William Overington

I always find these dragging to fit things awkward to do. I can manage most dragging. I am very much happier when I can put numbers in boxes even if that means getting a pen and using the calculator app to work out values and write them down. But the issue I am concerned about is whether if I scale an image by some number other than an integer, will the print get some sort of moiré pattern sort of lines on it. I suppose I am wondering how within the software, given a bitmap, how is the bitmap of an enlarged version calculated. William

Firstly I know very little about scaling images, so it is possible that my concerns are groundless. The issue is this. I am using Affinity Designer for this particular purpose, but the question is of use for other projects with other Affinity Software too. I have found that there are a pair of very nice webcam feeds from a station, in fact a present terminus, on a heritage railway line. The second one is perhaps more interesting usually, but the different angle relative to the track on the first one is good in some circumstances. https://www.ipcamlive.com/broadway1 https://www.ipcamlive.com/broadway2 No trains today, but there are planned to be over the weekend. https://www.gwsr.com/planning_your_visit/what_to_see_and_do/locomotive_roster.html https://www.gwsr.com/ The railway is single line, but with two tracks at a few places, as here. Trains arrive from the right of the picture and on the track next to the station building. If the train is locomotive hauled, the locomotive goes beyond both cameras, is uncoupled and runs round the train so that it can pull the train back the other way. If the train is a railcar set then the driver goes to the cab at the other end, so no uncoupling or run round. For background information in case you might like to go virtual trainspotting, https://www.gwsr.com/planning_your_visit/visiting_gwsr/2021_Calendar_and_Timetables.html https://www.gwsr.com/planning_your_visit/what_to_see_and_do/locomotive_roster.html However, the issue here is that I can get a Print Screen image from the webcam and I can use it to make a greetings card using the Papier facility and I can then frame the greetings card in a frame from Tesco delivered with the grocery. So all done from home. The issues is that the webcam image does not have the same pixel size as needed for the greetings card, nor indeed the same aspect ratio. So either I get all the picture and some white space on the card, or I get to fill the card yet lose some of the picture, or I lose some of the picture and also get some white space. The webcam can be set to full screen view, which on my computer gives a Print Screen image that is 1366 pixels by 768 pixels, so 16:9 which is an aspect ratio ofabout 1.77 to 1.00 The images for the greetings card is 2171 pixels by 1571 pixels which includes bleed areas, so giving a card 7 inches by 5 inches with 3 millimetre bleed areas, so an aspect ratio of about 1.38. Maybe it is not the best way to do it, so I am open to advice, but I have been pasting the Print Screen image from the clipboard into Microsoft Paint and saving as a png file with the locomotive number, the date and time and possibly a bit of extra information, such as stationary or in motion all in a long file name so as to know which image is which.. So I start with a blank canvas of 2171 pixels by 1571 pixels at 300 dots per inch and I place the png image onto the canvas and then centre it on the page. So I could have that as the finished artwork, produce a jpg image, upload to the template at the Papier webspace, add some information about the image, locomotive, place, date, time, other as I choose where the greeting goes, one can change the font to Garamond, black, letter spacing 1.0 and it looks very different from the placeholder text. https://www.papier.com/landscape-photo-313 There is a Customise button that takes one to a blank canvas, one can upload a jpg file. Notwithstanding the advertising as a photo card and to send the card to someone else as a greetings card, it is possible to use a jpg file of artwork, and send it to oneself as an art print for framing. The issue that I am asking about is what if I want to scale the card to get a larger image. Previously, both with a picture from the webcam and with artwork I have only scaled by exactly two times or exactly by three times. I know that that can make it blocky but I wanted some prints of bitmap artwork from many years ago and it was risk blocky or go without, but, whilst recognising that I do not have expertise in assessing printed images, from my hobbyist artist standpoint, the prints that I got look very good. So what I am concerned about is if I scale by some real number, such as 2171 divided by 1366, which is 1.589, will I get sort of funny effects in the print due to rounding or whatever it might be called? What scaling is considered sfe and what is not if starting with a bitmap image please? That way I can choose the best scale to balance getting a good picture to frame against losing some of the detail around the edges. William ,

A question that arose while making that graphic. Is there a way to explicitly set leading to zero in Affinity Designer please? William

The font is available from the following thread. https://forum.high-logic.com/viewtopic.php?f=10&t=4695 William

Localization into English. It is winter. It is snowing. The colour is white. The violin dreams. The colour is green. The colour is turquoise. William

I have used a vertical half pale to indicate 'light'. Thus the first four glyphs, modify the colours yellow, green, blue, purple to give the following. The colour is primrose. The colour is mint. The colour is light blue. The colour is lavender. The next glyph combines a full height pale that indicates red with a full width pale that indicates blue, so as to give, in the manner mentioned earlier in this thread, magenta. The colour is magenta. The next glyph is a variation on blue and I have used it to indicate turquoise. The colour is turquoise. The next glyph has been used previously and is included here for comparion. The colour is sky blue. I am not sure at the time of writing this note as to whether purple and violet need two glyphs or just one for both of them. William

William

I have designed six more glyphs, each for a sentence of the form The colour is ... Here are the glyphs together with one of the original set. Given what you know already of the original fifteen sentences for colours, would readers like to try to deduce which colours these glyphs represent please? William

Yes. I can do that. Ah, some of the images on the canvas are already rasterized but some are vector. For some I would just be removing white space round the edges. What I am looking for is, having got the 2171 pixel by 1571 pixel image and the rectangle on top of it, and selected, is a tool that when I click it puts a copy of what, and only what, is covered by the rectangle, onto the clipboard. The I can start an A4 document, paste from the clipboard onto it, then centre the image on the A4 page. I am wondering if this is some sort of crop or mask or matte or whatever that I don't know what it is called and therefore cannot find in the help - though recognising that such a tool may not exist in Affinity Designer, though I have not really ever used those sorts of tools anyway so I do not know where to look. I have removed pieces from around edges of bitmap images in Microsoft Paint by adjusting the size on the properties panel and using flip horizontal and flip vertical in combination, but I am wondering if there is a method in Affinity Designer. William

As some readers may have noticed, I sometimes make artwork for greetings cards using Affinity Designer, with a canvas (is that the right word?) in Affinity Designer that is 2171 pixels by 1571 pixels at 300 pixels per inch. This is because the Papier facility that I use to produce greetings cards from the artwork needs, for the templates I use, a jpg file at 300 pixels per inch at a size of 7 inches by 5 inches with a 3 millimetre wide bleed area on each edge. Having a number of those .afdesign files stored, I would like to be able to produce some artwork to place upon an A4 size canvas. So what I want to do is to be able to copy an area of the original that is 2100 pixels by 1500 pixels, with the location of the top left corner of the copied area at (35, 35) of the original canvas. That is, getting the picture without the bleed areas that go with it in the original. How does one do that please? William

William

Nederlands is een prachtige taal. William

Here is link to a jolly video in Dutch. Maybe it will inspire Serif staff to include a Dutch version. It is good in full screen. William

If I remember correctly the leading zero is below 256 to get the Unicode character, otherwise one gets a different character. I made a test font this morning and Alt 60000 works fine in WordPad. https://altcodeunicode.com/#:~:text=ALT%20codes%20are%20keyboard%20shortcuts%20for%20quickly%20inserting,symbols%20in%20Microsoft%20Word%2C%20Outlook%2C%20Excel%20and%20Powerpoint. William

William

True, but if it helps people use new scripts then it will be doing its purpose well. But why does it not work in Affinity Designer? William

I have thought that Alt codes were a basic Windows level thing, so I am wondering why it does not seem to work in Affinity Designer. However, if one uses the Alt 60000 code in WordPad one can then use copy and paste to get the character into Affinity Designer. William

So this morning I composed a poem and I was, and still am, hoping to post it in Share your work. However, a problem has arisen. The poem is intended as a useful poem, and could be very useful for people making fonts, and people using those fonts, where the font includes one or more characters in the Private Use Area. The thing is, getting a Private Use Area character can be awkward at times. So if a font has, say, one non-standard character and that character is in the Private Use Area, then placing it at U+EA60 means that in a program such as WordPad one can access that character easily by using Alt 60000. So if, say, a new script of twenty characters is being added to a font, adding them starting at U+EA61 allows access from WordPad using an Alt code of sixty thousand plus the index number of the character in the new script. So here is the poem. The problem is though, that it works in WordPad but not, as far as I can tell at present, in Affinity Designer. William

I wonder what poems could be expressed in Language Y with glyphs for the following sentences added to the collection of glyphs already available. The violin laughs. The violin cries. The violin dreams. The violin despairs. For example, It is winter. It is snowing. The colour is white. The violin dreams. The colour is green. The colour is turquoise. What other four or five sentences for Language Y would allow an even variety of different poems to be constructed? I need to dream designs for the violin glyphs so that they are bold, of a theme together yet distinct each from the other, with, if possible, a language-independent hint of the meaning. William

I am trying to produce a 16 page A5 PDF document to produce a booklet. When I have used PagePlus, if I get to the end of a page when I am typing I am offered the opportunity to add another page with the same text frame size and if I accept I can just keep adding text and it goes onto the new page. Affinity Publisher has not offered me that facility. Is that how it is or am I missing something? A different questio please. Is it possible to produce a multipage Affinity Designer document? William

https://en.wikipedia.org/wiki/Silvester_Petra_Sancta The system of indicating colours in a black and white image by shading with lines in various directions is often named after him. For example, vertical lines for red, horizontal lines for blue, upper left to lower right diagonal lines for green, and so on. I have usually followed his choices for my glyphs where possible, but I have modified some for clarity in this application and devised a few of my own too. William

Which of purple, violet or fuchsia are spectral please? Should that Petra Sancta inspired glyph for what I have up to now designated as magenta be renamed to purple or violet? Or should I leave it as it is for stability reasons regarding it as more like teletext colours than a spectrum? But if I do, then what glyph for purple or violet as appropriate. A glyph for magenta that is more like how the brain perceives it would be a single full height vertical line at the right going down from the long top horizontal line, contiguous with a horizontal line across the middle of the right side part. That is, a line from red and a line from blue joined together. But do I need individual glyphs for purple, violet and lilac? Separately, I have glyphs for gold, silver, bronze and copper already. William

I would like to resolve the matter of the colours properly. Of the terms magenta, purple, violet, fuchsia how many colours are there? Is cyan spectral? https://en.wikipedia.org/wiki/Rainbow#Number_of_colours_in_a_spectrum_or_a_rainbow There are turquoise and cyan. Also sky blue and light blue. Also light green, for which I have previously used the term 'mint'. Also light purple, for which I have previously used the term 'lavender', which may or may not be the same as the colour I have recently seen referred to as 'lilac'. I remembered making a font for some additional colours and I have found it as dated 8 January 2021. I did not publish the font but I may possibly have posted images somewhere. I have had a look in the font using the FontCreator program but the glyphs are not obviously noticeable so I need to do a more detailed search, or simply start again. I have designs for new glyphs, it is a matter of deciding which glyph is for which colour. Some such as mint and lavender are easy decisions, but the others are needing consideration. William

Perhaps the English localization will need to change. But not the glyph. So is a different glyph needed for magenta? And what about turquoise and cyan? Another glyph needed? Should the existing glyph be for turquoise or for cyan? Any others? I seem to remember somewhere suggesting a glyph for light blue, and possibly for mint (light green) and lavender (light purple). William

Here is a challenge if some readers want to try. Use an Affinity product or products of your choice, and the Localizable Sentences 977 font http://www.users.globalnet.co.uk/~ngo/LOCSE977.TTF and the document http://www.users.globalnet.co.uk/~ngo/locse027.pdf to produce a display of a poem in Language Y that is influenced by the diagram in the following section of a wikipedia page https://en.wikipedia.org/wiki/Color_term#Basic_color_terms and post an image to this thread. William