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  1. Hi I am trying to export a 24pp brochure to PDF with bleed area and cut lines in CMYK. But every time it comes up with a pop up saying an error occurred unable to export. I have also tried exporting locally, same problem, or the program crashes. I really need your help the document needs to be submitted tomorrow. many thanks
  2. Hi all, I'm new to the Affinity Suite and am a bit confused about color management (and noticable difference in color rendering compared to Adobe)... Maybe someone can help me out here? I'll attach the relevant data if someone wants to try out him/herself. Also, I'll use Publisher below, but i also checked with Affinity Photo - same story. I have also already printed the shot attached, so i know how it finally did print and the Adobe softproof is nailing it while the Affinity softproof is quite off. Start with opening the template*.idml attached. It's a print template to be used by the print store... First confusing thing here: They mention to do the full workflow in sRGB, but the document itself opens with CMYK in Publisher. Import the jpg attached (the jpg is sRGB). You'll immediately notice the color gamut problem when importing in this CMYK document. Save the file as "CMYK.afpup". Now in document settings, change the color space in this publisher document to sRGB. Save the publisher file under a new name e.g. "sRGB.afpub". Open both publisher documents side by side Now add a soft proof adjustment layer to both files, i have attached the relevant *.icc file, too. Use "Relative colormetric" as intend and "black point compensation". My findings are: When working with the document in CMYK, the color rendering is way off (the pinks are way too blown out. There is significantly more detail and texture in the final print). When adding the softproof layer it corrects the orange/reddish inner part of the blossoms correctly, but the pinks are still wrong. When working with the document in sRGB, the color rendering is at least ok (well it's sRGB, so yes nothing changes). However when i apply the soft proof layer to this file, then the contrast of the full soft proof picture decreases rather significantly (mostly visible around the butterfly). Also something that I don't see in the final print. So either way, things are off. Am i doing something wrong? If i export from either of both files (of course with the softproof layer disabled) to a PDF in print quality, sRGB and import this PDF into Photoshop and use the Soft Proof Function there, it works just perfectly fine (and is extremely close to the final print). Disclaimers: I have of course checked to have the soft proof options aligned. With that, I'm a bit lost how to adapt my workflow... it seems maybe it's best to just use sRGB for the document and don't do any softproofing in Publisher itself but export to PDF and do it in Photoshop then? Rather tedious... Thanks a lot for any help... Best regards! Christian template_42x28.idml SaalDigital_Fotobuch_matt_10-15.icc
  3. I am dabbling in Affinity Publisher for the first time, having decided to create a zine using Publisher and possibly getting Mixam to print. Mixam require PDFs to use the CMYK colour space. (Please pardon my terminology if wrong) The zine will contain many photos and some text. All the photos are currently sRGB. Am I right in thinking that when sRGB images are imported into a PDF that is set up with CMYK colour space / mode, the images will be automatically converted to CMYK? I understand that the conversion will impact the colour rendition to some extent. I also understand that it is sensible to commission a proof from the printer to check on color rendition. I presume that there is some image editing capability within Publisher - in the Photo Persona?
  4. Would be nice if you could add an option to treat embedded passthrough grayscale PDF as K100. I guess K Only or profile conversion option would be practical.
  5. Please have Affinity export K only PDF from gray mode documents if the color space is set to CMYK in the export options.
  6. I think an option to display K100 as 100% black in the CMYK mode in Affinity is needed. Illustrator/Indesign has the option in the Preferences to choose the appearance of black. Everyone has their taste. you should let users choose.
  7. Hello - I have a basic question: In the past, when I was still working with Photoshop, I always had to convert RGB images used in a file for printing to CMYK in Photoshop beforehand. If I didn't do that, I always got a call from prepress that RGB images were in PDF X3, and that it wouldn't work that way. But I have also had the experience that this did not cause any problems. (I can also open the Affinity Designer file in Affinity Photo. But there I can't find a way to convert a single image to CMYK). Can you guys give me an answer on this? Thanks a lot - Marc
  8. I have calibrated monitor and printers; I use i1Studio from xRite for both. I setup a document like this, 1 page: I insert a reference photo, this one: Now I print: I disable color management in the printer's driver and enable it in AP The "Xerox workcentre..." printer profile was created by me with i1Studio, it works great in any other app I have As a second check I export the document in PDF and print it with Acrobat, same profile (and the print is ok). So I'm asking: does AP honor the printer profile for a CMYK Postscript printer as old as a Xerox 7435? Infact it doesn't seem to, and ANY profile I use in the print dialog gives the same output. In general I'm very happy with AP it's just so annoyng to have this extra step when it comes to printing. Thank you very much.
  9. Good day to you! It is stated in Printshop rules that: Where in Publisher I can check that, taking into consideration that all my images are RGB and are converted in CMYK automatically by Publisher? Thanks in advance!
  10. Overall Publisher seems to have many features. But their workflow with spots inks is pretty weak or simply don't work. I know Affinity just released the first beta; indeed, this is just the time to request this. Many proffessional works are done with spot inks (maybe a background hard to print in CMYK, maybe they need a rich orange/green/blue ink). Also the little works, due to be cheap using only two spot inks instead of full CMYK. Things to be implemented or improved: - We need a more streamlined workflow with spot inks. Currently it's a pain. We don't have a way to see all current colours of the document (spot inks or any other color); we can only have the option to create a custom palette wich don't works with spot inks (it converts your spot inks to color space document colors -CMYK in my case-). Currently, the most easy way to see your document spot inks it's export to PDF and open your exported file with Acrobat Proffessional. - We need overprint control. This is a must. - Object styles don't export when you use spot inks. - Publisher considers spot inks as "unsupported features" when you export PDF. This converts all you vector works (external documents placed) with spot inks to images, even with PDFX 3 preset. Disabling "convert to image unsupported features" allows to export your linked vector files with spot inks. - Publisher don't recognize AI, EPS colours, spot inks or CMYK. Tested with Illustrator 8 files. Things to be implemented in future updates: - Ink preview options will be very appreciated. Specially overprint and ink separations (just as Indesign and Illustrator). Sorry for any misspell, i'm not a native english speaker. BTW there's some spanish bugs, i will report them when fully translated betas are released.
  11. Hello everybody! This is the first time I participate in the forum, so forgive me if I make any mistake with the rules, please. I am not english native so my explanation or understanding of technical terms might be short or difficult. Recently I´ve had issues in two situations which involve exporting to PDF using CMYK to send to a printing house. I use Mac Os X Catalina and last version of Designer (1.10.4). Firs case, I tried to export a file that have been created in RGB to PDF and CMYK. The file doesn´t keep the shadows nor the brushes applied as an effect to a vector element. Behind the elements there were blank spaces that appeared in many areas of the canvas. This doesn´t happen when exporting to JPG in CMYK. I don´t know if the problem can happen because the combination of vector and pixels layers in the same file. (Please see file attached: Cover_FueElectrico.pdf). In addition, with a larger file (280 mb), the computer is not able to export a PDF, also in CMYK. The computer doesn´t crash and in the process start to fill up the storage capacity when there was more than 100 gb of free space (the computer advised me to delete files, and the storage descended to 3 gb aproximately). So it was imposible to export the file, and had to copy paste the elements to Adobe Illustrator and export with no problems, only the extra task of redimensionate the elements and some fail conversions with text elements. I wonder if there is a problem with the last update of the program: in May I worked with similar file from which I have reused all the elements to the new I´ve been working during last days. In May I could export under the same conditions with no problems at all. I am not sure if this is the place to comment this. And don´t know if is an issue caused by me because of my work process or some bug with the last program update. I would like to solve these issues as I am really happy using Affinity and want to continue using it. Hope anybody could give me some recomendations to find a solution. Thanks in advance. Cover_FueElectrico.pdf
  12. Win 7 Publisher V. Why does the colour chooser give me TWO sets of values for one CMYK colour? (BTW, colour is spelled with a "u" in my version of the program). And, there is no "Help" entry no matter which way I spell colour. The red circled values are the ones recorded with the swatch panel.
  13. I don't know if it's a question or feedback. For the past 5+ hours I've been trying to make sense of how to check how my work will look like when printed, and here's what I found. What I need I need a quick way to check whether my colors are within the printable gamut range and also to see the out-of-gamut colors. They keyword here is quick. What I get The Soft Proof layer works not like that. Suppose I am in the sRGB color space. It seems like it takes the RGB coordinates of current image of the sRGB space and simply applies them to the Proof Profile that I select (without conversion). But that's not what I want, this naturally gives the wrong results. What happens is that once I apply soft proof with the "U.S. Web Coated (SWOP) v2" profile I suddenly get a brighter image, as if it tells me that this is how it will be printed. And if I click the "Gamut Check" button most of image becomes grey. But it's not the case, it's not how it will be printed. In fact, all the original colors will be printed (in my particular case). The step that this Soft Proof feature misses is the conversion of Color Spaces for this "check". If instead of applying the Soft Proof layer I convert the color space (Document > Convert ICC Profile...) and select CMYK/8 + "U.S. Web Coated (SWOP) v2" then the image will remain exactly as is, it will not become brighter. Furthermore, if I now apply the Soft Proof layer and select "U.S. Web Coated (SWOP) v2" then the image will stay exactly the same, and if I click "Check Gamut" then no area will be grey. Because all colors are within the color space range. Bottom line It's very misleading what the Soft Proof shows if you don't convert your profile first. But if you have to convert your image profile to check the gamut then it makes the "Soft Proof" feature not helpful. I am attaching an image, just for reference, which I used to play around with this. Can you please help sort this out, why does it work like that and has that been done intentionally.
  14. First of all: English is not my main language, sorry for mistakes. I am an absolute beginner in this whole topic, so unfortunately im having some problems with exporting a PDF document for printing. My project is a label for a bottle, I created my own design in affinity designer for iPad. The main font with the Name of the product has to be 100% black and set for "overprint". I followed all the steps that I could find online, I tried everything I could, but when I view the exported PDF in Acrobat Reader it tells me that the CMYK on the main Font is "C= 89%, M= 78%, Y= 62% and K= 97%". It should be 0/0/0/100%. Yes, I set a global color, set it to "Oveprinting" and turnt K to 100%, the rest to 0%. The Export format is PDF/X4. No matter what I do while exporting (embed profile yes/no, Font to curves, embed fonts etc., nothing changes). Can anybody help me with this issue? I'm at the end of my knowledge and just can't get this done. Pls help.
  15. Greyscale become multicoloured when printing from Affinity Designer. Obviously a conversion to/from color profiles happens inside Designer. How can I prevent this from happening? (This happens to all colours. It is just shown best with greyscale.) My printer expects data in the same colour profile as my AD files working profile. (ISO coated v2 (eci)) When exporting a PDF/X1a and printing with Adobe Acrobat everything is OK.
  16. I make artworks in cmyk color setting and exported to PDF, The colors become Too bright. I don't know why this happens. Can anyone help me?
  17. Hello People, I might overlook something. But I really can't see what I am doing wrong. On the top left, you can see what Color i would like to work with. I was choosing the color in RGB. Because i wanna use this color also for something to print, i wanted to make my color for CMYK. I used for that multiple online RGB to CMYK converters to be sure it's the right one. On the left of the picture, you can see a screenshot from one converter. (The Document was set to CMYK). And now my problem. On the right is what color Affinity gives me when i use the CMYK color code. I also tried the CMYK colors in other programs, they all gave me the correct color which i want on the left. But not Affinity. Is there something I'm overlooking? Thanks in advance
  18. Sorry for appearing to ask a question that's been asked before. This is the first time I've been in this position and I'm not sure what the correct workflow would be. Previous answers on the forums don't appear to help in my specific case. I've created a print project which was initially specified to be delivered in RGB as it was mainly scanned watercolour art (with vector and text overlays). Now the job has been moved to a new printer and now I need to provide it in CMYK. I'm being asked to use the FOGRA 39 profile. I've already had signoff from the client on the RGB artwork so I'm hoping I can minimise any pain in going back around that loop again. Here are the main things I've discovered: Setting the profile in the PDF export creates a substantial colour change. Changing the document colour profile to FOGRA39 creates a substantial colour change. I'm using AD because of the vector work, I notice that in AP there is a document conversion menu option, trying it out caused the same colour shift. First, are my concerns about the colour shift valid? Second, what is the correct way to convert the profile and at the same time minimise any colour change? Here's a small sample where the red component changes noticeably (top CMYK, bottom RGB): I should probably add that adding the Soft Proof at the top of the layer stack in the RGB document doesn't show a colour change like you see with the profile change. Also, I fully understand the difference between additive and subtractive colour systems, out of gamut colours and calibrated and wide gamut displays - all of which play a role in how I'm perceiving this shift in colours. My concern is that I thought (maybe through ignorance) that the colours being used wouldn't be out of gamut as they aren't near the extremes of RGB.
  19. Hi, what is the best way to convert rgb images to cmyk for print with Affinity Photo? Thanks
  20. The result of color conversion from RGB to CMYK with perceptual intent(second picture) doesn't look good. Compared to Photoshop, too much shadow part that lost detail. Conversion with relative intent(first picture) is good enough though...
  21. I purchased Designer and Photo years ago but I just couldn't replace Illustrator & Photoshop because of a few missing features that are just workflow basics. I've moved to the Windows platform and just downloaded new trial versions of them to give them another chance, and these problems persist. Most of them relate to features that prevent the user from making critical, unprofessional mistakes like inconsistent color use across multiple documents. If you are deigning a flyer, a business card and a name badge, you can't have variations between them. These are a few [very] minor omissions that I am missing that risks me making amateurish mistakes: - Global swatches don't carry to another document when copy-n-pasting a logo from one document to another (same as in Publisher) - Swatches not carrying over to the new document also means that overprint setting are lost because overprint is defined in the swatch, not in the object. - I can't tell what color mode I'm working in. If my mode is RGB for a flyer, I need something to shout out at me, or at least give me a clue that my print job is going to be disaster. A simple RGB/CMYK icon would suffice. Even Photo displays its color mode in the document's header, but Designer [where it's more important] doesn't. - The colour picker only picks up RGB/CMYK values, not a global swatch. Even if I've pasted a logo into a new document and it's displaying a global color, the eyedropper doesn't read it as a global color so I can't even reliably copy colors from my source logo. - To duplicate an object by dragging it, I have to press the Alt key before I select the object, not during the drag. Most of the time, I need to be certain I have selected the correct object before I duplicate it, however, now I have to duplicate something and then find out if I selected correctly. I don't know how many times I have moved items I want to duplicate and duplicated items I didn't want to duplicate because of this. An application is not fast to work in if I'm constantly undoing my actions. - Changing the colors of margins & guides. If I design a blue brochure, my margins and guides disappear. I need to make them red or yellow or anything. I don't expect to be able to mix my own colors, but a dozen pre-mixed swatches to choose from would solve this problem. (apart from working in wireframe mode) - Connecting the selected transform corner in the transform palette to the free transform with the move tool. It's very strange that I can select a corner in the transform palette, but then I always rotate around the center. I have to manually type rotation values in degrees to get the rotation around a corner. Why the disconnect? This disconnect is similar to the disconnect I experience between the swatches, color mixer and eye dropper. - Previewing at export. Even in Photo, I can't see the effect of the level of JPEG compression being applied to my exported files (neither in Designer nor Photo). I have to export a file half a dozen times until I hit upon that sweet spot of small file size to barely noticable quality loss. Even the open source GIMP does this with a live preview at export. I can do awesome professional work, and then break it all with a poor export... and not even realise it. - Proofing colors. I really need to be able to see how my colors will separate before I save my PDF. If I've accidentally worked in RGB, this will reveal my mistake as I go to repro. Overprinting and knockout will also be a disaster if not picked up in time. (Who here hasn't experienced the dreaded white text set to overprint and wondered where all your text went?). This feature alone forces me to keep a professional, licensed copy of Adobe Acrobat around to preview color separations. In my final repro file, I have to know if my spot colors are still spots and if I'm printing fine black text as 100% black, or a full color breakdown that will turn my single color print job into a full color one. Previewing the separations (or channels in your photo editor) points out my potential errors. - Overprinting settings. The previous point leads straight into this one. Why is over printing set in the swatch and not the object? If I want some small paragraph text to over print, but large display text to knockout, I have to make 2 identical black swatches to do this. Why can't I specify this on an object-by-object basis? I guess "Multiply" does the same thing and works as a work-around, but you're targeting print designers, and use the term overprint yourselves so why the strange and risky implementation. - Snapping to "round" values. When manually selecting a color in CMYK, we are inevitably creating a color using round number values from a color chart. It's slow and frustrating trying to select exactly 50% in a slider as it hops from 49 to 51 and back again while we search for that perfect pixel placement. How about snapping to increments of 5% by holding down the shift key? Your snapping features are awesomely powerful, but only in the document. Why not extend this into the sliders and the rest of the application? (Admittedly, I don't know any other application that does this, but it makes sense and would be welcome.) Basic features that are even in open source software seem to be missing. We waited for years to get arrow heads. You claimed it was because you wanted to get it awesome, but they are no more powerful/different to anything else out there on the market. I suspect we only got them when Publisher was released. Did we have to wait for a whole new app to be leased to get arrow heads? Now we sit with other missing basic, common features like: - Blend/Interpolate - Stroke drawing tools like a grid tool and a straight line tool. These are enormous time savers. - Tabs. (I understand you want to protect Publisher by keeping high end text features like hyphenation, drop-caps and text wrap out of Designer, but this feels like a very basic feature compared to your range of kerning, alignment and Opentype features already here from day one) I understand that everyone's needs are different and you can't satisfy everyone, but you are targeting print designers as well and illustrators and web designers, and these are all features every professional expects and is surprising that they're not here. You give us features that most professionals just leave on the defaults because few of us even understand them (like color profiles and LUTs), but then drop the ball by not pasting a global swatch from one document to another. It's confusing and just doesn't make me feel confident in the files I send to print. Please can you look at these issues before adding new features. I understand that new features are needed to sell products, but a lot of us early adopters are just wondering where the small tweaks and refinements are. It seems that your development team needs to consult with an old school designer or printer to get these fundamentals right. It feels like you've only got young designers who have grown up with an RGB workflow and have never had to bang out 6 flyers in an afternoon and send them to print with the job being rejected.
  22. is this planned? This is absolutely crucial part of printed work. REALLY needed ASAP.
  23. I have a question concerning colour. When I create a new Affinity Designer document, the Default Black colour isn't 100% Black, it is 72 Cyan, 68 Magenta, 67 Yellow and 88 Black. Why that colour? If it was "registration" (100% of all colours) I could understand but it isn't. It is odd because I have set the colour space to be CMYK when I created the document. Is this a bug or is it supposed to be that way? For someone who has experience working with images for print it isn't as much of a problem (it is annoying but can be dealt with) but for someone who doesn't quite understand the printing process this could be a problem. On screen it looks black but if it were to be printed commercially, it wouldn't look so good.
  24. Publisher question. Hello, I've made CMYK swatches of my client's pallet. Then I made various standard tints and also added those to the swatches. I wanted to see the percentage breakdown of each process colour. So, how much C and M is actually in that 15% tint of the full strength version for example. Am I missing something? The only way I could show the actual values of the tinted version of the colour was to use the Colour Picker pipette and select an area where the tint is used. All other options of showing sliders in various places only showed the full strength original, which is incorrect.
  25. Hi and thanks (very much) in advance. I am making a book cover for a paperback book -- I am using Affinity Publisher, and I also have Affinity photo (and Designer, too). There is a photo (from Unsplash, free to use) that I want to use on the cover (the photo is attached). It is a blue sky with a cloud -- and the blue is so bright and wonderful. It's a jpg file, but the problem is, when I convert to CMYK (which is required by the printing company) -- the blue sky fades, and loses all its magic. Is this what always happens when JPG goes to CMYK ? ... Or is there something that I don't know about Affinity Publisher (or Affinity Photo) -- is there some trick or technique to keep the CMYK blue looking bright like the jpg blue sky ? Thanks again ... from Zorba
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