affinity designer Artwork for greetings cards

[Alfred]

17 minutes ago, William Overington said:

some language-independent glyphs for some sentences that involve metallic colours

Where do the metallic colours come into it, William? Those glyphs all look black to me!

Edit: I’ve just seen the later part of your post where you list the colour names. It makes sense now.

[William Overington]

26 minutes ago, Alfred said:

Where do the metallic colours come into it, William? Those glyphs all look black to me!

Edit: I’ve just seen the later part of your post where you list the colour names. It makes sense now.

Thank you for posting.

I suppose it depends on where the implied brackets are in

>> some language-independent glyphs for some sentences that involve metallic colours

either

some language-independent glyphs for some (sentences that involve metallic colours)

or

some (language-independent glyphs for some sentences) that involve metallic colours

Actually, although the glyphs are shown here in black, the colour in which the glyph is displayed is intended irrelevant to the meaning.

So if, say, they were all printed blue, that could probably not cause confusion and be taken as just part of a presentation.

However, if a glyph with the meaning "The colour is blue." were printed in red and was near a glyph with the meaning "The colour is red." printed in blue, then that could be confusing.

I don't remember the detail but I did somewhere sometime see something about a psychology experiment where there were cards with each card having one word such as "blue", "red", and other colours, and the words were printed in colour, sometimes the same colour as the meaning of the word and sometimes in a different colour. And then the experimenter presented the cards one at a time to a person and asked them to read the word out loud. I don't remember the result, nor indeed why it was done.

William

 

 

[William Overington]

By the way, as a side issue, I saw somewhere sometime a request by some educators to toy manufacturers that if they were making sets of plastic digits to use the same colour throughout the set and not to make one digit red and another blue and another yellow as apparently it can result in children locking the colour to the digit in their memory and causing a muddle.

William

 

[Alfred]

13 minutes ago, William Overington said:

By the way, as a side issue, I saw somewhere sometime a request by some educators to toy manufacturers that if they were making sets of plastic digits to use the same colour throughout the set and not to make one digit red and another blue and another yellow as apparently it can result in children locking the colour to the digit in their memory and causing a muddle.

That’s interesting. What’s wrong with inextricably linking colours to particular numerical values? After all, that’s exactly how resistor colour codes work! And I remember that as a young child I had a set of Cuisenaire rods that worked the same way.

[William Overington]

Supplementary note two days later. The glyphs of at least the colours are horizontally mirrored, and thus incorrect. How did that happen? Discussion in subsequent posts.

 

 

 

 

 

 

 

 

 

 

 

 

 

William

 

[William Overington]

I wrote and posted that poem on Saturday.

It is now mid-afternoon on Monday.

I have just noticed that the glyphs for the colours (and possibly the seasons, but they are symmetrical designs, so it is not clear) are horizontal images of what they should be, and thus are the wrong glyph in each place as a result.

The order from top downwards should be copper, gold, bronze, silver.

The order actually is horizontally mirrored bronze, horizontally mirrored silver, horizontally mirrored copper, horizontally mirrored gold.

The .afdesign file is similarly wrong.

However, the glyphs are correct in the font.

So how has that happened?

The image in the final post on page 6 shows the glyphs correctly.

I produced the source file for the poem by starting with a copy of the .afdesign file for that image and adding the glyphs for the seasons and moving glyphs around.

William

[Alfred]

9 minutes ago, William Overington said:

horizontal images of what they should be

From a brief inspection of the images in the two posts in question, I take it you mean “horizontally flipped’.

[walt.farrell]

12 minutes ago, William Overington said:

The .afdesign file is similarly wrong.

However, the glyphs are correct in the font.

So how has that happened?

Without having the font and the .afdesign file I doubt anyone can answer that question.

[William Overington]

3 minutes ago, Alfred said:

From a brief inspection of the images in the two posts in question, I take it you mean “horizontally flipped’.

Yes.

I have now made a copy of the .afdesign file and done a horizontal mirroring of the text frame and moved the glyphs around so as to get the correct poem, of which I hope to post an image soon.

William

 

[William Overington]

 

 

 

 

 

 

 

 

 

 

 

 

William

 

[William Overington]

12 minutes ago, walt.farrell said:

Without having the font and the .afdesign file I doubt anyone can answer that question.

I made a copy of the incorrect original then went back to the incorrect original and tried to do an edit undo so as to try to go back to try to find where the error got introduced. But it appears that as I had saved the file that the undo record had been wiped.

So somehow, possibly by me inadvertently doing something I had at some stage flipped the text frame horizontally.

William

 

[walt.farrell]

4 minutes ago, William Overington said:

But it appears that as I had saved the file that the undo record had been wiped.

Yes, History is deleted when Saving unless you ask for it to be retained (whichcan greatly increase the size of the Saved file).

[William Overington]

https://forum.affinity.serif.com/index.php?/topic/142990-eb-garamond-a-font-with-lots-of-ligatures/

William

 

 

 

 

 

[William Overington]

A first attempt at producing a title page in sixteenth-century style using the EB Garamond font and its italic.

 

 

 

 

 

 

 

 

 

 

William

 

[William Overington]

I need to increase the leading for the italic.

 

 

 

 

 

 

 

 

 

 

William

 

[Alfred]

Shouldn’t it say

repreſentation

and

Engliſh

or was the sixteenth century either too late or too early for that kind of shenanigans?

[William Overington]

Not too early, nor too late. Yet I am using the style with present day language, though a little stylisedly quaint in the wording. For example, the year in Roman numerals, but the present date. Also, the style is French.

 

[William Overington]

2 hours ago, Alfred said:

Shouldn’t it say

repreſentation

and

Engliſh

or was the sixteenth century either too late or too early for that kind of shenanigans?

Well, I wondered how it would look. Please note the italic ligature of long s and h.

 

 

 

 

 

 

 

 

 

 

William

[William Overington]

I decided to reword the italic part so as to include a ligature for 'st' and a ligature for 'ct' in the page.

In doing so, the middle line was wider than the other two lines, so I increased the size of the side margins so that the word 'into' went onto the third line. I then centred the text frame.

I also increased the leading to 105% as the words 'Together' and 'glyphs' were touching.

 

 

 

 

 

 

 

 

 

 

However, please notice that the ligature for 'st' does not show, as the ligature for 'is' overrides it.

So I remembered the ZWNJ character to force a ligature not to form.

So I copied the file and inserted a ZWNJ character between the 'i' and the 's' so that the ligature for 'st' would become displayed.

This was quite tricky. In the event I managed to do it by using the FontCreator preview panel to preview the three character sequence > ZWNJ < in my Quest text font, because ZWJ and ZWNJ each have a visible glyph in that font (and thus non-standard) as the ZW means 'zero width'. I copied from the preview panel and pasted into the Affinity Designer document, then carefully deleted the character '>' and the character '<'. It worked, the ligature for 'st' became displayed.

 

 

 

 

 

 

 

 

 

 

Later, I realized that I could have resolved the issue by simply highlighting the letter 'i' and removing the 'Use All' ligature setting, and upon doing that in another copy, the ligature for 'st' became displayed.

So I got the result by using a ZWNJ character. As I had never used a ZWNJ character before, it was a good learning experience.

William

 

 

 

[William Overington]

I have reworded the italic part. I am still using the ZWNJ character. I also reduced the size of the side margins, in fact back to their original position.

 

 

 

 

 

 

 

 

 

 

William

 

[William Overington]

As it happens, although I have been posting png files as illustrations, each 400 pixels wide, by 553 pixels high, the Affinity Designer files that I have been using are all 1571 pixels wide by 2171 pixels high, so as to be ready to produce 1571 pixels by 2171 pixels artwork in a 300 dots per inch jpg file to send to Papier so as to get a hardcopy print.

Where the greeting in the card goes if a card is used as a greetings card, I put notes about the artwork.

So, I decided to check whether a hyphen is needed between the words 'sixteenth' and 'century'.

I found the following.

https://proofreadmyessay.co.uk/writing-tips/the-word-century/

So the font is based on a design from the sixteenth century, and the artwork is in sixteenth-century style.

William

 

[William Overington]

Here is the completed artwork, ready to get a hardcopy print. It may not show full size in this forum post.

 

 

 

 

 

 

 

 

 

 

William

 

[William Overington]

14 hours ago, William Overington said:

This was quite tricky. In the event I managed to do it by using the FontCreator preview panel to preview the three character sequence > ZWNJ < in my Quest text font, because ZWJ and ZWNJ each have a visible glyph in that font (and thus non-standard) as the ZW means 'zero width'. I copied from the preview panel and pasted into the Affinity Designer document, then carefully deleted the character '>' and the character '<'. It worked, the ligature for 'st' became displayed.

The Quest text font is available from the following link.

http://www.users.globalnet.co.uk/~ngo/QUESTTXT.TTF

William

 

[William Overington]

Yesterday evening I placed an order for the card.

I have now received an email that the card is printed and on its way to me by post.

Some points about the process of producing the card.

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When trying to introduce the ZWNJ character from the visible glyph for ZWNJ that is in the Quest text font I tried using the Glyph Browser of Affinity Designer. Yet it was not available, though the glyph for ZWJ was available.

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I have asked about how people get a ZWNJ character into a document in the following mailing list post.

https://corp.unicode.org/pipermail/unicode/2021-May/009456.html

Responses can be followed here, though if discussion continues into June 2021 then another link will be needed.

https://corp.unicode.org/pipermail/unicode/2021-May/date.html

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I checked that the ligature for 'is' in the word 'English' was not preventing the appearance of a ligature for 'sh'.

There is not a ligature for 'sh' in the font. There is a ligature for 'sp' and a ligature for 'sk'.

----

William

 

 

[William Overington]

I have just tried getting back a copy of the artwork from the forum.

Alas, the file is not full size.

So, if I want to make the artwork available so that if anyone wants to get a print for himself or herself, do I need to not place it within the post but just leave it as an attachment?

William