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CJRM

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  1. Thanks @VectorWhiz and @iuli. Much appreciated. And iuli, were you eventually able to open it on your iPad? The PDF is big, but I'm surprised it blew out the memory limits on a newer model!
  2. I'm just uploading a corrected version for anyone who liked the original. Thanks to feedback from friends I've stamped out over 100 minor issues. Now my OCD insists I do something about the one I've posted here. The Font Book.pdf
  3. I had to hunt to find this again, but I thought you might enjoy it. https://graphicarts.princeton.edu/2016/08/24/cutting-the-letter-g/
  4. Thanks Danny and Walt, Thank you! Very kind. I've attached the .afpub skeleton for the document to this post. Fair warning: I was filling it in in my free time as a way to relax, so the process is not really automated. There are master pages for the basic page layouts. They should be self explanatory. The only 'gotcha' is that applying a background master (e.g. Section A Background) after the basic Section Spread master may result in the decorative lettering covering up page numbers and such. This can be fixed in the layers panel. If you look in the Assets Studio for the document, the fourth entry is a generic 'page' ready to be changed to the appropriate typeface. I've placed one on page 3 in the 'A' section. You need to ungroup it after placing it. The first three assets are variations on the proofing text I used. The first paragraph is Loren Ipsum, but then I've used three variants of Hoefler's Proof, which comes from here. The attached PDF file goes through the rather laborious process I adopted to populate the character grids at the top of each standard page. Hope this helps! - Christopher Empty Font Book .afpub Creating Font Tables in Affinity Publisher.pdf
  5. Hi Wosven, I used the default leading unless otherwise indicated. There's a bit of vertical type next to each specimen that indicates the font size and leading (if it isn't default). I generally left the kerning alone as well, so I'd have an accurate view of how the typeface would look 'as is.'
  6. When I was testing the Affinity Publisher Beta I decided to stress test it by using it to create specimen pages of all the typefaces I own. The Affinity Devs quickly addressed the one memory issue I found, and I later set the project aside. Recently I decided to try finishing it off, just as a way of learning various features of the program. Well, applause to Serif and the Affinity team! Publisher handled the whole file with aplomb. Over 1,200 pages with a different typeface on almost every one. It even handled all 37 variants of Kidnapped at Old Times, an unspeakable monstrosity that I usually keep turned off because of what it does to my Mac's memory profile. The document itself is nothing special, but the fact that Affinity dealt with the whole thing in one file is just mind blowing. The Font Book.pdf
  7. I was coming here to request the same feature. Being able to 'fractalise' a line, preferably with a slider and input box to specify how jagged it is between nodes, would make some drawing techniques possible that are just too tedious to do manually.
  8. This is my way to create a 'reference sheet' in Affinity Publisher that shows the different glyphs in a font, along with a key showing what to type to insert that glyph. Yes, you can use the Font Book utility (on the Mac) or the glyph browser in Affinity Publisher to find them, but I find I like having a printed visual reference that I can browse. The attached image shows an example of a reference page. The PDF file describes the process I use, including screen shots for clarity. I'd welcome any suggestions for easier ways to do this, or for potential improvements to the process I'm using. Creating Font Tables in Affinity Publisher.pdf
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