I write a lot these days, but my path into journalism, going way back to J-School, was through layout.

For years, I was a graphic designer at a number of newspapers—some fairly small, some quite large. I was a card-carrying member of the Society for News Design. It was one of my biggest passions, and I fully expected to have a long career in newspaper design. But newspapers as a medium haven’t really panned out, so I eventually fell into writing.

But I still adore laying out a big project, conceptualizing it, and trying to use it to visually add to the story that the words are trying to convey. It’s not quite a lost art, but I do think that print layout is something that has been a bit back-burnered by society at large.

So when 404 Media co-founder Jason Koebler, who spent years editing my writing for Motherboard, reached out about doing a zine, I was absolutely in. The goal of the zine—to shine a spotlight on the intersection of ICE and surveillance tech—was important. Plus, I like working with Jason, and it was an opportunity to get into print design again after quite a few years away.

I just had two problems: One, I have decided that I no longer want to give Adobe money because of cost and ethical concerns about its business model. And two, I now use Linux pretty much exclusively (Bazzite DX, in case you’re wondering).

But the good news is that the open-source community has done a lot of work, and despite my own tech shifts, professional-grade print design on Linux is now a viable option.

What my Affinity interface looks like. It’s the Windows version, but it’s running on Linux.

Why page layout on Linux is fairly uncommon

The meme in the Linux community writes itself: “I would move over to Linux, but I need Photoshop and InDesign and [insert app here] too much.” In the past, this has been a real barrier for designers, especially those who rely on print layout, where open-source alternatives are very limited. (They’ve also been traditionally at the mercy of print shops that have no time for your weird non-standard app.)

Admittedly, the native tools have been getting better. I’m not really a fan myself, but I know GIMP is getting closer in parity to Photoshop. Inkscape is a totally viable vector drawing app. Video is very doable on Linux thanks to the FOSS Kendenlive and the commercial DaVinci Resolve. Blender is basically a de facto standard for 3D at this point. The web-based Penpot is a capable Figma alternative. And Krita, while promoted as a digital painting app, has become my tool of choice for making frame-based animated GIFs, which I do a lot for Tedium.

But for ink-stained print layout nerds, it has been tougher to make the shift (our apologies to Scribus). And Adobe locks down Creative Cloud pretty hard.

However, the recent Affinity release, while drawing some skepticism from the open-source community as a potential enshittification issue, is starting to open up a fresh lane. For those not aware, the new version of Affinity essentially combines the three traditional design apps—vector editor, raster editor, and page layout—into a single tool. It’s pretty good at all three. (Plus, for business reasons related to its owner Canva, it’s currently free to use.)

I’ve tested a few methods for making Affinity work on WINE, but the one I’ve found most flexible is by using the tool Lutris, which is meant to run games but I’m using to run design software.

While it doesn’t have a dedicated Linux version, it more or less runs very well using WINE, the technology that has enabled a Linux renaissance via the Steam Deck. (Some passionate community members, like the WINE hacker ElementalWarrior, have worked hard to make this a fully-fleshed out experience that can even be installed more or less painlessly.)

The desire for a native Linux version of a pro-level design app is such that the Canva subsidiary is thinking about doing it themselves.

But I’m not the kind of person who likes to wait, so I decided to try to build as much of the zine as I could with Affinity for page layout. For the few things I couldn’t do, I would remote into a Mac.

The RISO factor

Another consideration here is the fact that this zine is being built with Risograph printing, a multicolor printing approach distinct from the more traditional CMYK. The inky printing process, similar to screen printing, has a distinct, vibrant look, even if it avoids the traditional four-color approach (in our case, using layers of pink, black, and lime green).

Throughout the process, I spent a lot of time setting layers to multiply to ensure the results looked good, and adding effects like halftone and erase to help balance out the color effects. This mostly worked OK, though I did have some glitches.

At one point, a lime-green frog lost much of its detail when I tried to RISO-fy it, requiring me to double-check my color settings and ensure I was getting the right tone. And sometimes, PDF exports from Affinity added unsightly lines, which I had to go out of my way to remove. If I was designing for newspapers, I might have been forced to come up with a quick plan B for that layout. But fortunately, I had the luxury of not working on a daily deadline like I might have back in the day.

I think that this layout approach is genuinely fascinating—and I know Jason in particular is a huge fan of it. Could I see other publications in the 404 mold taking notes from this and doing the same thing? Heck yes.

A sneak peek at the inside layout of the 404 Media zine.

The ups and downs of print layout on Linux

So, the headline you can take away from this is pretty simple: Laying stuff out in Affinity over Linux is extremely doable, and if you’re doing it occasionally, you will find a quite capable tool.

Admittedly, if this was, like, my main gig, I might still feel the urge to go back to MacOS—especially near the end of the process. Here’s what I learned:

The good: Workflow-wise, it was pretty smooth. Image cutouts—a tightly honed skill of mine that AI has been trying to obsolete for years—were very doable. Affinity also has some great effects tools that in many ways beat equivalents in other apps, such as its glitch tool and its live filter layers. It didn’t feel like I was getting a second-class experience when all was said and done.

The bad: My muscle memory for InDesign shortcuts was completely ineffective for this, and there were occasional features of InDesign and Photoshop that I did not find direct equivalents for in Affinity. WINE’s file menus tend to look like old Windows, which might be a turn-off for UX purists, and required a bit of extra navigation to dig through folders. Also, one downside of WINE that I could not work past was that I couldn’t use my laptop’s Intel-based GPU for machine learning tasks, a known bug that I imagine slowed some things down on graphically intensive pages.

I checked, by the way; this was not a WINE thing, it did this in MacOS too. (Ernie Smith)

The ugly: I think one area Affinity will need to work on as it attempts to sell the idea that you can design in one interface are better strategies to help mash down content for export. At one point while I was trying to make a PDF, Affinity promised me that the file I would be exporting was going to be 17 exabytes in size, which my SSD was definitely not large enough for. That wasn’t true, but it does emphasize that the dream of doing everything in one interface gets complicated when you want to send things to the printer. Much of the work I did near the end of the process was rasterizing layers to ensure everything looked as intended.

When I did have to use a Mac app for something (mainly accessing Spectrolite, a prepress app for RISO designs), I accessed an old Hackintosh using NoMachine, a tool for connecting to computers remotely. So even for the stuff I actually needed MacOS for, I didn’t need to leave the comforts of my janky laptop.

Looking for a Big Tech escape hatch

Was it 100% perfect? No. Affinity crashed every once in a while, but InDesign did that all the time back in the day. And admittedly, an office full of people using Affinity on Linux isn’t going to work as well as one guy in a coffee shop working with a team of editors over chat and email.

But it’s my hope that experiences like mine convince other people to try it, and for companies to embrace it. Affinity isn’t open-source, and Canva is a giant company with plenty of critics, just like Adobe. But there are emerging projects like PixiEditor and Graphite that could eventually make print layout an extremely viable and even modern open-source endeavor.

But we have to take victories where we can find them, and the one I see is that Affinity is a lot less locked down than Creative Cloud, which is why it’s viable on Linux. And in general, this feels like an opportunity to get away from the DRM-driven past of creative software. (Hey Canva, it’s never too late to make Affinity open-source.)

Difficult reporting shouldn’t have to be tethered to the whims of Big Tech to exist. Especially when that tech—on Amazon’s cloud, using Adobe’s PDFs, through Google’s search, over Meta’s social network, with Apple’s phones, and on Microsoft’s operating system—too often causes uncomfortable tensions with the reporting. This is one step towards a better escape hatch.