William Overington

If Photo goes the generative AI route, then we need them to join the content authenticity initiative and editing adjustments be in the meta data. I've been led to believe Photoshop has it already.

I think of AI somewhat like how I think of langauge translation programs, namely that, if, for example, I view a video of a song in a language that I do not know and I wonder what it means, if I find the lyrics of the song in that language on the web, then the translation program translating from that language to English gives me a good impression of what the song is about, but I would not use the translation program to publish something that I had written translated into a language that I do not know.
William
 
 

So perhaps it is forlorn hope, but maybe they are paying decent money for the licenses for this material & a market will emerge for those skilled enough that they can make a living selling the licensing rights to the content they create specifically for training AI's?

AI related/specific posts are now here. Obviously they spun off things that were said here but this is not for the discussion of AI

It probably does not have enough data for it. Any average artist is "smarter" than these systems (so I think the term "learn" is somewhat incorrect. They don't know of anatomy like I do (or at all, better said), or any other artist who dedicated at least a decade or so to the  matter). But them having gazillions of data to 'mashup' gives them the edge in many commercial markets, which yep, destroys many artists' way of living, ends up with a bunch of artists having to quit. That while... you telling an artist to dig info about the 1813 locomotive Puffing Billy, or whatever, this person will research about the matter and do a collection of art concepts about it before even starting the project. Will also consider many more nuances (and making more sense at it) than any AI. That advantage is not enough, though. 
The concerns of clients and companies (for not using AI) in some cases are related to privacy issues, industrial secret, etc. As things can get leaked not just with text, also images. And I suppose some level of uncertainty/lack of control introduced by AI is a problem, too.
I have zero problems with AI being used for content aware or speeding up some tedious process, when it is not substituting fully the creative job (BTW, with AI, I have seen in many articles and people's comments in lots of social platforms a considerable confusion about the art concept... a prompt is not "art", no matter how elaborated the prompt). 
The Procreate app has taken a very different stance (probably unique in the industry... huge kudos to them), opposing to AI, to defend the ones who helped them bring the app where it is now (the artists). 
 
Design.. yep, it can be also challenged (the jobs matter). Less so than with artists, by far. But it is already capable of quite in several apps, and perhaps it's a matter of time.
But a designer is a lot more of a "puzzle maker", and we (I am also a designer and 3D artist, though illustration is my passion) have always been able to use such tools to focus on function (more so since the Bahaus ), composition, etc, always thinking on the end user.  Programmers are less affected, and anyway, they have many more ways to integrate with the whole AI train. 
One of the major problems is that.. Although it (the visual art world) has not (yet) seen applied as severe methods as happened in the music industry in the past (to protect the musicians IP), when you use content to build a tool (AI apps, the totally essential scrapping of content), and you don't ask for permission, do not sign any contract... you are using content in an unfair way. Whether regulation will be able to fine tune several matters to bring things to its most fair state, it is hard to guess. Also, there's a lot of money to be gained, and that makes it more difficult, as a lot of powers that be will oppose, money move mountains, way more than ethics.   

Any product using generative AI in any capacity makes it a business risk for me, because the creative field I work in strictly prohibits its use in any capacity for any content, writes those prohibitions into contracts and publisher agreements, and enforces them aggressively.
I'm not morally opposed to the features and personally find them fascinating, but strictly pragmatically there should be options to completely disable them in creative software, and if its usage is automatic and either opt-out or unavoidable then I will always prefer a less-capable tool that lacks any such features, not out of a knee-jerk reaction but to protect my relationship with such clients.

The reason I'd like a forum specifically for typesetting issues is there is no forum for it. It's not a bug, it's not a feature request, it's people with everyday issues like how to best get rid of orphans, widows and runts. How to format a table of contents. Certainly these issues come up with many people. They're not feature issues. It would be helpful to be able to go through the issues others have had, and see how they solved those issues. Search is nice, and of course people should properly title their questions, but it doesn't replace being able to scroll through all typsesetting issues and seeing how those issues are solved. Sure, one can go on other forums for this, but I just thought it would be helpful for Affinity Publisher users to have a place to share their issues. It would also probably help the developers to see the ways people are dealing with the issues, what workarounds they need to use, and see if they can make people's lives easier.

Possibly, but I am finding it very interesting to read people's posts.
It will have run its course when people stop posting or ... ooh ... if a moderator closes down discussion, but I hope that that does not happen please.
William
 

@Ash
Often, a software package where an end user generates original artwork saves that artwork in a proprietary format file.
If the software package becomes unavailable then the artwork source information can become lost.
I suggest the development of an open source plain text format where not only is the artwork itself totally described using plain text printing characters yet also the algorithm for applying that information is also stated in the same plain text file.
Thus given that one plain text file a programmer skilled in the art of programming can program new software that can read that artwork source information.
For example, to start such a project, one could try to define the algorithm stating format for artwork drawn using just the Pen Tool.
A first step could be if every node is a sharp corner. That seems at first glance to be a relatively straightforward thing to do. The artwork could contain one or more uses of the Pen Tool, each use having two or more nodes, and some uses could be a closed loop.
However, once one adds the possibility of making a node Smooth, then not only does the data about that need to be added in, but also the algorithm of how to draw the resulting curve from such data, expressed in plain text, the plain text can include parametric equations so as to draw the curves.
Affinity products could allow export to an algorithm stating format file and import from an algorithm stating format file.
Thus artwork would be conserved even if Affinity products cease to exist at some future time.
William
 
 

Currently there's no such thing as an 'archival license', but as more and more of our media and culture becomes dependent on technology, many of the commercial platforms, applications, etc that were originally used to create these works have either been abandoned, discontinued or the entities that held them have ceased to exist, meaning any works created using those tools will become inaccessible.
It may also no longer be possible to purchase licenses for these tools and platforms, nor may it be possible to even access the original software via legal means. While many of the emulators available state that they are only to be used with licensed applications, the reality is that many folks using these tools have to do so with software, patches and licenses scavenged via the internet as their original software may be inaccessible (on floppy disks, unreadable CD-ROMS, cartridges, etc) and they may have misplaced their software licenses/keys/dongles after all these years.
As many orgs with digital collections seek to make more and more of these accessible to users via the internet, what will constitute a legal license that could be used by potentially millions of individual users without becoming prohibitively expensive? One way to look at this would be in terms of how services such as Libby, Hoopla and Kanopy who provide digital copies of books, music, films, etc to users via their local public libraries. In the case of Libby they chose to limit a number of copies available at any one time, and in the case of Kanopy and Hoopla, each user receives a set number of credits each months that can be used to borrow media for a limited time. These services all create scarcity where technically there is none.
I don't know how the Internet Archive licensing works with regards to online emulators and downloadable media as they don't seem to have the same restrictions as Libby and Kanopy. 
Anyway, I suspect in the coming years we'll need to find other ways for public orgs to archive digital material legally, and some sort of 'archival license' that provides unlimited legal use to an institution for all of it's users would go a long way in helping preserve our media and culture now embedded in our technologies. Not something we're going to solve on these forums, but maybe something for Serif/Canva to start to think about as they make their software available for free to educational and non-profit orgs.
 

Possibly, but I am finding it very interesting to read people's posts.
It will have run its course when people stop posting or ... ooh ... if a moderator closes down discussion, but I hope that that does not happen please.
William
 

Possibly, but I am finding it very interesting to read people's posts.
It will have run its course when people stop posting or ... ooh ... if a moderator closes down discussion, but I hope that that does not happen please.
William
 

In terms of archiving artwork PDF is definitely a viable option today. The file format is already open and widely adopted in archival systems.
Also, text based formats for graphics (esp. bitmaps/photos) are insanely inefficient. It's far better to document the format enabling others to build new libs/frameworks/apps to render/view the work based on the original, open, format (PDF does this already).
My main question is for what purpose are you intending the archive to be used for?
a perpetually accessible and viewable copy of the original work.
This could be achieved already using PDF, PNG, or any popular image format. Export it to the correct colour space at a sufficient resolution for archival work and you're good to go. an accessible, viewable/runnable and editable version of the original work.
This would require that the original structure of the document format remain intact as well as having an application capable of editing the format in its original contexts (incl. OS platforms, chip architectures, etc - ie: the entire 'tech stack'). This is probably best done via emulation, by recreating the original context (OS layer, application layer, etc) for the document enabling a highly accurate reproduction of the original work. This has been done with HyperCard and Classic MacOS on the Internet Archive, and other emulators such as SheepShaver, Basilisk II, Open Emu, Analog Pocket, Ruffle, etc for other platforms, architectures and media formats. FWIW I've recently been using SheepShaver to work with my old mTropolis, HyperCard and Freehand files from the MacOS 9 era, and it's been a great experience. a transitional or interchangeable version of the original work.
This one is what I think you're referring to, and it's much like trying to predict the future, and building something today that will meet the needs we have in 10, 20 or 200 years. While it sounds good in principle, it often omits the underlying platforms, architectures, services, and algorithms that the original applications ran on. Depending upon the libraries, frameworks, etc used in the applications they would all need to be documented and maintained (in all of their various versions) to be able to accurately recreate the work. I can't ever seeing this becoming feasible - too many moving parts. Could we use better archival formats than PDF? Absolutely, but that's a much larger discussion, and one better undertaken by museums, galleries, archival orgs, governments, etc. Beyond that, I think emulation provides the best way forward as it not only enables the viewing and editing of these formats in perpetuity, but also provides a more accurate representation of the whole underlying tech stack used at the time. As for cloud-based applications, how to accurately archive work from these platforms/services/formats is anybody's guess as emulation will most likely not be feasible for the vast majority of these services.
That said, being able to sign-in/activate the software in order to use it at all in an emulator in the years to come, is an issue that's going to become more relevant in time, and one that could begin to be addressed by many companies today by providing something akin to 'archival licenses', which could be made freely available to archival orgs.
 

Not to be confused with the 1954 colour remake (also directed George Marshall) with only the first word as the title.
All hugely off topic for a thread about Canva!

Can you add a forum for discussing typesetting issues in Publisher? Most typesetting sites online assume InDesign. It would be nice to have a place to discuss typesetting where everyone is using Publisher. Thanks.

Hi all, I thought I'd give myself a quick project to explore Affinity's Shape tools and make a series of images.
I've made some fish like creatures, but other themes could easily used, like monsters, faces etc. I was thinking this idea could help new users learn about the Shape tools and generally have some creative fun.
When I get a few spare moments, my intention is to further embellish each shape with colours, different fills, backgrounds, text etc
 

Note: the bitmap fill is from The Shizzle Style and Brush Pack (Grizzle 1), the paper texture is from True Grit Texture Supply (Folio-Vellum) and additional line shading is from Artifex Forge's Vintage Engraved Patterns (Pattern 6). Yes, I have splashed out on the Spring Sale offers!  

Magnificent!

Ok Picture Quiz went live last night, 7 teams of 4/6 all thought the quiz presentation was different and pleasing on the eye.  Winning team scored 15. all other teams scored 9 or above, It was handed out at the start of the evening, handed in at end of the evening.  Only 4 teams got number 4.

James Hunt F1 pole positions | GP Racing Stats
 

Number 9’s position on the grid isn’t great!

I think 11 should be 16.

My latest picture quiz round.
Tv set created in designer. 
20 placeholders inside the TV image for the images. 
All images  converted to B&W and a levels adjustment on the majority of images.
I created masks to obliterate the backgrounds in the images to take away the fussy details. in APhoto.
designed on an A4 will be enlarged to A3 one per team on the night.
Comments on the creation and final (almost) presentation as always are welcome.
have fun with identifying the faces.
As always I look forward to @William Overington blistering observations which are 2nd to none

Oh oh oh as pedantry is in the air, 😁
he was often referred to as Pete Murray, but the credits had Peter Murray.
William

That is not a combining macron (it is the legacy spacing version).
The font does not have the combining macron character.
That is the problem.