William Overington
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Posts posted by William Overington
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Well I just tried it, and I got to the 'Mask to Below' bit and it all disappeared, so I thought it was on the clipboard so I changed the document set up to 1500 pixels by 2100 pixels then pasted, but just got an empty rectangle.
Where have I gone wrong please?
One thing, when I drew the rectangle it was solid filled with colour so I changed the opacity to 0%. Was that the mistake?
William
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Oh! So I did.
I remember now, I had problems with it so gave up.
I never seem to do well with dragging and the like.
What i need is a tool to be clicked that recognises a selected rectangle as the outer limit and then puts everything inside it in the new image of the size of the rectangle and omits everything that is outside the rectangle. Like a crop but without the guesswork and artistic judging stuff, just straight using numbers in a panel.
I remember going back to ImpactPlus that there was all this stuff about dragging and sort of artistically judging and I could not get anywhere with it, but once I found out about putting numbers into the status panel I got good results easily.
So maybe the only way for me to get the results is to use Microsoft Paint and its properties panel.
William
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I have some designs that I have produced for printing greetings cards. They are 2171 pixels by 1571 pixels at 300 dots per inch and I have both .afdesign files and .jpg files. The size is 7 inches by 5 inches with a 3 millimetre bleed area at edch edge.
I would now like to produce images 2100 pixels by 1500 pixels so as to illustrate in a publication the image on the resulting card. For example, by placing the image onto an A5 size page.
Is there a way in Affinity Designer to produce such an image by doing something such as adding a rectangle at x=35, y=35 with width and height 2000 and 1500 and then doing something, maybe called a crop or maybe called something else, please?
William
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23 minutes ago, Alfred said:
Pantone swatches are in the Swatches panel, not the Colour panel.
Indeed, yet none of the swatches is actually designated by the names in the original post.
So some are CMYK, some are Goe, and so on.
So what do all those names mean - I know what CMYK means, but not, apart from the metallics one, and possibly the pastels and neons one in part, what the others are about?
William
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Well, I looked at the picture before reading anything and I thought it good. I still think it good.
Until I read your note about the alterations it did not occur to me that the geese were pasted on, I thought it good how you had gathered the picture with one of the geese with wings up and one with wings down.
As for the water, I did not realize that it was pasted on either, it just looked choppy as if there was a bit of a wind blowing.
The trees have lost their leaves, and with the choppy water, it looks like it is a bit of a chilly windy day, heading for winter but not winter yet.
William
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19 minutes ago, walt.farrell said:
Thanks, William.
Out of curiosity, did my hint about selecting an object in the .afdesign file and looking at the Color panel help? (I would test that myself, but you didn't provide the .afdesign version.)
Yes, thank you.
William
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1 hour ago, walt.farrell said:
Rather than pointing us at a page, please (in the future) point us to the post. You should see a "..." icon on the post. If you click it, one of the options is Share, which will give you the URL of that exact post, which you can copy and paste.
The future has arrived.
William
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Actually I think that there is enough information on that High-Logic web page to which i linked to enable reconstruction of those colour font experiments, given a couple of items of background information.
The first image is a colourized version of my Galiileo Lettering font.
Then there are the glyphs that are like the teletext graphic from the lowercase letter 'e'.
I expect that I was making that font so as to produce a reproduction as best I remember it of my Colour Check graphic that appeared on page 786 of viewdata (in the days before it was called Prestel). I saw it in September 1977 but I do not know how long after that it was included. I wonder if that is archived anywhere and could be recovered. The graphic had a large red block composed of 'e' graphics towards upper left as viewed, a large green block of 'e' graphics towards upper right and a large block of blue 'e' graphics lower middle, with the three blocks overlapping, so as to have blocks of yellow, magenta, cyan, white. The Hold graphics character was used at the left of each row of characters. All displayed colourfully glowing on a black background.
Then there are colourized versions of the arabesque designs from my Quest text font, those designs based on some from the sixteenth century.
Then there are the four for monitoring instrumentation, designs based on the Petra Sancta system. I am thinking that three extra ones for values too low could be added, cyan, blue, purple and just use the three original designs that are not green for values too high.
William
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32 minutes ago, Alfred said:
Take a look here:
Following through to the links from those posts I do not remember doing them.
https://forum.high-logic.com/viewtopic.php?f=10&t=4519
I have just found the whole thread and I am starting to explore.
This was in the days of an old Windows xp machine that broke.
I wonder what can be recovered from the High-Logic forum.
Only just over eight years ago and it needs archaeology!
William
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25 minutes ago, Alfred said:
I know you use High-Logic FontCreator. Doesn’t your version have a ‘User notes’ toolbar? I think it’s been included for the past seven or eight years.
I only have version 8, which is quite old now. However, thus far it does what I need for fontmaking, though I have rather lost touch with later developments of FontCreator and applying recently added facilities. I tend these days to make fonts for the glyphs for novel characters that I have devised for my research. The only OpenType features that I regularly use are the liga table as used for ligatures - though I do not usually use liga for existing ligatures - and COLR/CPAL colour font capability.
If the facility for user notes is included in FontCreator version 8 then I have not noticed it.
As you possibly know my main interests include my research on communication through the language barrier, including in particular, though by no means exclusively, my localizable sentences invention - and trying to become an artist. Though I do find other things of interest too.
And then there is the writing.
http://www.users.globalnet.co.uk/~ngo/
William
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1 hour ago, thomaso said:
If you add a text file anyway why not mentioning as many (relevant) information as possible?
Also, a PDF may be useful aside your Affinity file, possibly with text converted to curves. Currently PDF is quite likely the more common file type, in particular for archiving. (PDF/X, respectively PDF/A (not available for Affinity export)).
Actually, I don't usually add a text file when I am making a design.
Previously, when making fonts I have made a text file using WordPad. This has been helpful when continuing some time - maybe days or weeks - later so as to refresh my mind as o what has already been done and what still needs to be done.
Perhaps a good idea would be if producing a design in Affinity Designer with a file name placeholder.afdesign to also produce an Affinity Publisher file with file name placeholder_backstory.afpub with notes in it.
The name placeholder_backstory.afpub being used rather than placeholder.afpub to avoid file name clashes if a PDF document is exported from each of them.
William
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6 hours ago, thomaso said:
Not sure if I got you right. There is CMYK print, a JPG and their initial .afdesign document, right? Doesn't the object in AD which got initially the Pantone color assigned still report its color in the Colors Panel if you select the object? Respectively, what do you want to detect if you know already the number you are looking for is 8644?
I knew that it is 8644 in this particular case, I was just wondering for the general case, whether I would need to make a note in an accompanying text file.
William
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Thank you.
I was looking at the Swatches panel, as that was where I had added the Pantone colour.
It did not occur to me to look at the Colour panel.
It seems obvious now, a sort of Egg of Columbus thing, obvious once one knows, seemingly impossible before.
William
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Something that I noticed. Maybe I just don't know how to do it.
I know that Pantone Metallics are meant to be used with special inks on coated paper or coated card.
Nevertheless I have used a Pantone Metallic in Affinity Designer to try to give an impression of gold text on a greetings card that I hope to get made using the Papier facility. That will use CMYK printing on uncoated card from a jpg file exported from Affinity Designer, so not metallic printing. Notwithstanding using the swatch in an unconventional way, the result on screen looks good.
I used the Pantone Metallic 8644 that is the colour noted on a card design on page 8 of another thread.
https://forum.affinity.serif.com/index.php?/topic/138654-artwork-for-greetings-cards/page/8/
The matter that I am writing about here is that when I load into Affinity Designer a .afdesign file made previously, there does not seem to be a way to find that the Pantone metallic is number 8644.
I happen to know it is because I used the one documented in an illustration on that page of the linked forum thread.
So, if loading a .afdesign file done previously, can one find out, from the content of the file, which particular Pantone colour was used please? I also tested it with a Pantone CMYK coated colour too.
William
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You might like to have a look at this online facility.
https://www.papier.com/photos/photo-books/all-books/
I have not had a photobook from them, but I have bought quite a number of personalized greetings cards with my own artwork from them and my experience is that the quality is high and the support on the online chat facility is excellent.
William
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6 minutes ago, R C-R said:
FWIW, I downloaded the two images, opened one of them in AP, & added the second one aligned over it, & set the top one's blend mode to "Difference." The result was pure black, indicating to me both images are exactly the same.
That is worth knowing. Thank you.
William
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11 minutes ago, Alfred said:
I do. I think it’s a trick of perspective, perhaps aided by the slight curvature of the track, but if you overlay a parallelogram it’s clear that the angle is the same.
Though, apart from the vertical edges, the parallelogram does not look to have parallel edges! I am laughing out loud.
I have only just noticed the curve to which you refer. Yet is that white line along the edge of the platform really curved or could it be something to do with the lens of the webcam?
Wllliam
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9 minutes ago, firstdefence said:
In the bottom image of the duplicate images the carriages appear to be "more" horizontal.
Yes, that is a good way to describe it.
William
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In the previous post I uploaded two images, but managed to include the first one twice in the post.
I have been looking at it and there seems to be an optical illusion of some sort as I found it difficult to realise that it is the same picture twice, as the rake of carriages do not appear parallel to each other in the two copies of the same picture.
Does anyone else observe the same effect please?
I use CTRL - several times to get the two images in full both together and the cariages seem to be at different angles.
William
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Two more pictures, these gathered this afternoon, a little after 1500 and at 1513 respectively.
35006 going over the points.
35006 under way pulling the train.
William
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Here are four images, gathered earlier today.
The first one shows the coaches static after the train has arrived.
The second one shows the locomotive in forward motion going round the train.
The third one shows the locomotive stationary before departure.
The fourth one shows the train underway.
William
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39 minutes ago, Alfred said:
Thank you for confirming what I said you would find:
Well, it has long been the situation.
I used it in the first image, the one about the poem using language-independent glyphs, in the following thread.
That facility allowed me to have paint outside the canvas so as to get colour to the edges.
Here is a picture of what appears on screen.
When I exported the jpg file the cropping to the edge of the canvas was done automatically for me by the software as part of the exporting action.
William
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54 minutes ago, walt.farrell said:
That's fine when the image you have matches the aspect ratio you need in the end. But when it doesn't, you will end up with extra white margins, or you'll need to enlarge and then crop.
Well, I have found that exporting the jpg file needed to make the card does the cropping for me.
So I can have white margin on zero edges, one edge, two edges, three edges, or four edges depending, for each picture, upon whether I want all of the whole image at a smaller size or part of the image at a larger size.
One image 1366 by 768 that I have I doubled to 2732 by 1534 so place it by numbers on the blank canvas hard down at the lower edge and a bit overhanging on each side, so potentially a bit of white at the top, but as the sky is very light and by the fold of the card along the top long edge, the white space might be hardly noticeable.
I am attaching an image. I do not know if the forum software will reduce it in size.
The locomotive is running in reverse because there is no turntable available, so it must run in reverse when hauling a train in one of the two directions. For the return journey it ran forwards after doing a run round of the carriages after being uncoupled. Some locomotives on the line arrive forwards at Broadway then do the return trip in reverse. This locomotive, 35006, used to face the other way but was loaned elsewhere and when it returned it was decided to have it the other way round for a change so as to allow for different photograph opportunities when running forward.
William
Producing an image that is the original image less the bleed areas
in Pre-V2 Archive of Affinity on Desktop Questions (macOS and Windows)
Posted
Well, I put the opacity to 100% and I got the 1500 by 2100 image with a white surround.
But I am not at present able to get it out as a jpg of 1500 by 2100 as trying to export the selection gives 1571 by 2171 as the size of the selection.
If I try to copy it to the clipboard and then paste back I just get the original filled with colour rectangle.
William