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Chris26

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  1. Ah that is why I said the UPPER middle ages, however I should have been more precise because my writing is around 1550 and strictly speaking this is beyond the High Middle ages, I simply see the end of Middle ages as being around the 1500 but that is my personal take rather than an historically accurate description. Phew! 1000 - 1400 is high middle but in my circle anything before 1600 is medieval. So has my T’is survived the interrogation? EDIT: Well the consensus of opinion is that I am wrong. It should be ’tis, um.....however its earliest recorded use was indeed in the middle of 1400 and shakespeare used it in Hamlet and it was written as PualEC suggested. Tail between my legs, ’tis a mournful sentiment I do now taste. Still this has not resolved the fact that Affinity can not find glyphs and one can not type them into the search and find dialogue.
  2. You are absolutely right, in grammatical rules yes However IT IS - no letter is being replaced, nothing to replace the letter "I" and since the Old English "This is" was the original meaning, the apostrophe is actually replacing the letter "H", and has been handed down now to mean "It Is" as well. Hope this clarifies it nicely for you.
  3. Hi Walt, the problem is that glyph is not the same. More to the point though, I can not get theseglyphs into the find and replace dialogue, I mean what the heck does the U+Nummerical number mean when you hover over these glyphs in affinity? The only way that glyphs go into the dialogue is via Windows own Unicode. So these glyhs seem redundant in Affinity right? An apostrophe from the glyphs is not the same as one typed in via unicode windows alt + numerical number, this is quicker and it works, in the find/replace as well. Ok, so It really does not matter any more, just a small niggly thing of no consequence I suppose. Windows own Alt unicode works for everything in Affinity so that is all that matters. I’m happy! or rather I Alt+0146 m happy It is short for "This is" or more commonly "It is" used in olde English vernacular and spoken even today, but I am using it for upper Medieval language.
  4. Walt, the glyph browser has U+0027 as the code for this. Well double clicking on the apostrophe in the glyph inserts it into the text, great. That's fine. Thankyou for that. However I have now the problem that I do not know how to use the U 0027 becasuse double clicking this glyph into the FIND dialogue does not work, and holding U while typing the numbers does not work either in affinity text or the find dialogue, so I need educating here please.. I have never needed to use glyphs before, I used the windows keyboard UTF codes in the past but that was on the apple. Since if the Find dialogue does not recognise a straight apostrophe, then it has no point trying to replace them using this method. So I suppose I will have to do it manually. EDIT: OK, ALT + 0146 gives a much nicer looking apostrophe than affinity's glyphs. Also it is accepted by the Find and Replace Dialogue, which I did not expect. So Affinity might want to change this or not, or maybe it has its reasons for this I do not know. But using the windows UTF code works perfectly. Here is the ALT + 0146 T’is it's actually nicer than the curly one in Affinity's Glyphs which still looks too straight. Yes, I know, I'm a perfectionist.
  5. Ugh? I only know curly apostrophes, you remember, those good old original ones from the days when we used to write things with a thing called....a, now what was it called? Oh yes - a pen. But the keyboard has only straight apostrophes Walt. Here it is: ' and this is what I used to write the word : T'is.
  6. It depends upon what the "Stuff" is. But it seems to me that you could do this in either publisher or designer. Publisher is not a designing package. Boxes and grids coloured and shaped can be done in publisher. But personally, it sounds to me that you would be better off having both programs for nothing more than sheer felxibility. Why don't you do the designing in designer and then try and repeat that in publisher if you only want to use one program. You can still employ text in designer.
  7. Windows10 up to date.The Purchased Publisher. Typing the following into "Find": T'is - does not find this particular word, however "Tis" is found. I have tried many combinations involving an apostrophe and it appears that the Find and replace can not recognise this form.
  8. Yes..... but with a however included: If you are designing a single page flyer I am sure designer would be all you needed.
  9. My twopenneth's worth Martin: Designer is for designing things, it's for artists and those that design, hence its name; whereas Publisher is for placing what you have designed mixed in with text and pictures etc, it's for making booklets, books and magazines.
  10. No doubt a suggestion that is useless, since I have no idea the length of text that you are talking about, but if it is a case of one header and then a body of text, why not just make two text frames? And position according to taste? As said I bet you have a good reason why not to do this, but I had to suggest it.
  11. Actually when I saw this the first thing that really popped out was NOT a difference in colour but in CONTRAST and or a blue colour cast. If you were to take the second washed out image and apply a gentle curve you would then get all that colour back. If however you want to apply contrast to the first image WITHOUT changing the colour at all you would apply a curve and select Luminosity blend mode. it might also be a colour cast, a blue one. Change the colour temp to a warmer one, or apply a gentle warming filter for a quicker result.
  12. The spectrophotometer (or spectrometer) is a device that you place over your screen. When you click 'Go'' it analyses the RGB values and tones and white point of your monitor. The software then loads this into your system and your screen will change from its manufacturer's default setting to a new setting which will always be more accurate according to your ambient light temperature in your room as well. Which is why you should never view a computer screen with the sunlight from a window in front or behind you for example, and try to keep the lighting in your room at a constant, this affects editing. Your screen is now set for perfect viewing conditions provided that you always view your screen within roughly the same lighting environment as when you callibrated it. This calibrated profile for your screen is automaticallyloaded into your computer hardrive and used as the new setting for how all colours and tones appear on your screen You need do nothing further. An ICC profile for paper is a profile which is selected in the PRINTER when you go to print. It has nothing to do with the screen. As above, you set a consistent working condition for your monitor. Not too bright, not too dark, RGB values nicely set so to speak. Now, you contact a company that specifiaclly does ICC profiles for any paper you choose. Go to their website, download their required image, put this image into your chosen software, AfPhoto or photoshop for example, now you print that image WITHOUT colour management, you set all colour management policies to either off or None, you print it, send it back to the company, they profile it with their expensive equipment, they then send you an email with a file that has an ICC extension. You right click on this and load this into your computer, and the software and the printer will automatically have access to this ICC profile so that when you go to print you select this paper and not a generic profile that came with the printer. On the matter of the profiles that came with the printer, these will be for Epson papers. So no point in sending these away, epson's own icc profiles for this printer are good. The only time you Definitely need to send away for a seperate ICC profile is for third party papers. This is far more accurate than tryng to find one for a non-generic paper from epson's settings. Callibratng a monitor for optimal viewing conditions and an ICC profile for a specific paper are two different things. My colours on my Laptop are so off and my tones are not that good, when I edit my photo in photoshop on my mac, I know it is how I want it. When I transfer to afPub on my maccheesburger and onion windows laptop it looks such a mess, its embarrassing, but I send it to the printer in this horrible messy condition Knowing that what prints out will be perfect, and it matches well with my apple screen. I hope you understand and can work out why I am never dissappointed with my prints. Thought I would give you this link, I do not know anything about "colourmonkey" except that it is very good and popular and reliable. But I have used datacolour so it is my personal choice https://spyderx.datacolor.com/about-spyderx/
  13. May I just chip in to compliment what BofG just said.....I use a monitor callibration tool from Datacolour. They have an excellent customer service. As for callibrating a printer, strictly speaking you Profile sheets of photographic paper, which are then used as the ICC profile that you select when you go to print. Having said this, unless you are doing a lot of photography, and unless you are using many different kinds of paper, then It is far cheaper, a lot cheaper, do send away for a custom ICC profile, this is what I did since i was only using about two or three different media types. All you do is download their chosen image that you use to print on your media (it is a complex series of tones and colours - not a photograph) send your chosen photograpic media through the printer with the printer set to No Colour management and send that away to the company. Usually 15 euros per ICC profile unless you order one or two more then it is cheaper. Hope this helps in your decision process. As a final word, some people, like myself, used to misunderstand the concept of matching screen to printer, that one is not so much matching screen to printe, since this can not in reality be done 100% accurately, though this actually does happen for 95% of tones and colours, one is profiling for consistency between screen and printer, this subtle difference is very important. Consistency means No dissappointment, and also means you know exactly which tones or colours need adjusting literally just before you print, which in reality are usually very very minor changes if you are perfectionist.
  14. Ah yes Bruce, you are right, but, this oxymoronic approach benefits me since if I were to create rules guides and master pages for certain documents I would be making 12 master pages and 125 ruler alignments, you see my friend, if I may call you that, each page requires a different approach, and of course I change my mind like the wind changes direction, so for creative and flexible purposes of an unstable, mentally multi-directional interaction with the creative process - this method is absolutely ideal. For my other documents I do indeed create rulers and master page alignments - hope this last remark re-assures you that I have not lost it....just yet!
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