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Found 113 results

  1. stealthytato

    Unable to use Hindi ligatures

    When using the Artistic Text tool to type Hindi words (devnagiri script), ligatures are not properly supported even though ligatures are turned on in character options. This problem persists even when pasting in text that is correctly typed in another app (Notes). For reference, the second word in the image should show up as “श्रीवास्तव.”
  2. Like everyone else, I am absolutely thrilled about the beta, and can't wait to see how it develops. One of the key reasons to use LaTeX or InDesign over Microsoft Word is their superior type composition. While Word simply dumps in text as it occurs, without regard to spacing or line breaks, these other programs look at an entire paragraph to remove rivers of type, reduce the need for hyphenation, and so forth, just as human type compositors do. In TeX, this is the Knuth-Plass Line Breaking Algorithm; InDesign has the Adobe Paragraph Composer (which it uses by default, but also has an option to turn this off with a single-line composer). Implementing this in Affinity Publisher would make it far easier to produce professionally typeset documents.
  3. Hi, It wold be lovely to have google fonts browser integrated directly into Affinity Designer for iPad. So you can browse through type catalog and have search criteria like serifs, sans-serif, condensed, display etc... Also Adobe Type would be nice but i konow that is far fetched :) Cheers! Igor
  4. I see lots of typography-based feature requests for Affinity Designer. This is not surprising since a lot of us are designers using very mature Adobe software and text wrap, linked text boxes, bullets, columns etc are all essential features for layout. However, we have Photo for photo editing, Designer for illustration and [hopefully soon] Publisher for layout. I think a lot of these "essential" typo features are being requested because Publisher has not yet been released. Designer should not get these advanced type features because they are aimed at layout, not illustration. Typo features that should be in Designer, should be limited to artistic effects like envelope distortions for warping and advanced text on path. My rule of thumb would be "if I can use the feature to design a logo, then it should be in Designer, if it's needed for a brochure, then it should be in Publisher". If we look at the Adobe line-up... sure Illustrator has got a truckload of text features that allow you to do typographic layouts, but I think that's part of Adobe's failings. I have designers who work for me who make me tear my hair out when they insist on using Illustrator for a 20 page brochure – it's possible but it's not the right tool for the job. Then they go and design a logo in PhotoShop – again, possible, but not the tool for the job. (Illustrator REALLY lost the plot when they added multiple pages/artboards) I think this comes from the fact that for many years, Adobe has been adding features from other applications and calling them "upgrades". Instead of innovation and reworking old tools, we just get shared feature sets. This is exactly what I consider to be "application bloat". I hope the developers at Affinity don't give in to all the requests to add missing features to Designer, when these missing features are actually a request for a missing application. Please Affinity, keep your apps focussed, efficient, streamlined and well-considered. Please don't turn all of them into a Jack-of-all-trades. Your pricing is low enough to force me by Publisher if I need typographic features. I'm concerned that when Publisher comes out, customers will pick and choose which, single app they want based on a collection of broad features that satisfy 70% of their needs, and then complain that it's missing features. Rather, we should buy the suite and get all the features we need, than try to get one app upgraded to the point where we don't need the others. I guess my post could also read "Please speed up delivery of Publisher", or at least give us a few more teasers – even just a full feature list of version 1.0 so we can stop asking for what is already on its way. Thanks guys for great software. I'm very optimistic for the future – a future without the need to have Adobe software on my computer. (and great typographic tools in Publisher is the last stepping stone to that future) :)
  5. Affinity Publisher 1.7.0.174 on Windows 7, 64bit (German) can auto-correct standard quotes into typographic quotes, which is very useful and a more-or-less standard feature in all serious writing software. Unfortunately, it appears that it can only correct English quotes ("stuff" into “stuff”). It would be nice if the auto-correction would take into account the currently selected language and use the most-often-used quote characters of that language, e.g. (zoomed for better visibility, would even be better with a serifed font): English: “text” and ‘text’ (as is already done) German: „text“ and ‚text‘ French: « text » and ‹ text › (plus others). This should more or less work flawlessly with the double quotes, but might be undesirable with the single quotes, because here, a closing German single quote (looking like a 6) and a German apostrophe (looking like a 9) cannot be distinguished via the usual algorithm. The same is valid for French (it's easy for English, because there, both apostrophe and closing single quote look the same). My suggestion for an algorithm with which to discern closing quotes and apostrophes would be as follows (as far as I know, no other program does that): If a single quote is entered and the character before it is a space or opening bracket or similar, replace the single quote by an opening single quote (this is already done and should always yield nice results). If a single quote is entered and the character before it is not one of the above, replace the single quote by a closing single quote (this is already done and yields good results, but might be wrong if apostrophes are desired). (this is new) If a 'normal' textual character is entered and the character directly before it is a closing single quote, replace that closing single quote by an apostrophe. This would mean that in case of writing the words it's nice, the single quote would be replaced two times, but at least the end result would be correct... To make it worse, some languages support more than one type of quotes: E.g., since the usual German quotes don't look very nice typographically, most German books use »this type«. Therefore, it would be wonderful if the user could select the auto-correction characters language-dependent manually. One could either include a (rather long and tedious) list of supported languages (as in the screenshot taken from a German text processor, which only supports typical languages used by Germans and is therefore not enough), or offer some edit fields for the user to fill in, as is currently done in PagePlus (which is nice). Andreas Weidner
  6. I couldn’t find any way to set the baseline of a text frame depend upon a typeface’s x-Height i/o it’s Ascenders. IMHO, it’s kinda essential for vertical aligning —sentence case or capitalised case— text blocks properly. Sorry for the screenshot, I’ve just tried to explain myself more clearly.
  7. I am trying to accomplish something I do in Illo all the time but can’t seem to do in affinity. i like to convert my type to paths, and then merge the shapes. in Affinity I have converted the text to curves and then used the add command but it still won’t merge. See image for the overlap not going away. its almost as if I am missing a step after I convert the type to curves. Anyone have the answer?
  8. Sorry to nag about an esoteric issue that is probably of no concern to the vast majority of DTP users -- to me, however, it is highly important that the automatic typesetting of long s in Gerhard Helzel's open type fonts function properly - which is still not the case with build 1.7.0.133 (win). If the automatic long s-function can't be implemented in Apub for some reason, I would have to continue to use Word, where this function works flawlessly, even as Word is rather clumsy to use in so many other aspects of DTP. But if this particular function works so well with Word, why can't it be done in Apub? Would seem to me that a skillful programmer could solve this quickly. However, as I am no programmer myself, I may be making an inference that is way beyond the scope of my knowledge, so please pardon me if I'm mistaken in this regard. https://forum.affinity.serif.com/index.php?/topic/67933-opentype-support/&tab=comments#comment-351320
  9. Hi again, One more suggestion regarding OpenType features in APub beta build 1.0.7.139: One feature that I found helpful in Page Plus was the ability to select individual OpenType features such as the ability to display capital letters as smallcaps (see screenshot; useful e.g. to construct lists of content where the capitals are to be retained) as well as to select individual ligatures. Some fonts offer historical ligatures, e.g. ct with a hook over the c, which may be appropriate in some situations but not in others. In PagePlus you could (to the extent the functionality is available in the particular font) select to omit such ligatures while retaining others in it. Particularly helpful was the checkbox list where the available features could be selected or deselected on an individual basis. APub so far seems to offer “all or nothing” in this regard. On my wish list for Apub would be such an individual checkbox list feature as was available in PagePlus. Thank you for your consideration of this suggestion. Fahneflycht
  10. Affinity Publisher 1.7.0.139 on Windows 7 (64 bit, German) behaves as follows: Create a document with a text frame and insert some characters. From the 'Text Styles' panel, change the 'Base' group style by right-clicking on it and choosing 'Edit'. The 'Edit Text Style' dialog appears. Under 'Font', choose an OpenType font supporting several stylistic sets. Under 'Variants', switch some stylistic sets on by typing '1' into the corresponding edit fields (instead of the [No change] text). Click 'OK'. The stylistic changes should now be visible. Fine. Edit the 'Base' style again. This time, delete the numbers '1' from the stylistic set edit fields. The fields now display [No change] again. Fine. Click 'OK'. By some reason, the stylistic changes are still visible (nothing happened). Edit the 'Base' style again. Surprise: The previously entered numbers '1' have appeared again, even though they were thrown away the last time. Apparently, these settings can never be set to [No change] again. This also happens with any other paragraph style whose once defined stylistic sets should be removed again. It would be nice if one could get back to the [No change] setting for stylistic sets... Andreas Weidner PS: It might be that I don't understand the GUI in this case: In contrast to Affinity Designer and any other program I know, Affinity Publisher not only supports switching stylistic sets on or off, but can cope with the entry of numbers (e.g., 0, 1, 3, -4, etc.). I don't have the slightest idea what this means (and haven't found anything in the help pages, either)...
  11. I noticed two minor things today: 1) When detatching a symbol, the corresponding objects in the layers palette still have the orange bar that denotes a symbol 2) Highlighting two characters (asterisk and closing bracket) and clicking on the Superscript button didn't do anything to the characters. They just stayed as they were.
  12. I frequently create documents set in the traditional German Fraktur alphabet, which requires certain ligatures that are not used in texts set with ordinary Roman letters. The most important one of these is the use of the so-called long s (Unicode U+0073), which may not be used interchangeably with the normal so-called round s but is used according to certain rules. The best Fraktur fonts out there are those that have been digitized by Gerhard Helzel (see http://www.fraktur.biz/). His OpenType fonts have been programmed to employ all required ligatures including the long vs. round s. These fonts work perfectly with Word for Windows 2010 and later and with InDesign as well as with XeLaTeX and certain other freeware programs. Most of them (not all) also work with QuarkXPress 2015. With the beta version of Affinity Publisher, the automatic setting of long vs. round s doesn't work, although conventional ligatures do seem to work. On my wish list would be that the above-mentioned OpenType ligature automatic would work also with Affinity Publisher.
  13. Is there something like a 'quarter em', Viertel-Geviert in german. I use it as a small space to group telephone numbers.
  14. Hello again, I have few other questions: • Is it possible to choose another color for highlights? There is already quite much blue and I'de rather had them in a warmer easier way to see the highlghts immediately. • How can one fix a hard space (to avoid having a ":" at a sentence beginning)? • When searching a glyphs (":" in my case), they appear all in a list, but won't be highlighted all at once. • When clicking on a found element in the list, the highlight happens only if I select the "A" icon in the UI. It turns back to "A-frame" each time I click on the next searching line. With few dozen of the identical glyphe to be checked, it soon gets heavy. RECTIFICATION: In the meanwhile, Publisher quitted, and something changes when reopened. I went on with correcting the none hard spaced ":" and notice that, with "A-frame" icon on, a grey highlight appears now with search line selected.
  15. Hi folks, Using Publisher is allready almost delightfull! I remember when jumping from QXpress to InDesign, lots of glitches and frustrations where poping on screen again ans again: here NOT! I had some troubles with the search and replace, though, but I guess it was my way of clicking too many times on the "Replace all" button. ;/ As small editor, one thing would made of Publisher THE total ID killer: Antidote integration. As you probably all know, typography is a quite demanding matter (and maybe in french printing even more? - Or at least with different glyphs) and transfering text is sometimes a play with lots of unwanted changes. Is this feature in the pipeline already, or will it be in a near future?
  16. After installing the latest Beta (1.7.0.58) I've made a test with hyphenations again. The result stays the same. No hyphens at all. If I change the directory from German to English, there is no difference. Any idea what my mistake is? No_Hyphen.afpub
  17. Hello I'd like to stress the need for a (very) good justification engine in Affinity Publisher, in order to produce high quality text-heavy publications. Because I'm not sure what the status on microtypography in Publisher currently is, I'll drop this info for your consideration. In the 1990's type designer Hermann Zapf and engineer Peter Karow developed the Hz-program, a justification engine which has gained a somewhat mythological status. Its algorithm combines multiline composing, hanging punctuation with word-spacing, letter-spacing and most controversial: glyph-scaling. Adobe has bought the patent, but it's not known whether they actually use the program in InDesign. You can however change most of these parameters (word-spacing, letter-spacing and glyph-scaling) in the justification engine in InDesign with a minimum, maximum and optimal amount. In my opinion, a paragraph composer with these settings, combined with extensive hyphenation settings are an absolute must for professional typographers. Some sources on this topic: - https://en.wikipedia.org/wiki/Microtypography - https://en.wikipedia.org/wiki/Hz-program - http://www.typografi.org/justering/gut_hz/gutenberg_hz_english.html Thanks for your consideration!
  18. I cannot find any previous listings for this topic so if it has been raised before I apologise. There seems to be a major problem with superscript and subscript. Only the numbers 1, 2 and 3 and one letter n superscript and only 4 letters and no numbers subscript. The chart i'm including was created with Times New Roman Open Type. I have used the same text and font in a Pages document and all correctly format.
  19. Hello, buddies! I have quite a hard time managing and changing fonts in both AP and AD, but one of the features I miss the most is the possibility to filter all my fonts to their specific families: serif, slab serif, sans, script, decorative, etc. Is it possible to be done? If not, will it be implemented? Also, is there any way of changing font size clicking 'n' dragging in the icon, like Photoshop? The only solution I've found so far to ease the size modification (as defined numbers aren't really a big help) is assigning the commands to increase and decrease to shortcuts, like Ctrl+Alt+>. All suggestions are welcome! Thanks.
  20. Good for this first beta version. For paragraph styles it would be more useful to put the leading at the body level, the two go together. It lacks more typographic management with non-breaking thin spaces for characters ;:!? Plan to move the point of origin of the page (point 0) in the page. Add the value of the gutter next to the number of columns in the toolbar. Ability to divide the page structure into columns.
  21. I am in the midst of creating a multi-page test document and I am stumped trying to find a paragraph rules option. Is such an option available in the Beta? If so, where can I find it? Otherwise I really do hope it will be included in a future update.
  22. The PDF import function is simply magical – it's amazing to be able to take PDFs of things I created years ago and have them turn into something reasonably workable. It would be even more useful if Publisher could automatically create styles based on fonts, text size, and so forth. Even if it didn't pick up everything, it would be great to have a starting point for editing heading styles and so forth.
  23. How does Affinity Publisher deal with variable fonts? Are there any plans to integrate related features?
  24. In this Affinity Designer tutorial, You will learn how to create an amazing rope text effect using the Pen tool, Node Tool, and Rope Thick Brush. After this work applying outer shadow from layer effect for an amazing look. I hope you enjoyed. Thanks.
  25. Hi all! I am writing you not as the usually nitpicky and potential Affinity-fanboy-who-lives-off-of-Publisher (I do currently live off of InDesign, so it would be only a matter of time, but things just may take a bit of a turn in my career path soon-ish), but as a prospective full-blown professional type designer and current type design teacher with some serious grievances to air; as you may guess, I recommend Affinity apps for most graphic design related tasks, and even though I vehemently tell all my students to familiarize themselves with type design packages (namely Glyphs.app, FontLab, RoboFont, etc.) and start drawing inside them right away, they are all more familiarised with all-purpose vector drawing packages when they begin studying type design, so, for those who may wish to go that route, I also make a point of explaining to them how to properly size their curves/paths in points, in order to correctly import them into Glyphs.app further on. Now, this usually works fine when using Adobe Illustrator, but when doing so with curves/paths drawn in Affinity Designer, some less-than-optimal results occur, as you can see from the enclosed screenshots. The result will always be the same (on both apps, mind you), either if I paste the curves/paths directly or if I export them into .EPS and import them into Glyphs (actually, Glyphs won't even let me try the latter – and gives me the enclosed error message, whereas .EPS content generated from Illustrator, whether pasted directly from the clipboard or dragged into Glyphs, will work just fine). If I export it from Affinity Designer into .SVG I will be able to import it into Glyphs.app without any missing nodes, but the scale will be way off, thus making the whole process needlessly complicated. I happen to be acquainted with Mr. Rainer Erich Scheichelbauer, from the Austrian type design studio Schriftlabor and the Glyphs.app development team, and I can put you guys in contact with him in order to work on fixing this issue. As for the recently released FontLab VI, I don't own it so I can't get into the compatibility with it for the moment in any authoritative fashion whatsoever. I did give their very feature-complete and stable public beta a go, however, and it seemed the interoperability was even more broken, so maybe you should chime in with Mr. Adam Twardoch from FontLab Inc. on that issue as well (though I'm guessing that FontLab's even more advanced curve/path drawing tools and its focus on über-pros – their app is expensive as hell, after all –, combined with their still less-than-elegant usage of – ugh – Qt, may mean that they don't care much about those interoperability niceties and would rather force their users to always draw inside of FontLab from the get-go). As it stands, Affinity Designer in standalone form (I have yet to test InkScape as a bridging app, but… I'd rather not, as it's even more cumbersome than AI) is completely unfit for type design purposes with Glyphs.app and, as such, I can't recommend it to my students at all, which is a pity because the price bracket and the target audience of both packages seem to be very similar. Do you have any insight as to what may be going wrong here (a non-standard/reverse-engineered or even standard and well-documented .EPS and .SVG implementation, just a bit gone wrong, perhaps?) and could you provide us with a tentative ETA for its resolution? Now, for some explanation on what each of these screenshots mean… Here we have the original outlines, all nice and dandy, without duplicate nodes or anything: And here we have the result of copying said outlines and pasting them directly to Glyphs.app and, as you can see, the scale is indeed correct but we're missing one node: Now, if we try to export a file into .EPS using Affinity and import it into Glyphs.app, we get this error message: Surely we'll get better results if we try using Adobe Illustrator, right? By opening the .EPS file in AI and saving it back, also in .EPS format but with a different name, and importing it into Glyphs, here's what we get, and indeed the results are better, as we get the correct scaling and all the nodes (plus some extraneous ones on the same place where Affinity Designer defined the first/main/closing nodes to be): For the sake of it, let's try saving both .EPS files, in their respective apps, into .SVG format instead and import them back into Glyphs.app… The result on the right was from the file generated in Affinity Designer, and the one on the left from the file generated in AI and, as you can see, AD got the scale way off but finally all the right nodes, whereas AI gave us the same result: Interestingly, if we copy the paths from the .SVG file generated in AI from the .EPS file exported in Affinity Designer and paste them directly from AI into Glyphs.app, we get the best results yet: So, all things considered, it seems the best course of action is to export the artwork in Affinity Designer into .EPS format (and not directly into .SVG, because, as I've just found out and pointed out in the thread title, Affinity Designer seems to mess up with the scaling factor when exporting into .SVG), then opening it on Adobe Illustrator, then saving it into .SVG format and, only then, directly copying it and pasting it into Glyphs.app. It's an effective but extremely convoluted process, which forces you to use AI anyway and kind of defeats the whole purpose of switching to Affinity Designer… :\ For your reference and… forensics, I guess, I am also enclosing the files used in the course of this test: p (generated with Illustrator from the EPS generated with Affinity).svg p (generated with Illustrator from the EPS generated with Affinity).eps p (generated with Affinity).svg p (generated with Affinity).eps test.glyphs
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