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Found 12 results

  1. Successful deployment of drop caps in Publisher seems to be heavily font dependent. Usually the goal is to get the cap line of the initial to match the cap line of main text (i.e., if line begins Harry Houdini, the top of the large first H and the top of the regular sized second H should align). The technical challenge is that cap height varies from font to font. I’m guessing that someone at Affinity looked at, say, 50 common fonts, found the average cap height, and made their drop cap scaling formula based on that. Unfortunately, this means for fonts that differ enough from that average, the drop caps look obviously wrong. In Adobe InDesign, this can be corrected for by changing the type size of the character style assigned to the drop cap within the paragraph style. If the body text is 9.6 pt, setting the drop cap style to 9.8 pt might finesse the drop cap into proper alignment. Unfortunately, this trick doesn’t seem to work in Publisher. Does anyone have an alternate workaround to this problem? Cheers!
  2. A bug in Publisher v1 and v2 causes the table of contents (TOC) layout to go berserk when refreshed because it sponges up unrelated character/paragraph styles from the document. During a TOC refresh, the update function superimposes whatever character or paragraph style is used last in the document on top of the actual TOC styles. This should never happen since Publisher uses independent TOC styles to generate a TOC. For example, if I apply a red character style somewhere in the document and then proceed to refresh the TOC, the entire table of contents will turn red. The same goes for paragraph styles. If I apply a numbered list style somewhere in the document and then go to the TOC to reload it, every TOC entry will start with a number. The TOC only sponges up style settings which are undefined in a TOC style (or its ancestor's TOC style) but defined in the last used document style. With undefined settings I mean unchecked settings or [No Change] settings, anything that can inherit a value. So if I explicitly set the base TOC style to use black text, the unrelated red character style can no longer affect my TOC layout. This workaround works but is impractical for documents that use numerous styles. Since any of these could affect the TOC at some point, you'd need to overrule quite a few settings. Luckily, there's a more suitable workaround, albeit a bit silly. Workaround: Make sure nothing in the document is selected. Go to the Text Styles panel. Set the Paragraph and the Character style to [No Style]. Click somewhere in the TOC to make it active. Refresh the TOC from the Table of Contents panel. The TOC now exclusively uses TOC styles. This behaviour must be a bug. I can't think of any reason why this would be a feature. It appears that forum user Loquos experienced the same issue last November, so I'm pretty sure it's not my setup at fault. Steps to reproduce the problem: Create a new document. Place two regular text frames on the page. From the Table of Contents panel, insert a TOC in frame one. Add a few lines in frame two and apply the default Heading 1 style to each. Go to frame one and refresh the TOC. Edit the TOC style 'Base' and disable the tick mark next to the text colour setting (character fill). Type some text in frame two. Add a new character style and set its text colour to red (character fill). Apply the red style to the text you typed in step seven. Update the table of contents in frame one. The new character style colours the contents red, even though it is entirely unrelated to the TOC layout. When I tried to reproduce the bug in a new document, I noticed that even though the Base style for the TOC is based on [No Style], it is far from empty. Almost every setting in the Base style has a default value. This explains a lot. I tend to defenestrate the default styles when I create a new document. My styles only have values for the settings I need. They don't have default values for unused style elements. This likely caused these daft TOC layouts, but that's beside the point. My approach should've worked just as well. After all, a TOC should never sponge up settings from a random document style. It doesn't make sense, but it is what's going on. I'm using macOS 12.6.3 and the latest Affinity Publisher (2.0.4). I always use the Table of Contents panel to update the TOC. I did not try the Preflight panel's TOC update feature. Hardware acceleration does not affect the issue. Neither does it help to unplug all external hardware. The problem exists in both Publisher v1 and v2. It would be great if the Affinity team could look into this peculiar behaviour and hopefully fix it! Thank you!
  3. Hey everyone, This is a bit niche and I have not checked if a topic like this already exists. What I'm looking for is a compatibility guide with workarounds for creating macros. For the past few days I have been trying to create macros but keep getting stuck because its so unbelievably cumbersome. One big PIA is the level selection. It’s a mess with all its confirmation prompts – just select the damn level I clicked on already! Anyway, I already got used to that by now, that’s not the issue. These two are my current questions, and I haven’t found a solution for it, maybe some of you have ideas? Creating a fill layer and changing its colour It's just not possible, you'll get this warning and the colour will be reset: Select all (as in an unspecified number) layers (to group them or similar) There's no keyboard shortcut or menu item that does this, as far as I know. Anyway, for some reason I didn't notice the option in the menu. It even has a shortcut! 🤦‍♂️ Solution: Select → Select all Layers or ⌥⌘A Do you have similar questions? Is there maybe already a place where questions like these get asked and answered? Does someone know how to get these operations to work or how to work around them? Have a nice weekend Dennis
  4. Hi, there are some heavy bugs concerning compound pathes created from text (text to curves) that affect standard boolean operations as well as the new shape builder. Affinity seems to have recognized all the different posts concerning these bugs and is working on it. Meanwhile i tried different workarounds to get shapes from artistic text in Affinity itself that can be used with boolean operations properly. Unfortunately didn't find any appropriate conversion workaround that maintained the original shape. But i found this workaround - until Serif fix these bugs I had installed Inkscape already - sometimes use this for preparing SVG drawings for web programming. Inkscape is a free, open source vector drawing software: https://inkscape.org/ Now the trick: 1) Important: in your Affinity app prefs set clipboard -> copy elements as SVG !!! 2) Create artistic text in e.g. Affinity Designer. Convert text to curves. Copy curves to clipboard. 3) Open Inkscape with a new empty document. Paste clipboard to Inkscape document. The shape now apears unchanged in the Inkscape document workplane. Copy shape from Inkscape back to clipboard. 4) Paste clipboard to Affinity Designer. Now you have a group in your layers panel containing the shape that was pasted into the document. Drag the relevant vectors out of the group. Now you have the visualy same shape back in Designer. But the internal path description seems somwhere to have changed during this cliboard copy/paste action. The pasted shape from Inkscape can now be used with boolean operations (e.g. subtract rectangle, cogweel or cat from compound letter shapes). Here is a little recipe: boolean-operations-path-from-text-workaround_1-2.afdesign By the way: Inkscape is an open source project. The software is free. Anyway, you may decide to make some donation to this project - they deserve it. I donated 50 EUR last week (not kidding!) because Inkscape manages to export a simple DIN A4 document (210 x 297 mm) to PDF with exact 210,00 x 297,00 mm document size. Without any hassle! Affinity has still (old v1 problem, now in v2 still the same) rounding bugs when exporting to PDF. e.g. look this
  5. I'm using the built-in macOS emoji font quite often in Affinity Photo. However, for some reason, a lot of the emojis with humans are not displayed correctly. For example, if I input the 👨‍⚕️, AP will instead give me 👨‍ ⚕. And if I try to input 🙋‍♀️, I get 🙋‍ ♀. See attached screenshot (the emoji input palette to the right and the result to the left). They seem to work fine in all other applications. Does anyone know if there is a workaround not involving other software? Running latest versions of Affinity Photo (1.10.4) and macOS Monterey (12.2.1).
  6. (This is as well a workaround for auto tracing, until Affinity Designer will include it in an upcoming version.) In this tutorial I will show you how you can prepare a scanned handdrawing with Affinity Photo for bitmap tracing, to get a result with smooth lines and less speckles. As Affinity Designer is currently not shipped with a built in feature for tracing bitmaps, I will use InkScape for vectorization of the image.
  7. Hi all, I saw on another post that 'Artistic' filters such as Cutout are on the roadmap but does anybody know a workaround to get something approaching the 'Cutout' filter result using the current tools? As below:
  8. Hi folks! I've learned from this forum, that there is a known bug, which will not be fixed with the next beta. So my guess is, that the problem will not be fixed with the next release. That's fine with me, Publisher is a new (and great!) piece of software. But my first project i a photobook for a friend of mine: 18x18 cm, 26 pages - after export my file is 1,3 GB and the print-service is only accepting files up to 1 GB. I tried to "rasterise & trim" every single image, which resulted a 13 MB PDF-File with the same settings. 1/10 file-size!! But I'm not sure, if that's the right solution. Will I get good qualitiy with that files? What are my options? What's your workaround? Thank you in advance!
  9. In searching for an Adobe alternative for 2 small newspapers I found a working example that maintains CMYK color space and preserves accurate black text and artwork. This small example is of one ad using CMYK artwork and CMYK swatches to include accurate black (100% K). The attachment should tell the story, but basically created a 6-column by 2 inch doc in AFPub. I then copied text from an InDesign 2019 ad of the same size and pasted it into the new AFPub document. In the process, the color settings in the INDD doc for Goss 45u2 carried over with the text and also set the AFPub workspace of Monitor August 2015 for a Goss press. The color swatch and the accurate K swatch also were brought over during the copy and paste process (to include the fonts). When exporting to a PDF, I created a preset as shown while trying to maintain no color conversion. The results for the AFPub PDF and the INDD PDF were exactly the same with measurements from the Acrobat Output Preview. This probably is not a solution for everyone, but for this small publication company it seems to fill the bill. The real test will be to have a press test, but the PDF tools all measure the same for both INDD and AfPub. Enlarge the attachment to read the process.
  10. Sometimes it might be a good idea to crop the picture early in the workflow. Is there a a way to readjust the crop later, without loosing all the work done?
  11. Unfortunately, there is no "function" to save the studio. (If so, please prove me wrong). That does not mean you can't save it manually, and even keep multiple versions of it to suit your different workspaces. As a bonus or drawback, some of your preferences will also be saved or recalled by the same process. To save your Studio configuration (MAC) The following allows you to keep a safe copy of your studio configuration, including the Toolbar and other preferences (I did not know which ones at this point) Quit Affinity Designer From the finder top drop-down menu, select GO and press [option] — [shift] or [^control] on some systems. A new item called Library should appear in the menu. Click it. Navigate to this location : Macintosh HD/Users/YourUserNameHere/Library/Containers/com.seriflabs.affinitydesigner/Data/Library/Preferences Copy the file com.seriflabs.affinitydesigner to a safe location of your choice. I recommend a cloud base storage, so you can get it back on a new or different system at anytimel. Go back to work with peace of mind, your Studio configuration is now safe. To recall the Studio If the studio go astray, or the toolbar plays hide and seek on you: Quit Affinity Designer Copy back com.seriflabs.affinitydesigner to its original location (From where you saved it above) — Replace the existing files Note that the studio will come back the exact same way you had it at the time you copied the file for the first time. Changes you made between the two procedures will be lost. Forever. I have not tested it yet, but I'm sure that some other preference settings will be affected as well, I just don't know to what extent. Multiple Studios: You can make multiple Studio arrangements and save them independently. Just copy com.seriflabs.affinitydesigner to different locations. Be sure to label them properly, so you remember what they are. Very useful on a laptop that uses an external monitor that is not always connected. If you're comfortable with MacOS Automator, you can even create series of app/scripts to save or restore your Studio configuration(s) automatically. Not the smoothest process and I wish there was a prebuilt function for that… But until it does, or someone proves me wrong, it's a workaround. Enjoy!
  12. Affinity Designer 1.6 (some tips also apply to Photo 1.6) Since Affinity (Designer) is not the best tool when it comes to locking/unlocking objects and generally managing objects I have been searching and coming up with workarounds ever since I tried the Windows beta. Here they are: 1) Selecting and editing a locked object directly on canvas using Outline mode: + does away with endless searching in the Layers panel + the operation does not affect other (strategically) locked objects ... unlike Unlock All - doesn't work in case the object is hard/impossible to select in Outline mode (pixel image) - more work required if you want to quickly edit several locked objects 2) Selecting and editing a locked object directly (sort of) on canvas using Unlock All, Undo and focus in Layers panel (Preferences > User Interface > "Show selection in Layers panel" must be on): + does away with endless searching in the Layers panel + the operation does not affect other (strategically) locked objects + works for all objects - is not quick or straightforward (could be improved if Designer had scripting, maybe AutoHotkey/AutoIt could be used) - a lot of work required if you want to quickly edit several locked objects ... TIP: assign a keyboard shortcut to "Unlock All" for quicker operation Serif Should really improve the UX of the Affinity apps as far as locking and managing of objects is concerned. These are just workarounds. There are some now ancient apps with much better UX than what we have today. If you have any more "lock/unlock" or "show/hide" tips or workarounds, please share them.
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