William Overington
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Posts posted by William Overington
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On 5/5/2021 at 10:22 AM, Alfred said:
Contextual alternate (‘calt’) is another possibility, although I think there is still relatively poor browser support for that feature.
How would contextual alternate be applied for these glyphs please?
William
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22 minutes ago, Alfred said:
If it’s a discretionary ligature, shouldn’t the glyph be tagged as ‘dlig’ rather than ‘liga’?
Contextual alternate (‘calt’) is another possibility, although I think there is still relatively poor browser support for that feature.
Yes, you are correct, so as I intend liga to be used I will edit the post to remove the word discretionary.
William
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So, with the recipe for sixty abstract emoji characters explained, there needs a method to use them.
For research purposes, and maybe for long-term practical use, a Mariposa System encoding can be used.
http://www.users.globalnet.co.uk/~ngo/mariposa_novel.htm
Suppose that we introduce two parameters, U (for upper) and L (for lower).
For question, let U=1
For pointer, let U=2
For indefinite, let U=3
For universal, let U=4
For negative, let U=5
For pointer nearby, let U=9, so that the same technique is used, but somewhat separate from the others as it is not part of that collection as such.
Let values of L go from 0 through to 9 for the lower parts in the order in which they are dissplayed in this thread, which is the same order as in the table in the linked document.
Then each of these emoji may be referenced by a code of the format
%8UL
The figure 8 being chosen as it has both an upper part and a lower part.
So, for example, the abstract emoji displayed two posts previously, is encoded in The Mariposa System as
%845
as the upper part has U=4 and the lower part has L=5 so, using %8 as the start of the sequence, the encoding is
%845
An OpenType font with a suitable GSUB glyph substitution statement encoded as if the abstract emoji glyph is a ligature (using the OpenType liga table) gives access to the glyph in a suitable application program, with a graceful fallback display in non-OpenType applications or without use of a suitable font or with ligatures turned off..
William
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So, try for a complete abstract emoji by using an upper part and a lower part together.
Is it better with a pale yellow background to indicate that it all part of one glyph?
William
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15 minutes ago, Alfred said:
I didn’t receive any emails from the Affinity Team (Affinity@Serif.com) last month, but in March I received three: two about content packs and one about recent Affinity Spotlight articles.
I have just searched my inbox for the email address that you stated.
One from 24 April 2021 hanks me for registering.
There is one in March, 19 March 2021 which I had not noticed and is unread, entitled Spotlight: 50% off True Grit content packs on the Affinity Store
One in February, which it appears I had read.
Nothing else since November 2020
William
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3 minutes ago, Alfred said:
The other thing to be aware of is that all of the Affinity apps are currently on sale at 50% off, but that sale has been ongoing for quite a while now and will almost certainly end before the next 90 days have elapsed. If you sign up for the newsletter you should receive an end-of-sale notification in good time to take advantage of the generous discount.
Well I just tried to sign up to the newsletter and I am told that I am already registered.
Yet I do not seem to get the newsletters.
Yes, I keep a check on purportedly spam emails.
How often do these emails supposedly arrive please?
Is there a glitch where part of the system thinks I am registered but another part does not and they don't communicate with each other?
William
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Manner, design influenced by -el
Reason, design influenced by -al
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Possession, design influenced by -es
William
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Time, design influenced by -am
Motion, design influenced by -om
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Motion, design influenced by -en
William
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Here are two more. Here the design influence of the letter is not as strong, but is still there, given the design constraints. The upper part of a two level lowercase a, and the lower part of a lowercase e given my design choice to make the designs distinct from each other.
KInd, design influenced by -a
Place, design influenced by -e
William
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Now for the lower parts.
I am hoping to produce them in the order of the rows in the table in the following linked document.
http://literaturo.org/HARLOW-Don/Esperanto/correlatives.html
Each design is influenced to a greater or lesser extent by the Esperanto ending.
The designs are shown in grey. This is not the intended use colour. I am thinking that the colour used in an abstract emoji will be the same colour as the colour of the upper part of that abstract emoji.
Here are the first two designs. The colourful part is five chunky pixels wide centred.
My designs are that the single letter Esperanto endings are five chunky pixels wide and the two-letter Esperanto endings are seven chunky pixels wide.
This is fine as each of the six upper part chunky pixel designs are seven chunky pixels wide, so the resulting abstract emoji character design will always be seven chunky pixels wide.
Individual, designed influenced by -u
Thing, design influenced by -o
William
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For the upper part of the 'some' group, here is my design. It is influenced by the letter i as it appears in some monospaced fonts.
The design for the upper part of the question group was a bit of a problem.
I had thought of a design influenced by the k of the question words of Esperanto.
However, upon producing the design it did not seem to work well.
So I produced a different design based upon a question mark.
William
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Here is my design for the upper part of the emoji for the pointer group, which start with a letter t in Esperanto.
Here is my design for the close up versions of the pointer group (for example 'here' as the close up version of 'there'), which are in Esperanto two words, the pointer word preceded by the two-letter word spelled by c circumflex followed by i. I have produced this stylised design, which is influenced by the c from the c circumflex and the t.
William
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Here are the first two of the upper part designs.
These are for the 'never' group and for the 'universal' group.
never group This was the most straightforward. The n from the Esperanto, which is the n from never, nothing, no, not, non, ne, nein.
universal group. Originally I was thinking of the c from the c circumflex used for the universal words in the Esperanto correlatives, but it seemed that it would need a horizontal line all the way across rows 1 and 3 counting from the top, with just column 1 filled in row 2. However, the design that I decided to use is both indicative or universal and has a sort of pure mathematics connection to the set theory symbol for union and is the inverse shape for the symbol used for the upper part for the negative group. So it seems a much better solution.
William
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2 hours ago, Alfred said:
Is that ‘sometime’ as in ‘erstwhile’?
I am not sure.
I have just looked up the word 'erstwhile'.
https://www.lexico.com/definition/erstwhile
The word 'sometime' is listed under the synonyms for 'erstwhile'.
However,
https://www.lexico.com/definition/sometime
has 'erstwhile' as a synonym of only one of the listed meanings of 'sometime'.
William
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The following web page has a list of Esperanto correlatives
http://literaturo.org/HARLOW-Don/Esperanto/correlatives.html
I am thinking of how to design a language-independent emoji for each of them and to produce an image showing them all.
I am thinking of double deck designs with the upper half indicative in some stylised way of the first part of the Esperanto correlative word and the lower half indicative in some stylised way of the second part of the Esperanto correlative word.
Yet language-independent abstract bold designs.
So my initial thoughts are to use a 7 by 7 chunky pixel grid (in an 8 x 8 cell) and have the upper part in three rows and the lower part in three rows with the middle row blank.
I am thinking of also adding some designs such as a language-independent emoji for the English word 'here' which in Esperanto is 'ĉi tie' and is thus related.
The designs need to be clearly distinguishable each from the others even if in monochrome, but I am thiking of colour-coding, so that, for example, the 'universal' ones are green and the 'negative' ones are red, with other colours for the others.
Please note that the Esperanto word 'iam' is translated into English as 'sometime', the Esperanto word for the English word 'sometimes' is 'iafoje'.
So I need to design an emoji for the English word 'sometimes' as well.
William
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There are replies to the above issues in another thread.
William
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Earlier today I posted two questions in the following thread, it is the first post on page 5.
I posted it there because the questions relate to something earlier n the thread on pages 3 and 4 of that thread.
No replies there as yet so I am duplicating the post here.
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Saturday 1 May 2021
Two issues that have been puzzling me. Can anyone help please?
First issue.
Papier (needs/prefers) CMYK at 300 dots per inch.
Thinking back to when I produced the artwork for the card with the software unicorns I could not remember choosing CMYK, and checking now on a copy of the .afdesign file, I cannot find anywhere in the export facility that appears to give me a choice.
Yet it is entirely possible that the original gif file was rgb colours - but I do not actually know.
So is a jpg file automatically always by definition CMYK?
The hardcopy print is fine. So whatever happened regarding the colours, either they were fine as sent or the Papier system did what was needed.
Second issue.
Also, I am wondering, if an rgb image file from outside is placed in an Affinity Designer document, and a CMYK output is requested in some format, does Affinity Designer do whatever is necessary, or is a placed image sent out as it was placed, or is the action selectable?
William
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The issue is that if one places a gif file, or a png, that is encoded using rgb and one no longer has access to the original source file, and one wishes to export a jpg from Affinity Designer, then is that possible and if so how please.
The company Papier mentioned in the posts has various products, the product relevant to this question is the printing one off custom greetings card from user supplied artwork - they are high quality, I send them to myself and frame them as art.
William
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Saturday 1 May 2021
Two issues that have been puzzling me. Can anyone help please?
First issue.
Papier (needs/prefers) CMYK at 300 dots per inch.
Thinking back to when I produced the artwork for the card with the software unicorns I could not remember choosing CMYK, and checking now on a copy of the .afdesign file, I cannot find anywhere in the export facility that appears to give me a choice.
Yet it is entirely possible that the original gif file was rgb colours - but I do not actually know.
So is a jpg file automatically always by definition CMYK?
The hardcopy print is fine. So whatever happened regarding the colours, either they were fine as sent or the Papier system did what was needed.
Second issue.
Also, I am wondering, if an rgb image file from outside is placed in an Affinity Designer document, and a CMYK output is requested in some format, does Affinity Designer do whatever is necessary, or is a placed image sent out as it was placed, or is the action selectable?
William
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Chloe and Phil are two characters, they are like peas in a pod!
http://www.users.globalnet.co.uk/~ngo/cw000000.htm
http://www.users.globalnet.co.uk/~ngo/de000000.htm
http://www.users.globalnet.co.uk/~ngo/cpjs0001.htm
http://www.users.globalnet.co.uk/~ngo/song1008.htm
http://www.users.globalnet.co.uk/~ngo/song1011.htm
http://www.users.globalnet.co.uk/~ngo/ast02400.htm
I am now thinking that together the Papier facility, the availability of frames with the grocery, and Affinity Designer provide me with an opportunity to produce a high quality Chloe and Phil board game prototype.
The theme is as follows.
Chloe and Phil are helping their friend, Polka the pantomime horse, to travel from the theatre to the village fête, where she's a star of course.
Chloe can move either one square to the right or one square to the left on a segment (0 .. (say 6) )of the horizontal axis. Chloe must move, not pass the move.
Phil can move either one square up or down on a segment (0 .. (say 4) ) of the vertical axis. Phil must move, not pass the move.
Polka moves automatically after each move by Chloe and after each move by Phil, such that Polka is on a grid of squares (for this example, 0 .. 6 on the horizontal axis and 0 .. 4 on the vertical axis.
Polka starts at (0, 0). The theatre is at (0, 0). The village fête is at (for this example, at (6, 4).
Either Chloe of Phil may be moved first. After that, Chloe and Phil move alternately.
The purpose is to get Polka to the village fête.
That is the basic game.
However, for most actual games, there is a tree in each of one or more squares and Polka cannot go into a square that has a tree in it.
So some games are more of a puzzle to solve than others.
For example, what if there is a tree in the square (2, 2)?
William
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The package containing the print of the hedgehog image has now arrived and is in the quarantine box for one week.
I already have a frame for the card.
William
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Ah, I think I understand the problem now.
Thank you for explaining.
William
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So the question that occurs to me, is what font was the glyph browser using when you used the glyph browser to choose the glyphs please?
William
Artwork for greetings cards
in Share your work
Posted
I have found these threads, which I had forgotten about. The second one relates to Affinity Publisher.
https://forum.high-logic.com/viewtopic.php?f=3&t=4680
https://forum.high-logic.com/viewtopic.php?f=3&t=7815
William