Przemysław

hmmm but you just showed  that they are not working.  The point of mockups is to replace the "smart object"   with you own  file and not  redoing the whole perspective/warping  transform

I miss this Illustrator-function.
Input: Overlapping shapes with different colors and blend modes.
Output: Cut out shapes for each intersected part affected by colors below, color equivalent in normal blend mode. (No rasterizing, no pixels.)

Try Text > Text Styles > Save Text Styles as Default.

Yes!! I just published the finished second and last part of the two-part blog online!
Thisone continues with a deep dive into Color Spaces, Color Profiles and Gamma-Correction. So you have something to read this weekend

Available again in both Dutch and English:
English : https://www.wigglepixel.nl/en/blog/what-are-color-spaces-color-profiles-and-gamma-correction/
Dutch :  https://www.wigglepixel.nl/blog/wat-zijn-color-spaces-color-profiles-en-gamma-correctie/
 
@Max P @Aammppaa @Madame
@ianrb @TestTools @Roger C @MickRose @Przemysław @eab

A solution for implementing the Polish dictionary. Download the files downloaded from https://donate.libreoffice.org/home/dl/src/5.1.3/all/libreoffice-dictionaries-5.1.3.2.tar.xz?idx=2 and place them in the place shown in the screenshot. You can probably use this method for other languages.

Will it possible to change default Colour Profiles, depending on different language of interface selected?
At the moment default settings are set U.S. Web Coated (SWOP) which is OK in US, but everywhere else other standards are used.
For European languages (including English UK) Coated FOGRA39 should be set as default for printing, it's also ISO standard. I think, it would be nice when selecting French, German or English UK interface language, default Colour profile for new documents will automatically change to the correct one. Adobe software has a similar European set of settings for print and web.
It's a minor thing, but I hope developers will look into it.
 
 

As a printer, I prefer when customers don't impose documents. Just saying. 

Eps is also a legacy format only supported by Adobe for legacy workflows, or archaic workflows if you will.
IDML file is an InDesign Mark Up Language, it's essentially a zip file, if you rename the file to .zip you can extract the content. It's basically a glorified XML file.  It is used as a way to save back to older versions of InDesign. But also comes in handy if a file is corrupt or behaving strangely, you can export to IDML and open in InDesign and it rebuilds the file. 
 
 

I have a long text document in linked text frames. I have added figures I want to number and caption and be able to list in a Table/List of Figures. I want to group the captions with the Figures, and wrap the original continuous text around these groups of (figure(s) + caption(s). 
Attempts to add a Text box or frame for the caption breaks the continuous text, adding the caption content to the original text. How do I achieve my desired result? I guess I mean a box of editable unrelated text within existing text, that will travel with (or be grouped with) its image, not the original text. I seem to be missing something I should be doing. 

Brilliant! Love the interactive bits.

As a printer, I prefer when customers don't impose documents. Just saying. 

Hi Everyone,
In the need to understand the sometimes complex subject of Color Models, Color Spaces and Color Profiles better, I found it hard to find a nice to read and complete source on the matter. So after I did a deep dive into the subject I decided to share what I've learned about it by writing a tutorial blog about it with illustrations and interactives. Yesterday I published part one about Color Models and color basics, to pave the way to Color Spaces for the next and last part of the article.
Although not directly Affinity related, I figured this could benefit other Affinity users too in understanding Color Spaces better and when to choose which in Designer and Photo. And making Color Spaces a little less confusing to understand. Of coarse all graphics-work for illustrations and interactives in the tutorial are made in Affinity Designer.
The blog is available in both Dutch (https://www.wigglepixel.nl/blog/wat-zijn-color-models/) and translated in English (https://www.wigglepixel.nl/en/blog/what-are-color-models/).
Hope you like it and if this makes others understand the subject better and as enthousiastic as I am now about it after this, I reached my goal!
Maarten

As a printer, I prefer when customers don't impose documents. Just saying. 

As a printer, I prefer when customers don't impose documents. Just saying. 

As a printer, I prefer when customers don't impose documents. Just saying. 

This was a big problem with PagePlus and Affinity Publisher looks like it has the same problem.
My argument is that the "B" and "I" control buttons are unnecessary. We have a drop down to select the font family, and another to select the required member of that family. That is all that is required. The "B" and "I" buttons are not only unnecessary, but will potentially will cause problems.
For example, In Affinity Publisher I set some type in Avenir Next LT Pro Regular and then I perform the following sequence:
Select one or more words that I want to be in italics. Press the "I" button. My selected text is changed to Avenir Next LT Pro Condensed Italic. It is unlikely that I will want the condensed variant. If I then click on the "I" button again, the text is changed to Avenir Next LT Pro Condensed, and not back to Regular which is what I started with. I then change all my text to Avenir Next LT Pro Condensed Italic. Select some text and press the "B" button. The selected text is changed to Avenir Next LT Pro Bold Italic, and it is no longer condensed. So it seems that the "B" and "I" buttons are making the wrong choices, which is hardly surprising. They will probably work with simple font families like Arial, but for professional OpenType fonts it will end in frustration. In the case of the Avenir Next LT Pro font family, there are a total of 24 fonts. Myriad Pro has 50, and Minion Pro has 74. Two buttons will never make the correct choice with so many variants.
The big problem with PagePlus is that there is no dropdown to select the member of a font family. Therefore one had to use the "B", "I", "U" & "O" buttons, and the results are always unpredictable with large font families. Now we can choose the member of the font family with Affinity Publisher, we don't need the buttons.
I'm coming at this as a long time InDesign user. My preferred approach is:
Set all the type in the required font, say Avenir Next LT Pro Regular. Create a paragraph style based on that. Select a one or more words that I want in italics. Change the font for the selection to Avenir Next LT Pro Italic. Create a character style called Emphasis Italic and apply it as required. Now select some text that I want to be bold. Change the font to Avenir Next LT Pro Bold. Create another character style called Emphasis Bold, and apply it as required. If necessary, additional text styles can be created, such as Emphasis Bold & Italic to combine both text attributes. This approach eliminates all the guesswork, and once you have created the styles, everything else is easy. InDesign does not have the "B", "I" or "U" buttons for this reason.
Thanks,
Mike.
 

I have been testing the procedure for creating a collection of swatches for a project, and have come across some issues that I think could be improved.
For the purpose of this exercise, I am working in CMYK, and I need a collection of swatches that include both CMYK mixes for global colours and some Pantone spot colours too. I accept that I may be missing something basic, and if that is the case then please correct me.
When starting a new project for a customer, I usually start by building a collection of swatches using the client's colours as dictated by the branding.
Job 1: Build a set of CMYK swatches. Let's start with a simple set of Cyan, Magenta, Yellow, Black and a Rich Black too.
In the SWATCHES palette I choose Add Global Colour. I get the Global Colour dialogue with the HSL colour wheel. Problem 1: If I am working in CMYK, then the HSL colour wheel is of little use to me. I'm working with INK (or toner if you want), so I want the CMYK sliders presented as the default. I now choose CMYK Sliders and dial in my first colour. In this case its C:100 M:0 Y:0 K:0. I name it Cyan and click Add. Problem 2: The Global Colour dialogue closes when I click Add. However I haven't finished yet. It would be helpful if the dialogue were left open, so I could add more colours. OK, I now want another colour, so I go to Add Global Colour again. Once again I get the Global Colour dialogue, and once again I am presented with the HSL Colour Wheel. Problem 3: I can forgive that fact that, when I add the first Global Colour, I am presented with the HSL colour wheel. However having made the choice to use the CMYK sliders in step 4 above, I expect this preference to be persistent within a session at least. (Maybe there is a preference that I have not found yet?) OK, so I go through this sequence to add each of my CMYK swatches, and now I have a few global colours in my Document swatches panel. Now I need some spot colours. Job 2: Add some Pantone spot colours to the document swatches.
I choose the Pantone+ Solid Coated-V2 library from the drop down in the Swatches panel, and I type 7421 in the search box. Sure enough, I am presented with PANTONE 7421 C, which is what I want. I double click the swatch. I now expect this spot colour to be added to my set of Document swatches. Why do I expect it to work this way? Because that is exactly how it works with Affinity Designer. With Designer, you just call up the spot colours you want, double click, and they are added to the Document swatches. Problem 4: With Publisher, double clicking a spot colour doesn't seem to add the swatch to the Document swatches as is the case with Designer. Instead I have to double click the spot colour to make it the current fill, and then click the "Add current fill to palette" button. Tedious. Problem 5: Assuming that Designer exhibits the correct behaviour, whereby double clicking a spot colour adds it to the set Document swatches, there is another issue. The spot colour is added as "Global Colour nn" and not PANTONE 7421 C. I expect spot colours to be named as such in the Swatches palette. As it is I have to rename them, which is a drag. And finally, lets assume I want to make a 50% tint of PANTONE 7421 C. First I need to make a copy of the swatch, then I need to set the tint. So I right click my PANTONE 7421 C swatch and select Make Copy from the pop-up menu. Now Publisher crashes. Problem 6: When I try and make a copy of the swatch, Publisher throws an Unhandled Exception error. (See error message below). Ooops!
OK, that's about it for my adventures is swatch land. I have some questions if anyone can help me:
When adding a CMYK swatch, I get a "Spot" check box in the Add Global Colour dialogue. What is this for? There is also an "Overprint" check box. This implies that overprint is a swatch attribute, and not an object attribute. So if I have two objects with the same fill in a document, and I want one of them to overprint, how is this achieved? Is there a built in safeguard to prevent setting a white swatch to overprint? Or maybe something in Pre-flight? This is always a killer. (Designer creates artwork. An object is filled with a colour and is set to overprint. Just before going to press, the customer says "Actually, I would like that object to be white." Designer changes the fill, but forgets to remove the overprint attribute. Result: Object disappears when printed. Designer gets fired, or has to pay for the re-print!) If I want to make a tint of a spot colour, I can right click a copy of the colour and choose Edit Fill. I can then use the T slider to make my tint. However, I also get a Noise slider? What does this do, and when would I use it? I am used to adding noise in raster effects such a glows and shadows, but I don't understand its relevance for a tint of an ink. Thanks,
Mike.
 

Hi
Here and also in Designer is a color separation Bug at placed 8bit greyscale images.
After export to PDF/X-3 für the printing company, the 8bit greyscal image convert to CMYK color space, not to the correct greyscale space. Mor information in the File.

The files for bug replicaton und separation tests attached.
Test-Pub-Separation.zip

This is a pretty basic fuctionality that IMO needs to be implemented. Think about doing a two pantone leaflet, with a bitmap image. You can fill the foreground/background of the bitmap accordingly and print it with two pantones. Doing it via blend modes is impossibile, because wrong color values will be created. Bitmaps are very common in contemporary print graphic design.

Really need interactive PDFs where the TOC creates links to pages. Also links in text, links from images and objects. Links should include pages, web and email. Also links should be able to be set up on master pages. The PDF should be adjustable for quality and with the option to display full page. Security for all types of PDF would be welcome.
And as I am talking about PDFs can I point out that if producing a spread as a PDF, images created in Affinity Designer just display as frames. No problem with PDF of pages.
And, could text frames have corner selection the same as shapes and image frames and it would be nice if the fill of text frames could be adjustable for transparency as well as tint.
After a long wait Publisher has arrived with far more in the way of features than I had expected.

In the Pages Panel…
The icon tool tip says 'Add Page' but the resulting dialogue is called 'Add Pages' (plural) which is actually more accurate.
  The top section is called 'Master Pages' but the dialogue that opens when clicking Add Master, is called 'Add Master Spread'.
I think the option exists to add either a Page or a Spread, but I am confused as to the difference and correct consistent terminology.  
 
 

When I export a document with black text as a print PDF, the text in the PDF is built in 4-color (cmyk). For printed products, it is important that black text be printed in black (k) only.

As a bookbinder in the US, I prefer metric over inches/feet as it is the most efficient and quicker measurement for fine binding of books. As a typographer, metric does not cut it - NOR does inches/feet. Points/Picas describe font measurement in Europe and US. In fact, Didot a French type designer from the 1700s was the first to establish the point/pica system to produce some of the finest typographic families in the world. For type, it is the most efficient and quickest measurement whether in the US or Europe. It is not just an "American" system and it is not an outdated system. It is a system with a specific purpose and it should be included for any designer concerned with accuracy paired with expedience.

Here is a good video showing several examples on how the units convert. You can see that points and sometimes Picas are nice even numbers where with inches you need to deal with fractions which makes things unnecessarily complex. Looks like points converts nicely to pixels too but I wonder if 72dpi is still relevant in the age of high res monitors?
 

Oh my...  I really hope that wasn't me (a while back and I've forgotten) 
Anyway I have made a request last week for this lack of support to be reconsidered.