Wosven

In the list theme, this is a nursery rhyme (not the one I forgot, but the same idea), in Occitan.
For the lyrics: https://fr.wikibooks.org/wiki/Comptines/Jean_Petit_qui_danse  or https://www.mamalisa.com/?t=fs&p=491 . The first link is easier to read, but the lyrics are in Gascon, that is slightly different from Occitan.
And, for the history part, since it's sometimes astounding to know where some song come from, especially this nursery rhyme: “Joan Petit was a peasant who, in 1643, in the south of the Massif Central, in Villefranche de Rouergue, led the peasant revolt against Louis XIV. When he was caught, he was condemned to the ordeal of the wheel. And the song says that when they broke his finger, he was dancing with his finger, etc.”
 
 

Hi,
i often need to move rotated shapes along their own now rotated axes (instead of x/y), and snapping should be available as before.
Unfortunately the move tools always sticks to the x/y axis. For rotated objects it would be more natural if they could get moved along their rotated x/y axis, respecting the chosen anchor points.
A checkbox "Relative" would be great to toggle the behavior.
 

 
PS
User telemax gave the hint that moving along rotation is possible when activating “Cycle Selection Box”. This definitely goes into the right direction, but is still leaving room for numeric input, and ease of use.
 

Well, since you said it was based on something children might recite, here is something I came up with. It does not make much sense, but it is very rhythmic, so children would probably like it:
Čierny kotlík, biela kaša,
farba nášho mecenáša.
Keď sa dobre napapkáme,
potom si aj pospinkáme.
Biela, modrá, červená,
kam sa skryla zelená?
Translation? Well, the online services failed royally on this one, so here is just a literal translation:
Black cauldron, white porridge,
our patron’s color.
After we eat well,
we shall sleep.
White, blue, red,
where did green hide?
For the record, white, blue and red are the colors of the Slovak flag (also used by most Slavic countries).

First of all. I am not a linguist. I am interested in languages, and I know some bits about some of them, but just at a general level.
A soft g in English is like as in the word 'general' or 'gentle'.
A hard g is like in 'golf' or 'got'.
So the Esperanto word 'ruĝa' is pronounced, as best I know, like, in pseudo-English roo-jaah.
The Esperanto word ĝardeno, which means 'garden, is pronounced in pseudo-English as 'jar-den-oh'.
The Esperanto j is like an English y whereas the Esperanto j circumflex like the j in the French word 'je', which mean 'I' in English.
William
 

And here I found the original song on YouTube: 
 

Language Y is a constructed language.
Language Y has no individual words, only whole sentences.
Each whole sentence has a glyph.
Each whole sentence is grammatically independent of each of the other whole sentences.
So Language Y can be used as a pivot language to assist communication through the language barrier.
It has never been claimed that all possible sentences will be encoded in Language Y, so the uses of Language Y are very limited.
However, for some things, such as seeking information through the language barrier about relatives and friends after a disaster, it could be a very useful technique if standardized.
So a balance of a limited number of sentences being encoded with the great application potential of those sentences that are encoded.
William
 

Except as ID is scriptable and can utilize plug-ins, there's a solution for this issue that cost $59. Among other things, Mastermatic applies master pages based on text styles. So if one uses a particular text style on a chap first page, then the plug-in will assign the chosen master.
https://www.id-extras.com/products/mastermatic/

It was something I also found annoying switching from QXD to ID.
 
It's not confusing: it's just plainy and automatically evident that you just did a mistake and need a Ctrl+z before keeping working to not mess anymore your text.
 

That's the pre-work, for doing test-PDF for the client to choose from.
I usually just give the first pages of the book, some pages of a "false" TOC, etc. with different fonts for them to choose from.
Before that, if I've got a maximum number of pages to respect, I work with this from the start, choosing fonts and sizes accordingly. It won't be perfect, and I'm sort of maniacal with end of pages and chapters beginning on the right pages, but in the end even myself learn to compromise with me
 
 

It's not complains about the program. It's knowing the program, knowing what you want to do, and play with limitations, constrains, what you want to do, how much time you can spend on it, etc.
ID won't be really a lot different than APub, there's more advanced features. But they won't solve your problems. Since if you modify all your styles, the baseline height, etc. once the book finished of in the middle, you'll have to redo and check everything from the start.
It'll all depend of your original constrains, like I said in the previous post.
For example : I want chapter header on right pages, at least 3 lines of text if a paragraph is cut at the bottom of a page (or finishing on the next page... or 2 long lines), at least 1/3 text on the last page of a chapter, preferably (notice the nuance) 1/3 text in an ending line of a paragraph, or certainly not only 1 word... With this, there's certainly a short chapter or some paragraph that cause trouble, and I'll have to accept this. The app is just a tool, and I'm not expecting it to flow everything accordingly without sweat.
It's possible you have less constrains using a word processor, but they are simpler or offer simpler settings. perhaps you can do your tests in them, and try to get the same result in APub, if it's easier for you.

It was something I also found annoying switching from QXD to ID.
 
It's not confusing: it's just plainy and automatically evident that you just did a mistake and need a Ctrl+z before keeping working to not mess anymore your text.
 

Do you want a poetic translation or just word for word? If you just want word for word, I will skip any repetitions and go to the last two stanzas (or whatever they are called in English):
Farba je čierna.
Farba je biela.
Farba je červená.
Farba je tyrkysová
Farba je čierna.
Farba je biela.
Farba je červená.
Farba je zelená.
Farba je modrá.
That is from the French you showed.

So if you work from beginning to end, this shouldn't be a problem, since once the beginning is set and you progress, it's gradual, and already applied styles for header and body text shouldn't be modified drastically.
Or I don't understand what type of book you're doing. But unless asked to modify the whole styles of the book — or taking such decision myself —, you shouldn't have to redo everything.
I usually add sections and TOC in the end, just to avoid doing again and again the same things.

At first, I thought you were giving us translation exercise
…And I saw the following post.
Perhaps the glyphes don't allow this, but I though about the old songs for children, each time repeating a sentence and adding a new words at the end... I suspect you've got this also, it was probably meant to train memory?

It was something I also found annoying switching from QXD to ID.
 
It's not confusing: it's just plainy and automatically evident that you just did a mistake and need a Ctrl+z before keeping working to not mess anymore your text.
 

I would wait until the book is finished with the writing before starting Publisher. Publisher is great for laying out the book not at all good for writing  or editing one.

Those symbols look really beautiful displayed like that. Thank you.
William
 

Having a conditional Master Pages applied on the beginning of a section would be nice,  but it means adding sections... Unless we get a new "section break", to make it easier.
Having a Master pages applied depending of a Paragraph text style would be also useful.

Hi,
With a completely "libre interpretation" of the poem — or more obviously the symbols —, it could be read as this:

PO
PO
POE
POEN or POEM
PREY!!!
or
GO
GO
GOE
GOEN or GOEM
GREY!!!
Depending of the case, the "P/G" symbol could sound different, so:
PO
PO
POE
POEM
GREY!!!

Why not use a master page for this one, if it should be duplicated?

@CoRectly
For me, the image is also displayed clearly immediately after loading in Affinity Photo.
If you can select more than one GPU as renderer under Preferences --> Performance, I recommend changing the selection. 
 

08 Watch
Original: 500mm x 500mm 300dpi Raster
Upload: 1772 x 1772 px

Project Brush 19: Inker (Version 02)
Re-defined Project Brush 19 and archived the 2020 version
Changes (Lots!)
1. Many new brushes here making use of PB 26 (Distressed), PB 09 (Grunge), PB 21 (Scratch and Scribble)
2. Switched out the stipple brushes for new ones from PB 03 (Big-T V2)
3. Further refined some of the Distressed brushes by adjusting and replacing sub-brushes
4. Re-edited the Sketch/Ink brushes using Dynamics graph to produce the variable stroke rather than a nozzle (much smoother!)
5. Updated base textures

Full Set as Below (Sample set already in resources!):
 
 
 
 
 

Since it's disabling a text area on only a specific page, I thought it would be more a security problem, like it wanted to disable a hidden field for a password…
 
In the help menu of Firefox, there's an option to restart it disabling plugins/extensions. It's simple, and won't stick.
It's more old school with Chrome (https://www.techsupportall.com/start-google-chrome-without-extensions/)
 

I tend to use like you different master pages, but adding/deleting text can move the whole text and cause trouble.
In those cases, if the header oif the chapter always start at a similat height, you can use a white underline or similar that you set up enough as to hide the section header. It's not a problem with printed material, since the result willbe a white part at the top of the page.
It's less elegant in a PDF, since the insivible text can be selected.