Micro-Typographic Extensions of Pdftex in Practice
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The Hanging Package∗
The hanging package∗ Author: Peter Wilson, Herries Press Maintainer: Will Robertson will dot robertson at latex-project dot org 2009/09/02 Abstract The hanging package provides facilities for defining hanging paragraphs and hanging punctuation. Contents 1 Introduction 1 2 The hanging package 2 2.1 Hanging paragraphs . 2 2.2 Hanging punctuation . 2 3 The package code 3 3.1 Hanging paragraphs . 4 3.2 Hanging punctuation . 4 1 Introduction Some authors may wish to use hanging paragraphs in their documents. Normally only the first line of a paragraph is indented. A hanging paragraph is a paragraph like this one where lines other than the first have indentation. Other au- thors might wish to use hanging punctuation. In this style of typesetting punctuation marks that come at either the start or end of a line are typeset outside the normal text block. The hanging package provides facilities for both hanging paragraphs and hang- ing punctuation. This manual is typeset according to the conventions of the LATEX doc- strip utility which enables the automatic extraction of the LATEX macro source files [GMS94]. ∗This file (hanging.dtx) has version number v1.2b, last revised 2009/09/02. 1 Section 2 describes the usage of the package. Commented source code for the package is in Section 3. 2 The hanging package 2.1 Hanging paragraphs The hanging package provides a command for producing a single hanging para- graph and an environment for typesetting a series of hanging paragraphs. \hangpara The command \hangpara{hindenti}{hafternumi} placed at the start of a para- graph will cause it to be typeset as a hanging paragraph. -
Format Guide
FORMAT GUIDE OVERVIEW 139 GENERAL GUIDELINES 134 ELECTRONIC RÉSUMÉ GUIDELINES 140 STANDARDS OF MAILABILITY 140 FAIR USE GUIDELINES FOR EDUCATIONAL USE 141 AGENDA 142 ITINERARY 143 LABEL/ENVELOPE 144 BUSINESS LETTER 144 PERSONAL LETTER 145 LETTER WITH ADVANCED FEATURES 146 LETTER & MEMO SECOND PAGE 146 EMAIL 147 MEMORANDUM 148 NEWS RELEASE 149 MINUTES 150 OUTLINE 151 REPORT 152 REPORT CONTINUED 153 ENDNOTE PAGE 153 CITATIONS 154 REFERENCE PAGE 155 TABLES 156 ELECTRONIC RÉSUMÉ 157 TABLE OF CONTENTS 158 Revised 2014 Copyright FBLA-PBL 2014. All Rights Reserved. Designed by: FBLA-PBL, Inc CHAPTER MANAGEMENT HANDBOOK | 137 138 | FBLA-PBL.ORG OVERVIEW In today’s business world, communication is consistently expressed through writing. Successful businesses require a consistent message throughout the organization. A foundation of this strategy is the use of a format guide, which enables a corporation to maintain a uniform image through all its communications. Use this guide to prepare for Computer Applications and Word Processing skill events. GENERAL GUIDELINES Font Size: 11 or 12 Font Style: Times New Roman, Arial, Calibri, or Cambria Spacing: 1 space after punctuation ending a sentence (stay consistent within the document) 1 space after a semicolon 1 space after a comma 1 space after a colon (stay consistent within the document) 1 space between state abbreviation and zip code Letters: Block Style with Open Punctuation Top Margin: 2 inches Side and Bottom Margins: 1 inch Bulleted Lists: Single space individual items; double space between items -
The Eye Has It: Optical Alignment and Hanging Punctuation Sometimes Little Things Can Make a Big Difference
InType: Alignment By Nigel French The Eye Has It: Optical Alignment and Hanging Punctuation Sometimes little things can make a big difference. When it comes to typography this is especially true. One of the simplest enhancements you can make to your type— especially if you’re working with justified type—is to use Optical Margin Alignment. What is Optical Margin Alignment? But today, with InDesign’s Optical Have you ever noticed how punctuation Margin Alignment, we can easily ensure at the margin of a text frame can make the that punctuation, as well as the edges of left or right sides of a column appear mis- letters, hangs outside the text frame or aligned? When a line begins with punctua- column margins so that the column edge T tion, like an opening quotation mark, or remains flush (Figure 1). ends with a comma, period, or hyphen, you This makes Optical Margin Alignment get a visual hole. Once, this was regarded as especially beneficial when working with the price of progress. We could do so much justified text, but even with left-aligned more with our page layout programs—did text, the first character of the line will “hang” Figure 1: The text is the same; the margin alignment is not. it matter that we had to forgo a few niceties? outside the text frame. INDESIGN MAGAZINE 43 August | September 2011 CONTENTS PREVIOUS NEXT FULL SCREEN 30 InType: Alignment T Optical margin alignment isn’t to eve- tool, choose Story from the ryone’s taste. Some consider the look of Type menu, check the box optically aligned text too fussy, preferring and you’re good to go. -
The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques
The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques A dissertation submitted to Birmingham City University in fulfilment of the requirement for the degree of Doctor of Philosophy in Art and Design By: Ahmad Saleh A. Almontasheri Director of the study: Professor Mohsen Aboutorabi 2017 1 Dedication My great mother, your constant wishes and prayers were accepted. Sadly, you will not hear of this success. Happily, you are always in the scene; in the depth of my heart. May Allah have mercy on your soul. Your faithful son: Ahmad 2 Acknowledgments I especially would like to express my appreciation of my supervisors, the director of this study, Professor Mohsen Aboutorabi, and the second supervisor Dr. Mohsen Keiany. As mentors, you have been invaluable to me. I would like to extend my gratitude to you all for encouraging me to conduct this research and give your valuable time, recommendations and support. The advice you have given me, both in my research and personal life, has been priceless. I am also thankful to the external and internal examiners for their acceptance and for their feedback, which made my defence a truly enjoyable moment, and also for their comments and suggestions. Prayers and wishes would go to the soul of my great mother, Fatimah Almontasheri, and my brother, Abdul Rahman, who were the first supporters from the outset of my study. May Allah have mercy on them. I would like to extend my thanks to my teachers Saad Saleh Almontasheri and Sulaiman Yahya Alhifdhi who supported me financially and emotionally during the research. -
The Selnolig Package: Selective Suppression of Typographic Ligatures*
The selnolig package: Selective suppression of typographic ligatures* Mico Loretan† 2015/10/26 Abstract The selnolig package suppresses typographic ligatures selectively, i.e., based on predefined search patterns. The search patterns focus on ligatures deemed inappropriate because they span morpheme boundaries. For example, the word shelfful, which is mentioned in the TEXbook as a word for which the ff ligature might be inappropriate, is automatically typeset as shelfful rather than as shelfful. For English and German language documents, the selnolig package provides extensive rules for the selective suppression of so-called “common” ligatures. These comprise the ff, fi, fl, ffi, and ffl ligatures as well as the ft and fft ligatures. Other f-ligatures, such as fb, fh, fj and fk, are suppressed globally, while making exceptions for names and words of non-English/German origin, such as Kafka and fjord. For English language documents, the package further provides ligature suppression rules for a number of so-called “discretionary” or “rare” ligatures, such as ct, st, and sp. The selnolig package requires use of the LuaLATEX format provided by a recent TEX distribution, e.g., TEXLive 2013 and MiKTEX 2.9. Contents 1 Introduction ........................................... 1 2 I’m in a hurry! How do I start using this package? . 3 2.1 How do I load the selnolig package? . 3 2.2 Any hints on how to get started with LuaLATEX?...................... 4 2.3 Anything else I need to do or know? . 5 3 The selnolig package’s approach to breaking up ligatures . 6 3.1 Free, derivational, and inflectional morphemes . -
Book Typography 101 at the End of This Session, Participants Should Be Able To: 1
3/21/2016 Objectives Book Typography 101 At the end of this session, participants should be able to: 1. Evaluate typeset pages for adherence Dick Margulis to traditional standards of good composition 2. Make sensible design recommendations to clients based on readability of text and clarity of communication © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services What is typography? Typography encompasses • The design and layout of the printed or virtual page • The selection of fonts • The specification of typesetting variables • The actual composition of text © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services What is typography? What is typography? The goal of good typography is to allow Typography that intrudes its own cleverness the unencumbered communication and interferes with the dialogue of the author’s meaning to the reader. between author and reader is almost always inappropriate. Assigned reading: “The Crystal Goblet,” by Beatrice Ward http://www.arts.ucsb.edu/faculty/reese/classes/artistsbooks/Beatrice%20Warde,%20The%20Crystal%20Goblet.pdf (or just google it) © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services 1 3/21/2016 How we read The basics • Saccades • Page size and margins The quick brown fox jumps over the lazy dog. Mary had a little lamb, a little bread, a little jam. • Line length and leading • Boules • Justification My very educated mother just served us nine. • Typeface My very educated mother just served us nine. -
Manuscripts Form Explanatory Notes.Pdf
1 Explanatory notes:1 Form for additions or corrections to PhiloBiblon MANUSCRIPTS Information related to manuscript description is available on any PhiloBiblon HELP page: http://bancroft.berkeley.edu/philobiblon/help_es.html (BETA) http://bancroft.berkeley.edu/philobiblon/help_po.html (BITAGAP) http://bancroft.berkeley.edu/philobiblon/help_ga.html (BITAGAP) http://bancroft.berkeley.edu/philobiblon/help_ca.html (BITECA) For codicological terminology, see Denis Muzerelle’s site (http://codicologia.irht.cnrs.fr ). For terminology in Portuguese, consult Maria Isabel Faria and Maria da Graça Pericão’s Dicionário do Livro. Da escrita ao livro electrónico, Coimbra: Almedina, 2008. (BITAGAP bibid 12314). Links to many databases relevant to manuscript description (bindings, codicology, paleography, ruling, watermarks, seals, etc.) appear in PhiloBiblon online, in RESOURCES. Bookmark this page in all of your browsers to facilitate quick consultation of useful resources. For the purposes of filling out this form, the term “manuscript” refers to the physical object in which a text is written, whether a book/codex or a loose piece of parchment. A manuscript might consist of hundreds of bound leaves, five gatherings, or a single sheet of paper. The term “manuscript” is used here for all of these. A factitious manuscript is comprised of several parts or sections of different provenance. It can include codicologically distinct quires (parchment and paper), leaves or gatherings copied in different eras, printed texts, etc. A separate form with a detailed description must be prepared for each part of the manuscript that contains an appropriate text for the relevant bibliography. Information for the entire manuscript is included only in the record for the first part, which has a manid. -
Adobe Garamond Pro
Adobe Garamond Pro a® a An Adobe® Original Adobe Garamond® Pro A contemporary typeface family based on the roman types of Claude Garamond and the italic types of Robert Granjon © Adobe Systems Incorporated. All rights reserved. For more information about OpenType®, please refer to Adobe’s web site at www.adobe.com/type/opentype is document was designed to be viewed on-screen or printed duplex and assembled as a booklet Adobe® Originals Adobe Systems Incorporated introduces Adobe Garamond Pro, a new font software package in the growing library of Adobe Originals typefaces, designed specifically for today’s digital technology. Since the inception of the Adobe Originals program in , the Adobe Originals typefaces have been consistently recognized throughout the world for their quality, originality, and practicality. ey combine the power of PostScript® language software technology and the most 23 sophisticated electronic design tools with the spirit of craftsmanship that has inspired type designers since Gutenberg. Comprising both new designs and revivals of classic typefaces, Adobe Originals font software has set a standard for typographic excellence. What is OpenType? Developed jointly by Adobe and Microsoft, OpenType® is a highly versatile new font file format that represents a signifi cant advance in type functionality on Macintosh and Windows® computers. Perhaps most exciting for designers and typographers is that OpenType fonts off er extended layout features that bring an unprecedented level of sophistication and control to contemporary typography. Because an OpenType typeface can incorporate all glyphs for a specifi c style and weight into a single font, the need for separate expert, alternate, swash, non-Latin, and other related sets is elimi- nated. -
Building Other Custom Screens
Building Other Custom Screens Overview Advanced Custom Forms Overview Advanced Custom Forms provide you more control over the look and layout of the form that users will be accessing to enter data. You can access Advanced Custom Forms by expanding the Custom Form from the Custom Form main screen. Advanced Custom Forms To begin building an Advanced Custom Forms screen, click the Add Advanced Form link. The Advanced Custom Form Maintenance screen will display. Enter a Name for the screen and begin adding content to the form. We will now review one section at a time, as well as the buttons/options on the Advanced Custom Form Maintenance screen. System: This field cannot be edited. It is based on the type of Custom Form you are working in. Name: This is the name of the Advanced Custom Form and is the name that users will see when trying to access the information. Layout: Click this button to toggle the orientation of the form between Portrait (the default) or Landscape. This effects how the form will print when sent to a printer. Table: The options under here are to be used if using a table on the form. You would want your cursor placed in the row you wish to work with, and then you can select to Clone a Row, Delete a Row, or Delete to Last Row which will remove the row with your cursor, and all rows of the table below it. Fields: This is where you can access all of the available Skyward fields and Custom Fields created for the form and choose to add them to your form. -
The Deer Scroll by Kōetsu and Sōtatsu
The Deer Scroll by Kōetsu and Sōtatsu Reappraised Golden Week Lecture Series— Four Masterpieces of Japanese Painting: A Symposium Miyeko Murase, Former Consultant for Japanese Art, Metropolitan Museum of Art and the Takeo and Itsuko Atsumi Professor Emerita, Columbia University Poem Scroll with Deer (part), Hon’ami Kōestu and Tawaraya Sōtatsu, early 17th century, handscroll, ink, gold and silver on paper, 13 3/8 x 372 in., Gift of Mrs. E. Frederick, 51.127 It has been quite some years since I last spoke here at this museum, so many in fact that I have lost count. It is really wonderful to be back, and I want to thank director Mimi Gates and curator Yukiko Shirahara, who invited me to speak today on the world-famous Deer Scroll by Sōtatsu and Kōetsu. This proud possession of the Seattle Art Museum is one of the most beautiful paintings ever created by Japanese artists.1 The scroll just came back from Japan after extensive restorative work. Although the handscroll itself does not bear any title, it is generally known as the Deer Scroll because the entire scroll is filled with images of deer, which are shown either singly, in couples, or in large herds. The animals are painted only in gold and/or silver ink, as is the very simple setting of sky, mist, and ground. As you may have noticed, these beautiful pictures of deer are really a background for the equally exquisite writings of waka poems in black ink. Here we have a symphony of three arts - poetry, painting, and calligraphy - as a testimonial to the ancient credo of Asia that these three arts occupy an equally important place in life and culture. -
GAMUT Editor Aids
GAMUT Editor Aids // 1 // SYMBOLS OF THE UPPER TOOLBAR // WITH THESE SYMBOLS . YOU TRIGGER THESE ACTIONS » Font Size » Use the dropdown to select the font size » Text Color » Change the color of the selected text » Background Color » Change the background color (highlight) of the selected text » Bold » Apply bold formatting to the selected text » Italic » Apply italic formatting to the selected text » Underline » Apply underline formatting to the selected text » Strikethrough » Apply strikethrough formatting to the selected text » Subscript » Make text or numbers appear as subscript » Superscript » Make text or numbers appear as superscript continued // 2 // SYMBOLS OF THE UPPER TOOLBAR // WITH THESE SYMBOLS . YOU TRIGGER THESE ACTIONS » Copy Formatting » Copy the formatting from one area of text and apply it to another » Remove Format » Remove the formatting from the selected area of tex » The starting number of the list can also be changed here. » Numbered List » Select this button to begin a numbered list. » Bulleted List » Select this button to begin a bulleted list. » To change the numbered list properties, right click in the list and make a selection from the following: » The starting number of the list can also be changed here. continued // 3 // SYMBOLS OF THE UPPER TOOLBAR // WITH THESE SYMBOLS . YOU TRIGGER THESE ACTIONS » Bulleted List, continued » To change the bulleted list properties, right click in the list and make a selection from the following: » Decrease Indent » Decrease the paragraph indent to the left » Increase -
Headers and Footers in Microsoft Word South Puget Sound Community College Student Computing Center Written By: Chris Dorn
Headers and Footers in Microsoft Word South Puget Sound Community College Student Computing Center Written by: Chris Dorn A header is the top margin of each page, and a footer is the bottom margin of each page. Headers and footers are useful for including material that you want to appear on every page of a document such as your name, the title of the document, or page numbers. This tutorial explains how to insert headers and footers, how to have a different header on the first page, and how to create different headers in different sections. Inserting Headers and Footers To insert a header or footer, first go to the Insert tab and select the desired option. Clicking either of these icons will display a dropdown menu with several options. SPSCC Student Computing Center__Headers and Footers __1 If you just want to add a simple header such as a title or your last name, you can choose the first option. This will bring the cursor into the header. Notice, too, that a new tab appears on the ribbon. This Design tab allows you to change certain features of the header such as the header position and page number. Design tab You can type here Once you are in the top (or bottom) margin, you can change the text formatting of the header (or footer) the same way that you would change formatting in the body of the document. For instance, if you want to center your header, you can go to the Home tab and select the center alignment icon in the Paragraph group, as pictured below: Centered header SPSCC Student Computing Center__Headers and Footers __2 Having a Different First Page Header Sometimes you may be asked to have a header that does not appear on the first page.