There's a new Mastodon server for sex workers: switter.at (see @switter for updates).
I got a concrete answer! http://www.unicode.org/cldr/charts/32/by_type/miscellaneous.linguistic_elements.html#Ellipsis
Basically, ellipsis is cool with mostly everywhere. A couple places want a space before it, hong kong wants the ellipsis to be a little higher up, and bhutan goes for the rare triple tsheg.
Apart from recommending using the ellipsis character instead of three periods, this is the only word I can find from Unicode. http://cldr.unicode.org/translation/characters#TOC-Ellipsis-Patterns
Experimental 3D Texturing Concept, Part 4
So, like, if you were going for low-resolution textures or pixel-art it'd be pretty unusable tech.
Experimental 3D Texturing Concept, Part 3
I'd imagine this would inflate the unwrap time, though. Would be hard to keep the stroke history from getting long. I'd think you'd want to do some kind of layer flattening operation? But that'd only work for stretches where the user was just painting and not changing the mesh structure.
Also, since you're throwing away and re-drawing the texture every unwrap it'd move texels. So it'd be noticeable when the screen-space texel size is large.
Experimental 3D Texturing Concept, Part 2
I'm thinking you could do a similar idea with vector brush strokes. Project the strokes onto the model and clip them to face groups.
But then, save them in object space. And then, every time you unwrap the model, do the projection to texture space and paint the vector strokes.
This would allow you to edit models that are already partially painted.
Experimental 3D Texturing Concept, Part 1
Okay, so normal texture painters. You project a brush tip shape onto a mesh. You clip that projected shape to one or more polygons for each of disconnected face groups you hit.
Then you project each of those polygons into texture space. Then for all the texels in your polygons, inverse-project back through the transformations you did to find what pixels of the brush tip shape you should paint.
It turns out that finding the roots of a power of four equation is a *bit* complicated.
There's a lot of methods and most of them require many cases. Or just solve using complex numbers and then picking out whichever roots aren't imaginary at the end. Which is what I ended up doing.
It's an okay stylistic technique. I just see folks legit methodically outline every edge on an object in videos and things and it makes me laugh.
Weird art pet peeve:
Every edge has gotta have that wear and tear, you know? Gotta scuff that paint off, chip that wood, roughen that metal corner. Off every single edge. Including ones that wouldn't even have any reason to be scuffed because they wouldn't contact hands or other objects.
Look, I dunno why that wood's chipped when that cavity wasn't cut with a chisel. Nice and lived-in.