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Mark Oehlschlager

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  1. @MikeTO Ah. Yes. It makes sense that the auto-generated TOC paragraphs styles should not be duplicated – only modified. But then the inability to specify a custom leader line character or pattern remains. Hopefully this comes to the attention of the Serif staff.
  2. I've been working through Help files for Publisher 2.0.3, and have discovered a few problems: I'm unable to duplicate the auto-generated TOC Character and Paragraph styles. Is this by design? I'm unable to enter a custom character or character pattern for leader lines in the TOC Paragraph styles dialogue box. I'm limited to a period, underscore, or strikethrough.
  3. Add ability to group swatches into meaningful, user-defined groups within an Application/Document Palette (e.g. 'Primary', 'Secondary', 'Accents') Add ability to move swatches from one palette to another (as one can with brushes) Add ability to select multiple swatches via shift/command-click to move or delete those swatches in one move. (Presently, one can only delete swatches; and just one at a time.) Add ability to double click on a swatch to edit not only the color, but also it's 'global', 'overprint', and 'spot' attributes Change the default behavior when adding Pantone swatches to a palette such that the correct spot color name is applied rather than a generic name (i.e., "Pantone 105 CP" rather than "Global Color 13") Offer the user the option of directing an added Pantone swatch to a specific existing palette rather than creating a new separate document palette by default Add a live edit interface for designing custom color chords (Applies to the Color Panel as well.)
  4. Currently working with Photo on Mac OS 10.15.7. While applying the Live Filter layer for Perspective, I noticed that the 'Planes' option selector is greyed out and defaults to Single Plane (See attachment). It is not possible to select Dual Planes. Is this by design, or is this a bug?
  5. It's my understanding that one cannot take advantage of "Family Sharing" for the Universal V2 license because the Mac App Store "Family Sharing" license does not apply to in-app purchases, and because the Affinity Universal V2 license is considered to be an in-app purchase if bought through the Mac App Store. What that means is that family members would have to log-in to the Mac App Store on all devices using just one family member's Apple ID. Not ideal. Can anyone from Serif or the forum here say definitively whether or not one can by a Universal V2 license directly from Serif, and then be able to install on devices for up to 3-6 family members? If so, what's the proper sequence of events?
  6. @GRH Because the father-in-law and his wife want to take advantage of the "Family Sharing" license and the auto updates offered via the Mac App Store.
  7. I don't see the V2 Universal license as an option in the Mac App Store. Just license options for the individual apps. If anyone has experience in purchasing V2 Universal via the Mac App Store, would you please advise me on how to go about that?
  8. Helping my father-in-law with his desire to upgrade to V2 without losing V1. Is this possible? He's currently running V1 on OS X High Sierra (not able to run V2), but want's to take advantage of the 40% discount by purchasing V2 Universal now in advance of his planned purchase of a new iMac in January. He bought his V1 apps through the Mac App store. If possible, how should he go about purchasing the V2 Universal license today through the Mac App Store without losing access to his V1 apps?
  9. Why is it that for so many "New ..." commands (new category, new swatch, etc.) the Affinity apps don't automatically throw up a naming dialog box? Seems quite logical to give the user the opportunity to name the newly created item straight away, rather than forcing one to go back into the menu structure with 3-4 extra clicks. EDIT: Allow me to apologize and to withdraw this post. I was watching one of the V2 tutorial videos (probably produced when V2 was still in Beta), and an Asset category first had to be created before it could then be selected and named. It reminded me of a complaint I had with the V1 apps. I should have checked this behavior in the release version of the V2 apps. As I now actively create new items in my copy of V2 apps, a naming dialog box does indeed now appear by default, with the notable exception of the command to create a Spare Channel in Photo 2. Sorry for the inaccuracy of the post.
  10. @Ron P. Thanks. Hopefully Serif can get around to spelling that out in the online help files.
  11. Within the Export Persona, for individual export slices, I assume that 1x, 2x, and 3x are scaling factors for the pixel dimensions of the art to be exported (i.e., that a 64x64 px image would go out as 64x64, 128x128, and 192x192. But I'm unfamiliar with the absolute units expressed below (see attached image). Would someone please explain the meaning of those absolute unit abbreviations and what effect they have on size of the exported slices? Thanks.
  12. I believe it’s the document’s color space that determines what can be displayed in document, regardless of whether or not one uses a larger color model to define colors. CMYK < sRGB < Adobe RGB < ROMM RGB < Lab. What seems to be missing from the color palette is a warning when one chooses a color outside the gamut of the document’s color space. Also a clear explanation of how and when to use the Lock.
  13. @lacerto Thank you for that. I think I'll need to read through that a few times to get it, but there are bits I can pick up on. Try this: Start a new CMYK document. The working color space by default is U.S. Web Coated (SWOP), and, of course, this is a smaller color space than any RGB or Lab color space. Next, draw a square shape and fill it with 100% Magenta. Duplicate this square to the right. Next, select the square on the right. Go to the Color Panel, insure that the color model Lock is "on", and then use the pop-up menu to switch the color model to Lab. You should see the following values: L: 52, A: 81, B: -7. You will notice that the Lab sliders allow one to push the A Opponent slider further to the right for a more intense Magenta – one that lies well outside of the color gamut of the CMYK color space. While the right square is still selected, If you then slide the A Opponent slider all the way to the right so that A = 127, I think you will notice NO change in the appearance of the right square's color. Why? My guess is that the gamut of the document's smaller CMYK color space is clipping the value of the more intense magenta color from the larger Lab color model and space. So, the fact is this (and let's leave the display monitor out of this for now): the working color space of your document determines the limit of the colors that can be represented. And although you may use the sliders from color models/spaces that are larger than your document's color space, you need to be aware that though you can dial in values for colors that are well outside of your document's color space, they will be clipped back to the nearest approximate color in the smaller document color space. There's more to be learned and said on this topic, including how and when to use the Lock icon. But perhaps others can chime in on this.
  14. Well, you don't have to have an answer to this questions, but I'm hoping that someone from Serif has an answer. As long as everyone is designing in the sRGB color space for electronic displays, no one need worry about color gamuts. But if one is alternately designing for sRGB devices, then wider color gamut ROMM RGB display devices, and then much smaller color gamut CMYK print output, one needs to be concerned about specifying "in-gamut" colors. How does Serif expect one to manage these color space gamut issues? How does the Affinity software prevent someone from (or warn someone against) using the Lab color model sliders to spec an out-of-gamut color for their CMYK document?
  15. So, If I understand you correctly, the Lock Icon does not actually function as a Lock to prevent one from accidentally changing the color model. Rather, the Lock Icon functions as filter, that interprets the color numbers of objects on one's page in the color model currently selected in the color model Pop-up. Maybe so. But if so, how is that useful? For example, how would this prevent me from picking an RGB color that lies well outside the color gamut of my document's CMYK color space?
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