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About Dazmondo77

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  1. I noticed the same bug effecting the unsharp mask live filter not rendering when exporting to pdf, luckily I noticed on the album cover I'm currently working on, while checking in acrobat before sending to the printers - workaround = duplicate the effected group then rasterise - now good to go Good to know the prob is being sorted
  2. Looks like I'm sticking with Acrobat Pro 9 then which does the job on checking separations and ink density, Verify PDF/X standards conformance, but won't run on new macs FFS - can't believe theres no alternative?!?!?!?!
  3. Yes please Maybe if it was an additional purchase, fully featured, pro print orientated, PDF viewer, tester, and fixer - once purchased it would show up as a studio link persona
  4. Brad I just fired up my old Macbook and it works the same as yours, yet all my settings are the same as on my mac pro, same shortcut setting for application windows - just thinking I must have activated some hidden thing that turns the standard feature off - just need to figure how to turn it back on as it would be really useful (nowhere near as useful as having large thumbnails and no app window though)
  5. I've had some success using spots simply by substituting multiply for overprint and screen for knockout, which works with gradients without converting to cmyk the downside is you have to export as PDFX-4 which supports transparency Spot test.mov I've made a screen capture to demonstrate:
  6. Ahhhh Brad I see what you're getting at, I have F10 assigned to application windows in mission control - my gripe is that this shortcut only works as described in separated mode, what I was requesting was a way to access the same feature in normal (not separated) mode
  7. Not the right decision, considering these are 'pro' applications and a lot of print houses do actually run many internally produced jobs direct to film/plate/digi press from InDesign or Quark - This is the first bit of feedback I've come across from the Affinity team that have addressed these concerns which I've been harping on about for a few years - I just assumed pro applications would send a CMYK job to a CMYK printer with less issues than a consumer inkjet - I've had my Xerox Phaser 6180DN for around 13 years which produces pretty accurate CMYK output and was shocked at how bad the print quality was from Affinity apps, all pure cyan magenta and yellow colour bars ends up with a noticeable dot of other colours when output from affinity plus vector information looks like its pre rasterised before it hits the printers postscript RIP - whereas when outputting from any Adobe / Quark / even an old copy of Freehand on an old mac gives pure CMYK colour bars and nice crisp reproduction of vector information - My biggest concern here is it's another reason to hang onto Acrobat pro 9 , so in order to have faith in my workflow I still have no option but to stick with El Capitan - I've freelanced at a few print houses over the years and have found it frustrating how you come across production macs, that in some cases, still run mac OS as far back as Leopard which is too old for Affinity apps, yet they have complete faith in their 'old' workflows ---- As I would now describe myself as a Affinity Fanboy, I really hope the team eventually roll out professional print output - I just feel this could be a push for all those print-shops to upgrade
  8. Thank's BnBGobo99
  9. Does nothing on my mac
  10. These features have been requested by users since the first version of Designer, as either method could potentially save hours on complex documents with loads of layers - currently my work around is to create a document palate before anything else and only use global swatches, the main problems always seem to be with black, I have had jobs created in illustrator that have a 160% density, CMYK, rich black (C20 M20 Y20 K100) that uses Fogra39 colour profile, and open in Designer using Fogra27 which turns into a black of around 350+ density, I'm pretty sure this never happened changing profiles in Illustrator of InDesign, although if it did it would only take a few seconds to sort as Illustrator has 'Select Same' and any vector work pasted in indesign instantly creates editable global swatches for each colour used - I've just got used to having to do it the long winded way in Affinity, just for the time being, as I'm sure we'll get 'Select Same' in the not to distant future, as I was reading on a post yesterday requesting 'Select Same' which is around 15 pages and very lively. - Soon, hopefully?
  11. I'll try this one - I've had this video problem before on the forum, usually just re-uploading does the trick but I tried 3 times with the above vid then had to go out in the end. This file was setup to simulate duotone type spot and black using soft masks for the spot (PANTONE 7467 C) and using blend ranges to isolate highlights and shadows to see if I could get spots to output to PDF without converting to CMYK - I found it worked, and that Screen layer effect knocks out colour and Multiply overprints which is a brilliant way to do it as you can see the actual finished effect in Affinity rather than set up overprint and have no idea how it will look until opened in acrobat and viewing seps. In this file theres a multi-task which is made up of 3 elements, 2 vector with different levels of gaussian blur for the body and 1 raster for the hair, all grouped then dragged to the right of the image to mask which gives the flexibility of being able to tweak the depth of field on the arms. Hope this helps? Multimask&spot.mov
  12. Thanks Carl123, although I read another post reply yesterday by Walt Farrell which advised the same, which did the job and showed the offending red dots on a speech bubble Lesson learned
  13. Alternatively, make a vector box slightly bigger than your Mask size and drag the masked image into the box, remembering to set the boxes fill and stroke to none, this way you'll retain the ability to re-scale up the image without the horrible mask problem - another way I battle this is: instead of creating the mask, make a selection then create a pixel layer and fill with a colour then drag the pixel layer to the right side of your image and it will mask the image but without the horrible problem, I also use multiple masks this way for doing hair and a gaussian blur mask to simulate depth of field - in theory, this way, you can have as many elements as you like which make up the mask with are all editable separately you can even mix vector and pixel to achieve this Altmask.mov Heres a quick demo vid: