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William Overington

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Everything posted by William Overington

  1. I decided to try to produce an image using this palette using Affinity Designer. I have been looking through the help facility and I cannot find out how to load the palette. How to import a palette might be in there somewhere, but I have not found it. I have loaded a palette previously, but that was some time ago and I don't remember how to do it. Can someone explain please? William
  2. I did not misunderstand the intended meaning. I simply think it wrong to grubbify an article intended to be helpful by using a word associated with misdirection, deception and criminal activity. I am put off using the article as a source of information because of use of that word. I accept that views on this may polarize, and poles are poles apart, yet that is my opinion. Yes indeed. sometimes to add new words to compactly express new ideas, or to concisely explain in one word what otherwise would take a whole sentence each time to explain. I have coined some new words myself, one of which is now included in the Oxford English Dictionary. Yet when a different meaning is added to an existing word, sometimes backwashing to distort the meanimgs of earlier uses, or some people conflate the distinct meanimgs of two words to become synonyms causing confusion. For example, some news broadcasts treat the words 'company' and 'firm' as synonyms. They seem to try to avoid using the same word twice. The word 'contemporary' has also had its meaning distorted to often be regarded as meaning 'present day'. William
  3. @PaulEC Thank you for replying. It just seems to me that the use of the word 'cheat' is unnecessary and just adds a touch of grubbiness to it. Associating a helpful article with slyness by using the word 'cheat' within it seems to push helpfulness into the gutter. William
  4. Yes, though using the background as a foreground colour can be awkward if, say, trying to paint white flowers on a tree as one would need to sort of go round the edge with another colour.. William
  5. @PaulEC Thank you. So perhaps the palette was used for inscriptions rather than art? William
  6. Thank you. I find it interesting that although yellow ochre is mentioned in relation to the components of the green, that there is no paint well for yellow ochre as a colour as such. I wonder if this is bevause it would not show up on the backgrounds avalable. Rather like how with present day CMYK printing there is no white ink. If one wants white one does not use any ink in that place, one relies on the colour of the paper to include white in the image. So if someone tries to produce art using this palette, would it be best to use a pale yellow background? William
  7. Why is the word 'cheat' used? Is it necessary to associate helpful information on how to achieve results to be described as associated to the malpractice and possibly criminal activities of those who cheat other people by holding back key information, deception and using false instruments? William
  8. That would be It is a spring. Some years ago, machine translation to French produced C'est source. Which also is It is a spring. In that case, spring as in water from a hillside. The meaning of the glyph is definoed in the context of a season of the year, though I accept that I did not mention it here. I suppose that I implicitly thought that today being the first day of sprng that the context would be clear. William
  9. This is the Share your work forum. The image was produced using Affinity Designer. I suppose that your comment is true as such, but as far as I am aware the topic of the content of items posted in the Share your work forum is not expected to be about Affinity products. My understanding is that the expectation is that the items have been produced using one or more Affinity products. William
  10. Upon investigation it appears to not be the case. The glyphs of the symbols are different from the design that I posted. https://en.wikipedia.org/wiki/Power_symbol https://en.wikipedia.org/wiki/Power_symbol#Standards https://en.wikipedia.org/wiki/Power_symbol#Unicode https://www.unicode.org/charts/PDF/U2300.pdf page 2 and page 7 William
  11. How is the meaning of the glyph expressed in the languages that you know please? William
  12. Ooh I didn't know that! Wow! And because reacting to a click on the track pad on this computer has been iffy for some time, though the moving around works, and the built-in keyboard got problems, I have for quite a time now habitually used a plugged-in USB full-sized keyboard and I use the mouse keys feature to click, double click and to start to a drag and then do a drop. I find it quite natural to do that now. I also prefer the solid individual keyboard keys for keying text. William
  13. Well, it depends,some people are more dextrous than others, I often use pixels as the unit and I do like a whole numbe of pixels. Holding down the shift key and dragging is preferred by some people, I tend to use numbers in the Transform Panel as it has less risk of going wrong if my hand slips, and I suppose that it more aligns with the way I think too. Probably best to know both methods and use whichever method one prefers for a particular task. William
  14. The original poster appears to be writing about a mathematical shape, not about converting a Quickshape Rectangle to a Quickshape Trap-whatever-it-is-in-your-country. It seems to me that the original poster, who is a new poster and maybe a beginner with Affinity software is writing about mathematics, not changing the Quickshape. So it seems to me that the answer is to select the rectangle then Layer Convert to Curves then choose the node tool, which is the one below the pointer tool , the pointer tool is at top left in the toolbox, then click on the rectangle using the node tool. What I called the pointer tool is oficially the Move Tool, but it is used for selecting too, even if there is no movement desired. The nodes, four of them, should show as squares. Now select, still using the node tool, the node that you want to move. I have chosen the one at upper left but you can choose whichever one you want. Now, on the Transform panel, in the box labelled Y, there is a number and a unit. If you cannot find the Transform Panel, then you may need to switch it on. This is done by View Studio Transform As it happens, in my test, it says 28.5 mm but that is just in my test. So i want to lower that corner vertically. BUT, to do that I must INCREASE the value of Y, because measuremnt is from the upper left corner of the canvas. So I try 32 mm. Oh, not enough for my shed, so I'll try 34.7 mm (just so as to show it does not need to be a whole number) And I can try as many times as I like until I get the shed how I think looks to be what I want. Then select the pointer tool again and click on the background. Job done. I hope this helps. If you are stuck, please ask again saying how far you got please. William
  15. Here is an image that I produced as part of an ongoing attempt to design, and hopefully eventually commission the building of, an unusual clock. This is not some huge ornamental clock, it would be about the same size as a typical wall clock. I am thinking in terms of the clock being made from a clock movement that costs £4.25, some clock hands that are a few pounds and a printed sheet of thick card that has a design that includes the clock face, the artwork of the card being produced by me using Affinity Designer, together with such other parts, perhaps an adapted picture frame, to hold it all together to produce a complete ready-to-use clock. What some readers might find of interest is how I produced what I have thus far. It is all vector art, the background was produced using the Rectangle Tool, the rectangle being added last and then moved to the back. The centre of the clock design consists of three stars. The reason for three stars rather than two is because I wanted a star with sixty points, but at the time I thought that the Affinity Designer Star Tool only goes up to a maximum of forty-eight points for a star. So I drew a star with thirty points, then copied and pasted the copy on top then rotated the copy about its centre by six degrees clockwise. I then pasted another copy of the original star, changed it to twelve points for the star, reduced the radius and enlarged it about its centre point, precisely using the Transform Panel, changed the fill colour, then moved it behind the other two stars. However, I have now been informed that on the desktop version of Affinity Designer, which is what I am using, that although the slider only goes up to 48 points on a star, typing a larger number into the box allows one to obtain a star with more points than forty-eight points. Here is a link to a thread where there is more about the design of the clock for those readers who may be interested. https://punster.me/serif/viewtopic.php?id=101 William
  16. Have you got a hardcopy print on card or paper? Or is this about an exported electronic image? William
  17. Thank you. That is fascinating. The letter G is a raised miirror image on the punch. The punch is used to make a matrix, the G an indented not-mirrored image. The matrix is used within a mould to make a piece of metal type, the G is a raised mirror image, so a copy of the shape that is on the punch. The type is used to print an image of a G onto paper, or possibly other material. At each stage, more than one can be produced from each of what was produced at the previous stage. With the handsetting of metal type, quite a lot of work (or hobbyist fun) is needed to get a print, but once the typesetting has been done a lot of prints of that particular text can be printed. William
  18. For about a year I have been producing what are advertised as photo greetings cards from the Papier website, having produced artwork using Affinity Designer. The greetings cards are intended as everyday greetings cards, so me framing them for my personal private art collection is applying them for a purpose far beyond the purpose for which they are sold. Nevertheless I enjoy having framed printings of my art and the results are far better than I could produce at home, look good, and much of my art is more about concept than beimg a picture. Reently, because I saw it advertised on a website, I bought a greetings card version of a painting or print by an artist, a picture produced in the 1930s. When it arrived I was amazed at how bright are the colours in the card compared with the printings that I have been producing. I am wondering by what printing process are such art cards produced please such that the colours are so bright. I realize that this is not a question direct;y about an Affinity Product as such, though hopefully relevant here as it could be relevant to how output from Affinity products is produced so as to be used to produce high-quality prints of artwork, maybe it involves spot colours or something. Does anyone here produce such art prints please? William
  19. Well, I just tried again and that is near the top. Either the search before didn't show it in that position or I did not notice it. So there we are. William
  20. I have had a look and people keep saying they want one, no promise has been made, etc, but every post looked at so far just uses the three letters underlined for some reason but i have not yet found, if it is anabbreviation, of what it is an abbreviation, nor what it is. It is like if someone were to write about Affinity and PDF without ever writing Portable Document Format or explaing what it is or why it is used. William
  21. Is this about a printed copy of a design not looking as good as the design on the screen of the computer? William
  22. I was looking through my framed prints and I found the framed print of the artwork that I designed that is shown in this thread. I remembered that it was a poem but I did not remember its text. So, I wondered if I could read it, localizing into English as I proceeded, without looking at a list of glyphs such as the following. http://www.users.globalnet.co.uk/~ngo/locse027.pdf I found that I could. It was an interesting and delightful experience to read the symbols and understand the poem. William
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