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William wrote:Alfred wrote:I presume you mean one glyph for ‘Welcome’ and another glyph for ‘Thank you for visiting’, not two glyphs for ‘Welcome and thank you for visiting’!
Yes.
I tend not to write it like that so as not to risk giving the impression of the meaning including the quote marks.
You can work around that quite easily by styling the text as bold, italic, and/or coloured:
… the glyphs for Welcome and Thank you for visiting have since had …
William wrote:Continuing, Alfred wrote:I’m curious as to why you’ve chosen the passive voice, saying those glyphs ‘have since had an additional design produced’ rather than claiming ownership by saying ‘I have since produced an additional design’.
It was not a deliberate choice. I suppose something to do with how I was taught to write up experiments.
Thank you for the explanation.
William wrote:Alfred wrote:(The additional designs are for new glyphs, not the existing glyphs, but that’s another issue.)
Yet interesting.
How exactly would my meaning be correctly worded?
You could simply say ‘alternative glyphs’, couldn’t you, unless I’m missing something?
William wrote:Alfred wrote:Those overlapping shapes look as though they’ve been carefully arranged to represent a familiar quadruped, ...
Indeed. To try to give a three-dimensional look as well.
I think the positioning of the ‘leg’ rectangles achieves that reasonably effectively.
William wrote:Actualy, it was intended to be the full moon at night.
Ah, hence the black background! But then you wouldn’t be able to see the tree or the clouds, or at least not so clearly.
William wrote:Alfred wrote:William wrote:Please find attached the font LOCSE977.TTF
Do you have any documentation that you can either provide here or link to on another site?
Actually, as best I remember, not as such.
There is the attached document which links glyph images to meanings localized into English, but the glyphs for Welcome and Thank you for visiting have since had an additional design produced, as used in the illustrations earlier in this thread.
I presume you mean one glyph for ‘Welcome’ and another glyph for ‘Thank you for visiting’, not two glyphs for ‘Welcome and thank you for visiting’!
I’m curious as to why you’ve chosen the passive voice, saying those glyphs ‘have since had an additional design produced’ rather than claiming ownership by saying ‘I have since produced an additional design’. (The additional designs are for new glyphs, not the existing glyphs, but that’s another issue.)
Those overlapping shapes look as though they’ve been carefully arranged to represent a familiar quadruped, but the animal I’m thinking of usually has a tail, two ears instead of one, and tapering head, neck, hind legs and body.
William wrote:Alfred wrote:I’m guessing that the up-arrow represents a tree, ...
{discussing art, pedantry mode switched on}
Oh, why?
Because there’s a circle which is probably meant to represent the sun, and a pair of identical or near-identical long, thin shapes that look like simple representations of cirrus clouds. A conifer is often represented in primitive art as a tall triangle atop a tall rectangle.
William wrote:The texture to which you refer in a letterpress print of a linocut can be due to lack of inking
No, that isn’t the texture to which I was referring! I had hoped that my use of the phrase ‘a little more organic’ would have been enough of a clue.
I’m guessing that the up-arrow represents a tree, but without some gaps in the foliage it’s very far from being treelike. Perhaps you’re branching out (sorry!) into icon design and simply haven’t told us yet.
William wrote:Please find attached the font LOCSE977.TTF
Do you have any documentation that you can either provide here or link to on another site?
In what sense does this simulate a linocut? There’s no texture to it! I would expect to see something a little more organic.
Wow, Geoff, that’s amazing!
Welcome, Allan! Thanks for joining us here.
Please feel free to lurk or post as much as you like.
As mentioned by me in the note that I added to your OP over an hour ago!
William wrote:Reputation
617
Outstanding
[Moderator note: Off-topic posts moved to here.]
GB wrote:I watched the entire clip in case it [the oboe] reappeared, but if it did I didn’t spot it
I see it at 14s, 31s, 1m42s and 3m32s. The gentleman player is almost immediately behind Andre Rieu.
Thanks, Geoff. I blame André Rieu for letting his hair get in the way!
dcr wrote:You're lucky they don't have a Mac version otherwise curses would be upon you for making me buy another app.
This forum section is solely for human artwork. You may post work for which you used AI (in any capacity) in the ‘Art & Literature’ section.
Please restrict contributions to pieces which are entirely your own work, and keep comments focused on the posted artwork and the techniques used to create it.
Welcome, Giovanni, and thank you for an ‘interesting’ first post! 
A beautiful piece that I last heard quite a long time ago, this rendition being particularly good. Thanks for posting the link!
It’s around 32 seconds in. I watched the entire clip in case it reappeared, but if it did I didn’t spot it.
[Moderator note: Off-topic posts moved from here. I’ve rearranged the posts as best I can, aiming to put them in timestamp order, but this post — being the first in the thread — is stubbornly stuck at the top.]
Twolane wrote:The cross-platform thing that Affinity brought to the table
I can't even imagine the coding nightmare that must have been.
I don’t think it can have been as much of a nightmare as you imagine! The desktop apps have a shared base of core code with a platform-specific UI layer on top.
I seem to remember Objective-C and C++ being mentioned by posts from Serif staff members on the official forums, so there’s probably nothing too esoteric.
William wrote:It is an ill wind turns none to good.
The old saying about an ill wind always reminds me of Danny Kaye’s lyrics:
The oboe, it is clearly understood,
Is an ill wind that no one blows good.
Maarten wrote:I've never worked with their former products, but I'm sure that if they would've continued building upon that they would never be this successful now and would have many of the same issues Adobe still has: legacy UI and legacy code.
Exactly! The ‘Plus’ applications were quite heavily dependent on built-in Windows features, and they were becoming increasingly difficult to maintain and develop. The cross-platform thing that Affinity brought to the table was a particularly smart move: they actually launched the Mac version first, which obviously appealed to the many designers who use Macs rather than Windows machines.
Maarten wrote:Interesting topic. I would without a doubt invest in a new product to be built up from the ground.
In my experience when starting fresh with knowledge of the past you get way cleaner, faster performing and more intuitive product.
The devs at Serif obviously had algorithms that they could recycle from their (Windows-only) ‘Plus’ applications, but the Affinity suite was built from scratch and designed from the beginning to be ‘platform agnostic’ with core code shared across the range. PagePlus could use native files from its stablemate PhotoPlus (an image editor) but apart from that and the homegrown Serif Metafile Format (*.smf) that all recent versions of those applications could use, there wasn’t any provision for direct data exchange.
William wrote:I used that as an example.
An example of what? 
Alfred wrote:I can see the importance of doing it slowly so that the viewer can follow what is happening, but I’m afraid I don’t see the relevance of doing it gently.
William wrote:As if teaching someone who is learning rather than as if answering a question from an examiner who already knows the answer to show that one knows how to do it.
That’s slowly/thoroughly, isn’t it? Perhaps you and I don’t always use the word ‘gently’ in quite the same way.
William wrote:The software would be for sale yet there would be a fully functional unlimited duration trial.
What incentive would there be for users to make a purchase? You might as well simply encourage donations while offering the software as a free product.
William wrote:Then at the printshop, there is discussion of how to insert accented characters into a document as they are not on the keyboard, and it is shown being done on a screen, slowly and gently, that is important.
Insertion of accented characters is fairly standard. On macOS and iPadOS (as on iOS on iPhone) accented characters are readily available via the keyboard, and even Windoze has the option of Alt sequences using the numeric keypad. There are also websites such as TypeIt.org.
I can see the importance of doing it slowly so that the viewer can follow what is happening, but I’m afraid I don’t see the relevance of doing it gently.
William wrote:Each episode of the programme having a different issue.
I think you mean highlighting or discussing a different issue! Having an issue implies encountering problems.
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