William Overington

https://www.pantone.com/color-of-the-year-2022
William
 

A link to an article linked from a circulated email that I received from Pantone today.
https://www.pantone.com/articles/colors/electric-pastels
William
 

Thanks All that's a  great help    I didn't think of using the Page Master for the image location.            

Ah, what master page I thought - I have not used Affinity Publisher much - then I looked at lower right of the screen where it says 1 of 18 and to the right of it is a small logo, which, when I moved the pointer over it displays the message
Toggle Master View
so I clicked on it and a large landscape format page was displayed.
William
 

@William Overington
Yes, of course. Click on the master page 'Cover' and replace the existing image with your own.

Hello @AaronMoss and welcome to the forums.
I have created a template for you. I used an own master page for the continuous cover.
 
Book A5 16 pages.afpub

I'm pretty new to publishing so not sure of the correct terminology to use, so I'll start with my usual process.
I usually create a book (for this example an A5 portrait formatted book). The front cover (page 01) starts on the right side of a spread of 2 pages. With all internal pages then being a two page spread. Finally the back page of the book being the left side of the spread of 2 pages (page 16 for example).
My current book design however requires a single image to span across both the front and back cover as a single entity. (basically wrapping from the back to the front cover).
So my question is how do I approach this? I have a couple of thoughts and I don't know if either is the correct method in terms of efficiency or more importantly when it's handed off to a printing company, I get back what i'm expecting.
Thought 01 - As the front cover is page 01 and the back cover is page 16, do i have to duplicate the image and create 2 images split equally down the middle and paste the right side image on page 01, and the left side image on page 16? This seems very time consuming and causes big issues when editing the image after splitting it into 2 images. (i.e. changing the contrast twice for each half of the image, or worse having to split the image in 2 every time I replace / update that image)
Thought 02 - Do I just create a new master page for the book cover which is A4 Landscape (=2X A5 portrait) and treat the front and back cover as page 01? and therefore have no specific back cover page (page 16). Will this cause issues at the printing company end, as the cover page is now not defined as A5?
Any help would be greatly appreciated to how I move forward. Finally relating to this issue, what's the process when you need to design the spine of a thick hardcover book?
Thanks

It’s not unusual for an OpenType font to have that extension. OpenType evolved from TrueType, so as the biologists say, we still are what we have evolved from, not just humans but apes, and mammals, and animals, etc. In that way an OpenType font technically still is a TrueType font, albeit it evolved.

I’ve just redownloaded EB Garamond from both Font Squirrel and Google Fonts. The Google Fonts versions have a TTF extension and are all around 500 KB, with the italic slightly less than that. The Font Squirrel family is structured differently, with two files where Google Fonts has only one (e.g. ‘EBGaramond08-Italic’ and ‘EBGaramond12-Italic’); these files are smaller, and their names have an OTF extension.
There are two principal kinds of OpenType fonts: the TrueType ones use quadratic Bézier curves and the CFF ones use cubic Bézier curves. OpenType fonts with a TTF extension should always be TrueType-based, but fonts with an OTF extension may be either kind.

But I have now., though I have left them at the end of lines.
 

 
William
 

Please post a screenshot of the Typography panel, showing its subsections expanded.
Edit: I’ve just found the following post which shows what I expect you to see:
 

I have found this.
https://en.wikipedia.org/wiki/Long_s
Readers in the United Kingdom of a certain age may find this of particular interest. That was in regular use until early 1971, I never knew the reason until now.
https://en.wikipedia.org/wiki/Long_s#Shilling_mark
William
 

Ah, my apologies! You did explain that, but I obviously forgot.
Look at the OpenType section where you enabled Discretionary Ligatures (for sequences like ‘sk’) and Historical Forms (for the long ess). You should find checkboxes there for Initial Forms and Final Forms.

As the font is released under the SIL OFL, it is (legally) possible to produce a derivative font. No ‘may be’ about it.

I don't know why the use of the long 's' makes me want to read the entire poem with a lisp ... 😏
I don't understand what "eye rhyming coming" means. Did you mean "aye, rhyming coming"?
It's a good start, William, but quite a few of the lines don't scan and are clumsy, so I think it needs a bit more work.
7/10. 😊

On the other hand, it can ensure greater distribution among users - who can be customers of various DTP studios and print-shops, to which they can put pressure for greater Affinity support and thus its expansion among professionals.

If you select the text frame, any OpenType features that you enable will be applied to all the text in the frame. If you highlight a run of text, enabling a feature will only apply to the selected text.

In the Character Panel, in the Typography section, you can click on the ... icon to view the Typography panel. Changes made there will apply to selected text (or the entire frame, as Alfred mentioned).
You can also reach that panel by clicking on the Typography icon (fi) on the Context Toolbar with a text tool selected. Note that it may be off the end of the toolbar, requiring you to use the chevron icon to get the dropdown.

https://fonts.google.com/specimen/EB+Garamond?query=EB+Garamond
William
 

Yes, that's one of the possibilities. Another might be to put it before the e.
Regarding spelling errors: Spelling can be turned off in a character text style.
You could have used it from some other font, too.
Text > Insert > Spaces and Tabs > Zero-Width Space, or Use the Glyph Browser (which is tricky because, though you can search for the character, you can't see spaces in the panel). Or Type U+200B then press Alt+U.

https://fonts.google.com/specimen/EB+Garamond?query=EB+Garamond
William
 

OpenType features such as final forms can be specified at the character level, so it’s fairly straightforward. Instead of applying them globally and hunting through the text to switch them off where you don’t want them, you can apply them only where you do want them.

There are several possibilities, but not having the font it's difficult to say for sure (a) which would work with that particular font and (b) which you might have done.

The combined application of a beautiful font and the wonderfully featured Affinity Publisher.
 

 
William
 

But I have now., though I have left them at the end of lines.
 

 
William