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Art, Philosophy, and the Philosophy Of
NATIONAL E N D O W M E N T FOR THE HUMANITIES VOLUME 4 NUMBER 1 FEBRUARY 1983 Humanities Art, Philosophy, and the Philosophy of Art period of Abstract Expressionism, ward behavior might be indistin when decisions for or against The guishable between the two. In all these Image were fraught with an almost cases one must seek the differences religious agony, the crass and casual outside the juxtaposed and puzzling use of tacky images by the new examples, and this is no less the case artists seemed irreverent and juve when seeking to account for the dif nile. But the Warhol show raised a ferences between works of art and question which was intoxicating and mere real things which happen immediately philosophical, namely exactly to resemble them. why were his boxes works of art This problem could have been while the almost indistinguishable raised at any time, and not just with utilitarian cartons were merely con the somewhat minimal sorts of tainers for soap pads? Certainly the works one might suspect the Brillo minor observable differences could Boxes to be. It was always conceiva not ground as grand a distinction as ble that exact counterparts to the that between Art and Reality! most prized and revered works of BY ARTHUR C. DANTO A philosophical question arises art could have come about in ways Not very many years ago, whenever we have two objects inconsistent with their being works aesthetics—understood as the phi which seem in every relevant par at all, though no observable differ losophy of art—was regarded as the ticular to be alike, but which belong ences could be found. -
Style Sheets CSS
P1: OSO/OVY P2: OSO/OVY QC: OSO/OVY T1: OSO GTBL013-03 GTBL013-Jackson-v10 July 12, 2006 10:36 CHAPTER 3 Style Sheets CSS As we have learned, HTML markup can be used to indicate both the semantics of a document (e.g., which parts are elements of lists) and its presentation (e.g., which words should be italicized). However, as noted in the previous chapter, it is advisable to use markup predominantly for indicating the semantics of a document and to use a separate mechanism to determine exactly how information contained in the document should be presented. Style sheets provide such a mechanism. This chapter presents basic information about Cascading Style Sheets (CSS), a style sheet technology designed to work with HTML and XML documents. CSS provides a great deal of control over the presentation of a document, but to exercise this control intelligently requires an understanding of a number of features. And, while you as a software developer may not be particularly interested in getting your web page to look “just so,” many web software developers are members of teams that include professional web page designers, some of whom may have precise presentation require- ments. Thus, while I have tried to focus on what I consider key features of CSS, I’ve also included a number of finer points that I believe may be more useful to you in the future than you might expect on first reading. While CSS is used extensively to style HTML documents, it is not the only style- related web technology. -
Ordinance No. 04-61
.. 200500022607 BEST POSSIBLE IMAGE Filed for Record in HAMILTON COUNTY, INDIANA ALL PAGES JENNIFER J HAYDEN 0~-18-2OQ5 At 12'~7 >•• ORDINANCE 101.00 I ORDINANCE NO. 04-61 , AN ORDINANCE OF THE TOWN OF WESTFIELD CONCERNING AMENDMENT TO TITLE 16- LAND USE CONTROLS WHEREAS, The Town ofWeslfield, Indiana and the Township of Washington, both of Hamilton County, Indiana are subject to the Westfield Washington Township Zoning Ordinance; and WHEREAS, the Westfield-Washington Township Plan Commission ("Commission") considered a petition (docket 0310-PUD-06) filed with the Commission to rezone certain lands; and WHEREAS, the Westfield Washington Township Plan Commission did take action to forward the request to the Westfield town Council with a negative recommendation under the provision onc 36-7-4-605; and WHEREAS, the Secretary of the Commission certified the action of the commission to the Town Council on January 27, 2004; and WHEREAS, the Weslfield Town Council is subject to the provisions onc 36-7-4-608(t) or IC36-7-4-608(g) concerning any action on requests forwarded by the Advisory Plan Commission. NOW THEREFORE BE IT ORDAINED BY THE WESTFIELD TOWN COUNCIL THAT TITLE 16 OF THE WESTFIELD CODE OF ORDINANCE BE AMENDED AS FOLLOWS: SECTION 1. WC-16-04.Zoningmaps amended as follows: The Zoning Map accompanying and made a part of the Zoning Ordinance is amended to reclassifY the real estate described in the attachment "West Oak Planned Unit Development" hereto (Real Estate) wm EI to EI-PUD This real estate being subject to commitments and standards as detailed in the attachment "Westoak Industrial Park Planned unit Development District" 4/612004 Ordinance 04-01 SECTION 2. -
Graphic Standards Manual
Graphic Standards Manual To help Oregonians in their own communities achieve wellbeing and independence through opportunities that protect, empower, respect choice and preserve dignity. Safety, health and independence for all Oregonians DHS 2022 GRAPHIC STANDARDS Contents The brand ..........................................................................................................1 Project requests ................................................................................................2 The logo ......................................................................................................... 4-6 Co-branding .......................................................................................................7 Colors .................................................................................................................8 Program, office identification samples and email signature ..........................9 Fonts ...........................................................................................................10 -11 Americans with Disabilities Act basics .......................................................... 12 General readability .......................................................................................... 13 Alternate format and discrimination statement ............................................14 Accommodations ............................................................................................15 Stationary ....................................................................................................... -
Cascading Style Sheets Level 2 Revision 1 (CSS 2.1) Specification
Cascading Style Sheets Level 2 Revision 1 (CSS 2.1) Specification W3C Recommendation 07 June 2011, edited in place 12 April 2016 to point to new work This version: http://www.w3.org/TR/2011/REC-CSS2-20110607 Latest version: http://www.w3.org/TR/CSS2 Previous versions: http://www.w3.org/TR/2011/PR-CSS2-20110412 http://www.w3.org/TR/2008/REC-CSS2-20080411/ Latest editor's draft: http://dev.w3.org/csswg/css2/ Editors: Bert Bos <BERT @w3.org> Tantek Çelik <TANTEK @cs.stanford.edu> Ian Hickson <IAN @hixie.ch> Håkon Wium Lie <HOWCOME @opera.com> Please refer to the errata for this document. This document is also available in these non-normative formats: plain text, gzip'ed tar file, zip file, gzip'ed PostScript, PDF. See also translations. Copyright © 2011 W3C® (MIT, ERCIM, Keio), All Rights Reserved. W3C LIABILITY, TRADEMARK AND DOCUMENT USE rules apply. Abstract This specification defines Cascading Style Sheets, level 2 revision 1 (CSS 2.1). CSS 2.1 is a style sheet language that allows authors and users to attach style (e.g., fonts and spac- ing) to structured documents (e.g., HTML documents and XML applications). By separating the presentation style of documents from the content of documents, CSS 2.1 simplifies Web authoring and site maintenance. CSS 2.1 builds on CSS2 [CSS2] p. 284 which builds on CSS1 [CSS1] p. 283. It supports media-specific style sheets so that authors may tailor the presentation of their documents to visual browsers, aural devices, printers, braille devices, handheld devices, etc. It also sup- ports content positioning, table layout, features for internationalization and some properties related to user interface. -
1Lesson 1: Markup Language and Site Development Essentials
1Lesson 1: Markup Language and Site Development Essentials Objectives By the end of this lesson, you will be able to: 2.1.1: Relate the history of markup languages to current techniques and technologies, including Standard Generalized Markup Language (SGML), previous versions of Hypertext Markup Language (HTML). 2.1.2: Identify the format and various versions of HTML, including HTML 4.01, Extensible HTML (XHTML), HTML5. 2.1.8: Explain the importance of consistently developing to a single W3C standard (e.g., HTML5). 2.6.1: Describe the functionality of XML. 2.7.1: Obtain input from stakeholders about acceptable technologies and color combinations. 2.7.2: Create an initial Web site diagram (i.e., a story board or prototype), and translate it into a site map. 2.7.3: Verify compliance with government and industry accessibility standards, including W3C Web Accessibility Initiative (WAI), U.S. Government Section 508, Americans with Disabilities Act (ADA). 2.7.4: Validate Web page design according to technical and audience standards adopted by employers. 2.7.5: Verify Web site usability, viewability and browser compatibility. 2.12.1: Test and validate Web documents. 2.12.3: Test Web pages in multiple browsers. 2.13.1: Work as a team member to develop pages and sites. 1-2 Site Development Associate 2.13.2: Collaborate with technical (e.g., IT) and non-technical (e.g., marketing) members of the organization to ensure sites meet requirements. 2.13.3: Determine information and audience requirements for a site, including stakeholders such as customers, employees, shareholders, suppliers. 2.13.4: Document a Web site plan. -
The Brill Typeface User Guide & Complete List of Characters
The Brill Typeface User Guide & Complete List of Characters Version 2.06, October 31, 2014 Pim Rietbroek Preamble Few typefaces – if any – allow the user to access every Latin character, every IPA character, every diacritic, and to have these combine in a typographically satisfactory manner, in a range of styles (roman, italic, and more); even fewer add full support for Greek, both modern and ancient, with specialised characters that papyrologists and epigraphers need; not to mention coverage of the Slavic languages in the Cyrillic range. The Brill typeface aims to do just that, and to be a tool for all scholars in the humanities; for Brill’s authors and editors; for Brill’s staff and service providers; and finally, for anyone in need of this tool, as long as it is not used for any commercial gain.* There are several fonts in different styles, each of which has the same set of characters as all the others. The Unicode Standard is rigorously adhered to: there is no dependence on the Private Use Area (PUA), as it happens frequently in other fonts with regard to characters carrying rare diacritics or combinations of diacritics. Instead, all alphabetic characters can carry any diacritic or combination of diacritics, even stacked, with automatic correct positioning. This is made possible by the inclusion of all of Unicode’s combining characters and by the application of extensive OpenType Glyph Positioning programming. Credits The Brill fonts are an original design by John Hudson of Tiro Typeworks. Alice Savoie contributed to Brill bold and bold italic. The black-letter (‘Fraktur’) range of characters was made by Karsten Lücke. -
Type Anatomy Type Classifications Type Height Measurements
California State University, Sacramento Department of Design College of Arts and Letters fall 2014 course # and title: GPHD 130 Typography II Instructor: John P. Forrest Jr. Type Classifications Type Anatomy Type Height Measurements California State University, Sacramento Department of Design College of Arts and Letters fall 2014 course # and title: GPHD 130 Typography II Instructor: John P. Forrest Jr. Terms Ascender Kerning Stroke on a lowercase letter that rises above the meanline. In typesetting, the process of subtracting space between spe- cific pairs of characters so that the overall letterspacing appears Baseline to be even. An imaginary horizontal line upon which the base of each capital letter rests. Leading In early typesetting, strips of lead were placed between lines of Cap height type for spacing, hence the term. The vertical distance between Height of the capital letters, measured from the baseline to the two lines of type measured from baseline to baseline. capline. Meanline Capline An imaginary line marking the tops of lowercase letters, not Imaginary horizontal line defined by the height of the including the ascenders. capital letters. Pica Counter Typographic unit of measurement: 12 points equal 1 pica. Six Space enclosed by the strokes of a letter form picas equal approximately one inch. Line lengths and column widths are sometimes measured in picas. Descender Stroke on a lowercase letter form that falls below the baseline. Point A measure of size used principally in typesetting. One point is Display type equal to 1/12 of a pica, or approximately 1/72 or an inch. It is Type sizes 14 point and above, used primarily for headlines and most often used to indicate the size of type or amount of lead- titles. -
Access Ability 2: a Practical Handbook on Accessible Graphic Design
ACCESS ABILITY A Practical Handbook on Accessible Graphic Design 2Revised + supeRsized Second edition This handbook was produced by the Association of Registered Graphic Designers with support from the Government of Ontario. The Accessibility for Ontarians with Disabilities Act, 2005 is the foundation for making Ontario more accessible. The Act establishes authority for the government of Ontario to supervise and review the legislation. The government also conducts outreach and education about accessibility laws and promotes the benefits of hiring people with disabilities. facebook.com/ONaccessibility youtube.com/ONgov twitter.com/ONaccessibility ontario.ca/accessibility © 2019 The Association of Registered Graphic Designers (RGd) 96 Spadina Avenue, Suite 210, Toronto ON M5v 2J6 Canada No part of this book may be reproduced in any form or by electronic or mechanical means, including information storage and retrieval systems, without the written permission the The Association of Registered Graphic Designers, the designers or any individual or corporate entity holding the copyright to this work. All work reproduced in this book has been accepted on the condition that it is reproduced with the knowledge and prior consent of the actual owner of the image; consequently no responsibility is accepted by The Association of Registered Graphic Designers for any infringement of copyright arising out of publication thereof. veRsion 2.0.1. Made in Canada. Access Ability 2 . A Practical Handbook on Accessible Graphic Design. Revised + Supersized Second Edition. Adam Rallo RGd · Eric Forest RGd · James Kuo RGd · Randal Boutilier RGd · Edmund Li RGd Contents. 3. Introduction. 33. Digital Media. 67. Physical Media. 34. Digital Accessibility. 68. Print Design. -
The Typographer's Glossary
The Typographer’s Glossary Common Type Terminology - – — ÷ •••• •••• ···· ···· r Aa Aa the typographer’s glossary Common Type Terminology A as in Ascender accents See Diacritics. alternates Different shapes (or glyphs) for the same character in a typeface, for example small caps, swash characters, contextual alternates, case-sensitive forms, etc. When alternates are built-in as OpenType features, certain (older) operating systems and applications will not be able to access them. alternates example: fonts used: ff meta ff dingbats 2.0 ministry script type glossary | abcdefghijklmnopqrstuvwxyz www.fontshop.com toll free at 888 ff fonts 415.252.1003 Aperture The aperture is the partially enclosed, somewhat rounded negative space in some characters such as ‘C’, ‘S’, the lower part of ‘e’, or the upper part of a double-storey ‘a’. aperture example: Y fonts used: amplitude Y ff dingbats 2.0 a nY e ascender Any part in a lowercase letter that extends above the x-height, found for example in b, d, f, h, k, etc. Some types of ascenders have specific names. ascender example: Y Y font used: leitura news Handglove axis An imaginary line drawn from top to bottom of a glyph bisecting the upper and lower strokes is the axis. type glossary | abcdefghijklmnopqrstuvwxyz www.fontshop.com toll free at 888 ff fonts 415.252.1003 Bb Bb the typographer’s glossary Common Type Terminology B as in Baseline balt (baltic) (appended to a font or volume name) Language support; includes all necessary accents and characters for Estonian, Latvian, and Lithuanian (also included in CE – for Mac only). The supported languages may vary a little depending on the foundry. -
Cascading Style Sheets for PGDCA HTML Styles – CSS Cascading Style Sheets (CSS) Is a Style Sheet Language Used for Describing
Cascading Style Sheets for PGDCA Semester –II PGDCA-204 By: Arshdeep Singh, University computer centre HTML Styles – CSS Cascading Style Sheets (CSS) is a style sheet language used for describing the presentation of a document written in a markup language like HTML. CSS is a cornerstone technology of the World Wide Web, alongside HTML and JavaScript. CSS describes how HTML elements are to be displayed on screen, paper, or in other media. CSS can be added to HTML elements in 3 ways: Inline - by using the style attribute in HTML elements Internal - by using a <style> element in the <head> section External - by using an external CSS file Inline CSS An inline CSS is used to apply a unique style to a single HTML element and uses the style attribute of an HTML element. Example: <!DOCTYPE html> <html> <body> <h1 style="color:blue;">This is a red Heading</h1> </body> </html> Result in browser: This is a Blue Heading Internal CSS The internal style sheet is used to add a unique style for a single document. It is defined in <head> section of the HTML page inside the <style> tag. ... With Internal style sheets, you can style the visited, hover, active, and link color of an anchor tag. But in the Internal CSS, we can not control styles for multiple documents at once. Internal style Sheet is applicable to the Page in which it is included. Internal Style Sheet is used to style individual page. It’s impossible to style "pseudo-elements" and classes with inline styles. With Internal style sheets, you can style the visited, hover, active, and link color of an anchor tag. -
Automated Extraction of Mixins in Cascading Style Sheets Alan Charpentier, Jean-Rémy Falleri, Laurent Réveillère
Automated Extraction of Mixins in Cascading Style Sheets Alan Charpentier, Jean-Rémy Falleri, Laurent Réveillère To cite this version: Alan Charpentier, Jean-Rémy Falleri, Laurent Réveillère. Automated Extraction of Mixins in Cas- cading Style Sheets. 32rd IEEE International Conference on Software Maintenance and Evolution (ICSME), Oct 2016, Raleigh, United States. pp.56-66, 10.1109/ICSME.2016.15. hal-02182065 HAL Id: hal-02182065 https://hal.archives-ouvertes.fr/hal-02182065 Submitted on 6 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Automated Extraction of Mixins in Cascading Style Sheets Alan Charpentier, Jean-Rémy Falleri and Laurent Réveillère University of Bordeaux LaBRI, UMR 5800 F-33400, Talence, France Email: {acharpen,falleri,reveillere}@labri.fr Abstract—Cascading style sheets (CSS) is a language that projects such as Bootstrap3 and Foundation4, the two most describes the presentation of web documents. CSS is widely popular CSS frameworks. However, many applications still adopted in web development and it is now common for web rely on low level CSS code. A recent survey5 with more than projects to have several thousands of CSS lines of code. Because the language lacks advanced features to allow code reuse, several 13; 000 responses from web developers showed that almost languages such as Sass and Less have emerged as extensions to half of them do not use CSS preprocessors.