AdamStanislav

Doesn’t Affinity Photo do it already?

I am puzzled. How does this hairline translate to SVG? https://www.w3.org/TR/SVG11/painting.html#StrokeProperties only specifies a numeric value for stroke-width, with the default value of 1. So what stroke-width does Corel set for the hairline in SVG?

Perhaps you haven’t studied how cults work and what they do to the mind, then?

Why are you posting it on Instagram, which is for members only, instead of just uploading it right here?

Very nice, thanks! And a happy New Year to you, too.

Sadly known in America only for the Faschierten (at least that’s what they call it in Wien). I visited Hamburg back in either 1969 or 1970. We were a boy scout troop from Slovakia vacationing in Lüneburger Heide and took a one day trip to Hamburg. Quite a big city it was.

I didn’t say it was. I said many computer makers give you a small system drive and a large drive D, so it is important to be able to choose where to install your software. For example, I am typing this on a really good computer whose drive C formatted capacity is 117 GB, while its drive D has the formatted capacity of 911 GB. So I install most important software (including v.1 of Affinity software) to drive D, and less important software to one of several external drives, each of at least 4 TB (slightly less formatted). You asked why anyone would install software on a drive other than the system drive, and I explained why I do on this computer. My other computer also came with just one small system SSD, which I replaced with a 2 TB SSD (since it is SSD and not a hard drive, it is OK to have the system and the software on it because there is no time wasted by physically moving over the platters as it is with an HD). That happens to be the computer I installed Affinity Suite 2.0 to, so in my case it did not matter they used the .msix type of installer. But I fully understand why it matters to others. Come to think of it, I actually was annoyed by it installing it to a directory/folder that Windows 11 absolutely refuses me to access (because Microsoft thinks we all are stupid and don’t know what we are doing, even though I personally have been computing since before Microsoft was born, actually even since before Unix was created, and of course many others are fully competent computer admins and users). And because I cannot access it, I cannot create shortcuts for the Affinity suite on my desktop. And that is just pathetic.

Given how many PC makers decide to make the system drive very small, that is exactly the problem: There is not enough space to install on the system drive. And it actually makes sense that the system drive should be used just for the system because if the system has to compete with every single application in accessing the same disc, then everything will inevitably slow down. But if the OS has a drive of its own, it can run as fast as the hardware permits. So, for a software to force itself to install on the system drive is a cardinal sin of computing. And not just under Windows, though the Windows lack of the Unix-style user-friendly mounting of drives to different paths contributes to the sin.

Sure, for the general purpose of displaying text in a window by software like word processors, web browsers, and such. But the system is not responsible for the extra needs of design software that offers the ability to convert text to paths. It is up to the software to either program it in or to use a third party library that already does it. In any case, it is not up to the font designers to do that job for them. There are numerous fonts by numerous designers. There are only a handful of specialized design software programs.

While I can’t speak for that foundry, as a font designer myself, I am not going to waste my time producing every static combination of my fonts possible, when I can place it all in a single font per typeface. You know, if your font contains five variations in each of just five characters, you would have to produce 25 static fonts with corresponding kerning in each (or potentially put all the variants into one extra font with non-standard encoding and no kerning). And if you have more, the number of possible static fonts grows very quickly. It is not the job of every single font designer or font foundry to produce static versions. It is the job of software like the Affinity Designer, Publish, and Photo to implement (or not if they don’t know how, or don’t care to) the standard.

And here is what remains of the cookies we made yesterday with both of my cookie cutters, the one with Mr. Splurge, and the one with a Christmas star.

Sorry, but what’s a hidden text mark?

Thank you (and everyone else) so much!

Very nice.

I could swear we had the functionality to break subpaths from a path in v1 of Affinity Designer. But for the life of me I cannot find it in v2, which means that to remove subpaths from a vector graphic I have to slowly keep clicking on the individual nodes of each subpath and delete them one or a few at a time. Now, if we still have that functionality and I am simply getting too old to notice (which is likely), someone please help me find it, as it would greatly speed up what I am doing. Either by breaking up the path into all of its subpaths and deleting the undesirable subpaths that way, or by being able to select an entire subpath and delete it without even breaking the path. Thanks, everyone.

Well, I made another cookie cutter, this time a much more complex one. I started with a silly drawing of Mr. Splurge, which I drew in Affinity Designer around four years ago: Then I processed it, again in Affinity Designer, into the basic cookie cutter design: I then turned it into a 3D design in FreeCAD: Then I 3D printed it: And finally I uploaded it to printables. com, so anyone with a 3D printer can download and print it.

The dough is not 1/12" thin. The cutter’s thickest wall is. The dough, with this cutter, can be up to 9 mm (more than 1/3") thick before it hits the crossbars. And if you need it thicker, that can be easily adjusted before 3D printing it.

The total thickness is 2 mm. The extra 2 mm on the handle never touches the dough. At first, the dough encounters the half millimeter thin knife edge. 2 mm later the edge thickens to 2 mm. An inch is 25.4 mm. So, half a millimeter is 1/50.8" and 2 mm is 1/12.7".

They are. The center layer (black in the image) is the first that touches the dough, and it is only half a millimeter thick. It actually is the outer layer of what touches the dough because the thick blue layer is only 2 mm high and is only there to help you hold the cutter but it never gets to the dough. The inner layer is 1.5 mm wide, and it touches the dough after the sharp center layer has cut into it. Between the two of them they leave a gap around the shape for an easy separation from the rest of the dough. The layers look much thicker in the image than they are. That is because the forum stretches images to fit the width of the page. At any rate, that is not my idea, that is what everybody does when they design 3D printed cookie cutters. I would definitely not use it with the jello. PETG plastic is food safe, but the way 3D printing works, there are microscopic gaps between layers, so I would only trust it to cut something that is going to be baked or boiled, so if any microbes get to it, they are killed in the process.

Well, this is something I have never done before, but Printables has a context for designing a 3D printable cookie cutter. So I just drew a double star in Affinity Designer, made several duplicates, gave each a different stroke, expanded the strokes, subtracted duplicates of the inner strokes from the outer strokes, so I got this: I exported that to SVG, which I hand edited to the width and height of 100 mm. I imported that into FreeCAD, in which I extruded each of the three shapes into three 3D layers of a cookie cutter and added a little cross to the background to make the 3D print sturdier, and the result looks like this (and no, it’s not leather, it’s PETG plastic): I seriously doubt I will win because there are numerous entries much better than my first attempt at a cookie cutter, but at least I figured out how to do it with Affinity Designer. At any rate, if anyone wants to see it (and maybe give me a few stars), here it is on Printables.

Thank you, Walt!

I have been designing some technical specs in Affinity Designer 2 for a few days now, exporting to SVG and PNG a lot and noticed we have lost the ability to save our own export presets. In AD 1 I had my own specific presets I used all the time, but now I only see the option of choosing from several built-in presets, which I can change and they stay the way I need them until I quit the program (and presumably until I would pick one of the built-in presets again). But I see no way of saving my choices as a preset. Of course, at 72 my vision is not what it used to be and unfortunately Affinity 2 has made it even harder for me to see with all that black background and tiny white letters in the export dialog (I actually have to press Win + to enlarge a portion of the screen), so it is possible I just cannot see how to save my own presets, but in v1 it was very clear and easy.

We definitely used both at school in the 1950s. And they were nothing new.

But their prices tripled, some even quadrupled in just the most recent two months! 😜

For that it should be a mirror image, but the letters on her shirt indicate it is not one.