Wayback several years ago maybe around 2010 I purchased a large set of patterns from the berry basket.. like 1800 patterns.. anyway... I have a person on etsy asking me for one of the patterns.. I figure it's not my pattern to sell / give away so it's a no from me.. however.. if I could steer the person to a web site or somewhere to get a copy of the pattern she wants.. Is the berry basket patterns still out there somewhere to purchase? This is a desk clock pattern of a dolphin.. see photo of one I made below.
Kevin, if this is one of the patterns that were included in the sale that Rick and Karen Longabaugh put on when they sold the company, then, you can either give her the pattern, or you can sell it to her. The patterns that were included in that sale, were copyright free and you could do whatever you wanted with them. There was a part of that release that was still copyright protected, but it was only one part and that part was the big clocks. I'm not certain, but I think it was part number four that was protected. I've lost all of those patterns through a computer crash, I wish I hadn't, there was some very nice patterns.
Well yes.. that is when I purchased the pattern set.. and I thought I had read that these patterns was royalty free but wasn't sure.. I bought back around 2010 I think and the set of 1800+ was around $40 - 60 I think.. maybe more but it was really cheap. While I may just send the pattern to her.. not interested in selling it though.. I also lost a lot of patterns in a computer crash.. and luckily I had backed up these patterns to a disc or I wouldn't have them either.. I now backup to a external drive as well as to disc and another computer LOL..
Exploring Fruit is a series where I explore what fruit has to offer the world in terms of design, in addition to the snacking aspect that I usually highlight. If you want to explore more, follow these links to explore fruit colors, fruit shapes, and fruit patterns.
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After a long time trying to figure it out I found out that if the page has an alert pattern that is not visible on the page without scrolling the page or if it's a container with scroll will scroll automatically to show the last Alert pattern present on the page.
Actually looking closer to the OutsystemsUI Patterns, the Alert Pattern includes a SetFocus action that will set focus to the Alert Pattern widget, thus causing my reactive application to scroll to make the last Alert on the page visible.
I can understand the original intention, why this SetFocus is part of the pattern, when you want to alert people, you need to make sure they see it. So yes, maybe a parameter to steer this behaviour would be nice.
As ideas have a way of taking some time (if ever) to get implemented, there is a way you can work around this SetFocus, but whether it can be applied in your use case, I can't tell, you'll have to see.
I'm thinking that is because in the last case, it is already part of the DOM, even if it's not visible. That SetFocus probably only happens at time it gets added to the DOM, and not in case it is display:none.
In case an out-of-view alert could also be visible on initially loading the page, I added an extra IsReady boolean that gets set in the OnReady event, otherwise it would still scroll into view when loading the page initially.
I also found that, since I am developing patterns for other developers to use, it's better to create a custom pattern based on the Alert pattern but without the SetFocus option, rather than asking other developers to use control variables just to prevent the page from scrolling.
We make a lot of scroll saw projects and most of the time we design all of these patterns ourselves using hand-drawn artwork or digital art that was cobbled together in Inkscape. Other times, we like to make more photo-realistic patterns for our projects. This requires us to take a different approach.
The first thing you'll want to do is load your image into Paint.net. This is done through the "File" menu using the "Open" option. Once your image is loaded, you'll want to got to the "Adjustments" menu and choose the option "Black and White". This will automatically turn your image into a grayscale image. Then you can move on.
Now that you have a grayscale image you will need to increase the contrast. This will basically get rid of any of the gray colors that are left in the image. To do this, you will return to the "Adjustments" menu and choose "Brightness/Contrast...". Once the window opens up, you'll want to increase the contrast to the maximum amount.
The last thing you need to do is really just to help you save on ink. In the first image you can see that this would be a lot of black to print out and would be pretty much useless. The trick is to invert the colors so the white becomes the black. You can do this through the "Adjustments" menu by selecting "Invert Colors".
This step involves using the Levels tools. Open this by clicking on the "Adjustments" menu and choosing "Levels". You'll notice that there are sliders that you can adjust. You can achieve almost the exact same thing with these sliders as was achieved in method 1, except you retain more control over the result. You can really fine tune it using this method. The goal, as with method 1, is to get make everything either white or black and as crisp as possible.
I would use a larger arc radius for the front part of the pegbox. IMO your drawing has too much of straight lines. If I recall correctly, when I drew my violin scroll template, the arcs of the front and back of the pegbox were in a proportional relationship. I suspect that use of ordinary compasses is better for drawing the pegbox. Just my opinion.....
I think the finishing of the throat is often done by eye when the head is almost finished. I try to reflect the shape of the eye of the scroll in mine. The template, particularly for this part, is just a start.
But I think that the pattern shows his ideal as far as the volute, but the throat, especially, is not like any of the actual throats. The rest of the peg box matches some violins, but not others. So, I personally think this was a pattern that was not his final or ideal, but part of the evolution of his design process.
Good eye, Julian. Repeated flattening of the fingerboard gluing surface with a plane, necessitating taking a little off the top of the pegbox, has changed most antique Cremonese instruments we are exposed to, and consequently, even what we think we see when there are exceptions.
But you raise an interesting point about planing the finger board surface. I had been wondering about the changes neck grafts made on the peg box/finger board angle relationship, but your point makes more sense, as far as post-Strad changes in the neck and head angle.
To my eye, there is quite a difference between the paper pattern, and the drawing you made of the paper pattern. That's why I mentioned that what we are accustomed to seeing may influence what we think we see. I was kindof hinting that when you reproduced the outline of the paper pattern, you inadvertently fudged it in the direction of the instruments you've seen which have had that surface planed.
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