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Found 15 results

  1. 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.
  2. Hi all, I am a newcomer with Affinity Photo in extensive usu. Earlier had only Capture One as my main s/w for editing and printing and used AP just for special editing (e.g. inpainting) and image stacking (e.g. focus, astro). Now I try to expand the use of AP and , for the beginning, made a comparison between AP and C1 printing capabilities. So I used same file (.jpg with Adobe 1998 color space), same media (Canon Glossy Photo Paper) and same printer (Epson SCP-800). Now, what I see are some differences in results. Especially reds are more dull in the print from AP. But now, which is strange to me, I realized (after quite amount of ink and paper, of course) that this problem can be overcome if I (after Opening the file in AP) run the command: Document->Assign ICC profile_>Adobe 1998. I really thought that this profile would already be taken in in opening the file. Do I have misunderstood AP behavior or what? Could someone explai, pls? I have (couple of times recently) calibrated my monitor, and files have always looked similar on display, as, I believe, it should. Thanks in advance, b.r: MarkkuS
  3. Hello I have problems getting the prints from my Canon Pixma pro-200 look the same as the screen ( Dell 34 inch covering sRGB). I bought a Datacolor Spyder Pro and did run a calibration according instructions , but unfortunately can't see the improvement that I hoped for. I have affinity Photo 1.8 on windows-10. I use sRGB on my camera. Under color management I can select color management performed by app or performed by printer. What option to choose and why, what are benefits or drawbacks? And is there a dependency between who is doing the color management and the printer profile that shall be selected . Under the printer profile I can among others select a select the profile for the canon pro-200/ paper combination, but also sRBG and even there is a printer profile called ''sRGB display profile with display hardware configuration data derived from calibration'' Should I select the printer/profile combination or sRGB or the calibrated sRGB? Under the printer properties there is an option to manually correct color and intensity. Irrespective if letting the printer or the app doing the color management I still need to do corrections ( roughly -25 on green and +25 on brightness) to have the prints look like the screen. Is this normal? Under printer properties I also can select a paper type, does this have impact on the color management? Can someone please explain, Thanks a lot. BR Andre
  4. I've been corresponding with MagCloud/Blurb tech support, trying to pin down what they think might be the right Publisher settings for PDFs submitted to them. It's uncharted territory. They don't have experience yet with Affinity Publisher — they have InDesign and QXP templates but none for Publisher — and Serif hasn't commented much about Magcloud/Blurb that I know of. I did a lot of book pagination in the past, but it was always someone else who did the final prepress work. Blurb has a page that could be useful for people like me who don't have much experience with setting up documents for CMYK processes. The most rudimentary color-management info on the page, I already know. It was the soft-proofing bit that caught my eye. https://www.blurb.com/blog/color-management-printing/ The web page contains a link to the company's own ICC profile, useful for soft proofing. Scroll down to the What is a Color Profile? subhead, then look in the second paragraph below it for The Blurb ICC Profile is based on the GRACoL2009 reference (etc.). The link to the ICC profile is in that sentence.
  5. MagCloud, a division of Blurb, does not have templates for Affinity Publisher or instructions re: the desirable PDF export settings in Publisher. So for now there's some guesswork involved. The first .afpub made for the test had as its native color space CMYK, with the default CMYK profile selected. The second was an exact copy but with the native color space changed to RGB/16 and the garden-variety sRGB profile selected. Both PDFs passed MagCloud's preflight checks. In both cases I left the PDF export dialog's "convert images" check-box UN-checked. All of it will end up CMYK when MagCloud prints the books. But it will be interesting to see differences between the two. When I changed the native color space there was a noticeable change in contrast between white text on a black background. The characters' edges seemed to distinctly sharper in the RGB version. Could it have been only a screen artifact? Certain colors of the photographs had a bit of saturation boost in the RGB version as well — at least on-screen. I'd be interested to hear from people with a lot of pre-press experience: Given the differences in document color spaces and profiles used, would you expect significant differences in the printed pieces? (I won't be seeing them for a couple of weeks yet.) Something I didn't change in creating the documents: the Assign (versus Convert) setting found in Document Setup. This is one place where a "Lightroom style" UI does the user no favor: It's hard to tell which of those two buttons is "pushed" by default. For now I assume black means selected. The tool tips for these controls read "Assign color profile" and "Convert color profile." Does "Convert" apply to every possible object in the document, including photographs that were previously exported in RGB from their original raw format?
  6. hi there, first of all - great software already. miles ahead of several other 1.x-versions in the past. joined the group of 'adobe-refugees' already in 2017 and waited long for this peace of software to get ripe. did some testing till now with several projects without daring to use it fully in production... now i did and immeadiately it gives me headaches. scenario: a brochure with about 20 pages and lots of ads. where everything that has to be done internally in APub works really well and flawlessly so far, the placing of external assets throws problems that let me question again if this is really usable for production yet ... first big trouble: embedded fonts in .pdf's! sometimes they work without hassle and the pdf looks as is expected - sometimes they dont work at all. for the latter one have to tweak every single ad to either convert the fonts or generate a bitmap out of it. thats completely weird. and to be honest: not acceptable at all. the amount of time this consumes is far too big and really can not provided at all. i dont want to have editable assets or ressources to be placed. they just should be placed - as they are. period. second big trouble: these ads come from all sources and theres no way to control what the author did/does. so the colors gives me another heavy headache! this time the issue extends to the edge of not being able to use APub for production ... colors get changed by APub!! obviously depending on the embedded (or not) color profile of the ads APub changes the colors!! what the hell? it seems, that if the embedded color profile of the ad is by chance the same as in the APub project, everything is o.k. - but for every other scenario they obviously change! why? astonishingly the colours are correct when trying to edit the ressource within APub - on leaving the edit theyre wrong again. sometimes that obviously, that the results are by far not acceptable anymore. how to explain this to a customer??? this time theres really no way to get it right - how should i change the icc profile of an external .pdf?? again going the weird way over a bitmap? whoah. just one simple question: why do ressources as pdf's have to be editable? take them as they are and simply ignore embedded profiles. // btw: i've put the same project together in ID simultaneously - no hassle at all. all ads fine, every font displayed correctly and same for colors! // so - where is that fu***ing "ignore enbedded color profiles" button in APub? where is the question-window when placing a ressource that asks for whether to simply place it or make it editable?? another thing: i am missing the ressources *panel* for constant control of missing or changed ressources. wheres the info panel to see what effective resolution a embedded ressource has, and which color profil is assigned, the original dimension etc. etc.? at this point my nerves are heavily strained and i am quite disappointed to see thats not working out. for such simple things ...! maybe someone might tell me i am doing something dead wrong, and its not APub? please.
  7. Hi Everyone, In the need to understand the sometimes complex subject of Color Models, Color Spaces and Color Profiles better, I found it hard to find a nice to read and complete source on the matter. So after I did a deep dive into the subject I decided to share what I've learned about it by writing a tutorial blog about it with illustrations and interactives. Yesterday I published part one about Color Models and color basics, to pave the way to Color Spaces for the next and last part of the article. Although not directly Affinity related, I figured this could benefit other Affinity users too in understanding Color Spaces better and when to choose which in Designer and Photo. And making Color Spaces a little less confusing to understand. Of coarse all graphics-work for illustrations and interactives in the tutorial are made in Affinity Designer. The blog is available in both Dutch (https://www.wigglepixel.nl/blog/wat-zijn-color-models/) and translated in English (https://www.wigglepixel.nl/en/blog/what-are-color-models/). Hope you like it and if this makes others understand the subject better and as enthousiastic as I am now about it after this, I reached my goal! Maarten
  8. Hi all, from one day to the next something has got mixed up with the color management in Affinity Design. The white became a yolk yellow. When I tried to change the color profiles in affinity, sometimes nothing happens and the white remains yolk yellow. With other documents the background becomes a neutral white but other elements that should be also neutral white remain yolk yellow. Like I said, I tried to change profiles, from RGB to CYMK, from AdobeRGB to the Benq-Profile (my monitor). Nothing worked. When I start with a RGB/8 and Benq-Profile everything is shown correctly, but the PDF documents I import, always have this yolk yellow instead of neutral white. I have to say that I am not a professional graphic guy. This problems I have on a Windows computer. Can someone please help me? Thank you
  9. I recently noticed that the colors of my images are "off" by quite a bit after exporting. I checked my monitor to make sure it was set to "sRGB" and in AP it is also set to sRGB. How can I make the image colors look correct after exporting? I am using a windows 10 64 bit PC if that makes a difference. The monitor is a cheap walmart AOC but it's all I can afford. Nevertheless, it isn't a monitor problem because it's only after exporting that the pictures look "off".
  10. We achieved accurate colors in offset (Ryobi 522) with ISO Coated v2 (ECI) color profile. How I can use it in Affinity?
  11. I have been doing some testing of color printing using Affinity Photo. I am using an IMac, OS El Capitan and an Epson 2400 printer. I am not getting colors that are completely accurate. I just used the Mac's calibration program to calibrate my monitor. I printed all the images on plain copy paper. For 2 below, I had set the RGB Color Profile, in the Preferences settings, to sRGB 61966-2.1. For the other 3 tests, I changed it to Adobe RGB (1998) after doing some reading on color management. In this example, the color profile of the image I was trying to print was sRGB 61966-2.1 I believe this profile came from the camera from which the picture was taken. When I printed the image I tried a few different settings: 1.Color Sync (which lets Affinity manage the printing), using the Adobe RGB (1998) color profile, with the Plain Paper setting. I disabled the settings in the printer dialog box so that Affinity Photo, not the printer was controlling the settings. This gave me the best print, although the skin tones in the photo were too orangey red compared to how the picture looked on the monitor. 2. Color Sync using the same color profile on the printer, sRGB 6 1966-2.1, as was used in the document. Again, I used the plain paper setting and disabled the printer controlling the settings. This print was worse than the first, with the skin tones even more orangey and the blue objects in the image tending toward turquoise rather than deep blue. 3. Color Sync as in #2 except that I chose the Enhanced Matte setting. This gave me the worst colors, in terms of both the skin tones and the blues. 4. Epson controls the colors. This defaulted to a printer profile of SP2200 Standard PK, with plain paper settings, something I was not able to change. The colors I got were similar to the colors in #2 and not as bad as in #3. Based on this experiment, I'm wondering if there is anything else that I should change either in my preferences or other settings. #1 is acceptable but not great. I don't want to use up all my expensive ink trying every combination of preference settings and color profile settings so I'm wondering if there is some rule of thumb that I should be following.
  12. When we develop and edit picture starting from RAW then very often we can lose fine color details during conversion to final color space. The typical remedy is to define working color space wide enough to accommodate wide camera gamut, but still, our final color space should be smaller so finally, a conversion is unavoidable. Leaving aside a discussion about what is real color, for sometimes complex reasons we can allow small color shifts and keep details visible. Often happens that color banding or unpleasant color areas emerge in final result even when you use 16 bits per channel and perfect profiles. To overcome this problem you can try to use wide gamut profile for working space, use the color proof layer on top and then export or convert picture to final color space. Below is the explanation (rationale) for this procedure. For example, let's imagine that there is pixel with R:G:B values of 116:51:32 with ProPhoto D65 profile. For simplicity, I will use here 8-bit encoding. Normally, with wide gamut profiles, at least 16 bits per channel should be used. Now, when we convert an image with this pixel to sRGB its value becomes 164:10:27, but color will not change. Why? Because this particular color is inside sRGB and ProPhoto gamut. When I will use color proof correction layer in ProPhoto profiled picture, then for this particular pixel value will not change, and still will be 116:51:32. Similarly, there will almost be no change in expected value after conversion to sRGB color space. Because of a rounding errors small shift to 163:11:26 can be observed. This particular pixel value is almost on the boundary of sRGB color space, so small changes are possible. The situation will change dramatically if we will try to do the same with a pixel which color is out of sRGB gamut. Let's take saturated red pixel in ProPhoto color space, where the value will be 163:0:0. Now, with proof layer applied, pixel value should change to 170:72:26, but when you directly export this picture to sRGB space then the value will be 241:0:0. Exporting picture with proof layer applied results in 241:8:5. Why there is such difference? The reason is simple: proof copy is still in ProPhoto space, so relative colorimetric routine adjusts not only saturation but also other parameters. When you directly export to small, sRGB space then conversion routine is in a completely different situation. Oversimplifying, zero is zero, so closest pixel value is for conversion routine 241:0:0 - a distance between a pixel value in different colorspaces is simply too large. This behavior leads to "fine tuned" color space conversion routine. This routine gives good results with highly saturated pictures and with RAW workflow, where there are many color details outside sRGB (aRGB) space. You have to remember, that modern cameras have really wide gamuts. Very often much wider than Adobe RGB in reds and blues. What do you think?
  13. Is it possible to strip the ICC profile from a picture? Also, what is the difference between "Convert ICC profile" and "Assign ICC profile"? Both have same content and a pre-selected option.
  14. Hey again, I have to deliver a GRACoL coated PDF for printing frequently. - Is that possible with Affinity? I didn´t see a matching profile. - Are there plans to add that profile (quite common in the US) - Is there any profile close by GRACoL (and I mean close enough to work as a professional printing solution)? Thanks in advance for any help, David
  15. A feature I often use in Adobe apps is the Proof Setup option. In InDesign this allows me to check how document colours will look across different print and screen colour profiles, including some greyscale profiles. In Illustrator and Photoshop this menu option also checks how document colours would appear to someone with Protanopia or Deuteranopia-type colourblindness (for some reason this feature isn’t in InDesign). The colour profile previewing is nice to have, but I usually focus on just using the greyscale profiles as a way to test contrast in my artwork colours, and in Illustrator I often like to check that I’m not using colours that wouldn’t read well for a colourblind person. I’d love for Affinity apps to include greyscale and colourblindness preview options, as well as any other preview modes for visual impairments that may be useful. Having the ability to proof specific colour profiles would also be useful.
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