Typography on the Web
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Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
Uniform Rendering of XML Encoded Mathematical Content with Opentype Fonts
i \eutypon24-25" | 2011/1/21 | 8:58 | page 11 | #15 i i i Εὔτυπon, τεῦχος 24-25 — >Okt¸brioc/October 2010 11 Uniform Rendering of XML Encoded Mathematical Content with OpenType Fonts Apostolos Syropoulos 366, 28th October Str. GR-671 00 Xanthi Greece E-mail: asyropoulos at yahoo dot com The new OpenType MATH font table contains important information that can be used to correctly and uniformly render mathematical con- tent (e.g., mathematical formulae, equations, etc.). Until now, all sys- tems in order to render XML encoded mathematical content employed some standard algorithms together with some standard sets of TrueType and/or Type 1 fonts, which contained the necessary glyphs. Unfortu- nately, this approach does not produce uniform results because certain parameters (e.g., the thickness of the fraction line, the scale factor of superscripts/subscripts, etc.) are system-dependant, that is, their exact values will depend on the particular setup of a given system. Fortunately, the new OpenType MATH table can be used to remedy this situation. In particular, by extending renderers so as to be able to render mathemat- ical contents with user-specified fonts, the result will be uniform across systems and platforms. In other words, the proposed technology would allow mathematical content to be rendered the same way ordinary text is rendered across platforms and systems. 1 Introduction The OpenType font format is a new cross-platform font file format developed jointly by Adobe and Microsoft. OpenType fonts may contain glyphs with ei- ther cubic B´eziersplines (used in PostScript fonts) or with quadratic B´ezier splines (used in TrueType fonts). -
CSS Font Stacks by Classification
CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed. -
Dynamic and Interactive R Graphics for the Web: the Gridsvg Package
JSS Journal of Statistical Software MMMMMM YYYY, Volume VV, Issue II. http://www.jstatsoft.org/ Dynamic and Interactive R Graphics for the Web: The gridSVG Package Paul Murrell Simon Potter The Unversity of Auckland The Unversity of Auckland Abstract This article describes the gridSVG package, which provides functions to convert grid- based R graphics to an SVG format. The package also provides a function to associate hyperlinks with components of a plot, a function to animate components of a plot, a function to associate any SVG attribute with a component of a plot, and a function to add JavaScript code to a plot. The last two of these provides a basis for adding interactivity to the SVG version of the plot. Together these tools provide a way to generate dynamic and interactive R graphics for use in web pages. Keywords: world-wide web, graphics, R, SVG. 1. Introduction Interactive and dynamic plots within web pages are becomingly increasingly popular, as part of a general trend towards making data sets more open and accessible on the web, for example, GapMinder (Rosling 2008) and ManyEyes (Viegas, Wattenberg, van Ham, Kriss, and McKeon 2007). The R language and environment for statistical computing and graphics (R Development Core Team 2011) has many facilities for producing plots, and it can produce graphics formats that are suitable for including in web pages, but the core graphics facilities in R are largely focused on static plots. This article describes an R extension package, gridSVG, that is designed to embellish and transform a standard, static R plot and turn it into a dynamic and interactive plot that can be embedded in a web page. -
Suggested Fonts List
Suggested Fonts List This is a list of some fonts our designers have available to use when designing your book. This is only a sample of some of the most popular fonts; they have thousands of others to choose from as well. For your convenience, we have marked each font as being appropriate for body text or display text. Body Text fonts are meant for the main body text of your book—paragraphs, lists, etc. These fonts are designed to be easier on the eyes for smoother reading. Display Text fonts are meant for chapter titles, subtitles, etc. They are often “fancier” fonts, such as script or handwriting. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Last updated 6/6/2014 B = Body Text: Fonts meant for the main body text of your book. D = Display Text: Fonts meant for chapter titles, etc. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Font Name Font Styles Font Sample BD Abraham Lincoln Regular The quick brown fox jumps over the lazy dog. 1234567890 Adobe Caslon Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Garamond Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Jenson Pro Light The quick brown fox jumps over the lazy dog. -
Graphics Design
Graphics Design - Typography Exercise 7 - ‘Arial’ ____________________________________________________________________________________________________________________________ Closest Fonts: {Arial, Helvetica, MS Gothic} Closer Fonts: {Newhouse DT Condensed, CG Triumvirate Condensed} Chosen Focus Font: {Arial Narrow Bold Italic} ____________________________________________________________________________________________________________________________ Font: Monotype Grotesque Birth-Date: 1926 Creator: Frank Hinman Pierpont Publisher: Monotype Foundry Based Off: Grotesque (by H. Berthold AG Foundry & William Thorowogood, 1832) Family: Largely-Extended: Multiple Widths (Condensed,...,Extended) Recognition: Easily Recognisable as san-serifs were few and unusual in England. Use: Early 20th Century Avant Garde Printing from Western & Central Europe ____________________________________________________________________________________________________________________________ Font: Arial Alias: (Original) Sonoran Sans Serif, (After Microsoft Acquisition) Arial MT Birth-Date: 1982 Self-Description: “Contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can -
Serif Fonts Vol 2
Name Chaparral Pro Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Italic Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Italic Basic Latin ! " # $ % & ' ( ) * + , - . -
Choosing Fonts – Quick Tips
Choosing Fonts – Quick Tips 1. Choose complementary fonts – choose a font that matches the mood of your design. For business cards, it is probably best to choose a classic font. *Note: These fonts are not available in Canva, but are in the Microsoft Office Suite. For some good Canva options, go to this link – https://www.canva.com/learn/canva-for-work-brand-fonts/ Examples: Serif Fonts: Sans Serif Fonts: Times New Roman Helvetica Cambria Arial Georgia Verdana Courier New Calibri Century Schoolbook 2. Establish a visual hierarchy – Use fonts to separate different types of information and guide the reader - Use different fonts, sizes, weights (boldness), and even color - Example: Heading (Helvetica, SZ 22, Bold) Sub-heading (Helvetica, SZ 16, Italics) Body Text (Garamond, SZ 12, Regular) Captions (Garamond, SZ 10, Regular 3. Mix Serifs and Sans Serifs – This is one of the best ways to add visual interest to type. See in the above example how I combined Helvetica, a sans serif font, with Garamond, a serif font. 4. Create Contrast, Not Conflict: Fonts that are too dissimilar may not pair well together. Contrast is good, but fonts need a connecting element. Conflict Contrast 5. Use Fonts from the Same Family: These fonts were created to work together. For example, the fonts in the Arial or Courier families. 6. Limit Your Number of Fonts: No more than 2 or 3 is a good rule – for business cards, choose 2. 7. Trust Your Eye: These are not concrete rules – you will know if a design element works or not! . -
Opentype Postscript Fonts with Unusual Units-Per-Em Values
Luigi Scarso VOORJAAR 2010 73 OpenType PostScript fonts with unusual units-per-em values Abstract Symbola is an example of OpenType font with TrueType OpenType fonts with Postscript outline are usually defined outlines which has been designed to match the style of in a dimensionless workspace of 1000×1000 units per em Computer Modern font. (upm). Adobe Reader exhibits a strange behaviour with pdf documents that embed an OpenType PostScript font with A brief note about bitmap fonts: among others, Adobe unusual upm: this paper describes a solution implemented has published a “Glyph Bitmap Distribution Format by LuaTEX that resolves this problem. (BDF)” [2] and with fontforge it’s easy to convert a bdf font into an opentype one without outlines. A fairly Keywords complete bdf font is http://unifoundry.com/unifont-5.1 LuaTeX, ConTeXt Mark IV, OpenType, FontMatrix. .20080820.bdf.gz: this Vle can be converted to an Open- type format unifontmedium.otf with fontforge and it Introduction can inspected with showttf, a C program from [3]. Here is an example of glyph U+26A5 MALE AND FEMALE Opentype is a font format that encompasses three kinds SIGN: of widely used fonts: 1. outline fonts with cubic Bézier curves, sometimes Glyph 9887 ( uni26A5) starts at 492 length=17 referred to CFF fonts or PostScript fonts; height=12 width=8 sbX=4 sbY=10 advance=16 2. outline fonts with quadratic Bézier curve, sometimes Bit aligned referred to TrueType fonts; .....*** 3. bitmap fonts. ......** .....*.* Nowadays in digital typography an outline font is almost ..***... the only choice and no longer there is a relevant diUer- .*...*. -
CM-Super: Automatic Creation of Efficient Type 1 Fonts from Metafont
CM-Super: Automatic creation of efficient Type 1 fonts from METAFONT fonts Vladimir Volovich Voronezh State University Moskovsky prosp. 109/1, kv. 75, Voronezh 304077 Russia [email protected] Abstract In this article I describe making the CM-Super fonts: Type 1 fonts converted from METAFONT sources of various Computer Modern font families. The fonts contain a large number of glyphs covering writing in dozens of languages (Latin-based, Cyrillic-based, etc.) and provide outline replacements for the original METAFONT fonts. The CM-Super fonts were produced by tracing the high resolution bitmaps generated by METAFONT with the help of TEXtrace, optimizing and hinting the fonts with FontLab, and applying cleanups and optimizations with Perl scripts. 1 The idea behind the CM-Super fonts There exist free Type 1 versions of the original CM The Computer Modern (CM) fonts are the default fonts, provided by Blue Sky Research, Elsevier Sci- ence, IBM Corporation, the Society for Industrial and most commonly used text fonts with TEX. Orig- inally, CM fonts contained only basic Latin letters, and Applied Mathematics (SIAM), Springer-Verlag, and thus covered only the English language. There Y&Y and the American Mathematical Society, but are however a number of Computer Modern look- until not long ago there were no free Type 1 versions alike METAFONT fonts developed which cover other of other “CM look-alike” fonts available, which lim- languages and scripts. Just to name a few: ited their usage in PDF and PostScript target docu- ment formats. The CM-Super fonts were developed • EC and TC fonts, developed by J¨orgKnappen, to cover this gap. -
Apple Lisa Computer Font Charts
Apple Lisa Computer Font Charts Apple Lisa Computer Technical Information APPLE LISA COMPUTER FONT CHARTS Printed by David T. Craig Printed by: Macintosh Picture Printer 0.0.2 1998-12-06 Printed: 1998-12-15 17:06:07 Printed by David T. Craig Page 0000 of 0028 Apple Lisa Computer Font Charts Printed by David T. Craig Page 0001 of 0028 “Apple Lisa Font Chart 01/28.PIC” 16 KB 1998-12-13 dpi: 72h x 72v pix: 576h x 720v Apple Lisa Computer Font Charts Printed by David T. Craig Page 0002 of 0028 “Apple Lisa Font Chart 02/28.PIC” 22 KB 1998-12-13 dpi: 72h x 72v pix: 576h x 720v Apple Lisa Computer Font Charts Printed by David T. Craig Page 0003 of 0028 “Apple Lisa Font Chart 03/28.PIC” 12 KB 1998-12-13 dpi: 72h x 72v pix: 576h x 720v Apple Lisa Computer Font Charts Printed by David T. Craig Page 0004 of 0028 “Apple Lisa Font Chart 04/28.PIC” 14 KB 1998-12-13 dpi: 72h x 72v pix: 576h x 720v Apple Lisa Computer Font Charts Printed by David T. Craig Page 0005 of 0028 “Apple Lisa Font Chart 05/28.PIC” 16 KB 1998-12-13 dpi: 72h x 72v pix: 576h x 720v Apple Lisa Computer Font Charts Printed by David T. Craig Page 0006 of 0028 “Apple Lisa Font Chart 06/28.PIC” 21 KB 1998-12-13 dpi: 72h x 72v pix: 576h x 720v Apple Lisa Computer Font Charts Printed by David T. -
0321722132.Pdf
Stunning CSS3: A project-based guide to the latest in CSS Zoe Mickley Gillenwater New Riders 1249 Eighth Street Berkeley, CA 94710 (510) 524-2178 Fax: (510) 524-2221 Find us on the Web at www.newriders.com To report errors, please send a note to [email protected] New Riders is an imprint of Peachpit, a division of Pearson Education Copyright © 2011 by Zoe Gillenwater Acquisitions Editor: Wendy Sharp Production Editor: Hilal Sala Project/Copy Editor: Wendy Katz Technical Editor: Chris Mills Cover design: Charlene Charles-Will Interior design: Mimi Heft, Charlene Charles-Will Compositor: Danielle Foster Indexer: Emily Glossbrenner Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact [email protected]. Notice of Liability The information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor New Riders shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks Acrobat, Dreamweaver, Fireworks, and Photoshop are all trademarks or registered trade- marks of Adobe Systems, Inc. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks.