Fonts for Displaying Program Code in LATEX
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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. -
Supreme Court of the State of New York Appellate Division: Second Judicial Department
Supreme Court of the State of New York Appellate Division: Second Judicial Department A GLOSSARY OF TERMS FOR FORMATTING COMPUTER-GENERATED BRIEFS, WITH EXAMPLES The rules concerning the formatting of briefs are contained in CPLR 5529 and in § 1250.8 of the Practice Rules of the Appellate Division. Those rules cover technical matters and therefore use certain technical terms which may be unfamiliar to attorneys and litigants. The following glossary is offered as an aid to the understanding of the rules. Typeface: A typeface is a complete set of characters of a particular and consistent design for the composition of text, and is also called a font. Typefaces often come in sets which usually include a bold and an italic version in addition to the basic design. Proportionally Spaced Typeface: Proportionally spaced type is designed so that the amount of horizontal space each letter occupies on a line of text is proportional to the design of each letter, the letter i, for example, being narrower than the letter w. More text of the same type size fits on a horizontal line of proportionally spaced type than a horizontal line of the same length of monospaced type. This sentence is set in Times New Roman, which is a proportionally spaced typeface. Monospaced Typeface: In a monospaced typeface, each letter occupies the same amount of space on a horizontal line of text. This sentence is set in Courier, which is a monospaced typeface. Point Size: A point is a unit of measurement used by printers equal to approximately 1/72 of an inch. -
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 -
15 the Effect of Font Type on Screen Readability by People with Dyslexia
The Effect of Font Type on Screen Readability by People with Dyslexia LUZ RELLO and RICARDO BAEZA-YATES, Web Research Group, DTIC, Universitat Pompeu Fabra, Barcelona, Spain Around 10% of the people have dyslexia, a neurological disability that impairs a person’s ability to read and write. There is evidence that the presentation of the text has a significant effect on a text’s accessibility for people with dyslexia. However, to the best of our knowledge, there are no experiments that objectively 15 measure the impact of the typeface (font) on screen reading performance. In this article, we present the first experiment that uses eye-tracking to measure the effect of typeface on reading speed. Using a mixed between-within subject design, 97 subjects (48 with dyslexia) read 12 texts with 12 different fonts. Font types have an impact on readability for people with and without dyslexia. For the tested fonts, sans serif , monospaced, and roman font styles significantly improved the reading performance over serif , proportional, and italic fonts. On the basis of our results, we recommend a set of more accessible fonts for people with and without dyslexia. Categories and Subject Descriptors: H.5.2 [Information Interfaces and Presentation]: User Interfaces— Screen design, style guides; K.4.2 [Computers and Society]: Social Issues—Assistive technologies for per- sons with disabilities General Terms: Design, Experimentation, Human Factors Additional Key Words and Phrases: Dyslexia, learning disability, best practices, web accessibility, typeface, font, readability, legibility, eye-tracking ACM Reference Format: Luz Rello and Ricardo Baeza-Yates. 2016. The effect of font type on screen readability by people with Dyslexia. -
IJRESS19-August2020
International Journal of Research in Economics and Social Sciences(IJRESS) Available online at: http://euroasiapub.org Vol. 10 Issue 8, August- 2020 ISSN(o): 2249-7382 | Impact Factor: 7.077 | (An open access scholarly, peer-reviewed, interdisciplinary, monthly, and fully refereed journal.) Importance of the number 0 and names for the number 0 in English Umarova Go’zalxon Teacher, Kokand State Pedagogical Institute, Uzbekistan Abdullayeva Marifatxon Teacher, Faculty of Preschool and Primary Education Annotatsiya: Maqolada 0 raqimining etimologiyasi, osiyodan yevropaga kirib kelishi, matematika va matematikadan boshqa fanlarga, yil jadvalida nol raqamining ahamiyati haqida fikr yuritiladi. Kalit so’zlar: ṣifr, matematik termin, kalkulyator, rim, arab raqamlari, elementar algebra Annotation: The article discusses the etymology of the number 0, its entry from Asia to Europe, the importance of the number zero in the table of the year, from mathematics and non-mathematics to other disciplines. Keywords: ṣifr, mathematical term, calculator, Roman, Arabic numerals, elementary algebra Аннотация: В статье обсуждается этимология числа 0, его проникновение из Азии в Европу, важность числа ноль в таблице года, от математики и нематематики до других дисциплин. Ключевые слова: ifr, математический термин, калькулятор, римские, арабские цифры, элементарная алгебра. The word zero came into the English language via French zéro from Italian zero, Italian contraction of Venetian zevero form of Italian zefiro via ṣafira or ṣifr.In pre-Islamic time the word ṣifr had the meaning "empty". Sifr evolved to mean zero when it was used to translate śūnya Sanskrit from India. The first known English use of zero was in 1598.[1]Depending on the context, there may be different words used for the number zero. -
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. -
Presentation
Born Broken: Fonts And Information Loss In Legacy Documents Geoffrey Brown and Kam Woods Indiana University School of Informatics and Computing Key Questions How pervasive are font substitution problems ? What information is available to identify fonts ? How well can we match the fonts required by a document collection ? How can we assist archivists in identifying serious font issues ? Page 8 MCTM Bulletin February 2005 K: I knew what you meant. I was just kidding. I’ll do XüLLbl (W):InputQ:FnOff :"""Y =! Y",Y#:PlotsOff the dishes tonight at dinner. YüL‚(W):Goto:0!Xscl:0!Yscl:Plot1(Scatt T er,L#,L$,&) PlotsOn 1:ZoomStat:StorePic Pic1 Lbl Q:FnOff :""üY :PlotsOff Jennifer felt better so offered the following challenge to Pause :Goto T Kevin. Lbl:0üXscl:0üYscl:Plot1(Scatt S:ClrHome:2!dim(L%er,L):dim(L ,L‚,Ñ)# )!N J: What type of general statement can you make DispPlotsOn "NO. 1:ZoomStat:StorePic OF Pic1 regarding the various polygons and, better yet, what PausePTS.":Output(1,13,N):Pause :Goto T can you say about a figure that looks like this? LblFor(I,1,N):ClrHome S:ClrHome:2üdim(Lƒ):dim(L )üN Disp "NO. "PT. OF NO.","":Output(1,9,I) PTS.":Output(1,13,N):Pause L#(I)!L%(1):L$(I)!L%(2) For(I,1,N):ClrHome Disp L%:Pause :End:Goto T LblDisp "PT.0:Menu(" NO.","":Output(1,9,I) MODELS R""," LINEAR (2)",1,"L(I)üLƒ(1):L‚(I)üLƒ(2) QUADRATIC",2," CUBIC/QUARTIC",3,"Disp Lƒ:Pause :End:Goto LOGARITHMIC",4," T LblEXPONENTIAL",5," 0:Menu(" MODELS POWER",6," RÜ"," LINEAR MAIN (2)",1," MENU",T) QUADRATIC",2," CUBIC/QUARTIC",3," Lbl 1:"aX+b"!Y# Kevin was impressed. -
Background a Short Introduction to Font Characteristics
fonts: background A short introduction to font characteristics Maarten Gelderman Hardly anyone will dispute the statement that proporion- ally spaced fonts are more beautiful and legible than mono- abstract spaced designs. In a monospaced design the letter i takes as Almost anyone who develops an interest in fonts is bound to much space as a letter m or W. Consequently, some char- be overwelmed by the bewildering variety of letterforms acters look simply too compressed, whereas around oth- available. The number of fonts available from commercial ers too much white space is found. Monospaced fonts are suppliers like Adobe, URW, LinoType and others runs into the simply not suited for body text. Only in situations where it thousands. A recent catalog issued by FontShop [Truong et al., is important that all characters are of equal width, e.g., in 1998] alone lists over 25.000 different varieties.1 And listings of computer programs, where it may be important somehow, although the differences of the individual letters are that each individual character can be discerned and where hardly noticable, each font has its own character, its own the layout of the program may depend on using mono- personality. Even the atmosphere elucided by a text set from spaced fonts, can the usage of a monospaced font be de- Adobe Garamond is noticably different from the atmosphere of the same text set from Stempel Garamond. Although fended. In most other situations, they should simply be decisions about the usage of fonts, will always remain in the avoided. realm of esthetics, some knowledge about font characteristics may nevertheless help to create some order and to find out Romans, italics and slant A second typeface character- why certain design decisions just do not work. -
Reference / Forgerock Identity Cloud 7.2
Reference / ForgeRock Identity Cloud 7.2 Latest update: 7.1.0 ForgeRock AS. 201 Mission St., Suite 2900 San Francisco, CA 94105, USA +1 415-599-1100 (US) www.forgerock.com Copyright © 2011-2021 ForgeRock AS. Abstract Reference documentation for ForgeRock® Identity Cloud (Identity Cloud). ForgeRock Identity Cloud provides intelligent authentication, authorization, federation, and single sign-on functionality. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. © Copyright 2010–2020 ForgeRock, Inc. All rights reserved. ForgeRock is a registered trademark of ForgeRock, Inc. Other marks appearing herein may be trademarks of their respective owners. This product or document is protected by copyright and distributed under licenses restricting its use, copying, and distribution. No part of this product or document may be reproduced in any form by any means without prior written authorization of ForgeRock and its licensors, if any. DOCUMENTATION IS PROVIDED “AS IS” AND ALL EXPRESSED OR IMPLIED CONDITIONS, REPRESENTATIONS, AND WARRANTIES, INCLUDING ANY IMPLIED WARRANTY OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE OR NON-INFRINGEMENT, ARE DISCLAIMED, EXCEPT TO THE EXTENT THAT SUCH DISCLAIMERS ARE HELD TO BE LEGALLY INVALID. DejaVu Fonts Bitstream Vera Fonts Copyright Copyright (c) 2003 by Bitstream, -
Using Fonts Installed in Local Texlive - Tex - Latex Stack Exchange
27-04-2015 Using fonts installed in local texlive - TeX - LaTeX Stack Exchange sign up log in tour help TeX LaTeX Stack Exchange is a question and answer site for users of TeX, LaTeX, ConTeXt, and related Take the 2minute tour × typesetting systems. It's 100% free, no registration required. Using fonts installed in local texlive I have installed texlive at ~/texlive . I have installed collectionfontsrecommended using tlmgr . Now, ~/texlive/2014/texmfdist/fonts/ has several folders: afm , cmap , enc , ... , vf . Here is the output of tlmgr info helvetic package: helvetic category: Package shortdesc: URW "Base 35" font pack for LaTeX. longdesc: A set of fonts for use as "dropin" replacements for Adobe's basic set, comprising: Century Schoolbook (substituting for Adobe's New Century Schoolbook); Dingbats (substituting for Adobe's Zapf Dingbats); Nimbus Mono L (substituting for Abobe's Courier); Nimbus Roman No9 L (substituting for Adobe's Times); Nimbus Sans L (substituting for Adobe's Helvetica); Standard Symbols L (substituting for Adobe's Symbol); URW Bookman; URW Chancery L Medium Italic (substituting for Adobe's Zapf Chancery); URW Gothic L Book (substituting for Adobe's Avant Garde); and URW Palladio L (substituting for Adobe's Palatino). installed: Yes revision: 31835 sizes: run: 2377k relocatable: No catdate: 20120606 22:57:48 +0200 catlicense: gpl collection: collectionfontsrecommended But when I try to compile: \documentclass{article} \usepackage{helvetic} \begin{document} Hello World! \end{document} It gives an error: ! LaTeX Error: File `helvetic.sty' not found. Type X to quit or <RETURN> to proceed, or enter new name. -
Travels in TEX Land: Choosing a TEX Environment for Windows
The PracTEX Journal TPJ 2005 No 02, 2005-04-15 Rev. 2005-04-17 Travels in TEX Land: Choosing a TEX Environment for Windows David Walden The author of this column wanders through world of TEX, as a non-expert, reporting what he observes and learns, which hopefully will be interesting to other non-expert users of TEX. 1 Introduction This column recounts my experiences looking at and thinking about different ways TEX is set up for users to go through the document-composition to type- setting cycle (input and edit, compile, and view or print). First, I’ll describe my own experience randomly trying various TEX environments. I suspect that some other users have had a similar introduction to TEX; and perhaps other users have just used the environment that was available at their workplace or school. Then I’ll consider some categories for thinking about options in TEX setups. Last, I’ll suggest some follow-on steps. Since I use Microsoft Windows as my computer operating system, this note focuses on environments that are available for Windows.1 2 My random path to choosing a TEX environment 2 I started using TEX in the late 1990s. 1But see my offer in Section 4. 2 While I started using TEX, I switched from TEX to using LATEX as soon as I discovered LATEX existed. Since both TEX and LATEX are operated in the same way, I’ll mostly refer to TEX in this note, since that is the more basic system. c 2005 David C. Walden I don’t quite remember my first setup for trying TEX.