William Overington

So if someone finds something in the message that he or she thinks is problematic, would you like the person to say or not say? This is a practical issue because I have found something else and I wonder whether you would like me to say or not to say. William

Management must manage. William

I suppose that a still picture could be designed with such a notice on the wall, such a yellow line across the walkway and the employee facing the follower and the employee pointing to the sign. The picture could be presented to management as a suggestion to become implemented. If management wants security of access, management needs to manage it. William

Is there any way to find if that picture is genuine or if someone somewhere has used some software to fake it? William

What could be done would be to have, about eight feet before the door, a notice on the wall that each person must scan their badge individually followed by Queue Here and a yellow line is fixed with non-slip tape across the walkway. So if someone does not do that then he or she is instantly breaking a notified pre-existing rule. A flippant attitude of "Oh it doesn't matter, don't be a pedant" is then not about disparaging a person saying the correct way to priceed but disparaging against the person in authority who had the notice put there. Too often someone in the wrong but of higher rank in the organization might complain in a victimization way to the correctly-acting person's manager for some other purported subjective reason to vent his or her anger. So is the management policy putting the onus on the innocent employee rather that acting decisively to make it clear to anyone approaching the door as to what is the policy? Such lines across walkways are used in England for privacy in some banks and post offices. Even before Covid-19 people would queue at a line a distance from the counter while someone was transacting their business at the counter. However, orderly queueing is very much a tradition in England, part of our culture. William

Well, I had put 'proving' but I had meant to put 'providing'. So I had omitted the letters 'id'. In the film, ,mention is made of "Monsters from the id". The ancient race had destroyed itself because their great machine had amplified primeval violent thoughts from their subconciences. I think it was that when the man on the planet was there alone with his daughter, he was happy, but his feelings about the visitors were amplified into the monster that was attacking them. Something like that. https://en.wikipedia.org/wiki/Forbidden_Planet Based on Shakespeare's play The Tempest. https://en.wikipedia.org/wiki/The_Tempest William

Which is A4, at 300 dots per inch. Did you manage to solve the science fiction movie puzzle or have you stormed off in a tempest? 😀 William

I have checked the size of the first picture by loading into Paint and it is 37 mm by 52.5 mm, and from Affinity Publisher A9 is 37 mm by 52 mm. So it is a quarter size both horizontally and vertically. I don't need to prove it. Do you remember from where the monsters came in the film Forbidden Planet? Well the same text characters used to name that place are what is missing from that word. Thus changing the meaning of the sentence. Freudian slip, poor typing, computer issue, who knows. Yet certainly a lack of proofreading! The full size of the third picture is A4 as that is the canvas size in the Affinity Designer .afdesign file. William

I have now made a copy of the A5 original of the picture in the previous post and rescaled the copy to A4. It has a white surround, greater below than above, so that a print would have a white border in an A4 frame, proving that the print is onto white paper. I have now adapted a copy of that A4 document to produce another picture, within the constraint of only using four colours as if I were producing a woodblock print. Here is a png file, one fifth of full size in each of horizontal and vertical directions. William

The picture in the previous post is a quarter size of the A5 canvas. The hull of the yacht is a trapezium at the default 25% at each slop, then rotated 180 degrees. So much of the hull is hidden behind the layer used to represent the sea. In this picture I have reduced the height of the representatin of the hull by approximately 50% so that only the hull above the water line is drawn. So I changed the slope angles to 12% so as to keep the design of the hull much the same. So I could now make the filled rectangle that represents the sea to become of greater height. I then had to move the filled rectangle that represents the sea behind the hull rather than in front of it as before. Interestingly, when I changed the height of the hull I did it with the anchoring of the trapezium at the upper centre anchor,so as to keep the hull in place with respect to the sails, yet when I changed the height of the filled rectangle that represents the sea, I did it with the anchoring at the lower centre anchor so as to keep the lower edge in the same place. William

William

@firstdefence I have done a posterise 4. How do I do the Median blur please? I tried to look it up but I found about a blur brush but I have not found anything to apply a Median blur (whatever that is) to a whole picture. William

I like woodblock prints where, say, four solid colours of ink are used with four wood blocks to produce a picture. I am hoping to have a go using the Pen Tool to produce such an effect using an Affinity product, starting from either a blank canvas or a photograph, later making a copy of the document file and then deleting the photograph from the copy. Can one process a photograph to produce the effect automatically in any of the Affinity products please? I seem to remember such an effect in possibly DrawPlus. It might have been called poster or it might have been called comic book or maybe something else. One could select how many colours to use and the colours were chosen automatically. I remember trying it on an image gathered from Google street view of a building in Châlons-en-Champagne, France. William

=Add Block 32 Sandra walked down the stairs to the hall. =End block

What I am suggesting is a simulation within a wiki so as to try to figure out how what the original poster wants could be achieved. I think we could get somewhere without any changes to Affinity Publisher. If some additions were made to Affinity Publisher the system could be automated and thus become efficient. We can simulate sending and receiving emails to each person in the group of people by posts in this thread. We can simulate the document in each person's copy of Affinity Publisher in the wiki as each such Affinity document would be the same. William

So if an email such as the following is sent to each participant then each could adjust the .afpub document in Affinity Publisher on his or her own computer. =Add Block 25 The plant is a Monstera Delicosa. =End block If this could be automated it could be quite efficient. William

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