The Typeface Package Was Not Instructed About Font Scaling
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Download Fedra Sans Bold
Download fedra sans bold click here to download Download Fedra Sans Std Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans Expert Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans SC Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download fedra sans std bold font with bold style. Download free fonts for Mac, Windows and Linux. All fonts are in TrueType format. Download fedra sans std bold font for Windows, Linux and Mac free at www.doorway.ru - database of around free OpenType and TrueType. Fedra Sans Book ItalicMacromedia Fontographer 4. 1 Fedra Sans Book ItalicFedra Sans Book ItalicMacromedia Fontographer 4. 1 Fedra Sans Pro-Bold. Download OTF. Similar. Fedra Sans Pro-Bold Italic · Fedra Sans Pro Light Light · Fedra Sans Pro Normal Normal · Fedra Sans Pro-Book. Fedra Sans was originally commissioned by Paris-based Ruedi Baur Integral Design and developed as a corporate font for Bayerische Rück, a German. Fedra Sans: Fedra Sans is a contemporary sans serif, highly legible, font Fedra Sans Medium Italic px Fedra Sans Bold Italic px . Is there any reason to make new fonts when there are so many already available for downloading? Fedra Sans is a typeface designed by Peter Bil'ak, and is available for Desktop. Try, buy and download these fonts now! Bold SC Italic. Büroflächen. Bold TF. Font Fedra Sans Std Normal font download free at www.doorway.ru, the largest collection of cool fonts for Fedra Sans Std Bold Italic font. -
Smashing Ebook
IMPRINT Imprint © 2014 Smashing Magazine GmbH, Freiburg, Germany ISBN (PDF): 978-3-94454087-0 Cover Design: Veerle Pieters eBook Strategy and Editing: Vitaly Friedman Technical Editing: Cosima Mielke Planning and Quality Control: Vitaly Friedman, Iris Lješnjanin Tools: Elja Friedman Syntax Highlighting: Prism by Lea Verou Idea & Concept: Smashing Magazine GmbH 2 About This Book Slow loading times break the user experience of any web- site—no matter how well crafted it might be. In fact, it only takes three seconds until users lose their interest in a site if they don’t get a response immediately. If another site happens to be 250ms faster than yours, then users are more inclined to switch to a competitor’s website in no time. Web fonts, heavy JavaScript, third-party widgets — all of them can sum up to become a real performance bot- tleneck. Nevertheless, tracking that down does not only improve loading times but also results in a much snappi- er experience and a higher user engagement. In this eBook, we’ve compiled an entire selection of front-end and server-side techniques that will help you tackle such bottlenecks. Find out how to speed up exist- ing websites, build high-performance sites (for both mo- bile and desktop), and prepare them for heavy-load situa- tions. Furthermore, you’ll learn more about how perfor- mance improvements and a 97–99 Google PageSpeed score were achieved on Smashing Magazine, as well as how optimization strategies can enhance real-life projects by taking a closer look at Pinterest’s paint performance case study. -
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer Me dia De s ign Re s e arch Pie t Z w art Ins titute ins titute for pos tgraduate s tudie s and re s e arch W ille m de Kooning Acade m y H oge s ch ool Rotte rdam 3 ABSTRACT: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and exper- imental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that en- compasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persis- tence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh. Media Design Research Piet Zwart Institute institute for postgraduate studies and research Willem de Kooning Academy Hogeschool Rotterdam http://www.pzwart.wdka.hro.nl The author wishes to thank Piet Zwart Institute Media Design Research for the fellowship on which this book was written. Editor: Matthew Fuller, additional corrections: T. Peal Typeset by Florian Cramer with LaTeX using the amsbook document class and the Bitstream Charter typeface. Front illustration: Permutation table for the pronounciation of God’s name, from Abraham Abulafia’s Or HaSeichel (The Light of the Intellect), 13th century c 2005 Florian Cramer, Piet Zwart Institute Permission is granted to copy, distribute and/or modify this document under the terms of any of the following licenses: (1) the GNU General Public License as published by the Free Software Foun- dation; either version 2 of the License, or any later version. -
Dockerdocker
X86 Exagear Emulation • Android Gaming • Meta Package Installation Year Two Issue #14 Feb 2015 ODROIDMagazine DockerDocker OS Spotlight: Deploying ready-to-use Ubuntu Studio containers for running complex system environments • Interfacing ODROID-C1 with 16 Channel Relay Play with the Weather Board • ODROID-C1 Minimal Install • Device Configuration for Android Development • Remote Desktop using Guacamole What we stand for. We strive to symbolize the edge of technology, future, youth, humanity, and engineering. Our philosophy is based on Developers. And our efforts to keep close relationships with developers around the world. For that, you can always count on having the quality and sophistication that is the hallmark of our products. Simple, modern and distinctive. So you can have the best to accomplish everything you can dream of. We are now shipping the ODROID U3 devices to EU countries! Come and visit our online store to shop! Address: Max-Pollin-Straße 1 85104 Pförring Germany Telephone & Fax phone : +49 (0) 8403 / 920-920 email : [email protected] Our ODROID products can be found at http://bit.ly/1tXPXwe EDITORIAL ow that ODROID Magazine is in its second year, we’ve ex- panded into several social networks in order to make it Neasier for you to ask questions, suggest topics, send article submissions, and be notified whenever the latest issue has been posted. Check out our Google+ page at http://bit.ly/1D7ds9u, our Reddit forum at http://bit. ly/1DyClsP, and our Hardkernel subforum at http://bit.ly/1E66Tm6. If you’ve been following the recent Docker trends, you’ll be excited to find out about some of the pre-built Docker images available for the ODROID, detailed in the second part of our Docker series that began last month. -
Design One Project Three Introduced October 21. Due November 11
Design One Project Three Introduced October 21. Due November 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used, or the evolving fashion of design. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. The second poster will present a visual analogy of the typeface, that combines both type and image, to broaden the viewer’s knowledge of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write a minimum150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer. -
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 -
Pietro Bembo and Standards for Oral and Written Discourse: the Forensic, Dialectical, and Vernacular Influences on Renaissance Thought
DOCUMENT RESUME ED 254 894 CS 504 879 AUTHOR Wiethoff, William E. TITLE Pietro Bembo and Standards for Oral and Written Discourse: The Forensic, Dialectical, and Vernacular Influences on Renaissance Thought. PUB DATE Apr 85 NOTE 29p.; Paper presented at the Annual Meeting of the Central States Speech Association (Indianapolis, IN, April 4-6, 1985). PUB TYPE Speeches/Conference Papers (150) Information Analyses (070) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Communication Skills; *Discourse Analysis; *Renaissance Literature; *Rhetoric; *Rhetorical Criticism; Speech Communication; *Standards; Theories; Writing (Composition) IDENTIFIERS *Bembo (Pietro); *Speaking Writing Relationship ABSTRACT Traditional assumptions about oral and written discourse persist among various philosophers ,and critics., Careful examination of the context for traditional assumptions, however, suggests that current scholarship should pursue altered lines of inquiry. Peculiar influences on Renaissance standards of purpose, style, and theme illustrate the nature of the problem, especially the works of Pietro Bembo, a Renaissance humanist chancellor and religious administrator. First, his forensic priorities in the principles and practice of rhetoric focused critical attention on a limited setting and purpose of discourse. Second, although written communications were customarily designed for oral proclamation, Renaissance developments in dialectic stressed the written word and promoted practical training in communicative skills outside rhetorical -
Ubuntu Kung Fu
Prepared exclusively for Alison Tyler Download at Boykma.Com What readers are saying about Ubuntu Kung Fu Ubuntu Kung Fu is excellent. The tips are fun and the hope of discov- ering hidden gems makes it a worthwhile task. John Southern Former editor of Linux Magazine I enjoyed Ubuntu Kung Fu and learned some new things. I would rec- ommend this book—nice tips and a lot of fun to be had. Carthik Sharma Creator of the Ubuntu Blog (http://ubuntu.wordpress.com) Wow! There are some great tips here! I have used Ubuntu since April 2005, starting with version 5.04. I found much in this book to inspire me and to teach me, and it answered lingering questions I didn’t know I had. The book is a good resource that I will gladly recommend to both newcomers and veteran users. Matthew Helmke Administrator, Ubuntu Forums Ubuntu Kung Fu is a fantastic compendium of useful, uncommon Ubuntu knowledge. Eric Hewitt Consultant, LiveLogic, LLC Prepared exclusively for Alison Tyler Download at Boykma.Com Ubuntu Kung Fu Tips, Tricks, Hints, and Hacks Keir Thomas The Pragmatic Bookshelf Raleigh, North Carolina Dallas, Texas Prepared exclusively for Alison Tyler Download at Boykma.Com Many of the designations used by manufacturers and sellers to distinguish their prod- ucts are claimed as trademarks. Where those designations appear in this book, and The Pragmatic Programmers, LLC was aware of a trademark claim, the designations have been printed in initial capital letters or in all capitals. The Pragmatic Starter Kit, The Pragmatic Programmer, Pragmatic Programming, Pragmatic Bookshelf and the linking g device are trademarks of The Pragmatic Programmers, LLC. -
Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles
Bitstream Fonts in May 2005 at http://www.myfonts.com/fonts/bitstream totaling 350 font families with a total of 1357 font styles The former Bitstream typeface libraries consisted mainly of forgeries of Linotype fonts and of ITC fonts. See the list below on the pages 24–29 about the old Bitstream Typeface Library of 1992. The 2005 Bitstream typeface library contains the same forgeries of Linotype fonts as formerly and also the same ITC fonts, but it also includes a lot of new mediocre „rubbish fonts“ (e.g. „Alphabet Soup“, „Arkeo“, „Big Limbo“), but also a few new quality fonts (e.g. „Drescher Grotesk“, „Prima Serif“ etc.). On the other hand, a few old fonts (e.g. „Caxton“) were removed. See the list below on pages 1–23. The typeface collection of CorelDraw comprises almost the entire former old Bitstream typeface library (see the list below on pages 24–29) with the following exceptions: 1. A few (ca. 3) forgeries of Linotype fonts are missing in the CorelDraw font collections, e.g. the fonts „Baskerville No. 2“ (= Linotype Baskerville No. 2), „Italian Garamond“ (= Linotype Garamond Simoncini), and „Revival 555“ (= Linotype Horley Old Style). 2. A lot (ca. 11) of ITC fonts are not contained in the CorelDraw font collections, e.g. „ITC Berkeley Oldstyle“, „ITC Century“, „ITC Clearface“, „ITC Isbell“, „ITC Italia“, „ITC Modern No. 216“, „ITC Ronda“, „ITC Serif Gothic“, „ITC Tom’s Roman“, „ITC Zapf Book“, and „ITC Zapf International“. Ulrich Stiehl, Heidelberg 3-May 2005 Aachen – 2 styles Ad Lib™ – 1 styles Aerospace Pi – 1 styles Aldine -
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. -
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.