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Everything posted by BofG

  1. Preferences > user interface > Decimal places for Unit Types > Degrees
  2. That approach might help if the margins themselves are slightly off, other than that you will be aiming at a moving target. If the origin accuracy of the printer is say +-2mm per feed, and you measure the first print and adjust to that, there's no guarantee the next feed won't bounce the other direction or by a different amount.
  3. It happens on all sheet-fed printers, generally though yes the more expensive the less bounce you get. Although I have seen people complaining about it happening on £30,000+ machines. As you are in control of the artwork (and not printing it for someone else) it's probably best just to think about how to adjust the images to mask that variation in the print position.
  4. That is what is referred to as "bounce", a high end digital press will have very little, a desktop printer will be something like 2-3mm. As you are duplexing this you are potentially doubling the margin of error.
  5. Because you can add effects in Affinity that have to be rasterised on output. They will be rasterised at the pixel density that the document is set to.
  6. There's no such thing, if your SVG contains raster elements they will have a pixel density but it's way more complicated than just a "DPI setting" as there are lots of different scaling controls and unit settings within the SVG format. If you don't have any raster elements, then there's no pixel density involved at all.
  7. 1. Twice as wide as it is tall. 2. Up to you, can be easily toggled afterwards if you change your mind. 3. Not sure what you mean. 4. Document. 5. I forgot the exact names, just want one that doesn't rasterise the document, and has the 'set viewbox' and 'flatten transforms' ticked. 6. There are lots of ways to put SVG into a web page, and lots of ways to control it's appearance.
  8. Did you accidentally turn on pixel preview by any chance?
  9. Not trying to cause trouble, but at the top of page four of this very thread it's essentially been confirmed the security check is due to the embedded browser used in Affinity for the welcome/user screen. Maybe those other apps justifiably need a full browser in them, maybe not. For Affinity it's certainly not central to the functionality.
  10. The thing I mentioned was the devices themselves physically being unable to hit the full gamut. Take a look at what a few current low-end laptop screens can reach and it might shock you. Some are less than 70% of sRGB.
  11. What did the printer say to you when you asked them about it?
  12. I'm still on a old version of Affinity, I don't seem to have the adhesive tape option.
  13. I don't know what "Passepartout" could be, translators are coming up with words that don't make any sense to me I'm afriad. In your screenshot your document contains a jpeg and a pixel layer - all that you have is raster based. I don't understand what your print shop could be saying to you on that. If I was preparing this file, I would make the changes and then export to either a png or tiff, and place that into a new document to generate the pdf from using the colour setup the print house has asked for.
  14. With both layers selected as in your screenshot above, choose "Layer -> Rasterise...". Then export as normal and see if that helps. p.s. I would recommend only working on a copy of your file, as this is a destructive action.
  15. I understand now why all of this has been hard for you to get your head around. The entire colour-management process is built upon the CIE "standard observer" as I mentioned before. You should read about it, I think you will find it quite an interesting topic. The short version is that it makes colour objective. If you want to dive into the technical details (without buying a book on the topic), the following guide is very well put together: https://ninedegreesbelow.com/photography/xyz-rgb.html
  16. CIE L*a*b* and CIE XYZ. They are used in spectrophotometers and in the profile connection space precisely because they are profile independant. You are looking at an input, that is just setting a target colour - the profile then does what it can to get to it. Affinity uses the profile on the display side too, so you see that variation there - kind of "this is how close the profile can get to this target". The colour seems to be actually set in the document in a different format. As a side note, it's not made clear what that "LAB" actually is, as there are two formats that use the name, the CIE one is correctly referred to as "L*a*b*".
  17. In that case you might actually have a head start. Colour management is mostly data manipulation. A colour profile is just a set of modifications needed so that the input colour is matched on the output side. So for example if a monitor has a particularly strong green component, the profile for that monitor would reduce the green from each input, so that it results in a correct colour, rather than everything looking a bit green. There's a lot more to it of course, but it does all boil down to tweaking the colour data to hit the correct colour on the output.
  18. Just to give you some context, an introductory level of book on this topic will run to at least a hundred+ pages. You aren't going to learn it from a few forum posts (although lacerto's posts are very good!).
  19. It's not as straightforward as you think, those online tools are simplified and mostly nonsensical. Your conversion to CMYK goes through a colour management process that uses ICC profiles and rendering intents.
  20. @thomaso will help you with that, he's an expert with those rapid tables conversions. p.s. Thomaso, I am just having a bit of fun, I have an odd sense of humour. Please don't take any offence
  21. Those tools do nothing but perpeptuate the lack of knowledge around this topic. Even the way you worded "Hex-RGB translation" shows this - the hex code in that context is already RGB. It's nothing more than three digits, but they are base 16. Anyway, my whole point is that people think e.g. #99347C is a particular colour. It is not, it is values for the three channels. The colour produced is down to the profile used. Clearly I'm pushing water uphill here so I'll give up at this point.
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