William Overington

This picture uses the fifth oil brush of Affinity Designer. William

Now that is a really nice picture. Thank you. Is it the same brush and colour that I used? I said which brush I had used, the colour was just one from the standard Affinity Colours palette. I am not sure how I could get the same colour again even having the .afdesign file available. Thinking about it, did you draw that freehand or did you set it up using the Pen Tool and the Transform panel then texture it with the brush afterwards? William

You may indeed say so. 😀 It depends what you mean by recognizable. Do you mean, seeing the glyph on its own, would people recognize it as being a .notdef glyph? Do you mean (perhaps of the precisely drawn filled design upon which the oil drawing is based) that seeing it displayed amongst a page of text in a draft document in Affinity Publisher, would people recognize it being there (as in 'they notice it rather than not notice it') as contrasted with perhaps not noticing an unfilled rectangle? You may also, if you so choose, search for .notdef and my name and see what you find. I was trying brushes and drew that design, though the aspect ratio should be square. William

The image was produced using the second brush in the list of brushes labelled 'oils' in Affinity Designer. William

Which brushes are they please? No brushes seem to be listed as crayons in the set bundled with Affinity Designer. William

The answer is in this clip. Only click if you would like to know the answer rather than try to figure it out, or if you wish to check if your suggested answer is correct. https://www.youtube.com/watch?v=dSpQ3G08k48&t=135s William

Well, I am wondering if anyone else will think the same without me first having said which movie. If I say which movie at this time, then some people may say "Ah yes, it does" and some people may reject the idea as ridiculous. William

The scenes near the end of the movie. William

It reminds me of that movie. William

I have known that exporting a document as a PDF document sometimes lists a font such as Times Roman being present. I have found that to be for a space character, so not immediately obvious as spaces usually appear the same, apary from width, regardless of the font. So is it posible that at some stage you prepared some text in, say, WordPad, then copied and pasted and changed the font, but accidently missed changing the font of one or more space characters, perhaps at the start or end of the text? William

Thus far I have only used three of the templates at the Papier website. https://www.papier.com/photos/photo-cards/ Full field portrait, full field landscape, full field square. Apart from one photograph gathered from a webcam, none of the cards that I have produced are using photographs. I am now looking at the other templates and wondering how I might apply them. For example, I have been looking at this one. https://www.papier.com/four-photo-frame-28272 As illustrated, it is a birthday card. Yet customization allows four jpg images exported from Affinity Designer. Scaling and clipping are automated, clipping can be chosen by dragging the image either horizontally or vertically. For example, four frames could be used to tell a short story. This template has eight pictures, though some are clipped. https://www.papier.com/photo-strip-28265 This template has three pictures, not all the same size. https://www.papier.com/customise/trio-photo-frame-2992 I appreciate that with Affinity Designer one could set up such a displays as one image, and indeed produce other multipicture display, yet ready-to-use templates are helpful. William

Are you wanting to get a hardcopy magazine as the final result? If so, as far as I can tell, there would seem to be two options. Either print on A4 and fold each sheet down the middle and then use two staples to form the result. So 6 pieces of A4 paper printed both sides, then folded and stapled, or print on A5 and bind with a side binding of some sort. So 12 pieces of A5 printed both sides and then bound at a long edge, probably at the left side. What do you have in mind please? William

A practical demonstration would be good. William

The questions have widened are now being discussed in the following thread. https://forum.affinity.serif.com/index.php?/topic/160636-pizza-avocado-and-coffee/ William

For the pizza crust I did a quick test in Affinity Designer on a laptop computer. I used File Place and pasted a copy of the image of a pizza gathered from your question and I scaled it larger. I tried to have it on a lower layer but I could not seem to get that right. However, i used the Pen Tool, and put points over the black line that draws the edge of the crust. I went along a bit over half way along the top so as to go beyond that dent. I used twenty clicks. I drew in green so as it was clear where the new line was over the original black line. I then used the node tool, did CTRL A to select all of the nodes and then made each point smooth by clicking onthe Convert to smooth button on the toolbar. I then widened the line. It was still green, but I was just testing the concept. I think that you will need about 70 points to go all around the crust. If you make a complete loop then you can have a fill colour and a line colour. Then do each of the short lines separately, with just a few points each. Also do the white highlight lines separately. I hope this helps. William

Ah, but it was not the same questions. Those questions presupposed using the Pen Tool. There are no replies so far. So questions not presupposing using the Pen tool have been asked in this thread. William

For the avocado you could try using the Tear tool (that is tear as in teardrop shape not tear as in to rip paper) On a Windows PC, one uses Layer Convert to Curves Then use the node tool to select the top node and use the tool on the toolbar to convert the point at the tip of the tear to become smooth. I do not know how that is done on an IPad. If you are stuck then Alfred might possibly advise on the iPad part. Either use that as is, or make a copy and try adding several smooth points between the lower point on each side and the stalk end, and move some, but not the ones at each end of the several points towards the central axis. I drew the tear shape with the point at the top, so I moved the additional points horizontally. I had a go but I felt that my fairly quick try did not improve the original that I had kept. Someone taking longer and a better artist might get a better result with the second part. William

@Josie Ah, I have just realized that this is an Affinity on iPad question. So using the file might be different from how one would use it on a desktop PC. I expect @Alfred will be able to advise on that if necessary. William

Here we go. One white swirl as a .svg (scalable vector graphics) file. In Affinity Designer File Place Then you could use the transform panel to resize it, then make the height smaller so as to give the view as viewed from other than directly vertically. William swirl.svg

I remember a similar swirl. https://forum.affinity.serif.com/index.php?/topic/154208-artwork-inspired-by-pantone-colour-of-the-year-2022/ William

I don't remember why I put them in that range. I expect that I had what at the time seemed a good reason for doing so. Looking at the two codes, I expect that part of the reasoning for the specific codes is that the binary representations of the characters for 6 and 8 differ bitwise from each other in three bit positions. Also I would have avoided 177 as it has two characters the same one immediately after the other. So perhaps with just two available codes in that range unallocated, it seemed a good idea to use them for Hi! and Bye! as they needed to go somewhere. William

Thank you both, I had not noticed your replies until a few minutes ago. What happens to what was originally in the frames please? What sort of things were in the frames? William

The codes suggested for the messages that are, when localized into English, Hi! and Bye! fit into the following list. http://www.users.globalnet.co.uk/~ngo/A_List_of_Code_Numbers_and_English_Localizations_for_use_in_Research_on_Communication_through_the_Language_Barrier_using_encoded_Localizable_Sentences.pdf I had forgotten to add them into that list. I have added other codes elsewhere, some for weather and some for metals. I need to either produce a second edition including those codes, or an addendum document, maybe both. William

Thank you posting Would you like to try an alternative W from two copies of V please? It would need the vertical and the lower part of the diagonal of the first one and all of the second one. William

There is reference in the story to an earlier discussion. Here is a link to the story that contains that discussion. http://www.users.globalnet.co.uk/~ngo/localizable_sentences_the_novel_chapter_017.pdf William