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There is a long standing "problem" between Outlook and Internet email - Outlook uses a proprietary email format that only Outlook and Exchange (and a few other clients, including gmail) can decipher. Note that if you are using Exchange Server, the Exchange administrators can disable RTF on messages sent to the Internet. Outlook can use a special method, technically referred to as Transport Neutral Encapsulation Format (TNEF), to package information for sending messages. A TNEF-encoded message contains a plain text version of the message and a binary attachment that "packages" various other parts of the original message. When RTF is not working as expected (either all messages are RTF, or Meeting Requests and Voting are not working) there are several settings your need to check in Outlook. Use this setting to control how messages created using RTF formatting or that require TNEF encoding are handled. Outlook 2010, 2013, or Outlook 2016: File, Options, Mail and scroll to the bottom of the dialog. Recommended setting: Let Outlook decide - this will send all messages using the global properties. In Outlook 2013 and 2016, look for Open Outlook Properties on the context menu when you right click on the email address in an open contact. If you set the LegacyGal registry value, you'll be able to double click on the address and open the properties dialog. In Outlook 2010 you'll access the email properties from the contact card that comes up when you hover over or click on an address in a Contact or an email message. Reminder: The autocomplete cache (nickname cache) may remember the RTF setting and Outlook will continue to send messages using RTF, overriding the Contact settings. To change the settings on Exchange server, open the Exchange Management Console, expand Organizational Configuration, Hub Transport, Remote Domains, open default transport (or the transport you want to change, if you have more than one) and change the Rich Text setting. See Configuring TNEF settings on Exchange Server for the PowerShell cmdlets to use and instructions for configuring it in Office 365 Exchange. Antivirus scanning corrupts the TNEF attachment and the recipients Outlook can't decode it. As mentioned previously, the nickname cache can contain the 'always use RTF' flag - if the sender ever forces RTF for one message to the contact, the cache remembers the setting for that contact and always uses RTF (forcing it on the address overrides the conversion setting in Mail format>Internet), even though the contact is no longer set to always use RTF. If nothing seems to be working and you use Outlook 2007 SP2 or Outlook 2010 or 2013, you can use a registry value to end TNEF encoding once and for all. If you don't want to make the changes to the registry yourself, you can download a .reg file with the changes. To reverse the changes, delete the key from the registry or edit the .reg file in Notepad and change the following line, then save and run it. Utility to decode attachments sent by Outlook that arrive as Winmail.dat files because you sent in Rich Text Format.
Tool for Macintosh computers to decode the Winmail.dat attachment sent in Rich Text Format messages.
Winmail Opener is a small and simple utility that allows users to view and extract contents of TNEF-encoded messages (winmail.dat). Open, convert and save the files on winmail.dat email attachments sent by Microsoft Outlook and Exchange. About Diane PoremskyA Microsoft Outlook Most Valuable Professional (MVP) since 1999, Diane is the author of several books, including Outlook 2013 Absolute Beginners Book.
Ottoman Calligraphy Lessons in Istanbul.Ottoman - Turkish Calligraphy, also known as Arabic calligraphy, is the art of writing, and by extension, of bookmaking. The traditional instrument of the Turkish - Ottoman calligrapher is the kalem, a pen made of dried reed or bamboo; the ink is often in color, and chosen such that its intensity can vary greatly, so that the greater strokes of the compositions can be very dynamic in their effect. At different periods, depending on the centre of calligraphy at the time, the Arabic script was known variously as anbari, hiri and mekki in pre-Islamic times, and after the Hegira these were qualified by the term medeni.
Ottoman - Turkish Calligraphy, also known as Arabic calligraphy, is the art of writing, and by extension, of bookmaking.
Ottoman Turkish calligraphy is associated with geometric Islamic art on the walls and ceilings of mosques as well as on the page.
The first of those to gain popularity was known as the Kufic script, which was angular, made of square and short horizontal strokes, long verticals, and bold, compact circles.The Diwani script is a cursive style of Arabic calligraphy developed during the reign of the early Ottomans (16th and early 17th centuries).
In the teachings of calligraphy figurative imagery is used to help visualize the shape of letters to trace. We spent four days and three nights (Tirane, Berat, Himare) in Albania and I’m writing this a couple of days later, having crossed into Greece and spent a couple of days doing nothing on a campsite.
We entered Albania at a very small border crossing near Lake Skadar, and our original plan was to spend the first night in the town of Shkoder. The road to Shkoder takes you across a one-track bridge, seemingly built of planks of wood and scrap metal. After this a section of the outskirts which was like some sort of industrial ghost town; half-finished buildings, disused factories and (I may be exaggerating here) a petrol refinery. Having travelled through Romania in 2010 we had gotten used to seeing locals driving with foreign plates on their cars as a way of avoiding road tax and insurance.
Fifteen minutes after entering the city limits of Tirane and Iva, who was driving, was sweating and completely frantic.
This gave drivers the chance to ignore his half-hearted waving and the traffic lights in equal measure.
After a while, oddly, it becomes quite liberating to ignore everything you’ve ever learned about driving and traffic safety and in fact by day two I shamelessly cut several people off in clear violation of the rules of the road. Every five or ten minutes along our journey we came across massive piles of rubbish, which must have accumulated over some time, in the weirdest places.
As it often is with capital cities, in some ways Tirane captures what the rest of the country is about and in other ways is something completely different and individual – an exception to the rule. Tirane turned out to be a pleasant and vibrant city to walk around, with a tremendous number of shops, interesting, upbeat bars and restaurants and a lot of noise and chaos. The only real advantage of driving on the world’s worst roads is that you have plenty of time to enjoy the scenery. Particularly the frequent views across to the immense, snow-capped Mount Tomor were unlike anything which we had seen before.

Albania presented a very different and foreign environment for both of us, and at times is was pretty confusing, but I can honestly say that every single person we met in Albania, without exception, was friendly and generous and made us feel welcome in their country. This entry was posted in Camper Trip April 2011 and tagged 2011, Albania, crazy roads, Tirane. When the recipient doesn't use Outlook, they get a plain text message and an attachment named winmail.dat. Don't bother looking in winmail.dat files if you were not expecting an attachment (or if the message size indicates there probably is not an attachment). If there is an attachment in the winmail.dat, asking for a resend is my preference, in most cases. The use of TNEF is affected by settings in Outlook that are referred to as Rich Text Format (RTF). If the administrator disables RTF to Internet addresses, the settings in Outlook will not override them. The auto-complete cache (nickname cache) remembers the setting and Outlook will continue to send messages using RTF. If this is set to plain text or HTML formatting, Voting and Meeting Requests may not work unless you override the setting using Email properties. Outlook will send all messages to the Internet using HTML unless you change the email properties (below).
If the address is in your Contacts folder, their contact opens; if the address is not in your Contacts, the email properties dialog opens. If you need to send Meeting Requests or other TNEF encoded messages and know the contact uses Outlook, you can set the address to always use RTF. You can also turn off the hovercard so the card comes up only when you click on the address. Select the menu icon on the right and then Outlook properties to open the Email Properties dialog. This is fixed in Outlook 2010 SP1 or the Exchange administrator can configure Remote Domain transports for the domains that don't use Outlook and set them to never use RTF to get around the problem. This will affect your ability to use features that require TNEF encoding, including Voting and Meeting Requests in native Outlook format. At the point where you say to open the properties of the Outlook contact email and you get the dialog box where you can select HTML, Text, let outlook decide, etc - I sometimes just get another Outlook contact window. The Koran, which was the first Islamic text compiled in book form, was first written in mekki-medeni hand in black ink on parchment, without diacritics or vowel signs. In Persia and further east, meanwhile, kufi was transformed into a script known as mesrik kufisi, which was used until superseded by the aklam-i sitte scripts.
It was invented by Housam Roumi and reached its height of popularity under Suleyman I the Magnificent. Contemporary artists in the Islamic world draw on the heritage of calligraphy to use calligraphic inscriptions or abstractions in their work. As an expatriate Albanian living abroad I can say that you are a realistic and honest person. Although it does make you wonder what the woman was expecting when she ordered a sheep’s head? Just out of curiosity I have been going through the websites containing Albania’s photographs. The place was so awful in almost every respect that we had started to rethink our plans before reaching the city centre. In Albania it’s much the same story, with British, Italian, Swiss and German numberplates pretty much everywhere. A bit of online research (here and here) confirms that the majority are stolen in Western Europe as a response to the Albanian appetite for MB. We’d seen bad drivers before, but in Albania EVERYBODY drives like a epileptic lunatic on crack. He chose a spot, opened the bag, emptied out the trash in a pile and then dropped the empty bag on top. Places where the previous owners of the trash must have gone to quite some effort to transport their rubbish their, and dump it. He asked us where we were from, where we had been in Albania and then went on to tell us about his own visit to London. Additionally, the attachment icon may be hidden by some clients, including OE and Windows Mail, making it look like the attachment was removed. If you need to send Meeting Requests or other messages that require TNEF encoding and know the contact uses Outlook, you can set the contact to always use RTF. Use this setting to "one-off" the formatting when sending meeting requests or RTF formatted messages to Internet addresses. Once the hovercard comes up, the Properties link is missing from the context menu, often until you restart Outlook. As with the older versions, the recommended setting is Let Outlook decide unless you need to force RTF.
To fix, disable email scanning on the client side; there is no need to scan email with a virus scanner on the desktop computer. Click the "Empty Auto-Complete Lists" which will clear the entire cache and it finally worked. You can find her helping people online in Outlook Forums as well as in the Microsoft Answers and TechNet forums. Calligraphy is especially revered among Islamic arts since it was the primary means for the preservation of the Qur'an.Ottoman Turkish calligraphy is associated with geometric Islamic art on the walls and ceilings of mosques as well as on the page.
The large scale form of kufi known as iri kufi, which was mainly used on monuments, was reserved for decorative purposes in combination with some elements of embellishment.
As decorative as it was communicative, Diwani was distinguished by the complexity of the line within the letter and the close juxtaposition of the letters within the word.
Young couples and families with kids come here to stroll, spend time, eat ice cream, and so on.
Apparently he had eaten at Richard Branson’s restaurant there, which was very nice (but expensive).

If you aren't expecting an attachment and the file size is too small for an attachment, you don't need to ask for a resend, you are only missing the pretty formatting. See How to clear name from the cache at Understanding Outlook’s Auto-Complete Cache if you need help clearing the autocomplete cache.
In time this style of writing divided into two forms; the sharply angled form being reserved for Korans and important correspondence. The form of mensub hatti known as verraki mentioned above, which was generally reserved for copying books and therefore known as neshi (a derivation of the verb istinsah, "to copy"), was the prototype for the muhakkak, reyhani and nesih scripts which emerged in the early eleventh century.
As decorative as it was communicative, Diwani was distinguished by the complexity of the line within the letter and the close juxtaposition of the letters within the word.In the teachings of calligraphy figurative imagery is used to help visualize the shape of letters to trace. Since this was most often used in the city of Kufa, it became known as kufi.The other form, which did not have sharp angles and could be written at far greater speeds, was employed in day-to-day uses, and due to its rounded, flexible character was suited to artistic application. As decorative as it was communicative, Diwani was distinguished by the complexity of the line within the letter and the clos juxtaposition of the letters within the word. Turkish paintings, calligraphy, photography, music.When we speak of Turkish calligraphy, we refer to writing of aesthetic value in characters based on the Arabic script, which the Turks had adopted as their writing medium after their conversion to Islam. The Arabic characters gradually assumed an aesthetic function after the advent of Islam, and this process gathered momentum from the mid-eighth century onwards, so that calligraphy was already a significant art discipline by the time the Turks joined the Islamic world. It was this form which began to give rise to new scripts after the development of pens with nibs of different widths in the eighth century. Therefore it is necessary to begin with a brief review of the structure of Arabic characters and their development during the early centuries of Islam. Among the earliest of these were the celil reserved for large scale lettering, and tomar or tumar which was the standard large size pen used in official correspondence. The most succinct definition of calligraphy formulated by Islamic writers is, "Calligraphy is a spiritual geometry produced with material tools." The aesthetic values implied by this definition held true for centuries. Pens with a nib width two thirds of that of the tomar pen were known as suluseyn, and those with nibs one third in width were known as sulus. Under this writing system most of the letters underwent a change of form according to whether they were positioned at the beginning, middle or end of a word.
When transformed into an art the characters took on highly elaborate shapes, and the rich visual impact attained when they were joined together, and above all the fact that the same word or phrase could be written in various ways opened the door to the infinite variety and innovation which is a prerequisite of art. Other new writing styles which emerged (although all later fell into disuse) were riyasi, kalemu'n-nisf, hafifu'n-nisf and hafifu's-sulus. The idea of cutting the nib of the reed pen at an angle instead of horizontally was his, and an innovation which contributed enormous elegance to writing.
Just as the characters could be written singly in several different ways, so there was an astonishing diversity of different scripts or "hands". As their names indicate, some of the new scripts were based on tomar and written with pens which were specific fractions (half, one third, or two thirds) of the tomar pen. Once "the six hands" had taken their place in the art of calligraphy together with all their rules, many scripts apart from those mentioned above were abandoned, and no trace of them but their names remains today (for example, sicillat, dibac, zenbur, mufattah, harem, lului, muallak and mursel).Following the death of Yakut his conception of "the six hands" was carried by scribes who had trained under him from Baghdad to Anatolia, Egypt, Syria, Persia and Transoxania.
The Arabic characters were adopted — primarily motivated by religious fervour by virtually all the peoples who converted to Islam, so that just a few centuries after the Hegira they had become the shared property of the entire Muslim world. In the process of scaling down, the scripts took on new characteristics of their own, while the word kalem, which referred to the writing instrument, also came to be used for the writing itself (for example, kalemu'n-nisf literally means "half pen"). New generations of calligraphers who trained in these lands dedicated themselves to the path taken by Yakut as far as their aptitude permitted.
The term "Arabic calligraphy", which is appropriate with respect to the early period, broadened in scope over time to become what more accurately might be described as "Islamic calligraphy".
For scripts such as kisas and muamerat, which were invented for specific uses and did not involve the proportional scaling down of the pen, the term hat was used.Under the Abbasids, learning and the arts flourished, leading to a swelling demand for books in Baghdad and other major cities. This writing system, known as nabati because it was used by the Nabat tribe in pre-Islamic times, derives from the Phoenician. To meet this demand the number of copyists known as verrak also rose, and the script which they employed in the copying of manuscripts was known as verraki, muhakkak or iraki. In the hands of the Ottoman Turks, these six scripts were poised to begin the ascent to their zenith.CALLIGRAPHY,calligraphy in istanbul,calligraphy in turkey,istanbul in calligraphy,Turkish - Ottoman Calligraphy Lessons in Istanbul. In its early form, the script gave no clue of its future potential as such a powerfully aesthetic medium, the characters consisting of very simple shapes.
From the end of the eighth century, as a result of the search for aesthetic values by calligraphers, writing forms according to specific proportions and symmetries became known as asli hat and mevzun hat. With the emergence of Islam, however, and particularly after the Hegira, the Arabic script became the literary vehicle of the last Semitic religion. One of the calligraphers who contributed to the development of writing, and the most outstanding among those of this period was Ibn Mukle (? The numbers of those literate in the Arabic script multiplied rapidly, and in time it was perfected into a vehicle equipped to record the Koran, and hence the language as a whole, with precision. Vowel signs known as hareke were invented to express the short phonemes which accompanied the consonants. Lettering complying with these rules was called mensuh hatti, a term meaning "proportional writing".While these developments were taking place, kufi script was enjoying its heyday, above all for copying korans.
The method of determining the sound of letters which resembled one another in form, by means of disparate positioning and diacritical marks was developed. As time passed, the use of diacritics to distinguish the undotted from the dotted forms of the same letters was introduced. Both the diacritics, the vowel signs and the unmarked letter symbols took on decorative forms which played a major role in the development of writing as an art. Meanwhile, the frequently used definite article, consisting of the letters alif and lam, became a balancing element in the aesthetics of calligraphy.

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