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Mark Oehlschlager

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Everything posted by Mark Oehlschlager

  1. I've just tried using the Affinity Photo displacement filter and was surprised/disappointed to find that the displacement results are not smooth. Where a spherical black-to-white gradient should produce a smooth pinching distortion to the target image layer, instead I get dithered distortion that bears no resemblance the expected warping of the image. Am I missing something about how to use the displacement filter, or does this filter need to be redesigned?
  2. Unless I've overlooked something, I don't see that it is yet possible to define a vector brush with the same jitter and scatter dynamics available to pixel brushes. Have you considered adding the ability to define a vector brush from vector art with the same jitter and scatter dynamic parameters of the pixel brushes? If not, I would like to formally request this as a feature in the next available upgrade to Affinity Designer.
  3. @petriknz What Serif have in Designer is the equivalent of Adobe Illustrator's "Art Brush". What's missing is the equivalent of Adobe Illustrator's "Scatter Brush" and "Pattern Brush". Essentially, what I'm requesting above is for the equivalent of Illustrator's Scatter Brush.
  4. @fde101 Interesting. It looks like Affinity's original architecture has created a cul-de-sac here. Solving the problem would appear to require rethinking both the definition of artboards across the suite (as interchangeable units of composition) as well as the definition of spreads in Publisher.
  5. @fde101 I concede that I have no expertise in coding or app development, but if artboards can be defined as pages (which seems logical and self-evident: a page/canvas upon which to compose), and this conceit is implemented across all three apps in the Affinity suite, then the definition of what constitutes a page in all three apps would be consistent, and Publisher could then define a master-page spread as a special grouping of independently sizable "artboard/pages", and multi-panel fold-outs on either side of the spine could be constructed of grouped "artboard/pages".
  6. @fde101 It may be that the solution lies in the way that Serif define artboards in Designer. Designer makes it possible to group separate artboards in order to create a multi-panel document. Not really sure about that from a coding point of view, but from a laymen's point of view it seems that treating the facing pages of a master-page spread as independently sized artboards, with the ability to group two or more artboards on either side of the spine would be the way forward. CC: @MattP @AdamW
  7. @Old Bruce Not sure I follow your dimensions there. A typo perhaps? At any rate, Publisher forces perfect symmetry in its facing-pages documents. I don't know how one could achieve the asymmetry required to specify a fold-out. If you've got a work-around in mind, could you illustrate it with a screen shot or video?
  8. @Seneca Currently, how would you set up a gate-fold in a book/magazine in Publisher? Going in, one has the asymmetry of a 1 vs 2 page spread; then a 2 vs 2 page spread; and finally a 2 vs 1 page spread. I haven't yet figured it out how to accomplish this in Publisher. As for an internal half-page, I suppose one could draw a dashed line on either side of a leaf to indicate the narrower trim size for the page.
  9. Mark Oehlschlager

    Arrowheads can only be centre aligned

    Under what circumstance would one want to shift the alignment of an arrowhead away from the stroke it's meant to finish?
  10. Mark Oehlschlager

    Text Frame Inset Bug

    Currently working with Publisher When I attempt to apply a text frame inset value of 0.25 inches in the Text Frame Panel, my text is unexpectedly offset from the top of the text frame by what appears to be 1.25 inches. Stepping the offset value down incrementally, I find a behavior break point between 0.13 inches and 0.14 inches. (See attached screen shots.) Any idea about what's going on here?
  11. Mark Oehlschlager


    @Patrick Connor Thank you for your honest reply. Naturally, Serif would like for their product to be successful. But you can also imagine how desperate many people are for there to be an affordable alternative to the Adobe suite of apps and their onerous subscription pay model. This, in concert with Apple forcing migration to all 64-bit apps in the next 6-9 months, has many freelance designers and small creative agencies, who have been clinging to the last available perpetual license to the Adobe suite (CS6) for as long as possible, in a mild state of panic. It may be more than Serif can deliver on within the year, but I, and I suspect many creatives, are desperately clinging to the hope that Serif will provide the escape route from having one's work and finances trapped by Adobe and their subscription model for "renting" tools. It's no mean feat, but means achieving feature parity with the Adobe suite, and breaking through Adobe's virtual monopoly enforced by an "industry standard" proprietary file format. All of my hopes and best wishes are with Serif and their ability to pull this off.
  12. Mark Oehlschlager

    Text Frame Inset Bug

    @fde101 I've just checked the box for "Ignore Baseline Grid" under the General section of the Text Frame Panel. Unfortunately, there is no change to the weird behavior. BTW, I've also checked to make sure that there is no document-based baseline grid set up. Feel free to download the file in question and take a look. (Attached above.)
  13. Not sure to whom I should address this matter. I've just received a spam message on this Affinity Support Forums site. Message resembles that of a porn operator trolling for customers. Here's a copy of the message from @suswill: Is there a way for me to block this and other such spam? Is there a way for the admins to block or delete the spammer account?
  14. Mark Oehlschlager

    Text Frame Inset Bug

    @Old Bruce You may be correct, although I began with a fresh document immediately after installing, and I did not actively set a baseline grid. I've tried to reproduce the problem and I cannot. It may have been a one-time occurrence related to the installation of the new beta software. It may be an intermittent bug. I'll monitor the issue with more tests over the next few days to see if it crops up again. Strike all that above. I have reproduced the problem. This time an unexpected jump occurs when the top inset is over 1.83 inches. (See attached screen shots.) The break point in this instance occurs between the top inset values of 1.83 inches and 1.84 inches. By incrementing the top inset from 1.83 inches to 1.84 inches, the typeset paragraph jumps downward a distance that appears to be equal to the leading (linespacing), roughly 48 points. The font I'm using is a licensed Opentype Postscript file for the face DIN Next LT Pro Bold. A baseline grid has not been set or activated. I'll attach the Publisher file below. P.S. If I change the font from DIN Next LT Pro Bold to Arial Bold, the problem remains, but this time the breakpoint for the unexpected jump occurs between 1.81 inches and 1.82 inches. It's a mystery. TextFrameInsetv01.afpub
  15. Mark Oehlschlager

    A Clip to Canvas Bug?

    Working through Designer Currently reading about the Clip to Canvas item in the Help files. I have a few questions about display behavior: When I stretch a colored shape to reach beyond my artboard out to the boundaries of my 1/8" bleed, the colored shape is automatically clipped to the artboard. Why? When I follow the Help file instructions to deactivate "Clip to Canvas" (View > View Mode > Clip to Canvas), what I find is that the Clip to Canvas command is checked and greyed out (un-selectable). Is this a bug? Am I missing something? How does one show art extending out to bleeds? How does one show art on the pasteboard?
  16. Would you guys be targeting an official launch date on or about the Apple WWDC event this year? And would you be planning to have an iPad version of Publisher ready to go by then?
  17. Mark Oehlschlager

    Open SVG mistake (

    I've just looked at each of your sample SVG files in Designer on Mac OS 10.13.6. All four examples display upright, both on the canvass and on the layer thumbnail. Perhaps you or one of your colleagues have rotated the canvass while working on the file in Designer?
  18. Currently working through Designer Regarding the Styles Panel (which is basically a Graphic Styles panel), I have a few requests: A built in None/Clear/Default style option or command that would make it easy to clear all object level Layer Effects and reduce the fill and stroke to a basic white fill and 1pt solid black stroke. The ability to edit/redefine an existing graphic style within the panel (via drag-n-drop from art board, right-click contextual menu, and panel menu).
  19. Mark Oehlschlager

    Replacing images / image scale .227

    @robinp Well, unless you're producing scale drawing for your A3 document pages, you would need to scale your drawing down to fit the A3, and then do the math to compute your compounded scale, and record that in a caption to your placed drawing. Are you unable to place your drawing at 100% and then use the Transform panel in Publisher to reduce that placed image by an appropriate percentage? If your 1:50 drawing needs to be scaled down 50% to fit a document page such that the new scale is 1:100, why not place the image at 100%, go to the Transform panel, link the Width & Height fields, and add the expression * 50% after the actual image Width and then hit the return key?
  20. Mark Oehlschlager

    Replacing images / image scale .227

    I'm not sure I understand the expectation here. Publisher is a page layout application for books, magazines and other long documents. It is not a drafting program for the production of construction drawings. Presumably your office outputs scale working drawing from a drafting program onto large sheets. If you need to print books with detail drawing at 1/4"- or 1/8"-scale, or even a very small-scale plan drawing, why not export a properly scaled, 300-ppi raster image with dimensions appropriate for the page size of the book you are trying to produce?
  21. Working with Publisher I've placed a greyscale image in Publisher. I've used a Gradient Map filter to map two Pantone spot colors to the image (one spot for the dark tones, one spot for the light tones). I've also drawn two rectangles on the page and filled each with the respective spot colors used to recolor the greyscale image. Having exported the document as a PDF with "Honor spot colors" selected, I get a PDF document where the colored image separates out onto the four standard process color plates (CMYK) rather than onto the expected spot color plates. The spot color filled rectangles do however separate correctly onto their respective spot color plates. This appears to be an ongoing bug in Publisher. Generally, I see nothing in the help files for any of the three Affinity apps (Photo, Designer, Publisher) that clearly explains how to apply spot colors in such a way that the colors will correctly separate out onto the correct spot color plates for offset printing. Please give special focus to spot color handling and control in the Affinity apps prior to releasing the official 1.7 versions. Test 02.pdf
  22. @RM10 CC: @Jowday If you own Affinity Photo, and are willing to work with a rasterized copy of the artwork, you might consider building the composited mock-up image of the bottle with the logo bending round the form by using both the Mesh Warp tool and the Perspective tool. (See example screenshot below.) Working with a duplicate of your AF Designer source file, go to the File > Edit in Photo ... menu command to take the art into AF Photo. Use the Mesh Warp tool to apply a bend to your logo that matches the perspective of your bottle's form. Use the Perspective tool (Dual Plane mode) to foreshorten the ends of the logo a bit to try to fake the natural compression of the image you'd see if it were actually wrapping around a bottle. It requires some manual manipulation and a good sense for thinking in 3D, but it's better than nothing. Short of working with a real 3D rendering application, this is probably your best shot. Good luck.
  23. @fde101 @Sean P fde101, Thanks for the linked discussion. Still questions about the distinctions between Canvass and Artboard remain for me. First, if every AF Designer document displays a Pasteboard on which there can be one or more Artboards (even of varying sizes), and, working with real-world analogies, a digital Artboard is like a sheet of paper or board onto which one draws and paints, then I must ask: Why doesn't an Artboard get created automatically upon document creation? Why isn't it just assumed that a designer is going to be creating a composition on an Artboard? Why would you want to compose without a defined Artboard? What special purpose does a "Canvass" have without a defined Artboard? Second, I note that within AF Designer it is possible to group Artboards of various sizes into a multi-panel "canvass" for projects like tri-fold brochures, or book/magazine covers for perfect bound publications, or for dust-jackets for hard bound books. It occurs to me that this capability should be incorporated into AF Publisher to allow for the creation of these same items plus the creation of fold-out pages in magazines and books. @Sean P could you please raise this idea of adapting AF Designer's capability of building multi-panel pages to the problem of creating multi-panel fold-out pages for books in AF Publisher with your colleagues?
  24. So, Canvass and Artboard are separate concepts in the Affinity app? Seems a bit confusing as the terms are so similar in meaning for me. Is that something that could be cleared up with terms that are conceptually more distinct from one another, or is that pair of closely related terms something that users will need to learn to keep straight? Apart from serving as a kind of layer group, what purpose does the Artboard serve? How is it meaningfully distinguished from the Canvass?
  25. @rnbutler87 Actually, as a follow up to my first reply, I've conducted a simple test of my own. I placed a big red square on an artboard and allowed it to bleed on three sides (left, top, right). On screen, the artwork is clipped to the canvass/artboard. The menu command that controls this is greyed out and not selectable, but in this beta the default choice is fixed: Clip to Canvass is permanently switched on. Interestingly, even though the art that extends into the bleed is clipped from view on screen, when I export the document as a PDF with the "Include Printers Marks" options switched on, the exported PDF accurately shows the bleeds along with the printers marks. So, I guess the question now is whether or not Affinity plans to unfreeze the "Clip to Canvass" menu command to enable users to see their bleeding artwork on screen, not just in PDF output. Bleed Test.afdesign Bleed Test.pdf