Dazmondo77

Not me If you're not happy you could always start an Adobe subscription? Paying for upgrades was made clear from the start, even though I have a moan here and there about a few things, we've still had nine FREE updates (so far) featuring speed, stability improvements, missing / new features and bug fixes - that's amazing value for money

I think your best bet would have been to start the job from the offset with a global palette - only using those global colours and tints of those globals - it's the way I start every job and saves so much wasted time - although the 'select same' addition to the latest beta is also a life saver

I found the same thing really confusing exactly 6 years ago with version 1 - turns out other users where having the same experience - really should have been a very very basic destructive vector distortion option pretty early on - cum-on Affinity boffins - 6 YEARS - Like the worlds best cheese and onion crisps (as it states on the packet) tastes amazing (of cheese) but it's still missing the onion - 6 years in development should bring a knockout REAL cheese and onion

Brilliant work on PDF Passthrough and Data Merge - just having a PDF preview makes a massive difference - also a bonus that if you're having problems you can rasterise the preview and Data Merge works great --- shaping up to be a great update 👍

I would say vector basics - vector distortions are not an advanced feature, but I will agree that Designer is a great user experience and I can do around 30% of my work using it without having to open Illustrator CS5 which feels horrible to use but is essential for plugging the gaps. I don't understand - I've totally embraced Studiolink - so 99% of the time I just have publisher open with 99% of all three apps tools available without switching - isn't that the point? So for me Designer (via studiolink) does have a font manager which works seamlessly

?!!?!?!?!??!??!?

Looks like you have two separate strokes - goto your layers panel, select both strokes and click on the 'join curves' button in the tool specific toolbar above the art board

I recommend Everweb https://www.everwebapp.com

I've had this problem a few times, when you can't even select any layers to move, and found a workaround is to create a new document, create a few boxes, go to layers, click and move layer, switch back to the document with the fault and the layers should again be selectable and moveable

me too

Non-Destructive vector distortions in VectorStyler are brilliant

I believe that very first version of Designer should have had at least a very very basic, destructive, vector distortion capability then there'd be less people like me having a top moan about waiting 5 years and all that, I'm sure they want to knock our socks off with a non-destructive capability, but 5 years blah blah blah....

I only trust my CMYK Default palette of process globals which has solid CMYK and proper greys ( K 10% incremental tints) which serves my purposes - note that the last black swatch in this palette is a rich black of 20,20,20,100 Feel free to use: I'm with thomaso 👍 Process globals.afpalette

Sounds like your documents are set to RGB then converting to Fogra39 on output which would cause a noticeable colour shift The Affinity print engine is currently very very basic and cannot output CMYK and only very basic vectors so sending say an A4 magazine ad to print that is setup from the outset in CMYK and printing to a postscript printer or rip would result in a conversion from CMYK to RGB then back to CMYK?!?!?! and fonts and vectors pre rasterised before hitting the rip - currently, the only reliable option is Acrobat, so the much less vibrant colours you are getting will be much closer to the finished print run when using a print house. My background is in print so I always use CMYK from the outset along with a set palette of global colours, if my print provider wanted Fogra39 I would start the job using that profile this would give a more accurate screen representation and proof (from Acrobat not Affinity) and all your colour percentages would remain intact ie a single pass 100% black wouldn't be converted to a rich black with an ink density around 290% as some print providers I have used would reject a job with a density over 260%

You need global colours for this - I've requested on multiple occasions, an option to have global as standard but have gradually reached a compromise by creating my own set of global colours, exporting, then importing and making it the default palette for CMYK so every new CMYK document now has a default global palette which also includes REAL greyscale in 10% tint increments Feel free to use my attached palette, although it is made up of CMYK colours Process globals.afpalette

I use Birdfont which works great with Affinity, copy pastes back and fourth - just does the job https://birdfont.org Totally agree with Kemie

I've had this before - a restart worked for me

Forgive me for being a little sensitive over this job - Maybe 15 years ago I was freelancing for a local digital print company and the studio manager showed me a hugely expensive software package that did a similar thing as this file, to which I replied 'why don't you just do it in InDesign' to which he laughed as they used to run all their variable data jobs through word?!?!? with loads of bother, he told me bluntly 'InDesign doesn't have a data merge capability' and marched off - so I came up with something similar to the Chocolate heart job to demonstrate my idea and how InDesign could meet their needs and how you could use FX on text to create personalised output - he couldn't believe it when I ran a test job through to their Xerox iGen press and it all worked - he trotted off to tell the boss the good news - soon enough the boss was down in the studio excitedly flapping around telling everyone we should feel privileged to work along side a total genius, yes the studio manager took all the credit - At the time I was made to feel like this was a big deal although there where probably loads of people who had a similar idea and maybe its a standard way of doing this type of work, I don't know? but back then I felt pretty down about having nothing to show for it other than £8 per hour for two days work - so naturally, I feel a little protective of this job even though this technique is probably a standard now. Sorry for the waffle, just needed to get that off my chest, SWEET THERAPY!

Hi Jon - do you want me to go back to placing the data merge node inside a group (so it can't generate properly)?

Don't get me wrong, I love the feature and how it works along with a magic mouse but my natural left hand position is to sit over CTRL, Alt, CMD from years of shortcuts and now I've tried and used it, just like ALT scrolling for zoom and free scrolling on the magic mouse, if you take it away or you need to use another mouse, it's annoying when its not available - I think maybe I'll get used to it, I'm feeling much happier using it now my reset rotation shortcut is set to CMD, ~ (which is a repeated shortcut for 'switch to next view' which does exactly the same as CTRL ⇥ minus the ability to add ⇧ to go back) 👍

Brilliant feature but I'm struggling a little as it seems way to easy to rotate by accident at present with an apple magic mouse, although I have a shortcut in place to reset rotation. what would be even better was if we had the ability to change or add to the shortcut, for me personally I'd prob go for CTRL, CMD and mouse scroll

I like Bake Appearance

Needs fixing - they delete fine on Mac - replaced with my own application palettes CMYK and greyscales and my default palette for new CMYK documents is document palette 'process globals' so all back up and running after a few resets with the previous beta What Walt said 👍

Just a "centre on page" would solve the problem for duplex printing - Affinity apps aren't really up to the job for anything other very basic RGB raster printing - I really hope this will change in future

+1