Which directly leads us to the decimal tab. But considering their pompous marketing, Serif underdelivered with their tabs handling. OK, the application with a super-duper handling of tabs and tab stops is still waiting for its invention. If you have to set up text frame options or anchored frames a lot in your document, then there will be plenty to do. While regular Expressions can be used in ✿ind and Replace« (without further documentation or help) only GREP styles bring efficiency into the layout.ĭiscussion about GREP styles in the Affinity forum: Object stylesĪffinity Publisher allows you to save fills and strokes and effects, but lacks this option for text frame options or anchored frames as does InDesign with Object styles. I'm making it short: Layout without using GREP styles might be possible, but doesn't make any sense. Thus layers accidentally and unintentionally get moved into text frames – Affinity Publisher doesn't prevent this from happening. But you have to carefully watch out exactly where you move it to – the highlights are very unobtrusive unfortunately. I'm not the only one criticizing this: Layers Panelīy just moving them around, the management of layers, setting up clipping masks and alpha masks is simple and convenient. LayersĪll layers that don't belong to the master page, are only set up for the current page making it extremely tedious to apply sensible structure to a document in a way that certain elements belong to specific layers on all pages.
Image: Master page elements are always kept together. You have to say good-bye to either background elements or page numbers. This leads to master page elements only being able to be stacked consecutively. Serif probably wanted to simplify the Layers panel for users somehow and put the Master layers into a container »Master Page«. Some of it in the background (like colored elements, bars, shading, whatever), some in the foreground (page numbers). Master Pages host elements that should be on all pages. I downloaded the Ghent Test Suite and could reproduce the results. In addition to that there is this test of PDF/X-4 with the Ghent Test Suite conducted by »PDF aktuell«. Image: Erroneous export of overprinting black (Output view in Acrobat) This defeats the purpose of switching to Affinity Publisher in order to get away from Adobe and its licensing model.
This also leads to the consequence that you always need Adobe Acrobat (the Pro version with all the prepress functionality), if you want to be certain that an exported PDF is built exactly as needed. If you want to work with sophisticated effects, overprinting and/or spot colors, then Affinity Publisher just doesn't produce reliable results. Just a quick test with a spot color, overprinting black and an outer glow resulted in an error (the overprinting black doesn't always overprint – it only works with a PDF/X preset).
Image: Print of 100% black type (Click image to enlarge) Export PDF for professional printing Obviously the developers don't treat this with priority: įor workflows this is kind of a catastrophe. Only way out: export a PDF and print it from Acrobat. Doesn't matter for an Office Inkjet (the printout will »pop« even more when sending RGB), but a laser printer will apply halftone screening. Just like Affinity Designer Affinity Publisher also sends RGB data to the printer.
Highres monitors are all fine, but in order to really judge microtypography or to see how the printed page is working, if a textbook with side column is clearly structured and legible or to judge the layout's text-size there is no alternative to printing the document in original size. Januar 2021) Deutsche Version Printing Black The order reflects which non-existent, non-functioning or challenging to use features hinder my workflow the most. Affinity Publisher as a replacement for InDesign?ĭuring the past few months I took a closer look into Affinity Publisher and had to solve a couple of real-life projects.