I check every PDF with Acrobat preflight before sending it to the print shop.
With Indesign I had to go back to the Layout to check or correct some things in 80 % of first preflights.
With Affinity this is down to 30 % or lower, at least with my X1a-workflow.
In terms of packaging I like this tip at number one to save the fonts within your project for archiving reasons.
X1a is such a basic PDF.
Do you have actual numbers to back that up? That just suggests youâre doing things incorrectly with InDesign.
Perhaps natively easier with Affinity - but without data and files to examine then itâs impossible to answer this, I guess.
In the blog - man that was a terrible blog post
1 - incorrect for many reasons
2 - correct
3 - correct
4 - Thatâs a way
5 - Thatâs a method - but itâs accurate - but he didnât mention getting instructions as per point 2. It could be .5 - it could be .25 it could anything.
6 - Noun project - itâs a way - but may not suit your project - weird one
7 - âaccidental plagarismâ - beautiful
8 - thatâs just doing it wrong
9 - It can - but a lot of people get it so wrong and it ends up costing more - consult your printing company - see point 2
10 - Irrevelant - I donât read anything - never read a design book in my life
11 - What? I once had to do a pharma project for the Greek market, I spent 2 weeks studying Greek graphic design and trends. Then I completed the project.
12 - Sure Iâll lug around a monitor worth ÂŁ1000 no problem - idiotic
13 - Never created an animation in my life
14 - ONE IDEA? Never ever ever. Always 3 with another 3 in reserve for another day.
15 - Sure⊠never did this either, but fine with presenting. If youâre not, then get someone good. Or train in it if you want to do it.
16 - Yes
17 - Notepad and pen for the last 25 years.
18 - No thanks
19 - Donât use post-its and itâs irrelevant
20 - Wtf is Asana???
21 - Sigh.
22 - Thumbsdown - but do get an accountant
23 - Yeh Iâll raise my rates⊠or just price the job what itâs worth and spend the necessary amount of time on it to complete.
24 - Disagree- youâre outside the international standard of accepted artwork files worldwide. Do so at your own peril - you might end up costing you more in prepress fixes, and or worse, your client being charged by another company to convert your expensive raised rates files to the industry standard⊠think about that
25 - No. Just no.
Yes it is. #X1a
#numbers Sadly no, but It could very well be caused by the age of the Software (CS6), which I donât use anymore now. Most of the warnings have been ignorable but it wasnât nice to almost never get the 
.
Now: Almost every time. But this wasnât my reason to switch.
Workflows Cleverprinting_2016_web.pdf | DocDroid from here Cleverprinting Handbuch kostenlos herunterladen
Thanks for the effort to say something to every single one. I was only referring to the first one.
Why would it be a bad idea to save the used fonts with the project?
I was just going through it making notes and then go copied it here.
Iâll have to get back to you on the fonts Iâm super tired no sleep for 3 days ⊠Maybe Iâm overthinking this one.
Just come back to you briefly
You cannot backup Adobe Fonts used with projects through Creative Cloud
Or can you share them with the client - they would need their own CC subscription.
You can buy the fonts separately - and then the client buys a license too.
Monotype have their own rules Font licensing explained for designers and brands. | Monotype.
And if youâre using a font server you need to purchase seats
So every font foundry where you have bought the font from have their own set of rules on what can be shared/backed up/used correctly.
Thatâs the gist of it really.
âWhen you back up work for long-term storage and archiving, save the fonts in there, too,â advises Patrick Foster, professor of design at Vancouver Island University. âYouâll almost never have the same font library in a year or whenever you need to revisit the work.â
As you can see they are suggestion archiving the fonts
For instance - a font might have a license that says you can Archive it in 1 location and also have a back up of that archive -which would be a normal practice.
But if youâre packaging that same font into different jobs and backing them up youâre in violation of that license.
You might think - not a big deal. But itâs not just you using the fonts, itâs the entire world.
So fonts have licenses and end user agreements and can contain sticky things.
Especially with how fonts are being used across different platforms.
Imagine someone getting a lovely packaged file for a brochure with all the fonts.
Then that someone starts using that font on a website. They are making money from the website. But havenât purchased a web license.
Now you have a client being sued by the font foundry and that wouldnât be good for relations.
Oh, since I successfully avoided CC from the start, I didnât run into that problem. Maybe another reason to avoid it.
And then there is Time Machine backup. Hourly backups for the past 24 hours, daily backups for the past month, and weekly backups for all previous months. Two years in my case. Do you exempt fonts from being automatically backed up? I donât and never will. I can imagine a scenario where I lose them and especially Adobe wouldnât let me download them again because my invoice is too old or for some other reason. (Venezuelan graphic designers who use Adobe Creative Cloud can tell you a thing or two about Adobe.)
Or can you share them with the client
l donât do that and donât intend to. I meant simply avoiding the unpleasant situation of searching for already by me licensed fonts within my own local storage. Especially with single licensed fonts e.g. via creator or single Apache 2 license this can be annoying. Several times I endet up downloading the same Apache fonts again because it was faster.
And yes, I use Font managing software but every 5-10 years I switch and clean up the data base or sort it differently.
In the United States, typeface designs arenât copyrightable, so most font licenses are unenforceable. Even when the EULA says theyâre copyrighted, in court, that copyright wouldnât be upheld.
Unlike most of the world, U.S. law regards letters and numbers as public property â part of human culture dating back 2000 years that no one can own. An odd contradiction to this logic is that U.S. law permits patenting a typeface design. However, hardly anyone does this because itâs expensive, and the patent only lasts for 15 years.
However, computer code is copyrightable as a literary work (yeah, itâs weird and convoluted). Since digital fonts are composed of computer code, the U.S. Copyright Office, for a while, was granting copyrights to the code in the font files. Theyâve stopped granting these copyrights unless the foundry can prove the code was hand-written and not the result of computer-written code composed by someone elseâs already copyrighted computer program.
For example, if I draw the letter M in Adobe Illustrator, it canât be copyrighted since Adobeâs copyrighted program wrote the code. If one draws the letter M by hand-coding the letter M in PostScript, the code (but not the design) is copyrightable.
Of course, nobody hand-codes font files. I built a font for a client last year using Glyphs and FontLab. That client has been trying to copyright the font file for the past six months, but the U.S. Copyright Office keeps rejecting it since I didnât code it by hand.
Iâve been working with the clientâs attorney to see if there are loopholes â for example, opening the font files and adding some hand-written kerning or sidebearing values. Coincidentally, as I write this, Iâm exchanging emails about this very thing.
U.S. intellectual property laws predate the digital era. What worked well 40 years ago is now a convoluted mess with little agreement on how to fix them.
This one argues similarly
A pretty good source for typography theory and history for the German speaking crowd.
Thatâs a good article, and it sums up the situation quite well.
From what Iâve read, Germany is like the US in that it doesnât grant copyright protection to typeface designs. However, most other countries (maybe half to two-thirds) do.
For anyone (probably no one) wanting to dig down into how various countries do and donât protect type design, here are 117 pages of reading material. 
Despite the absence of some legal protections, I think thereâs still an ethical imperative not to steal and pirate fonts.
Itâs not a problem and itâs not s reason to avoid it
Good show.
Hope youâre on MacOS for your design machine and not forced onto a cloud like Windows consumers will soon be.
Can you explain what youâre alluding to in a little more detail? How are Windows users being âforced onto a cloud?â How are Macintosh users avoiding it? What does it have to do with Affinity products? Iâm sorry, but donât really know what youâre talking about.
Affinity is for MacOS or Windows machines.
Unless you have a < 3 years old PC, you will have to either remain on Windows 10 or move to the MS Cloud to use Windows 11 - a service youâll pay by the month for.
In the short term this means all Windows users with older PCs can remain on Windows 10.
But thereâs a sunset being drawn up for Windows 10 support in the near future.
Then you will be buying a new PC at least. Or else subscribe to Windows 11 on the MS Cloud.
Mac users can remain as they are.
I use a Mac, but Apple is not a saint either.
PC-Mag says
3. You Have to Sign in to a Microsoft Account to Use Windows 11
Running the Windows 11 Home Edition requires users to sign in to a Microsoft account, which confers several benefits, such as single sign-in for Office, backup to OneDrive, syncing setting among multiple devices, full-disk encryption for the system drive, and the ability to reinstall Windows without a serial number. I challenge you to find a single Mac user who doesnât sign into an Apple account to use their computer, and forget using a Chromebook without signing in to a Google account. But people go nuts when they have to sign into a Windows account. Actually, only the Windows 11 Home edition has this requirement. Windows 11 Pro doesnât require you to sign in, and I expect thatâs the SKU that the biggest complainers would be using in any case, since only the technorati care.
I wasnât aware of that. One thing Iâve always liked about Macs is that the operating system is free. Upgrades are just bundled into the initial purchase of the machine.
With Windows, the OS is the main add-on product, in addition to the purchase of the machine.
Will users need to sign in every time? What if their internet goes out for a few hours or they travel to a place without internet service? Are they really saying the OS becomes inoperable without an internet connection? That would be a deal-killer for me.
Signing in or not, you must have an active web connection to your MS Cloud server to continue running cloud-based operating systems and hence applications - even if the applications were based on a local machine.
But why change from Mac at all ? The user experience for media applications has to be better than on Windows, surely ? Otherwise how does Apple sell so many expensive machines to media sector pros ?
Weâll get quite a few reasons why some people prefer Windows, which Iâd rather not get into since the old general Windows vs. Mac argument has been beaten to death for years.
For me, though, I have to intention of moving away from Macs, so I donât keep up on the Windows side of things. I hadnât heard much of any news about Windows 11. Iâm sick and tired of subscription models for software, so at least for the time being, my preferred OS is safe â despite Apple constantly pestering me to use iCloud.
Good god, the lengthsâŠ
</tongue bitten through>
©2023 Graphic Design Forum | Contact | Legal | X | Facebook