Jump to content
You must now use your email address to sign in [click for more info] ×

Search the Community

Showing results for tags 'CMYK'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Affinity Support
    • News and Information
    • Frequently Asked Questions
    • Affinity Support & Questions
    • Feedback & Suggestions
  • Learn and Share
    • Tutorials (Serif and Customer Created Tutorials)
    • Share your work
    • Resources
  • Bug Reporting
    • V2 Bugs found on macOS
    • V2 Bugs found on Windows
    • V2 Bugs found on iPad
    • Reports of Bugs in Affinity Version 1 applications
  • Beta Software Forums
    • 2.4 New Features and Improvements
    • Other New Bugs and Issues in the Betas
    • Beta Software Program Members Area
    • [ARCHIVE] Reports from earlier Affinity betas

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Website URL


Location


Interests


Member Title

  1. I am trying to print a large banner 37 feet by 4 feet. I can create the canvas and then place all of the content onto the canvas and save the document as an afdesign file. But every time that I try and export any output I get the "boing" sound indicating an error of some type and I am unable to export anything in any form, bitmapped or vector. I have no bitmapped content and no effects for which bitmapping might be applied. If the output size is less than 12 inches then I can export but anything over a relatively small paper size refuses to process. Any suggestions?
  2. I've been trying to export a vector file as an eps file from Affinity Designer, so it can be laser cut. For this the eps file needs to be in RGB colour, which I set up in the document settings. On sending it to be laser cut though, it the eps file was returned saying it was in CMYK colour format. Does the format change for export? I can't see any way of setting the colour format during export, only in the document setup. Is there any way of making sure that it can be exported with its RGB colour profile? I've attached the example file and exported file: Circle test.afdesign Circle test.eps
  3. Hello Just purchased AP as a quick & unbloated alternative to PS (stupid cloud). I work as a print designer and something I use to do a lot in PS was converting images from RGB to CMYK with a specific colour profile (eg: sRGB -> ISO coated 300%). However, if I choose "document -> Convert ICC Profile" in AP I only see RGB-profiles (and no rendering options). I can convert of course with "document -> Colour Format", but that doesn't give me any options on how I want to convert my images… Am I missing something? kind regards, Benjamin
  4. Hi, there's a Plugin for PS (Windows only) called Curvemeister which allows to Curve in different colorspaces. E.g. the document is RGB, the Curves dialog shows the usual RGB Composite + R, G, B channels and L, a, b, and C, M, Y, K (which channels are calculated on the fly). In PrePress it's quite usual to switch carelessly from one colorspace to another to exploit each colorspace peculiar features. The multi-colorspace Curving could be implemented, say, only when the document is converted to Lab (so that you're already in a device-independend space, which saves you a conversion). Thank you, Davide Barranca
  5. We biologists are also making our own RGB composite images from scratch all the time, and this type of functionality is critical. Our workflow often begins with a series of 12 or 16 bit grayscale images that are 'massaged' into 8 bit images and, ultimately, RGB composite images. Therefore, the ability to copy/paste into the channels of an RGB image, as well as some form of channel mixing is very useful. I get the impression from other discussions that channel functionality is broken for the moment, but will be fixed. Where we really suffer, however, is in sending our data to scientific journals for print publication. Since art directors often have little idea what our composites are really supposed to look like (the color or contrast of a mitotic spindle, anyone??), we are stuck (as image nonprofessionals) trying to proof our images on our own a bit before we send them off. Just have a look at any major scientific journal to see the lack of image workflow training (that is, we don't get any image workflow training...). Since we don't get access to the publishers icc profiles or anything useful to a commercial imaging professional, we have to play with generic CMYK conversions and/or soft proofing tools to ensure our microscopy images fit more or less into a generic CMYK gamut. So we get self-taught in adjusting saturation and hue of our RGB images to make this work out... At least, some of us are self taught. Others simply send their raw, saturated RGB composites off and don't care about the printed result. Of course, I'm supposed to be focused on my cell biology work (at least, that is what I'm paid for), and not so much on image colorspace workflows (in my copious spare time). In the old days, we would take actual photos of our specimens, and include a hardcopy with our manuscripts. That way, we never had to talk to the art directors, and vice versa. But I digress... While it is true that the scientific journal publishers as a whole expect me to send them straight up RGB images for publication, we still need a way to ensure that they will likely look halfway reasonable in print form. The art directors at the respective journals may or may not have patience for a lot of back and forth with us scientists over our images. For this reason, we would very much appreciate some form of 'out of gamut' warning and (at least generic) CMYK conversion to help make our publication workflow less frustrating.
  6. We biologists are also making our own RGB composite images from scratch all the time, and this type of functionality is critical. Our workflow often begins with a series of 12 or 16 bit grayscale images that are 'massaged' into 8 bit images and, ultimately, RGB composite images. Therefore, the ability to copy/paste into the channels of an RGB image, as well as some form of channel mixing is very useful. I get the impression from other discussions that channel functionality is broken for the moment, but will be fixed. Where we really suffer, however, is in sending our data to scientific journals for print publication. Since art directors often have little idea what our composites are really supposed to look like (the color or contrast of a mitotic spindle, anyone??), we are stuck (as image nonprofessionals) trying to proof our images on our own a bit before we send them off. Just have a look at any major scientific journal to see the lack of image workflow training (that is, we don't get any image workflow training...). Since we don't get access to the publishers icc profiles or anything useful to a commercial imaging professional, we have to play with generic CMYK conversions and/or soft proofing tools to ensure our microscopy images fit more or less into a generic CMYK gamut. So we get self-taught in adjusting saturation and hue of our RGB images to make this work out... At least, some of us are self taught. Others simply send their raw, saturated RGB composites off and don't care about the printed result. Of course, I'm supposed to be focused on my cell biology work (at least, that is what I'm paid for), and not so much on image colorspace workflows (in my copious spare time). In the old days, we would take actual photos of our specimens, and include a hardcopy with our manuscripts. That way, we never had to talk to the art directors, and vice versa. But I digress... While it is true that the scientific journal publishers as a whole expect me to send them straight up RGB images for publication, we still need a way to ensure that they will likely look halfway reasonable in print form. The art directors at the respective journals may or may not have patience for a lot of back and forth with us scientists over our images. For this reason, we would very much appreciate some form of 'out of gamut' warning and (at least generic) CMYK conversion to help make our publication workflow less frustrating.
  7. Just for fun I opened up a AD sample image and changed the document to be CMYK/8. That muted the colors a lot. Didn't find a saturation change option. Reverted to RGB and exported the file to PSD and opened in PS and opened it. The files look close. Converted the file to CMYK in PS and there quite a difference. In the below the top is PS (left) and AD (right) in RGB. Bottom is PS (left) and AD (right) in CMYK.
  8. Hi, you can convert the image to an icc-profile. But you can only select installed profiles that are in the same color-mode as the original image. So, if you have a RGB-Image and you like to convert it to an CMYK-Profile for a print-studio, you have to do two steps: 1.) Switch to CMYK-Mode 2.) Convert to the ICC (now you see the CMYK-Profiles) It would be much easier, if you could convert a RGB-Image directly to a CMYK-Profile. …and it would be nice if the last selection would be preset for the next time. So if you need to convert to a specific ICC a lot (in my case i have the one cmyk-profile for the print-studio that i need over and over again) it would speed up the workflow.
  9. Hi - apologies if this answered elsewhere but I couldn't see it. I use the eyedropper tool to sample colours (usually 5*5 pixels) to check on skin tones, and convert these values to CMYK to compare to established skin tone colour values. Being red-green colour blind, this is vital for me! Is this a procedure within Affinity, or at least one that can be imitated? Howard
  10. Why is the default colour format for a new document with Print as the type, RGB? Shouldn't it default as CMYK? The Press-Ready Preset is, but not the general Print. I think this is just leading more to the conclusion that this app is being aimed at digital designers and really not thinking of print design.
  11. I just watched a Skillshare series with a surface pattern designer and Affinity Designer was mentioned in the comments. Questions: In what formats can the files be exported? What colour models can I work in - CMYK, RGB? I use Photoshop all the time but not Illustrator - Am I going to have a steep learning curve (vector or otherwise ;) ) Thanks,
  12. Two things: 1) When I import an existing AI file, the CMYK values change in Affinity compared to the original file in Illustrator. 2) After making color changes, I then output the vector logo using web coated SWOP v2 color space and relative colorimetric settings. Opening it in Photoshop (5.1) or Illustrator (5.1), I see the CMYK values all change. Have the values in the Affinity file actually changed, or is the nature of going between the different software packages? Bottom line is I want to trust my assigned CMYK values in the file are preserved and correctly interpreted by pre-press. Manup-Logo-cmyk-187process.afdesign
  13. How do I convert an imported RGB image into CMYK to prepare a layout for printing? I currently didn't find any information within the help.
  14. Hi In the new document dialogue if I specify - Document Type: Print, I'd expect the app to default to CMYK throughout, though of course if I did want to use RGB colours I'd want to be able to depart from the CMYK spec on an ad hoc basis. Currently, the colour mixer appears to default to Hue regardless of any changes I make in places that look like they might set this up. Is that how it behaves or have I missed something? I've searched the forum - no one appears to have raised this already. ---------- (I don't know if it's preferable for me to create a new topic for each observation or list them in one, I'll presume a topic per observation unless guided otherwise)
×
×
  • Create New...

Important Information

Terms of Use | Privacy Policy | Guidelines | We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.