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abarkalo

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Everything posted by abarkalo

  1. I really would love to have variable fonts working on Publisher. Right now I have to go into Illustrator to work with a variable font for a title. Then I save as an AI file then paste into Publisher. The Adobe ecosystem supports variables. I believe other programs do as well and I have many fonts that are variable and cannot do a thing with them in Affinity.
  2. First of all, amazing that you have PSD bitmapping - that's amazing. I have several PSDs which use a pattern stamp and there is no such thing in Affinity (yet - soon?) but as a bitmap the fidelity is perfect. At the same time I was wondering if you could do the same thing with placing Adobe Illustrator files that don't interpret the same with from Illustrator to Designer/Publisher. However, I would think that Illustrator files are saved with a compatible PDF file, yet this doesn't show through. Or is this a different thing altogether. Attached find the screenshots and the sample graphic AI. 320_[Converted].ai
  3. I realize this is a convoluted embedded mess but still it worked in the non-beta version. I cleaned up and working well in the beta version, but hope this helps identify rendering issues.
  4. I don't know if this bug has been addressed or not but embedded vector images get chopped off in the beta. I thought something was wrong with my document but I opened it in the retail version of Publisher and it was fine. But in the beta the fonts and/or embedded image was chopped off. Please see the test documents attached. I can send the files to your team with a direct link. The logo vector is placed as an embedded vector on a masterpage. If I remove the embedded logo and place directly on the master page then there is no issue. Also there isn't any vector cropping in the document. So it must be some sort of rendering issue.
  5. I placed AD files into AP and export to PDF. But when I tried placing AP files (thus keeping them editable) into Publisher the PDF was fine but a few people reported image corruption. Please see the correct and the corrupted image (screen shot from my client). I couldn't reproduce the corruption and many people that were sent the PDF didn't report either. But the corrupt image shows some of my worked layers. Please look into this. I really prefer using editable image stacks and embedded files vs only working with fllattened PNGs.
  6. no it's not about opacity - I use those numbers all the time. It's the transparency grid toggle, as in Shift-CMD-D in Illustrator.
  7. 1. ALL programs: Ability to right click on a layer and create an embedded object. That would allow the editing of that object directly within the layer panel. Currently the only way to do this is to copy the layers, open Designer or Photo and then paste the layers, save the file and place the file as a linked or embedded object (!). It would be great to have all this automated. 2. Designer - vector perspective warp! 3. Publisher: Variable fonts. I currently have to go to Illustrator and use the variable fonts, convert to curves, save as an AI file and place within Publisher. Seriously, no. Would love to just use variable fonts directly. That would be amazing. There are so many high level variable fonts that I can't use and wish I could. They would help my designs. Less important but still interesting are color fonts, but much prefer to should loudly for variable fonts. 4. Publisher: custom bullets, as in vector objects that I can create and size within paragraph styles. I create my own bullets now this way but it's so time consuming as a custom design. 5. Designer: short cut key to toggle transparency back and forth. Or perhaps a button. 6. Publisher: sort fonts in a family by weight or width. Also in the family list ability to collapse (if not side, at least group and collapse) system fonts so that I can see only the designer fonts that I've installed. It take so much time to go through the list of system fonts that I will never select.
  8. Hi Affinity, I badly need the option to autosave - maybe a toggle icon or a prompt after a few minutes of working with a new file ("Do you want to autosave this file as you work?") which would also save history. I could then close anytime (without CMD+S) and all my edits are saved. I realize that there is an autorecover function, which I've rarely ever used since Affinity software is quite stable. The problem, rather, is my own stupidity. I sometimes open a lot of files to edit and then decide to exit them - the software asks me "do you want to save?" and certainly I don't want to save all these files I just opened (especially if I made some test edits). More than once this week already I have closed down without saving documents that I had been working on. Really terrible, and then it happened again. I try and train myself to look before I close everything, but my reptilian brain doesn't always comply.
  9. Hi I'm just checking in again about a shortcut for transparency. I would like something like a toggle as in Illustrator's shift-CMD-D. In Illustrator I toggle back and forth quite a bit when designing. In Designer it's a bit of a chore to go to Document Setup > Color > set transparency on/off. Please show me a way to create a shortcut.
  10. My only point in my post is that it would be great to list the fonts according to weights, like InDesign does it (see right side of the image). See that the condensed group comes before the normal group, which comes before the expanded groups. InDesign may not show the optical widths of the font and I don't care - I can scroll down the list in a live preview. I care about this because it helps me make design picks much faster.
  11. I started a thread in feedback on font organization but now honestly this issue has turned into a bug or a glitch and wanted to address it here. My original request/complaint was that Affinity Publisher (or any Affinity product) could handle font organization better, grouping the widths together as a condensed/normal/extended format. Adobe does it this way and it works well. Now however, I sent feedback to a font foundry because I thought they had mislabeled SemiExpanded to be wider that Expanded. They told me it was the case with my software not their font. I looked again and realized they were correct and want to share a screen grab from Affinity and another from Photoshop to compare. Please see how the weights and widths organization is messy but the optical illusions of the widths. It seems the word length is squeezing down the sizes as well. Since Affinity Publisher is a master layout assembly tool especially where typography plays a critical role, and where many designers use thousands of fonts and many superfamilies that are extremely difficult to navigate through in the current font organization scheme, I ask for the fonts to be displayed as they are with Adobe. This would help tremendously. I love Affinity products but this is issue a thing to deal with.
  12. I started a thread in feedback on font organization but now honestly this issue has turned into a bug or a glitch and wanted to address it here. My original request/complaint was that Affinity Publisher (or any Affinity product) could handle font organization better, grouping the widths together as a condensed/normal/extended format. Adobe does it this way and it works well. Now however, I sent feedback to a font foundry because I thought they had mislabeled SemiExpanded to be wider that Expanded. They told me it was the case with my software not their font. I looked again and realized they were correct and want to share a screen grab from Affinity and another from Photoshop to compare. Please see how the weights and widths organization is messy but the optical illusions of the widths. It seems the word length is squeezing down the sizes as well. Since Affinity Publisher is a master layout assembly tool especially where typography plays a critical role, and where many designers use thousands of fonts and many superfamilies that are extremely difficult to navigate through in the current font organization scheme, I ask for the fonts to be displayed as they are with Adobe. This would help tremendously. I love Affinity products but this is issue a thing to deal with.
  13. you are correct - I meant width. But anyway just see the images as that shows how much easier it is in one vs. the other
  14. Yes I know - there are a few foundries that don't organize well. For that (license rights to modify notwithstanding) there is a great tool to use called TransType4 by FontLab. This fixes all these badly organized font issues. Either that or ask the foundry to fix - I have occasionally done that as well. But excluding those the main issue is that a lot of well-behaved font families are organized by weights - condensed, expanded etc and Adobe organizes these in groups. In Affinity there is no sorting by weight and I would have a fantastically easy time as a designer who works with a ton of fonts if this problem were fixed.
  15. Hi Affinity, While I love the way OpenType features are handled much better than in Adobe, I really cannot navigate font superfamilies. If you have any family that has different weight groups then navigating through the font list is very difficult. Can you guys please fix the font organization. It really slows down my work otherwise. I am showing screenshots for one particular font family. I have licensed countless superfamilies and I really don't like working with them in Affinity products for this reason.
  16. Yes I use that cogwheel all the time. Agree with you that a curves-type blend modality is more powerful that sliders, in which you have to press option to feather (hate that part of Photoshop). But still that blending feature is separated from the rest of the layer effects and I use both modalities in unison in Photoshop. I have tried duplicating my workflow in Photoshop and yes there are other (more complex ways) around it but I like simplicity.
  17. In Photoshop I can apply an effect or fill and then change the blending option and then the blend range (Blend If). If I want to add a color fill and then change the blend range and then uncheck the color fill I am able to specifically target highlights or shadows. I tried doing this in Photo but wasn't able to. This might seem like a specialized thing I do but it's part of my daily workflow.
  18. Hi Affinity, As a member of the Affinity converted with Designer and Publisher, I have used Affinity software for my digital agency and there are presentations of mine in the exec offices of some global automakers. This work used to be done with InDesign but I switched over to Designer two years ago and used multipage artboards to work on my projects. When Publisher Beta came out I was on cloud nine, and then when StudioLink came out I really needed psychotherapy to cure my OCD with Publisher. Such an amazing, groundbreaking workflow. I also took a very deep dive on Photo, the latest store version and also the beta. I have a collection of thousands of Photoshop files and many of them opened up flawlessly. I also love the refined UI. And now rotating brushes are amazing! I seriously don’t know why Photoshop hasn’t done that yet, but consider that it took them many years to enable CMD-Z. You guys had live preview first but they soon adopted that, so it is clear they are watching what you are doing. I would like to come over 100% to Affinity but I have several issues that prevent me from doing so. Also, I do realize that this is a monumental task - Photoshop really is Adobe’s flagship, more so than any of their products. It was easy to switch over to Designer from Illustrator, really easy even with features missing (perspective warp please! - although doing that in StudioLink). Right now I am adept enough at Photo as and use it within a StudioLink context but not standalone and here’s what’s preventing me: Smart Objects. Before I begin, I know Adobe is never going to let you in on Smart Objects. PSD documents that include them will open up with these layers rasterized. But let’s consider that your embedded documents are pretty much there. I can add a Photo or Designer file to Photo or Designer or Publisher and I can edit the document just as I would a smart object, and see live updating on the master document - which is ahead of Photoshop in that regard. Also if it’s a Designer file in Photo I can edit in Designer without leaving Publisher or Photo.) In Photoshop you can only edit a vector with Illustrator). Then with the embedded document I can add a few live filters such as Distort>Perspective - which is a favorite in working in a mockup scenario. As a live filter I can go back and change the settings. I can also add some live blurs and a few other things. Sadly, the other Distort live filters don’t work as they have no effect on the embedded object. If you apply a non-live filter then the embedded document rasterizes, and then this gets destructive especially when placing a vector in a Photo document. I don’t mind converting my Photoshop PSB files (smart object files) to PSD then placing as embedded documents. This way I can have my entire core design and logo files standardized as Affinity vector and raster files, but the inability to do pinching and liquifying and other types of warping and shading stops me from doing this. Also there is no way to take a group of layers in Photo and convert easily to an embedded document. I really love how this works in Photoshop. It’s essential to my work, and this is the main thing keeps me on Photoshop. Hopefully Affinity can continue development here. Brushes. While I was praising brushes in Photo there is one simply itsy bitsy thing that is absolutely essential to my work. I need the brushes labeled with their actual names, as they are done in Photoshop. Photoshop has brush flyout panels - if you extend the panels. I have over two thousand brushes and it’s just too difficult to know what’s what in Photo. Even if there are groups, I can’t tell what the individual brushes are if there are two many. I can hover over the brush and then see if I’ve selected the correct one - this works well if you have a few brushes but not if you have so so many. LUTs. I love the live presets on LUTs. But honestly it is a chore to import them as presets. Also it takes too long to load the adjust layer presets. Photoshop allows you to add all the LUT files to the programs preset folder. Restart photoshop and they are all there. Pattern fills. Oh pattern fills. I keep reading in the forum that this is a badly needed feature and so I am throwing myself into this group. Yes I can work around this and have done so… but why? It’s so easy in Photoshop and I have a library of so many .pat files that I would love to use in Photo, just as I have converted my brushes, color files (with online converters) and gradients. Blend Options. I love your layer blend options UI - really easier to use than Photoshop. But shouldn’t it be part of Layer Effects? I want to add color fills for instance and select the blend options right then and there, so I can see what I’m doing as I can in Photoshop. Feathered masks. If I want to feather a mask in Photoshop I simply go to the mask properties and then adjust the feathering. In Photo I can’t feather a mask that’s been applied to an adjustment effect directly. I have to move the mask to a layer above, then apply a live filter, and then move the mask and its filter under the adjustment effect. I have to do these things all the time and this seems oddly cumbersome.
  19. Affinity Photo already has Smart Object-like features. While actual smart objects are a proprietary Adobe thing, and they obviously don't want to share that and lose their own market share - here's what you can do: 1. In Photoshop take a mockup PSD and open the smart object and save that as a PSD file. Repeat for as many smart objects there are. 2. Open the original mockup PSD file in Affinity Photo and notice where the smart objects got flattened - replace those with the PSDs you saved from the smart objects. Place those objects. Then use the Live Perspective Filter (don't use the Perspective Tool as that will flatten the embedded document you placed). Use as many Live Filters as you want to recolor, distort, blur etc. What I really would love to see Affinity do is take a group of layers and convert to an Embedded Document without have to copy these to a new document then saving then placing again (that seems tedious for no reason!). Here is one that I did. (Including the original PSD as well). Notice how much smaller the file size is as well. Apple Watch mockup for Affinity.afphoto mockups_-2Apple-Watch_Space_Grey_Aluminum_Case_Black_Sport_Band(free-mockup).psd However, much more need to be developed to make the Embedded Documents function like smart objects. You can't really warp them or liquify. Other than simple planar displacements they aren't at Photoshop's level of working with more complex mockups.
  20. yes added that but only want to focus on why the gaussian blur is vignetting all sides of the photo. It doesn't do that in Photoshop - strict comparison of only one adjustment. When I use the light adjustment layer in Photo what happens is that there is a reverse vignette on all sides, so yes the two cancel each other out but this is not a good effect overall. It seems to me that Affinity Photo masks need a direct feathering on their own. I would think that Gaussian blur is the same as feathering but perhaps the way it's tuned in Photo is for the fading to be done closer to the outer edge, so thus the vignetting is really a stretched out blur, whereas in Photoshop is it more evenly distributed. Wish I could control that. Maybe a Feathering Live Layer that fine tunes the radius and offset of the blur.
  21. I used a harsh photo as a test - and please see attached. There is a lot of vignetting in the Photo example. I didn't use lightening here - just the darks as a test. What am I doing wrong? Thanks for you help. test_in_APhoto.afphoto test_in_photoshop.psd
  22. thank for this. I tried it a few on some images. The issue is that in the video the curves really blow out the highlights and shadows to the extreme. I think that's part of the trick. Then the built-in feather properties of the mask blurs out in pixels, not %. In Photo I am not able to push the curves to the extreme. If I do then I can't blur to a desired range - only to 100%. If I type in 200% then it starts to look more like the video but then I get a strong vignette effect around the entire image, not just where I painted. If I lower the Gaussian blur to say 88% then go back to the curves I really can't get that realistic effect that I am looking for. I think what's going wrong here is that I'm blurring the overall effect : Blur * (curves + mask) not curves * blur (mask). I'm only guessing. Hope I can fine tune this. I really like this sculpting. Or I suppose it might be same thing to paint with a very soft white brush on a dodge/burn layer (overlay of 50% gray).
  23. Also I really want to be able to feather masks (as I am able to in Photoshop's mask properties). Right now I can apply a Gaussian live filter to the mask but it just doesn't create the same effect I'm after. Please take a look at this video - I want to be able to do this exactly. What ends up happening is that I end up vignetting the whole image.
  24. As a longtime Photoshop user coming into Affinity Photo for pro work I wanted to suggest improvement for Photo's curve adjustment tool. Curves works great but I think the picker tool needs to be able to instantly pick on the curves graph as I click on areas in the picture. Right now I can add points but I have to wiggle left or right in order for the point to be added, and then I might accidentally pull the curve up or down slightly when all I wanted to do was to select a point. Use case for this is that I might want to select all the color areas in a face and protect those ranges. Or select a few area in a landscape and pull all those areas up and down. I mention this because I can easily and quickly do this in Photoshop but this is one of those things where I really struggle with in Photo. However I have an idea for making curves better in Photo than Photoshop. What if I could lasso or shift-select a given range of points I have made in curves? How amazing would that be. Then I can pull a select group of points up or down and this becomes quite powerful. Think of this like the ability to move a selected group of vector points in Designer. You can't do this in Photoshop. Perhaps you can just pull up the points or stretch the selection - I'm referring to all that you can do in Designer with selected vector points.
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