice if you could add this.
I know I can achieve it by closing open curve, but Illustrator does it and it's useful.

I request that PDF export More dialog box would be supplemented with optional Unsharp mask filtering part:

That would allow sharpening document images during export as batch operation. Operation flow would be then resample > sharpen > convert to CMYK, which is optimal.
Let me explain how I do this now with InDesign.
Typically I have publication with 48 pages and 55 images, which should go to press within 2 hours. And all the images are original, not photoshopped at all! How to handle this situation?
Easily. I select in InDesign menu command Zevrix>LinkOptimizer: 

And click Analyze Document, check if all files are OK, and click Process. LinkOptimizer opens all images to Photoshop, resamples them to 300 dpi, applies USM, converts to CMYK, and saves both images and ID document as copies to project folder. This happens while I drink a cup of coffee,  in about 4 minutes. After that I select Export in InDesign, upload the resulting PDF to press service website and go home early (instead of spending the night processing images by myself).
Me happy. Be like me and go home early.
Now, factually Publisher can do the very same processing in PDF export, except the sharpening part (well, InDy can too, without expensive ID add-on, except that sharpening part). Resample, sharpen, convert colours. If this part is added, you too can go home early!
I know there are people who insist that automatic processing is not going to give good enough quality. I say if source material is good enough this is qualitywise so good that it is fine 90 % of cases (I certainly fixx obvious image problems like white balance), (also if you do just fine art coffee table books this is obviously not good enough for you).
And I know there are people who do not do anything to images (like who cares, customers do not see any difference). For those this would increase print quality a lot.
I hope this can be added to PDF export without too many problems – I would guess PDF libraries are so modular that this can be fitted in easily enough.

I requested something similar for Publisher PDF output as there is also resample routine in PDF options:
Same sharpening routine could be added to any export options in any Affinity app.

I suspect affinity photo does not support "BigTiff" formatted tiffs.  I was able to open a half float 16 bit exr file.  I am currently trying to open that in the tone mapping module

All features and functions in 1 app is more a (reasonible) matter of marketing than an advantage for the user. There is no need to have all in one because the work is done in a specific order or devided in devisions, e.g. drawing/construction of objects (geometry), painting/imaging of surfaces (texture mapping), defining light, setting cameras and camera paths (animating), rendering. ... In large projects it is more common and more useful (oeconomically efficient) to separate all the tasks to different specialised people or teams than to get all steps done by 1 person. It is rather a complex industry than a 1-designer job. So none of them needs access to all tools. Like in a factory.

+1 for repeat command

Hello dear people,
Would you know how to flip an object/shape through a self-defined point in AfD?
"Flip Horizontal" would always flip through center, even after dragging the  "center-point" to some place else. (Crosshairs-thingy in the screenshot). Moving this point makes my shape rotate around it, but has in my case no effect on other transformations than rotating).   

Thanks
 

This is something that we have hopefully fixed in an upcoming beta. Keep watch on the beta forums for further news.

You don't even have to click Apply (in the UI), you can just press the return key.
So if "To Selection" was a mode for the current cropping tool that is saved as preference, you could just
- select something
- press C
- press return
- done

Hi ashf,
Thanks for the letting us know - I'll get this passed on to development.

That's included too

Just to let you know a fulll review is under way - these reports will be forwarded.

Would be nice if  Serif cloud add an option to fit Crop tool to selection at least.

I'm in luck today, I wanted to find a video about this, and the option is visible on the first page!
Once you have selected your stroke(s), use this "Expand stroke" option, and to merge them, use the "Geometry > Add" option.

Awesome! I will give this a shot! Thanks so much! 

Translation of the "Stroke" should be consistent. You are using two different words "ストローク" and ”境界線"

Stroke studio is shown as "ストローク"
Stroke in Appearance studio is shown as ”境界線"
Expand Stroke commend is shown as "ストロークを展開"

FYI Adobe translate stroke and fill as:
Stroke: 線
Fill: 塗り

Also please change the translation of the Appearance from  "外観" to "アピアランス"
Since Adobe uses  "アピアランス", people are familiar with this word rather than "外観"

I suggest a translation for the "Bake Corners" of the Corner Tool.
カーブに変換(Convert to Curve)
"Bake" is not common word in graphic design industry especially in Japan although it's common in CGI industry.
And your translation "コーナーに色付け" doesn't make sense at all. that means colorize(or color) corners.
`

Transparency Tool should be "透明度ツール" rather than "透明性ツール"

You translated Opacity to "不透明度"
So Transparency should be translated to "透明度"
不透明度/透明度  is the most common translation for Opacity/Transparency in Japanese
Translation "透明性" is usually used as ideological explanation such as for politics not physical explanation.
 

In the Document Setup,
裁ち落とし is better translation for the "Bleed" since Adobe uses this word even though 裁ち切り is also correct.

 

This happens only on Windows version,  but not on Mac/iPad.
Because of difference of system logic. Mac/iOS handles international font name automatically by the OS.
Though I would like Serif to make Windows version capable of handling international font name.

There are many request other than this topic already.
 

This was requested and talked about before, but here goes again.
Spare Channels don't behave as simple additional alpha channels.
When I create a new Spare Channel, specially if it is created out of a color channel, I expect it to behave just like a color channel, except that it describes "luminosity" or "opacity/transparency" information.
But I assume I could still use all painting/editing tools on it. Stuff like brush, dodge, burn, smear, blur, etc. Also, Levels, Curves, Brightness/Contrast, or any filter.
In effect, a Spare Channel should be treated as an additional greyscale image, and I should be able to deal with it exactly like it was a simple greyscale image.
I could, after editing it (again, like a regular greyscale image), decide if I want to use the luminosity information as a mask or simply load it as a selection or whatever.
BUT, PLEASE, make spare channels work like regular greyscale images inside the document, and not like a "special transparency information type of thing".
Professional editors need to be able to create complex masks and we need to be able to use all the available tools to do so.

Hi,
The problem with your file, is that you don't have shapes filled with black, but you draw a lot with the pen, and it doesn't keep the stroke width and effects (pressure).
You need to convert some of those (expand stroke) to shapes and merge them (this last one isn't necessary, it's to have less layers and objects). It would be better too if you drew the parts that are images to have vectors, the file' size'll be lower.

Transparency Tool should be "透明度ツール" rather than "透明性ツール"

You translated Opacity to "不透明度"
So Transparency should be translated to "透明度"
不透明度/透明度  is the most common translation for Opacity/Transparency in Japanese
Translation "透明性" is usually used as ideological explanation such as for politics not physical explanation.
 

It's still valuable since most Japanese don't speak English.
Vertical text is essential in the publishing/printing industry for sure, but in certain industries such as web, photography or painting, they can go without vertical text in many cases.
Unless Affinity becomes well known, people wouldn't be interested in it, and domination by Adobe will continue.
So we have to gain users in industries where vertical text is less important first.