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About dannyg9

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  1. The transition is easier than you think. You'll get in a groove in no time. Obviously there will be features you'll miss but I'll bet you can achieve at least 98% of your work using Photo. As to the 2%, I'm sure you can find work-arounds, either online or through grit and determination with a touch of curiosity.
  2. Indeed, having worked at several print houses, prepress is a BIG revealer of shortcomings and mistakes. I'm not sure if there are ANY shops taking native files. PDF is king. There are either people who design a file and create an incorrect PDF or there are designers who don't know the working end of a shovel but should know better (failure to include bleed, color profile, correct dpi of images in original document, embedding fonts, difference between Black and Rich Black, etc.). I have posted twice in these forums about a magazine I Design and Art Direct, both being created in Publisher. I send finished PDFs to the printer. 1st Issue there were a number of issues during pre-press check (some my fault directly, others were bits I hadn't realized). 2nd issue the pre-press checking time was a tenth of the previous issue. Might add that the first issue was the first time the printer had seen PDFs created in Publisher.
  3. I second that. I used CC on a brand new Windows machine at a former workplace a year ago and Adobe is crash-prone. Everything in the machine was up to snuff, plenty of memory, latest OS, etc., and the biggest culprit was Illustrator. Photoshop and InDesign were slightly better but updates were all about the waiting game (sometimes months until an issue was addressed/fixed). Affinity is light years ahead of Adobe on many fronts and at this stage in their software versions, they beat Adobe hands down. They don't have to "catch up" anything. I dare you to show me a designer or artist who uses every facet of Photoshop (or any of the other Adobe programs). I can achieve everything that I was doing in CC with the Affinity programs, and thanks to their integration, much quicker with less headaches. I freelance, and time is money but I don't "speed" through projects and that's never been a factor. I've never missed a deadline so I'm not sure where these "seconds and minutes" of speed are some sort of alluring feature. I remember the days of having to walk away from the computer while Photoshop took forever and a day to render. I do think Affinity kicked Adobe in the ass to finally make their software more efficient (would they have done that had competition not reared it's head?). I also keep an old version of Adobe CS 5.5 around for one main reason: Everything I did using InDesign is part of my archive. I can convert those files to IDML and open them in Publisher. I bridged from InDesign to QuarkXpress to Publisher. Call me what you will and argue until you're blue in the face about the bonuses of paying one monthly fee for "oodles" of programs, but I don't (any many others don't) need 90% of the CC programs, many of which are lackluster. To be clear, if Affinity had one-time fees for major upgrades, I'd still stay with them over Adobe. Adobe is ingrained much the same way as Microsoft in many corporations and universities. Retraining entire staffs and integrating new software on such a large scale is something most administrators and IT departments do NOT want to face. Thus, the cycle continues. That doesn't make Adobe better. In fact, many balk at the cost of subscriptions (Think thousands of licenses for Acrobat and the monthly cash haul Adobe makes from that alone). Think also of having the same essential features and functionality with Affinity programs at a fraction of the cost, and how attractive that is to the accounting departments. Finally, as an example of how much Adobe cares about it's customers, go read the EOL forum on Adobe's site (if they left it up), and how it CRUSHED thousands of web designers and their businesses. Eliminating a program with no direct replacement and no way of salvaging YEARS of work is arrogance, pure and simple.
  4. Second full issue of Skin Art done COMPLETELY with Affinity Publisher, Affinity Photo, and Affinity Designer. This issue went smoother than the last and part of that is due to converting my library of Postscript fonts to Open Type (I posted earlier this year about problems with fonts in Photo and Designer and a bit in Publisher ( https://forum.affinity.serif.com/index.php?/topic/125130-strange-text-box-problem/&tab=comments#comment-688016 ). Happy to say that the proofing process with the printer went even quicker with a lot less technical issues. For those that are interested, it's available for order online and will be available in-stores on November 10th. Thanks again to Serif for giving me an excellent and professional alternative to adobe. Never going back.
  5. Yeah. Lyrically they’re pretty intense. Musically they definitely have that earlier Black Sabbath vibe.
  6. CD package for Vessel Of Light Band. I did work on their last package but this is the first package for them that I've done, cover-to-cover. Not sure how many of you have every worked with musicians (I have for over 35 years) but there can be some egos involved. The job of the designer becomes that of Designer/Teacher/Referee/Dictionary. As a designer we may not always agree to certain requests, but ultimately it is the band's product and it's how they wanted to be represented. It's also a vision they have in THEIR head. Some requests work. Some don't and that's where we have to call on our knowledge base to explain to the client why something won't ultimately work. In regards to musicians, there can often times be as many opinions as there are band members, all conflicting. I usually let that situation be hashed out amongst themselves and in most cases, seniority or the lead person(s) win out. Its true with other types of clients but the above scenario seems especially so with musicians. Personally, I love the challenge of finding the solution that both answers their requests and resolves their differences. This design was also adapted to Cassette (Remember those? Hah! You're showing your age!), and LP.
  7. Fantastic stuff. To my eyes, a very original style and color palette. I'd put it right up there with Lane Smith, with a splash of Matt Mahurin.
  8. Thanks Gabe. While it's reassuring there's a fix for the problem, as Garrett and Walt pointed out, there's the mystery of how it got to that state.
  9. I find it flawless. Love what you did with the clouds too, the amber tones.
  10. As usual, brilliant work. I hate to say anything, but the trail off the right wing seems to just stop (no fade or cloud covering the end of the trail). That aside this is perfect. That is, until you post again with some massive improvement. Love it.
  11. Garrett, If I'm understanding your reply, there's still something "corrupt" or incorrect with that example file/text box I uploaded. I really hope it's something simple, or it's just a fluke and it's not something in the program.
  12. Tried that. Again, looks exactly like your screen shot but the problem persists.
  13. You're right Walt. I had saved a second copy of the file to see if that would resolve the problem (it didn't). I've taken that file and cut it down to 3 pages. On the first page there's a text box on the right side artboard that illustrates the problem. On Page 2 is a text box copied and pasted from page 3. Also on page 2 is a drawn text box with the text from the pasted text box, pasted into it, and that text box too illustrates the problem. All the text boxes on Page 3 are fine and don't have the problem that new text boxes have. Hope this helps. MagazineTextBoxProblemOct2020.afpub
  14. How true. That said, I'd love to know what I did to knock it out of whack. I'm certain it's not the program but some sort of error I made.
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