I've not used variable fonts yet, but you should probably start by
inspecting the QFont instance using the related "variable" and "tag"
functions introduced in 6.7, such as
https://doc.qt.io/qt-6/qfont.html#variableAxisTags
Maybe you can create a small program that lists all fonts and the results
of those functions, then compare it with the Windows font dialog.
Cheers,
MaurizioB
Il giorno sab 11 gen 2025 alle ore 16:08 John Sturtz <john at sturtz.org> ha
scritto:
> 😊 Thanks again. Boy, I've got a lot to learn ...
>> I saw those other .ttf files (actually, in the distribution I got, they're
> in a subdirectory called *static,* which really ought to have tipped me
> off), but I had overlooked them.
>> Is there a way to tell from Qt whether a font is variable or static?
> Windows Font Settings seems to know (it displays 'Variable font' for some
> fonts and not for others), so I guess it must be a contained in the font
> file?
>> ------ Original Message ------
> From "Charles" <peacech at gmail.com>
> To "John Sturtz" <john at sturtz.org>
> Cc "Maurizio Berti" <maurizio.berti at gmail.com>;
>pyqt at riverbankcomputing.com> Date 1/10/2025 7:45:38 PM
> Subject Re: Re[4]: QFontDatabase/QFont question
>> > I thought the font was inherently variable?
>> If you download the font from Google Fonts, there are 2 ttf files with
> "variable" in the name, these are the variable fonts. There are also a
> bunch of ttf files in a "ttf" directory, these are the static fonts. It is
> not about how you access the font, it is about which ttf files you install.
>> > QFontDatabase offers no italic style for Bahnschrift Condensed. If I
> create with QFont(), it is initially condensed. But if I call
> .setItalic(True), it no longer is condensed; it's just plain Bahnschrift.
>> You need to set both the style name and the stretch. The font name and
> style flags do the font matching while the style name limits the matched
> fonts. Since there are no matching fonts with the style flags,
> obliquefication uses whatever font matched first. If you set the style
> name, obliqueficiation is limited to the font with that style.
>> f = QFont('Bahnschrift', 24)
> f.setStyleName('Condensed')
> f.setStretch(QFont.Stretch.Condensed)
> f.setItalic(True)
>> On Sat, Jan 11, 2025 at 8:01 AM John Sturtz <john at sturtz.org> wrote:
>>> ------ Original Message ------
>> From "Charles" <peacech at gmail.com>
>> To "John Sturtz" <john at sturtz.org>
>> Cc "Maurizio Berti" <maurizio.berti at gmail.com>;
>>pyqt at riverbankcomputing.com>> Date 1/9/2025 10:55:57 PM
>> Subject Re: Re[2]: QFontDatabase/QFont question
>>>> > you're getting a named style from the variable font file
>>>> You didn't mention that you are using the variable font. I didn't use the
>> variable font instead I use the static fonts. I also got the thin oblique
>> font with the variable fonts.
>>>> I thought the font was inherently variable? Or is it a matter of how you
>> access it? Use QFontDatabase() (accessing by style name), and you are
>> using it as a variable font; use QFont + .setWeight() and .setItalic()
>> methods, and you are using it as static (= 'simulated' = 'synthesized').
>> Do I understand that correctly?
>>>>>> These codes works for me:
>>>> 1. f = QFont('Exo', 24, 700, True) # use QFont specifying weight and
>> italic
>> 2. f = QFont('Exo', 24); f.setWeight(700); f.setItalic(True)
>> 3. f = QFontDatabase('Exo', 'Bold', 24); f.setStyleName('Bold Italic')
>>>> Yes, these all work for me as well [the last needs to be QFontDatabase
>> .font('Exo', 'Bold', 24)]
>>>> Note that italic is part of the style name. If you call setItalic(True)
>> there is a mismatch between the style flags and the style name. So if you
>> use QFontDatabase and style name always use setStyleName to change the
>> style, otherwise use QFont and setWeight and setItalic.
>>>> So it seems the moral is not to intermingle QFont (static) and
>> QFontDatabase (variable) methods.
>>>> But this case still troubles me:
>>>> I see the problem with other fonts as well -- Bahnschrift, for example,
>> which comes with Windows. If I create a QFont object with
>> QFontDatabase.font():
>>>> f = QFontDatabase.font('Bahnschrift', 'Condensed', 24)
>>>> and then apply .setItalic(True) to it, it's italic, but no longer
>> Condensed.
>>>> And actually, the same thing happens if I create the font with QFont()
>> directly:
>>>> f = QFont(
>> 'Bahnschrift Condensed',
>> pointSize=24
>> )
>>>> Here also, the font is fine initially, but after .setItalic(True) it is
>> no longer Condensed.
>>>> QFontDatabase offers no italic style for Bahnschrift Condensed. If I
>> create with QFont(), it is initially condensed. But if I call
>> .setItalic(True), it no longer is condensed; it's just plain Bahnschrift.
>>>> I'd think this must be a bug?
>>>> /John
>>>>
--
È difficile avere una convinzione precisa quando si parla delle ragioni del
cuore. - "Sostiene Pereira", Antonio Tabucchi
http://www.jidesk.net
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‘She has never mentioned her father to me. Was he—well, the sort of man whom the County Club would not have blackballed?’ "We walked by the side of our teams or behind the wagons, we slept on the ground at night, we did our own cooking, we washed our knives by sticking them into the ground rapidly a few times, and we washed our plates with sand and wisps of grass. When we stopped, we arranged our wagons in a circle, and thus formed a 'corral,' or yard, where we drove our oxen to yoke them up. And the corral was often very useful as a fort, or camp, for defending ourselves against the Indians. Do you see that little hollow down there?" he asked, pointing to a depression in the ground a short distance to the right of the train. "Well, in that hollow our wagon-train was kept three days and nights by the Indians. Three days and nights they stayed around, and made several attacks. Two of our men were killed and three were wounded by their arrows, and others had narrow escapes. One arrow hit me on the throat, but I was saved by the knot of my neckerchief, and the point only tore the skin a little. Since that time I have always had a fondness for large neckties. I don't know how many of the Indians we killed, as they carried off their dead and wounded, to save them from being scalped. Next to getting the scalps of their enemies, the most important thing with the Indians is to save their own. We had several fights during our journey, but that one was the worst. Once a little party of us were surrounded in a small 'wallow,' and had a tough time to defend ourselves successfully. Luckily for us, the Indians had no fire-arms then, and their bows and arrows were no match for our rifles. Nowadays they are well armed, but there are[Pg 41] not so many of them, and they are not inclined to trouble the railway trains. They used to do a great deal of mischief in the old times, and many a poor fellow has been killed by them." As dusk came on nearly the whole population of Maastricht, with all their temporary guests, formed an endless procession and went to invoke God's mercy by the Virgin Mary's intercession. They went to Our Lady's Church, in which stands the miraculous statue of Sancta Maria Stella Maris. The procession filled all the principal streets and squares of the town. I took my stand at the corner of the Vrijthof, where all marched past me, men, women, and children, all praying aloud, with loud voices beseeching: "Our Lady, Star of the Sea, pray for us ... pray for us ... pray for us ...!" It had not occurred to her for some hours after Mrs. Campbell had told her of Landor's death that she was free now to give herself to Cairness. She had gasped, indeed, when she did remember it, and had put the thought away, angrily and self-reproachfully. But it returned now, and she felt that she might cling to it. She had been grateful, and she had been faithful, too.[Pg 286] She remembered only that Landor had been kind to her, and forgot that for the last two years she had borne with much harsh coldness, and with a sort of contempt which she felt in her unanalyzing mind to have been entirely unmerited. Gradually she raised herself until she sat quite erect by the side of the mound, the old exultation of her half-wild girlhood shining in her face as she planned the future, which only a few minutes before had seemed so hopeless. After he had gloated over Sergeant Ramsey, Shorty got his men into the road ready to start. Si placed himself in front of the squad and deliberately loaded his musket in their sight. Shorty took his place in the rear, and gave out: The groups about each gun thinned out, as the shrieking fragments of shell mowed down man after man, but the rapidity of the fire did not slacken in the least. One of the Lieutenants turned and motioned with his saber to the riders seated on their horses in the line of limbers under the cover of the slope. One rider sprang from each team and ran up to take the place of men who had fallen. "As long as there's men and women in the world, the men 'ull be top and the women bottom." Then, in the house, the little girls were useful. Mrs. Backfield was not so energetic as she used to be. She had never been a robust woman, and though her husband's care had kept her well and strong, her frame was not equal to Reuben's demands; after fourteen years' hard labour, she suffered from rheumatism, which though seldom acute, was inclined to make her stiff and slow. It was here that Caro and Tilly came in, and Reuben began to appreciate his girls. After all, girls were needed in a house—and as for young men and marriage, their father could easily see that such follies did not spoil their usefulness or take them from him. Caro and Tilly helped their grandmother in all sorts of ways—they dusted, they watched pots, they shelled peas and peeled potatoes, they darned house-linen, they could even make a bed between them. HoME一级毛片视频免费公开
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