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A Mean-Line Model to Predict the Design Performance of Radial Inflow Turbines in Organic Rankine Cycles
UNIVERSITÀ DEGLI STUDI DI PADOVA DIPARTIMENTO DI INGEGNERIA INDUSTRIALE CORSO DI LAUREA MAGISTRALE IN INGEGNERIA ENERGETICA TECHNISCHE UNIVERSITÄT BERLIN INSTITUT FÜR ENERGIETECHNIK Tesi di Laurea Magistrale in Ingegneria Energetica A MEAN-LINE MODEL TO PREDICT THE DESIGN PERFORMANCE OF RADIAL INFLOW TURBINES IN ORGANIC RANKINE CYCLES Relatori: Prof. Andrea Lazzaretto Prof.ssa Tatjana Morozyuk (Technische Universität Berlin) Correlatore: Ing. Giovanni Manente Laureando: ANDREA PALTRINIERI ANNO ACCADEMICO 2013/2014 ii Abstract This Master Thesis contributes to the knowledge and the optimization of radial inflow turbine for the Organic Rankine Cycles application. A large amount of literature sources is analysed to understand in the better way the context in which this work is located. First of all, the ORC technology is studied, taking care of all the scientific aspects that characterize it: applications, cycle configurations and selection of the optimal working fluids. After that, the focus is pointed on the expanders, as they are the most important components of this kind of power production plants. Nevertheless. Their behaviour is not always wisely considered in an organic vision of the cycle. In fact, it has been noticed that mostly literature concerning the optimization of ORC considers the performances of the expander as a constant, omitting in this way an essential part of the optimisation process. Starting from these observations, in this Master Thesis radial inflow turbines are carefully analysed, performing a theoretical investigation of the achievable performance. Starting from a critical study of publications concerning the design of radial expanders, a theoretical model is proposed. Then, a design procedure of the geometrical and thermo dynamical characteristics of radial inflow turbine operating whit fluid R-245fa is implemented in a Matlab code. -
Multimedia Foundations Glossary of Terms Chapter 8 – Text
Multimedia Foundations Glossary of Terms Chapter 8 – Text Ascender Any part of a lowercase character that extends above the x-height, such as in the vertical stem of the letter b or h. Baseline And imaginary plane where the bottom edge of each character’s main body rests. Baseline Shift Refers to shifting the base of certain characters (up or down) to a new position. Capline An imaginary line denoting the tops of uppercase letters. Counter The enclosed or partially enclosed open area in letters such as O and G. Descender Any part of a character that extends below the baseline; such as in the bottom stroke of a y or p. Flush Left The alignment of text along a common left-edged line. Font Family A collection of related fonts – all of the bolds, italics, and so forth, in their various sizes. Gridline A matrix of evenly spaced vertical and horizontal lines that are superimposed overtop of the design window as a visual aid for aligning objects. Justification The term used when both the left and right edges of a paragraph are vertically aligned. Kerning A technique that selectively varies the amount of space between a single pair of letters and accounts for letter shape; allowing letters like A and V to extend into one another’s virtual blocks. Leading A term used to define the amount of space between vertically adjacent lines of text. Legibility Refers to a typeface’s characteristics and can change depending on font size. The more legible a typeface, the easier it is at a glance to distinguish and identify letters, numbers, and symbols. -
Variable First
Variable first Baptiste Guesnon Designer & Design Technologist at Söderhavet A small text Text with hyphen- ation Gulliver, Gerard Unger, 1993 Screens are variable first Static units Relative units Pica, type points, %, viewport width, pixels, cm… viewport height Why should type be static… …while writing is organic? Century Expanded plomb from 72 pt to 4 pt and putted at a same scale Image by Nick Sherman Through our experience with traditional typesetting methods, we have come to expect that the individual letterforms of a particular typeface should always look the same. This notion is the result of a technical process, not the other way round. However, there is no technical reason for making a digital letter the same every time it is printed. Is Best Really Better, Erik van Blokland & Just van Rossum First published in Emigre magazine issue 18, 1990 Lettering ? Typography Potential of variations in shape a same letter [————— 500 years of type technology evolution —————] Metal / Ink / Paper / Punch & Counterpunch / Pantograph / Linotype & Monotype / etc. Opentype Gutenberg Postscript Photocompo. Variable Fonts Change is the rule in the computer, stability the exception. Jay David Bolter, Writing Space, 1991 Fedra outlines, Typotheque Metafont Postscript Truetype GX Opentype 1.8 (Variable Fonts) Multiple Master Ikarus Fonts HZ Program Webfont Opentype (.woff) Now 1970 1975 1980 1985 1990 1995 2000 2005 2010 Punk/Metafont Beowolf Digital Lettering Donald Knuth Letteror Letteror 1988 1995 2015 HZ-program Indesign glyph scaling glyph scaling Skia, Matthew Carter for Mac OS, 1993 How to make it work? The Stroke, Gerrit Noordzij, 1985 Metafont book, Donald Knuth Kalliculator, 2007, Frederik Berlaen Beowolf, Letteror, 1995 Parametric fonts ≠ Variable fonts Designing instances vs. -
Web Typography │ 2 Table of Content
Imprint Published in January 2011 Smashing Media GmbH, Freiburg, Germany Cover Design: Ricardo Gimenes Editing: Manuela Müller Proofreading: Brian Goessling Concept: Sven Lennartz, Vitaly Friedman Founded in September 2006, Smashing Magazine delivers useful and innovative information to Web designers and developers. Smashing Magazine is a well-respected international online publication for professional Web designers and developers. Our main goal is to support the Web design community with useful and valuable articles and resources, written and created by experienced designers and developers. ISBN: 978-3-943075-07-6 Version: March 29, 2011 Smashing eBook #6│Getting the Hang of Web Typography │ 2 Table of Content Preface The Ails Of Typographic Anti-Aliasing 10 Principles For Readable Web Typography 5 Principles and Ideas of Setting Type on the Web Lessons From Swiss Style Graphic Design 8 Simple Ways to Improve Typography in Your Designs Typographic Design Patterns and Best Practices The Typography Dress Code: Principles of Choosing and Using Typefaces Best Practices of Combining Typefaces Guide to CSS Font Stacks: Techniques and Resources New Typographic Possibilities with CSS 3 Good Old @Font-Face Rule Revisted The Current Web Font Formats Review of Popular Web Font Embedding Services How to Embed Web Fonts from your Server Web Typography – Work-arounds, Tips and Tricks 10 Useful Typography Tools Glossary The Authors Smashing eBook #6│Getting the Hang of Web Typography │ 3 Preface Script is one of the oldest cultural assets. The first attempts at written expressions date back more than 5,000 years ago. From the Sumerians cuneiform writing to the invention of the Gutenberg printing press in Medieval Germany up to today՚s modern desktop publishing it՚s been a long way that has left its impact on the current use and practice of typography. -
Betekenis Van De Methode Van Taguchi Voor Off-Line Kwaliteitscontrole Voor De Bedrijfsmechanisatie
Betekenis van de methode van Taguchi voor off-line kwaliteitscontrole voor de bedrijfsmechanisatie Citation for published version (APA): Coenen, F. J. (1991). Betekenis van de methode van Taguchi voor off-line kwaliteitscontrole voor de bedrijfsmechanisatie. (TH Eindhoven. Afd. Werktuigbouwkunde, Vakgroep Produktietechnologie : WPB; Vol. WPA1017). Technische Universiteit Eindhoven. Document status and date: Gepubliceerd: 01/01/1991 Document Version: Uitgevers PDF, ook bekend als Version of Record Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. -
\/ Oh/Ir Stars in the Galaxy
\/ OH/IR STARS IN THE GALAXY B. BAUD OH/IR STARS IN THE GALAXY OH/IR STARS IN THE GALAXY PROEFSCHRIFT TER VERKRIJGING VAN DE GRAAD VAN DOCTOR IN DE WISKUNDE EN NATUURWETENSCHAPPEN AAN DE RIJKSUNIVERSITEIT TE LEIDEN, OP GEZAG VAN DE RECTOR MAGNIFICUS DR. D.J. KUENEN, HOOGLERAAR IN DE FACULTEIT DER WISKUNDE EN NATUURWETENSCHAPPEN, VOLGENS BESLUIT VAN HET COLLEGE VAN DEKANEN TE VERDEDIGEN OP WOENSDAG 12 APRIL 1978 TE KLOKKE 15.15 UUR DOOR BOUDEWIJN BAUD GEBOREN TE DJAKARTA IN 1948 STERREWACHT LEIDEN 1978 elve/laborvlncit - lelden PROMOTOR: DR. HJ. HABING Aan mijn moeder Aan Alberl ine CONTENTS Summary CHAPTER I A SYSTEMATIC SEARCH AT 1612 MHZ FOR OH MASER SOURCES I SURVEYS NEAR THE GALACTIC CENTRE I Introduction 2 II Equipment and survey observations 2 III Analysis and confirmatory observations 5 IV The Type II OH/IR sources 6 V Selection effects 15 V.1 Velocity coverage and spectral resolution 15 V.2 Variability 16 CHAPTER II A SYSTEMATIC SEARCH AT 1612 MHZ FOR OH MASER SOURCES II A LARGE-SCALE SURVEY BETWEEN 10 i 15° and \b\ 17 I Introduction 17 II Equipment 17 11.1 The survey 17 11.2 Confirmation observations 20 III Results 20 111.1 Analysis of the survey observations 20 111.2 Confirmation of Type II OH/IR sources 21 111.3 The new Type II OH/IR sources 21 111.4 Known Type II OH/IR sources 28 111.5 Unclassified sources 33 IV Discussion 35 CHAPTER III GALACTIC DISTRIBUTION AND EMISSION PROPERTIES OF OH/IR SOURCES 38 I Introduction 38 II Observations and basic data 39 III Distribution of OH/IR sources in velocity,longitude and latitude 43 111.1 Velocity distribution 43 111.2 Longitude distribution 47 111.3 Latitude distribution 48 IV Luminosity function 49 IV.I Spectral resolution 49 IV.2 Mean peak flux density of OH/ItC sources 50 IV.3 Luminosity distribution 51 V Comparison with the identified Type II OH/IR sources 53 VI The galactic distribution of OH/IR sources 54 VI. -
Quick Guide to Precision Measuring Instruments
E4329 Quick Guide to Precision Measuring Instruments Coordinate Measuring Machines Vision Measuring Systems Form Measurement Optical Measuring Sensor Systems Test Equipment and Seismometers Digital Scale and DRO Systems Small Tool Instruments and Data Management Quick Guide to Precision Measuring Instruments Quick Guide to Precision Measuring Instruments 2 CONTENTS Meaning of Symbols 4 Conformance to CE Marking 5 Micrometers 6 Micrometer Heads 10 Internal Micrometers 14 Calipers 16 Height Gages 18 Dial Indicators/Dial Test Indicators 20 Gauge Blocks 24 Laser Scan Micrometers and Laser Indicators 26 Linear Gages 28 Linear Scales 30 Profile Projectors 32 Microscopes 34 Vision Measuring Machines 36 Surftest (Surface Roughness Testers) 38 Contracer (Contour Measuring Instruments) 40 Roundtest (Roundness Measuring Instruments) 42 Hardness Testing Machines 44 Vibration Measuring Instruments 46 Seismic Observation Equipment 48 Coordinate Measuring Machines 50 3 Quick Guide to Precision Measuring Instruments Quick Guide to Precision Measuring Instruments Meaning of Symbols ABSOLUTE Linear Encoder Mitutoyo's technology has realized the absolute position method (absolute method). With this method, you do not have to reset the system to zero after turning it off and then turning it on. The position information recorded on the scale is read every time. The following three types of absolute encoders are available: electrostatic capacitance model, electromagnetic induction model and model combining the electrostatic capacitance and optical methods. These encoders are widely used in a variety of measuring instruments as the length measuring system that can generate highly reliable measurement data. Advantages: 1. No count error occurs even if you move the slider or spindle extremely rapidly. 2. You do not have to reset the system to zero when turning on the system after turning it off*1. -
Noto Sans Tagalog V3 Documentation
Noto Sans Tagalog v3.0 Documentation & Information FREDRICK R. BRENNAN 2 August 2020 Differences between Noto Sans Tagalog Noto Sans Tagalog v3.0 improves upon v2.0 in the following ways: ● It is a one-axis (weight) variable font with an avar table ● It includes glyph for “ra”, a missing letter, at U+170D ○ Also archaic “ra” at U+171F ● It includes a pamudpod ● It includes alternate hollow kudlit enabled in various ways (salt; cv02; VS1) Overview Tagalog? Noto Sans Tagalog is a font for a script known to The Unicode Standard as “Tagalog”. However, this name is not what the script is known by to Filipinos; Filipinos know it as baybayin or alibata. Baybayin is the name preferred by Philippine scholars, deriving from the Tagalog verb root baybay, meaning “to spell”. The name “Tagalog” was kept as Noto Sans Tagalog is part of the much larger Noto family, and as all the others are named after their respective Unicode blocks, so too should Noto Sans Tagalog. However, the alternate name of “Noto Sans Baybayin” should be understood just as well by your OS to refer to the font, as it’s in the name table. Creation notes Process in a nutshell This was primarily an engineering project and learning experience for me, Fred Brennan, the author of this font. This was my first Google Web Font. It is a requirement of Google that all Google Fonts be built from UFO with fontmake. This is unfortunate as it leads many to use Glyphs to make Google Fonts, which is not what Google wants to promote (I’d hope). -
Type & Typography
Type & Typography by Walton Mendelson 2017 One-Off Press Copyright © 2009-2017 Walton Mendelson All rights reserved. [email protected] All images in this book are copyrighted by their respective authors. PhotoShop, Illustrator, and Acrobat are registered trademarks of Adobe. CreateSpace is a registered trademark of Amazon. All trademarks, these and any others mentioned in the text are the property of their respective owners. This book and One- Off Press are independent of any product, vendor, company, or person mentioned in this book. No product, company, or person mentioned or quoted in this book has in any way, either explicitly or implicitly endorsed, authorized or sponsored this book. The opinions expressed are the author’s. Type & Typography Type is the lifeblood of books. While there is no reason that you can’t format your book without any knowledge of type, typography—the art, craft, and technique of composing and printing with type—lets you transform your manuscript into a professional looking book. As with writing, every book has its own issues that you have to discover as you design and format it. These pages cannot answer every question, but they can show you how to assess the problems and understand the tools you have to get things right. “Typography is what language looks like,” Ellen Lupton. Homage to Hermann Zapf 3 4 Type and Typography Type styles and Letter Spacing: The parts of a glyph have names, the most important distinctions are between serif/sans serif, and roman/italic. Normal letter spacing is subtly adjusted to avoid typographical problems, such as widows and rivers; open, touching, or expanded are most often used in display matter. -
VISIBLE LANGUAGE Volume V, Number 3, Summer 1971
VISIBLE LANGUAGE Volume V, Number 3, Summer 1971 197-220 A Prototype Computerized Page-design System Aaron Marcus 221-228 The Letter Names of the Latin Alphabet Arthur E. Gordon 229-248 Steps toward H andwriting Analysis and Recognition Makoto Y asuhara 249-264 The Calligraphy of Ch'an and Zen Monks Jan Fontein and Money L. Hickman 265-278 Experiments with Unjustified Text J ames Hartley and Peter Burnhill 279-281 Book Review 282-284 Correspondence 285-287 Abstracts ofJournal Articles in French and German 288 The Authors COVER: Detail of The Sixth Patriarch Tearing up a Sutra by Liang K'ai. See Figure I on page 251. Visible Language, Volume V, Number 3, Summer 1971. Published quarterly (Winter, Spring, Summer, and Autumn) by Visible Language, cfo The Cleveland Museum of Art, Cleveland, Ohio, USA 44106. Copyright© 1971 by Visible Language. Dr. Merald E. Wrolstad, Editor and Publisher cfo The Cleveland Museum of Art, Cleveland, Ohio, USA 44106. ADVISORY BOARD Dr. Roland Barthes, Ecole Pratique des Hautes Etudes, Paris Fernand Baudin, Bonlez par Grez-Doiceau, Belgium Pieter Brattinga, Form Mediation International, Amsterdam Will Burtin, New York City Rev. Edward M . Catich, Saint Ambrose College J ohn L. Debes m, Director, Center for Visual Literacy, Rochester, N.Y. John Dreyfus, Monotype Corporation, et al. Eugene Ettenberg, Columbia University Ephraim Gleichenhaus, ICTA Representative, New York Dr. William T. Hagestad, Wisconsin State University, River Falls Dr. Randall P. Harrison, Michigan State University Ernest Hoch, ICOGRADA Representative, Coventry College of Art Dr. J. K. Hvistendahl, AEJ/GD Representative, Iowa State University Alexander Lawson, Rochester Institute of Technology R. -
XML Professional Publisher: Fonts
XML Professional Publisher: Fonts for use with XPP 9.4 January 2020 Notice © SDL Group 1999, 2003-2005, 2009, 2012-2020. All rights reserved. Printed in U.S.A. SDL Group has prepared this document for use by its personnel, licensees, and customers. The information contained herein is the property of SDL and shall not, in whole or in part, be reproduced, translated, or converted to any electronic or machine-readable form without prior written approval from SDL. Printed copies are also covered by this notice and subject to any applicable confidentiality agreements. The information contained in this document does not constitute a warranty of performance. Further, SDL reserves the right to revise this document and to make changes from time to time in the content thereof. SDL assumes no liability for losses incurred as a result of out-of-date or incorrect information contained in this document. Trademark Notice See the Trademark file at http://docs.sdl.com for trademark information. U.S. Government Restricted Rights Legend Use, duplication or disclosure by the government is subject to restrictions as set forth in subparagraph (c)(1)(ii) of the Rights in Technical Data and Computer Software clause at DFARS 252.227-7013 or other similar regulations of other governmental agencies, which designate software and documentation as proprietary. Contractor or manufacturer is SDL Group, 201 Edgewater Drive, Wakefield, MA 01880-6216. ii Contents Part I Installing Fonts Chapter 1 Installing Fonts Understanding the Installation Process ....................... 1-2 Obtain the Proper Fonts ................................. 1-2 Type 1 Fonts ......................................... 1-2 CID Fonts ............................................ 1-3 OpenType/PostScript Fonts ........................... -
Part 1: from Truetype GX to Variable Fonts | Monotype
Monotype › Blog › Articles Contact Search Menu Part 1: from TrueType GX to Variable Fonts Tom Rickner, veteran type designer, Category: Articles shares his personal role in the Author: Tom Rickner 29. 11. 2016 beginnings of type’s most exciting development in decades. Share this In August of 2016, four unlikely collaborators in the world of type, fonts and font technology stood on a stage at the ATypI conference in Warsaw, Poland. The collaborators were Apple, Microsoft, Adobe and Google. Together they announced the publishing of OpenType 1.8, an update to the now ubiquitous font standard which was originally an amalgam of Apple & Microsoft’s TrueType, and Adobe’s PostScript font formats. The OpenType 1.8 announcement, ATypI, Warsaw, Poland, September 14, 2016 OpenType 1.8 unveils tremendous new powers of control for type designers, typographers and application developers alike, and it will do so on each of the major operating systems. For those of you who remember Adobe’s Multiple Master format, that technology represented a sliver of the capabilities that will be at your disposal within the new OpenType standard. There were numerous reasons that this announcement was unique, and many have written about this news in these past few months. But for me, the announcement was not only the culmination of months of meetings, private discussions and collaboration with industry colleagues, but it was in fact the rebirth of one of my first collaborations in the font software business, some 25 years earlier. During the late 1980’s and early 1990’s I was a member of the TrueType team at Apple, working within the “Blue” system software group that released the revolutionary System 7 for the Macintosh.