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Learn iOS 11 Programming with Swift 4
Second Edition
Craig Clayton
BIRMINGHAM - MUMBAI
Learn iOS 11 Programming with
Swift 4 Second Edition
Copyright © 2018 Packt Publishing
All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or
transmitted in any form or by any means, without the prior written permission of the publisher,
except in the case of brief quotations embedded in critical articles or reviews.
Every effort has been made in the preparation of this book to ensure the accuracy of the information
presented. However, the information contained in this book is sold without warranty, either express
or implied. Neither the author, nor Packt Publishing or its dealers and distributors, will be held liable
for any damages caused or alleged to have been caused directly or indirectly by this book.
Packt Publishing has endeavored to provide trademark information about all of the companies and
products mentioned in this book by the appropriate use of capitals. However, Packt Publishing cannot
guarantee the accuracy of this information.
ISBN 978-1-78839-075-0
www.packtpub.com
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After we have a solid foundation of using Swift, we will start creating the
visual aspects of our Let's Eat app. During this process, we will work with
storyboards and connect our app's structure together using segues. With our
UI complete, we will go over the different ways in which we can display
data. To display our data in a grid, we will use Collection Views, and to
display our data in a list, we will use Table Views.
We will also look at how to add basic and custom annotations on to a map.
Finally, it's time to get real data; we will look at what an Application
Programming Interface (API) is and how we can get real restaurant data
into our Collection Views, Table Views, and Map.
We now have a complete app, but how about adding some bells and
whistles? The first place we can add a feature will be on the restaurant
detail page where we can add restaurant reviews. Here, users will be able to
take or choose a picture and apply a filter on to their picture. They will also
be able to give the restaurant a rating as well as a review. When they are
done, we will save this data using Core Data.
Since we built our app to work on both iPhone and iPad, we should add the
ability to make our app support iPad Multitasking. Doing this will allow our
app to be open alongside another app at the same time.
Finally, let's create a quick access for our app using 3D touch where, by
tapping our app icon, the user can quickly jump to their reservations. Now
that we have added some bells and whistles, let's get this app to our friends
using TestFlight,
and finally get it into the App Store.
Who this book is for
This book is for beginners who want to be able to create iOS applications. If
you have some programming experience, this book is a great way to get a
full understanding of how to create an iOS application from scratch and
submit it to the App Store. You do not need any knowledge of Swift or any
prior programming experience.
What this book covers
Chapter 1, Getting Familiar with Xcode, takes you through a tour of Xcode
and talks about all the different panels that we will use throughout the book.
Chapter 2, Building a Foundation with Swift, deals with the basics of Swift.
Chapter 6,Starting the UI Setup, is about building the Let's Eat app. We will
focus on getting our structure set up using storyboards.
Chapter 7, Setting Up the Basic Structure, deals with working on our Let's
Eat app in a storyboard.
Chapter 10, Designing Cells, is about designing the table and collection view
cells in storyboard.
Chapter 11, Designing Static Tables, teaches how to work with a static table
view.
Chapter 12,Designing a Photo Filter and Review Form, teaches you how to
design a basic form.
Chapter 13,
Getting Started with the Grid, is about working with Collection
Views and how we can use them to display a grid of items.
Chapter 14, Getting Data into Our Grid, is about getting data into our
Collection Views.
Chapter 15,Getting Started with the List, teaches us to work with Table
View and takes a deep look at dynamic Table Views.
Chapter 16,Where Are We?, deals with working with MapKit and learning
how to add annotations to a map. We will also create custom annotations for
our map.
Chapter 17, Working with an API, is about learning how to use a JSON API
within our app.
Chapter 18, Displaying Data in Restaurant Detail, teaches you how to pass
data using segues.
Chapter 19, Foodie Reviews, talks about working with the phone's camera
and library.
Chapter 20,Working with Photo Filters, takes a look at how to apply filters
to our photos.
Chapter 21, Understanding Core Data, teaches us the basics of using Core
Data.
Chapter 22, Saving Reviews, wraps up Reviews by saving them using Core
Data.
Chapter 23,Universal, deals with multitasking on the iPad, and how we can
get an update to be supported on all devices.
Chapter 24, iMessages, is about building a custom message app UI. We will
also create a framework to share data between both apps.
Chapter 25, Notifications, provides learning on how to build basic
notifications. Then, we will look at embedding images into our notifications
as well as building a custom UI.
Chapter 26, Drag and Drop, is about learning how to add drag and drop both
within the app and accepting drag and drop from other apps.
Chapter 27, Just a Peek, looks at 3D touch and how to add quick actions to
our app. We will also look at how we can add peek and pop to our
restaurant list.
Chapter 28, SiriKit, teaches how to use Siri to create money requests.
Chapter 29, Beta and Store Submission, is about how to submit apps for
testing as well as submitting apps to the App Store.
To get the most out of this book
You need to have Xcode 9 installed in your system. To download Xcode 9
visit https://developer.apple.com/xcode/.
Download the example code
files
You can download the example code files for this book from your account
at www.packtpub.com. If you purchased this book elsewhere, you can visit www.
packtpub.com/support and register to have the files emailed directly to you.
Once the file is downloaded, please make sure that you unzip or extract the
folder using the latest version of:
The code bundle for the book is also hosted on GitHub at https://github.co
m/PacktPublishing/Learn-iOS-11-Programming-with-Swift-4-Second-Edition. We
also have other code bundles from our rich catalog of books and videos
available at https://github.com/PacktPublishing/. Check them out!
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his character by his title. We should entertain a very high opinion of
Mrs. Pritchard, even had she left us nothing but the face in her
portraits. She seems to have been a really great genius, equally
capable of the highest and lowest parts. The fault objected to her
was, that her figure was not genteel; and we can imagine this well
enough in an actress who could pass from Lady Macbeth to Doll
Common. She seems to have thrown herself into the arms of
sincerity and passion, not, perhaps, the most refined, but as tragic
and comic as need be. As Churchill says,
The probability, we fear, is that Barry was one of the old artificial
school, who made his way more by person than by genius. Davies,
who was a better gossip than critic, though he affected literature,
was an actor himself of the mouthing order, if we are to believe
Churchill; and his criticisms show him enough inclined to lean
favourably to that side.
We have spoken of Quin, who acted much at this house in
opposition to Garrick. It was here that he delivered the prologue to
the memory of his friend Thomson; and affected the audience by
shedding real tears.[272]
Macklin was celebrated in Shylock; and in some other sarcastic
parts, particularly that of Sir Archy, in his comedy of "Love-à-la-
Mode." We take him to have been one of those actors whose
performances are confined to the reflection of their own personal
peculiarities. The merits of Shuter, Edwin, Quick, and others who
succeeded one another as buffoons, were perhaps a good deal of
this sort; but pleasant humours are rare and acceptable. Macklin was
a clever satirist in his writing, and embroiled himself, not so cleverly,
with a variety of his acquaintances. He foolishly attempted to run
down Garrick; and once, in a sudden quarrel, poked out a man's eye
with his stick and killed him; for which he narrowly escaped hanging.
However, he was sorry for it; and he is spoken of, by the stage
historians, as kind in his private relations, and liberal of his purse. A
curious specimen of his latter moments we reserve for our mention
of the house where he died.
Woodward seems to have been a caricature anticipation of Lewis,
and was a capital harlequin. But nobody in harlequins beat Rich, the
manager of this theatre. His pantomimes and spectacles produced a
re-action against Garrick, when nothing else could; and Covent
Garden ever since has been reckoned the superior house in that kind
of merit,—"the wit," as Mr. Ludlow Holt called it, "of goods and
chattels." However, a considerable degree of fancy and observation
may be developed in pantomime: it is the triumph of animal spirits
at Christmas, for the little children; and for the men there is
occasionally some excellent satire on the times, reminding one, in its
spirit, of what we read of the comic buffoonery of the ancients.
Grimaldi, in his broad and fugitive sketches, often showed himself a
shrewder observer than many a comic actor who can repeat only
what is set down for him. Covent Garden has, perhaps, been
superior also in music, at least since the existence of the two houses
together: for Purcell was before its time. Many of Arne's pieces came
out here; and the famous Beard, a singer as manly as his name, the
delight both of public and private life, was one of the managers.
Among the Covent Garden actors must not be forgotten Cooke, who
came out there in Richard III. For some time he was the greatest
performer of this and a few other characters. He was a new kind of
Macklin, and like him, excelled in Shylock and Sir Archy M'Sarcasm; a
confined actor, and a wayward man, but highly impressive in what
he could do. His artful villains have been found fault with for looking
too artful and villanous; but men of that stamp are apt to look so.
The art of hiding is a considerable one; but habit will betray it after
all, and stand foremost in the countenance. They who think
otherwise are only too dull to see it. Besides, Cooke had generally to
represent bold-faced, aspiring art; and to hug himself in its triumph.
This he did with such a gloating countenance, as if villany was pure
luxury in him, and with such a soft inward retreating of his voice—a
wrapping up of himself, as it were, in velvet—so different from his
ordinary rough way, that sometimes one could almost have wished
to abuse him.
John Kemble, who, like the whole respectable family of that name,
contributed much to maintain the rising character of the profession,
may be considered the last popular actor of the declamatory school.
His sister was a far greater performer, a true theatrical genius,
especially for the stately and dominant; and had a great effect in
raising the character of the profession. The growth of liberal opinion
is nowhere more visible than in the different estimation in which
actors and actresses are now held, compared with what it was.
Individuals, it is true, always made their way into society by dint of
the interest they excited; but still they were upon sufferance.
Anybody could insult an actor, could even beat him, without its being
dreamt that he had a right to retaliate; and the most amiable and
lady-like actresses were thought unfit for wives, as we have seen in
the case of Mrs. Oldfield. Things are now upon a different footing.
Talent is allowed its just pretensions, whether coming from author or
performer, and actresses have taken such a step, in ascension, that
nobility almost seems to look out for a wife among them, as in a
school that will inevitably furnish it with some kind of grace and
intellect. The famous Lord Peterborough, who was the first
nobleman that married an actress, kept the union concealed as long
as he could, and only owned it just before his death. The Duke of
Bolton, who married Miss Fenton, the Polly of Gay's opera, had first
had several children by her as his mistress; so that this is hardly a
case in point; and the marriage of Beard, the singer, with a lady of
the Waldegrave family, though he was one of the most excellent of
men, was looked upon as such a degradation, that they have
contrived to omit the circumstance in the peerage-books to this day!
Martin Folkes's marriage with Mrs. Bradshaw probably made the
world consider the case a little more rationally, as he was a clever
man; but Lord Derby's marriage with Miss Farren, who was
eminently the gentlewoman, as well as of spotless character, seems
to have been the first that rendered such unions compatible with
public opinion. Lord Craven's with Miss Brunton followed, though at
a considerable interval; and since that time, the town are so far from
being surprised at the marriages of actresses with people of rank or
fashion, that they seem to look for them. Lord Thurlow, not long
afterwards, married Miss Bolton; another noble lord was lately the
husband of an eminent singer; and several other favourites of the
town, Miss Tree, Miss O'Neill, &c., have become the wives of men of
fortune. We remember even a dancer, Miss Searle (but she was of
great elegance, and had an air of delicate self-possession), who
married into a family of rank.
The whole entertainment of a theatre has been rising in point of
accommodation and propriety for the last fifty years. The scenery is
better, the music better—we mean the orchestra—and last, not least,
the audiences are better. They are better behaved. Garrick put an
end to one great nuisance—the occupation, by the audience, of part
of the stage. Till his time, people often sat about a stage as at the
sides of a room, and the actor had to make his way among them,
sometimes with the chance of being insulted; and scuffles took place
among themselves. Dr. Johnson, at Lichfield, is said to have pushed
a man into the orchestra who had taken possession of his chair. The
pit, also, from about Garrick's time, seems to have left to the
galleries the vulgarity attributed to it by Pope. There still remains,
says he—
This would now be hardly a fair description of the galleries; and yet
modern audiences are not reckoned to be of quite so high a cast as
they used, in point of rank and wealth; so that this is another
evidence of the general improvement of manners. Boswell, in an
ebullition of vivacity, while sitting one night in the pit by his friend
Dr. Blair, gave an extempore imitation of a cow! The house
applauded, and he ventured upon some attempts of the same kind
which did not succeed. Blair advised him in future to "stick to the
cow." No gentleman now-a-days would think of a freak like this.
There is one thing, however, in which the pit have much to amend.
Their destitution of gallantry is extraordinary, especially for a body so
ready to accept the clap-traps of the stage, in praise of their "manly
hearts," and their "guardianship of the fair." Nothing is more
common than to see women standing at the sides of the pit
benches, while no one thinks of offering them a seat. Room even is
not made, though it often might be. Nay, we have heard women
rebuked for coming without securing a seat, while the reprover
complimented himself on his better wisdom, and the hearers
laughed. On the other hand, a considerate gentleman one night,
who went out to stretch his legs, told a lady in our hearing that she
might occupy his seat "till he returned!"
A friend of ours knew a lady who remembered Dr. Johnson in the pit
taking snuff out of his waistcoat pocket. He used to go into the
green-room to his friend Garrick, till he honestly confessed that the
actresses excited too much of his admiration. Garrick did not much
like to be seen by him when playing any buffoonery. It is said that
the actor once complained to his friend that he talked too loud in the
stage box, and interrupted his feelings: upon which the doctor said,
"Feelings! Punch has no feelings." It was Johnson's opinion
(speaking of a common cant of critics), that an actor who really
"took himself" for Richard III., deserved to be hanged; and it is easy
enough to agree with him; except that an actor who did so would be
out of his senses. Too great a sensibility seems almost as hurtful to
acting as too little. It would soon wear out the performer. There
must be a quickness of conception, sufficient to seize the truth of
the character, with a coolness of judgment to take all advantages;
but as the actor is to represent as well as conceive, and to be the
character in his own person, he could not with impunity give way to
his emotions in any degree equal to what the spectators suppose. At
least, if he did, he would fall into fits, or run his head against the
wall. As to the amount of talent requisite to make a great actor, we
must not enter upon a discussion which would lead us too far from
our main object; but we shall merely express our opinion, that there
is a great deal more of it among the community than they are
aware.
Goldsmith was a frequenter of the theatre: Fielding and Smollett,
Sterne, but particularly Churchill. "His observatory," says Davies,
"was generally the first row of the pit, next the orchestra." His
"Rosciad," a criticism on the most known performers of the day,
made a great sensation among a body of persons who, as they are
in the habit of receiving applause to their faces, and in the most
victorious manner, may be allowed a greater stock of self-love than
most people—a circumstance which renders an unexacting member
of their profession doubly delightful. "The writer," says Davies, "very
warmly, as well as justly, celebrated the various and peculiar
excellencies of Mrs. Pritchard, Mrs. Cibber, and Clive; but no one
has, except Garrick, escaped his satirical lash." Poor Davies is glad to
say this, because of the well-known passage in which he himself is
mentioned:—
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