William Overington

I have begun to start forming an idea of how what is wanted could be achieved. I have added content to the wiki. Will anybody add more? Will anybody even look? https://punster.me/wiki/pmwiki.php?n=Main.Real-timeMulti-userCollaborativeEditingExperiment William

I have never used Google Docs, I don't know anything about it. I suppose that the original poster has put forward an idea. Typically nothing happens with such ideas, no feedback that it will be done, so I thought, well, I would generate something in Alfred's wiki and see if people want to have a go and feedback here and maybe make progress. I have started a story. One or more people can add to the story, edit it, whatever, if they wish. If nobody bothers, well that will be how it is. Maybe some people will grumble away the opportunity, .perhaps because without actually having a go they don't envisage that anything could be achieved and consider it would be a waste of time. Maybe some people will laugh at the idea. But the facility is there if people want to have a go and perhaps some idea not apparent at present will emerge. So we need to discuss whether what is wanted is possible and if so how to do it. Perhaps figuring out the answer will produce some new facility in computing. William

I have now started a stoey using two sentences. Over to you to have a go. What features not available in the wiki would be desirable in an Affinity version please? William

@Grayhem@PaoloT@Alfred@Wosven I have set up a page in Alfred's wiki so that we can experiment and discuss what @Grayhem is suggesting. https://punster.me/wiki/pmwiki.php?n=Main.Real-timeMulti-userCollaborativeEditingExperiment The main page of the wiki is as follows. https://punster.me/wiki/pmwiki.php?n=Main.HomePage Other people are welcome to join in too. William

Noting that that image is square, I thought that that pattern would be good on wall tiles. I looked at https://viking-virtualprinthouse.co.uk/ and found that one can print loose sheets of square pieces of paper, with the white paper going up to 350 grammes per square metre. Custom ceramic tiles might be available from some other supplier, but card ones could be good, used as if wallpaper on part of a wall, though best not in a kitchen or bathroom.. William

Wow! Impressive. Today I am seeking an online interview with the artist to try to find more about this artwork and how it was produced. I seek to ask the artist the following questions. The artwork has four distinct areas, each with twenty glyphs. How did you arrive at that choice please? The image is almost square as to number of pixels. Would a larger version,exported from the original Affnity Designer artwork produce a good image, or does the application of the brush effect mean that a larger version would have chunky granularity of the colourful areas? How did you colour those eighty glyphs please? Did you colour each one by hand or did you use an automated process of some kind? How did you choose the particular colours? For example, many of the colours in the upper right quadrant are more intense than many of the colours used elsewhere? Thank you for agreeing to the interview. William

While looking through a page that includes some of my fonts, at http://www.users.globalnet.co.uk/~ngo/fonts.htm I ckecked which design I had used for the .notdef glyph for some of them. William

It is an interesting story. I may not have thought to design a .notdef glyph otherwise. I have used this glyph design, and variants of it in many of the fonts that I have prodiced. William

Thank you, Alfred. I used the Frame Text Tool and my Quest text font. https://www.users.globalnet.co.uk/~ngo/QUESTTXT.TTF I needed a character not in the font so as to get the .notdef glyph to display. I did Alt 60000 in WordPad, then copied it across to the text frame in Affinity Designer, in fact, by first having put a few ordinary characters in the text frame and in WordPad having ordinary characters each side of the Alt 60000 character. Then I copied from WordPad to Affinity Designer, deleted the extra characters and so got the .notdef glyph in Quest text and enlarged it by increasing the point size. Some or all of the exra characters may not have been necessary, but I often do things that way, it seems to avoid problems sometimes. I then converted the glyph tp curves, then I applied the oil brush effect, though in fact trying various brushes to decide which one I thought gave the best result. Did you look up the story of how the design of the .notdef glyph originated in 2002? William

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