thadeusz

Yes, thomaso, you are right. It's ok, when used with a normal element. It only appears to be wrong, when trying to pin an object to a text to have it floating with text. Could you try this as well? So, it seams to be a bug, but a minor one.

I will try out more use cases. My problem was visible when ankering a graphic element within a text.

There seems to be a bug in text wrap. A distance of 1mm is easily 1cm. Putting in 0.1 mm instead seems to work. Maybe a little bug.

If you have an alpha channel created you can export your TIF with an alpha channel. On export panel - format TIF - you have to push the "more" button at the bottom and there is a choice for background color. There should be none. Your exported TIF should be fine with CMYK and alpha channel. If you want your alpha channel as a separate file, select your mask in layers palette, then in chanel palette you should see a "mask alpha" channel. Right click and choose create grey scale layer. Now export this as greyscale image - and you should be able to color this as you like. But I couldnt find a way to have a greyscale image with alpha channel and beeing able to recolor it in Publisher. In this case the alpha channel disappears.

Thanks guys, just found the search field in list view. Coming from Indesign this is not very intuitive. But yes, it kind of works. I'd love to see a preview for overprinting/separation to work safely with spot colors. Hope this will come soon.

Recolor layer is not working. But using a global color from color palette works fine. I'm using this workflow with Indesign and Bitmap images as well. In Indesign the image has no white background color when imported and can be recolored using a spot color from palette. On import it's the same in Publisher with grey scale images - if you exported a TIF with transparent background, this is preserved. But as soon as you recolor it, the alpha is gone. Is there a way to preserve alpha channels? And I'm not talking about overprinting/multiply. This works of course.

Not really a bug, but more of an annoyance: If you know your Pantone color already, how would you find the right number in the palette? There is no way to put in a number, colors are in a chaotic order. Not perfect. Of course I could select just any color and name it as I wish. Please have a second look at the palette. It would be also quite handy that a color takes it's name from the selected Pantone color. At the moment I have to name it manually. More of a major problem is that I have no way to find out, how colors really overprint. There is no separation previews, where I can see if an element has the right color separation and is overprinted as I wish. I don't know how you work, but this is needed for everyday print production. Only in CMYK/RGB work I could imagine to not needing it nowadays. But with spot colors?

That's interesting. Never heard of this downsizing in RIP. I've never had any problems using higher resolutions with online printers (which were mostly around 600dpi for output). But anyway - as I also said before - it would be much better to address this problem and have vectors in PDF. But I must admit, at the moment I don't trust Affinity (Photo or Designer) with PDFs and try to output using Indesign. But I'm sure, this will change in the future ..

If this is important to you, maybe you can double some elements and have a vector object on top - and the same element with FXs underneath? Just guessing. Also you could rasterize with more dpi. But I understand that this would be a good to have feature.

I did this already, when I only got files as PDF or I didn't have to change something, but to just place it (like a logo et cetera). Very useful also when you have an almost finished book and someone tells you that the've given you wrong dimensions of the book. So placing a PDF might be a quick way to rescale. There are may use cases, some sound to stupid to be true, but..

Depends. If you want, for instance, bitmap elements printed perfectly and people should look at them from very close, you need resolutions more towards 400dpi. But maybe that's a special use case. I just like it, when you can go very close and find little thing printed perfectly and it's looking not like a soft reprint. But of course - for normal posters on the street it's obviously not neccesary to go that high res. Also - since I don't trust PDF export for print from Affinity programms right now, I very often merge a background image, including text, with other elements in Indesign and export from there. For text and lines et cetera I also want higher resolution, as I don't want to produce 80's style game graphics.

Even if it's good to think about viewing distance and usefull resolution, the problem is still there. I'm designing posters for theatre pieces and they should work from distance, but also from very close, indoors. So I have to work in bigger resolutions and it really is a nightmare at the moment. Very often it takes ages to redraw on screen, exporting is very very slow and progress is not reflected. I hope that will improve over time.

Either you could put your colorize adjustment to every layer you want to colorize or make a group and apply colorize to it. At least that's what I'd do..

(Affinity Photo Mac) I'm a bit stuck, but maybe someone can help me.. Is there a way to select multiple correction layers/filter layers? To be honest working with layers in Affinity is a bit of a nightmare. But maybe I'm to stupid.. This is what I'm stumbling over all the time (if I'm doing things wrong, please tell me, would be appreciated!): - I have two nice layers, which should have the same effects/corrections - no problem, you think, just copy the three, four effects and paste them in - aaaah, no, why not copy them one by one... argh. (and now: with 10 layers!!) - when working with complex layers (lets say 15 effect/filter layers the layer name disappears, but the tiny not usable layer icons are visible - heh? - Viewing a layer or group in solo mode works quite well, but if I try to paint on a mask I'm all the way back in seeing everything. Hm, doesn't make sense.. - very often my selected layer is changed, and I don't know why (I mean common, this never happened in Photoshop) - also jumping somewhere in the layer list happens very often... argh - did you ever need to delete a layer - ah, nothing easier than that, just go to layer list, point at the layer and - delete. But! If you have a selection somewhere in your image, nothing happens. Just a part of your image is gone. That's not wrong, but I don't know, it's somehow easy to mess this up (again - never happens in PSD - click on layer, delete, layer is gone, smile) ... argh I still hope, this mess will get better, but it's really taking quite long now. Instead: a very nice iPad app, where you can sync your 1GB file over iCloud to your computer next to you ...argh (ok, ok, I don't start that, ...) It was so nice to open Affinity, play around a bit, very very nice. But working with, is a different animal. Fast with small files, damn slow with big files ... argh. Very often quite pleasing, but often it's just painful. I'm really hoping it's developing further ... would be a dream!

Wow. Thanks mate, that really a brilliant solution!

Maybe there is another way of working - If I understood the problem correctly. If you have a curves layer to change brightness you can switch it's color mode to LAB and only change it's brightness channel. Then would be no need to desaturate afterwards. Just an idea.. Best thadeusz