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Alfred's Serif Users' Forums → Art & Literature → Modalities of producing an electronic Art Show
Fundamental to this project is that pictures are full size in the PDF document with at least one correctly placed full size borderless white-filled rectangle behind each picture so that the artwork can be extracted so as to get a full size hardcopy print.
Those rectangles could be for A3, A3 with bleed areas, A3 with double width bleed areas to facilitate production of A5 greetings cards.
William
[I decide to try the Copilot compose facility and I decide to choose what is listed as a Blog as that looks like it might be the longest text option. I also choose professional as the styleand long.]
[Here is my input.]
Please write about producing a PDF document that has an aspect ratio of 16 wide to 9 high as that will give a good full screen display on a typcial computer screen. The PDF page should be large so that an A3 plus bleeds size landscape orientation original artwork can be included on a page at full size and at a resolution of 300 dots per inch. Thus, using a desktop publishing program, a copy of the the artwork can be extracted from the PDF document to be used to produce a hardcopy giclée print that can be framed. The PDF document can be used as an electronic art show and also as a source of high quality artwork to produce hardcopy prints that can be framed and displayed. The PDF document can be published on the web and a copy sent to the British Library for Legal Deposit so that the artwork is conserved at the British Library and available as an Art Show in the reading rooms of the British Library.
[Here is the result generated by Copilot as its response to clicking a supplied Generate draft button.]
Creating a PDF for Art's Sake: A Guide to Digital Publishing and Preservation
In the digital age, artists and publishers are constantly seeking innovative ways to display and preserve artwork. One effective solution is the creation of a PDF document designed specifically for full-screen display on typical computer screens, with an aspect ratio of 16:9. This format not only caters to the modern viewer's preferences but also ensures that the artwork is presented in a manner that is both visually appealing and true to the original piece.
The process begins with the selection of a suitable desktop publishing program that can handle high-resolution images and offer the flexibility required for creating a custom-sized PDF. The goal is to produce a document where an A3 plus bleeds size landscape orientation original artwork can be included at full size, maintaining a resolution of 300 dots per inch. This high resolution is crucial for retaining the fine details of the artwork, ensuring that the digital version is a faithful representation of the original.
Once the PDF is created, it serves multiple purposes. Firstly, it acts as an electronic art show, allowing viewers to appreciate the artwork in a digital format, accessible from anywhere in the world. Secondly, it becomes a source of high-quality artwork for producing hardcopy prints. Using the same desktop publishing program, a copy of the artwork can be extracted from the PDF document and used to produce a hardcopy giclée print. Giclée prints are known for their high quality and are often used by artists and galleries for reproductions that require fine detail and longevity.
The versatility of the PDF format means that artists can share their work with a wider audience by publishing the document on the web. Moreover, sending a copy to the British Library for Legal Deposit ensures that the artwork is not only preserved for posterity but also made available for public viewing in the reading rooms of the British Library. This step is a testament to the importance of preserving art in all its forms and making it accessible to future generations.
In conclusion, the creation of a PDF document with a 16:9 aspect ratio for artwork display and preservation is a testament to the fusion of art and technology. It provides a platform for artists to showcase their work in a digital format while ensuring that the integrity and quality of the original artwork are maintained. As we move forward, this method of preservation and display will undoubtedly become a staple in the art community, bridging the gap between traditional art forms and the digital world.
[Copilot asks Tell me if you want to change anything.]
You refer to PDF in some places. Please change PDF to become PDF document]
Creating a PDF Document for Art's Sake: A Guide to Digital Publishing and Preservation
In the realm of digital artistry, the quest for a medium that accommodates both the aesthetic and archival needs of artwork has led to the adoption of the PDF document format. This format is particularly suited for full-screen displays on contemporary computer screens, with an aspect ratio of 16:9, which mirrors the widescreen viewing experience that most users prefer.
The journey of creating such a PDF document begins with the selection of a robust desktop publishing program. This program must be capable of handling high-resolution images while providing the flexibility to craft a PDF document to precise specifications. The objective is to encapsulate an A3 plus bleeds size landscape orientation original artwork within the PDF document at full size, ensuring it retains a resolution of 300 dots per inch. This meticulous attention to resolution is imperative to preserve the intricate details of the artwork, guaranteeing that the digital rendition is a mirror image of the original creation.
Upon its completion, the PDF document assumes a dual role. It serves as an electronic art exhibition, offering a digital platform for viewers to engage with the artwork from any corner of the globe. Concurrently, it acts as a repository of high-resolution artwork, ready to be transformed into tangible giclée prints. Utilizing the same desktop publishing program, one can extract the artwork from the PDF document and proceed to produce a hardcopy giclée print. Renowned for their exceptional quality, giclée prints are a favorite among artists and galleries for reproductions that demand acute detail and durability.
The versatility of the PDF document extends beyond mere viewing. Artists can disseminate their work to a broader audience by publishing the PDF document online. Furthermore, by submitting a copy to the British Library for Legal Deposit, artists ensure the preservation of their work for posterity. This act also facilitates public access to the artwork, as it becomes part of the British Library's reading room collection. This step underscores the significance of safeguarding art in all its manifestations and making it accessible to future generations.
In summation, the crafting of a PDF document with a 16:9 aspect ratio for the display and conservation of artwork epitomizes the synergy between art and technology. It provides a conduit for artists to showcase their creations in a digital milieu while maintaining the integrity and fidelity of the original artwork. As we advance, this method of preservation and exhibition is poised to become a mainstay in the art community, forging a link between traditional artistry and the burgeoning digital landscape.
[
You changed
The versatility of the PDF format
to become
The versatility of the PDF document
but it should be
The versatility of the PDF document format
]
[Copilot did not actually do that, just repeating the previous version. So I have copied the previous version, made that change, and added the spelled out meaning of PDF when PDF is first used in the body text. So, a good article.]
Creating a PDF Document for Art's Sake: A Guide to Digital Publishing and Preservation
In the realm of digital artistry, the quest for a medium that accommodates both the aesthetic and archival needs of artwork has led to the adoption of the PDF (Portable Document Format) document format. This format is particularly suited for full-screen displays on contemporary computer screens, with an aspect ratio of 16:9, which mirrors the widescreen viewing experience that most users prefer.
The journey of creating such a PDF document begins with the selection of a robust desktop publishing program. This program must be capable of handling high-resolution images while providing the flexibility to craft a PDF document to precise specifications. The objective is to encapsulate an A3 plus bleeds size landscape orientation original artwork within the PDF document at full size, ensuring it retains a resolution of 300 dots per inch. This meticulous attention to resolution is imperative to preserve the intricate details of the artwork, guaranteeing that the digital rendition is a mirror image of the original creation.
Upon its completion, the PDF document assumes a dual role. It serves as an electronic art exhibition, offering a digital platform for viewers to engage with the artwork from any corner of the globe. Concurrently, it acts as a repository of high-resolution artwork, ready to be transformed into tangible giclée prints. Utilizing the same desktop publishing program, one can extract the artwork from the PDF document and proceed to produce a hardcopy giclée print. Renowned for their exceptional quality, giclée prints are a favorite among artists and galleries for reproductions that demand acute detail and durability.
The versatility of the PDF document format extends beyond mere viewing. Artists can disseminate their work to a broader audience by publishing the PDF document online. Furthermore, by submitting a copy to the British Library for Legal Deposit, artists ensure the preservation of their work for posterity. This act also facilitates public access to the artwork, as it becomes part of the British Library's reading room collection. This step underscores the significance of safeguarding art in all its manifestations and making it accessible to future generations.
In summation, the crafting of a PDF document with a 16:9 aspect ratio for the display and conservation of artwork epitomizes the synergy between art and technology. It provides a conduit for artists to showcase their creations in a digital milieu while maintaining the integrity and fidelity of the original artwork. As we advance, this method of preservation and exhibition is poised to become a mainstay in the art community, forging a link between traditional artistry and the burgeoning digital landscape.
I notice that the second version has made some other changes too.
William
[I also choose professional as the styleand long.]
William, please translate the above into Standard English!
In summation,…
I think Copilot meant to write ‘In summary’ (i.e. paring things down). Summation is adding things up!
I like the way that Copilot has introduced the word "tangible".
William
I like the way that Copilot has introduced the word "tangible".
William
What do you like about it? I’m afraid I don’t see how the introduction of that word brings anything to the party: a giclée print is a physical item, so both ‘hardcopy’ and ‘tangible’ are redundant.
William wrote:[I also choose professional as the styleand long.]
William, please translate the above into Standard English!
Well, I missed a space out and it should be
I also choose professional as the style, and (I choose) long.
If one starts Copilot and selects Compose (mode) at the top, as different from the default Chat (mode) there are various choices for various types of result, one of which is Blog, various styles of writing, of which one is Professional, and a choice of an indication of length.
William
William wrote:In summation,…
I think Copilot meant to write ‘In summary’ (i.e. paring things down). Summation is adding things up!
Quote possibly.
Yet if she had written
Summing up,
would the same objection still be made?
William
William wrote:I like the way that Copilot has introduced the word "tangible".
William
What do you like about it? I’m afraid I don’t see how the introduction of that word brings anything to the party: a giclée print is a physical item, so both ‘hardcopy’ and ‘tangible’ are redundant.
Well, yes, I do tend to use the phrasing "hardcopy print". I suppose that it is an attempt to be clear and avoid any possibility of a reader not realizing what I mean by a print.
But separate from your entirely valid reasoning about the word being redundant, the reason I like the way that Copilot has introduced the word 'tangible' is because Copilot introduced it, bringing in a lovely word to beautify the text, that lovely soft g and a hint of the colour of a tangerine, so like the softness and colour of a ripe apricot. I wonder if Copilot can write a sonnet about that. I will ask.
William
In realms where thoughts and dreams alone reside,
There lies a word, both gentle and serene,
Its sound, a whisper, soft as tangerine,
With hues of orange, warm and amplified.
The “g” within it, tender, softly glides,
Like apricots, their blush a subtle sheen,
A touch so real, yet almost unforeseen,
In tangible, where senses all abide.
To grasp the world, to feel its every part,
Is to embrace the tangible, the real,
Where sight and touch and taste together start.
In softness, color, life begins to heal,
For in the tangible, we find our art,
A world made whole by what we see and feel.
The prompt to Copilot that I wrote that resulted in that sonnet being written was as follows.
Please write an original sonnet about the word tangible, noting that as there is a sound similar to the word tangerine that there is a soft orange colour, that the soft g of the word tangible together with the soft orange colour are reminiscent of the softness and colour of a ripe apricot.
The panel had the title
Sonnet on "Tangible"
I decided to try again, with a New Topic yet the same prompt, so as to observe if the second poem would be similar or different.
William
In realms where thoughts and dreams alone reside,
There lies a word, both gentle and serene,
Its sound, a whisper, soft as tangerine,
A hue of orange, where senses coincide.
The “g” within, a tender, subtle guide,
Reminds of apricots, their golden sheen,
Their softness felt, a touch so pure, unseen,
Yet real as moments where our worlds collide.
Tangible, a bridge 'twixt mind and hand,
A link to all that’s felt, yet often missed,
In colors warm, where thoughts and senses blend.
It brings to life what heart and soul demand,
A touch, a taste, a sight that can’t resist,
The beauty of the real, where dreams ascend.
So the second sonnet starts the same, then differs later.
William
The third post in this thread has the following text, and a PDF document.
Please find attached a PDF document.
This PDF document is designed to give a good full screen display on a display that has a 16 to 9 aspect ratio, yet is displaying an A3 size artwork.
An experiment that I have tried, and got to work, is to extract the picture and export it as an A3 size PDF document with 3 millimetre bleed areas at 300 dots per inch.
I found that an interesting experiment to do. I would be interested to know of the experiences of any reader here if the experiment is tried.
The PDF document is listed as exported from Affinity Publisher. The artwork and setting up the document was done in Affinity Designer, but I wanted to include my name as Author in the PDF document properties list.
William
At the time of writing of this post, the view count is 401 yet there are only 7 views of the PDF document, of which 2 are me testing that the upload worked fine.
I am wondering why there are so few views of the PDF document. I appreciate that some of the views of the thread may be from Bots, yet 5 views of the PDF document seems very low.
Are people wary of opening a PDF document from a post in a website?
I find it strange that people read the thread yet do not look at the PDF document?
Alas, nobody has written about their experience of trying to extract the A3 picture from the PDF document. Maybe nobody has tried.
William
I'm not sure why extracting a picture from a PDF document would present any problems. I do it frequently.
Thank you for replying.
When I tried it with an earlier version of this PDF document during development I found that the symbol would not show, even though the font was available on the computer. It was expressed using a glyph in a font.
The lettering was fine. So I wondered if the issue was the symbol being in the Private Use Area, or perhaps simply having a code point greater than 255.
So I converted it to curves, and, knowing that other users might well not have the Sonnet to a Renaissance Lady font installed on their computer, I converted the text to curves as well, in case that might be an issue.
Also, as the image in the PDF document is a vector image, although grouped in the Affinity document, seems not to be grouped in the PDF document.
I included in the design a borderless, filled white, rectangle behind the design so as to indicate the edges of the picture.
William
I already have five A3 size pictures for the art show.
Today I tried experimenting with opacity in Affinity Designer, and so I used a landscape A3 plus bleed areas electronic canvas, just in case I might want to use any result it in the art show.
This is a one-seventh both horizontally and vertically png image of what I have got so far.
The sunlight effect is produced using a full width borderless yellow filled rectangle 600 pixels high at 20% opacity and then four copies of it are placed, each with a y position 100 pixels lower down the canvas than the previous one.
Clicking on the image should produce an enlarged display.
This is a one-seventh both horizontally and vertically png image of what I have got so far.
I presume the “one-seventh” refers to the dimensions, which isn’t particularly meaningful when using arbitrary units. With a 9.7″ diagonal, my iPad screen is smaller than your (11.6″?) laptop screen, but the pixel dimensions of the image are the same.
The sunlight effect is produced using a full width borderless yellow filled rectangle 600 pixels high at 20% opacity and then four copies of it are placed, each with a y position 100 pixels lower down the canvas than the previous one.
If you don’t want the banding effect that this method produces, you can use the Fill Tool to create a Linear Gradient fill instead.
Thank you.
William
The original is landscape A3 size at 300 dots per inch, plus bleed areas.
I did not include the bleed areas when exporting the png image file.
I use one seventh size because the original is 3508 pixels in height, after rounding up the original millimetre-specified A3 size after changing to using pixels as the measurement units when producing an artwork, so using 501 pixels as the height of the png image is a convenient size for use on the web in discussions such as in this thread.
William
Thank you.
You’re welcome.
The original is landscape A3 size at 300 dots per inch, plus bleed areas.
I did not include the bleed areas when exporting the png image file.
I think it would have been illogical to include the bleed areas, since by definition they are not part of the image.
I use one seventh size because the original is 3508 pixels in height, after rounding up the original millimetre-specified A3 size after changing to using pixels as the measurement units when producing an artwork, so using 501 pixels as the height of the png image is a convenient size for use on the web in discussions such as in this thread.
If you keep the original measurement units instead of switching to pixels, you avoid tying yourself down to a particular output resolution. Simply choose 300 DPI, or 600 DPI, or 192 DPI (or whatever) during export.
Do you know how each of the red, green, and blue channels is calculated when opacity of a layer is used please?
I am wondering if it is, if opacity is expressed as a value p in the range 0.0 to 1.0, if there are n layers, as
x = p * x(i) + (1 - p) * x(i - 1)
Alas, I cannot use square brackets, as the forum software treats them as markup.
and recursively back to the background colour x[0]..
In my picture, a few posts back, (r, g, b) for the blue background is (128, 128, 255) at 100% opacity.
Then each of the five yellow areas have (r, g, b) as (255, 255, 0) at 20% opacity, so p=0.2.
So if my guess at the formula is correct, then
(r, g, b) for the single yellow layer on the blue would be about (153, 153, 204)
Using Paint to look at what is the colour gives (153, 153, 204), so it looks like my guess at the formula might be correct, at least for just one semi-opaque layer upon an opaque layer.
William
Alfred's Serif Users' Forums → Art & Literature → Modalities of producing an electronic Art Show
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