Typography for Scientific and Business Documents
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Unicode Nearly Plain-Text Encoding of Mathematics Murray Sargent III Office Authoring Services, Microsoft Corporation 4-Apr-06
Unicode Nearly Plain Text Encoding of Mathematics Unicode Nearly Plain-Text Encoding of Mathematics Murray Sargent III Office Authoring Services, Microsoft Corporation 4-Apr-06 1. Introduction ............................................................................................................ 2 2. Encoding Simple Math Expressions ...................................................................... 3 2.1 Fractions .......................................................................................................... 4 2.2 Subscripts and Superscripts........................................................................... 6 2.3 Use of the Blank (Space) Character ............................................................... 7 3. Encoding Other Math Expressions ........................................................................ 8 3.1 Delimiters ........................................................................................................ 8 3.2 Literal Operators ........................................................................................... 10 3.3 Prescripts and Above/Below Scripts........................................................... 11 3.4 n-ary Operators ............................................................................................. 11 3.5 Mathematical Functions ............................................................................... 12 3.6 Square Roots and Radicals ........................................................................... 13 3.7 Enclosures..................................................................................................... -
Desktop + Mobile Style Guide 06.22.15
DESKTOP + MOBILE STYLE GUIDE 06.22.15 SITE BASICS PRIMARY TYPEFACE PRIMARY COLORS SECONDARY COLORS Helvetica, Arial, sans-serif R0 G70 B127 R0 G24 B46 HEX# 00467F HEX# 00182E R255 G201 B57 R47 G107 B189 HEX# FFC939 HEX# 2F6BBD R77 G79 B83 HEX# 4D4F53 R0 G0 B0 HEX# 000000 2 UNIVERSAL ELEMENTS PRIMARY BUTTONS LINKS CARETS IDLE ROLLOVER IDLE ROLLOVER ON CLEAN BACKGROUND PRIMARY NAVIGATION ON BUSY BACKGROUND IDLE ROLLOVER 3 HEADINGS AND LISTS A Font Family Helvetica, Arial, sans-serif B Font Family Helvetica, Arial, sans-serif Font Size 40px/48px Font Size 30px A Font Weight Bold Color #ffffff Color #000000 B C C Font Family Helvetica, Arial, sans-serif D Font Family Helvetica, Arial, sans-serif Font Weight Bold Font Size 24px/34px D Font Size 24px/34px Color #000000 Color #2F6BBD E E Font Family Helvetica, Arial, sans-serif F Font Family Helvetica, Arial, sans-serif Font Size 24px/34px Font Size 24px/34px F Color #000000 Color #000000 Margin-bottom 34px Margin-bottom 17px G Font Family Helvetica, Arial, sans-serif Font Size 24px/34px Color #000000 Margin-bottom 17px G 4 DESKTOP TYPOGRAPHY B A A Font Family Helvetica, Arial, sans-serif B Font Family Helvetica, Arial, sans-serif C Font Size 16px Font Size 16px Font Weight Bold Color #ffffff Color #cccccc Hover Underline Hover Underline C Font Family Helvetica, Arial, sans-serif D Font Family Helvetica, Arial, sans-serif Font Weight Bold Font Size 24px/30px D Font Size 22px/24px Color #000000 E Color #ffffff F E Font Family Helvetica, Arial, sans-serif F Font Family Helvetica, Arial, sans-serif -
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 -
End-Of-Line Hyphenation of Chemical Names (IUPAC Provisional
Pure Appl. Chem. 2020; aop IUPAC Recommendations Albert J. Dijkstra*, Karl-Heinz Hellwich, Richard M. Hartshorn, Jan Reedijk and Erik Szabó End-of-line hyphenation of chemical names (IUPAC Provisional Recommendations) https://doi.org/10.1515/pac-2019-1005 Received October 16, 2019; accepted January 21, 2020 Abstract: Chemical names and in particular systematic chemical names can be so long that, when a manu- script is printed, they have to be hyphenated/divided at the end of a line. Many systematic names already contain hyphens, but sometimes not in a suitable division position. In some cases, using these hyphens as end-of-line divisions can lead to illogical divisions in print, as can also happen when hyphens are added arbi- trarily without considering the ‘chemical’ context. The present document provides recommendations and guidelines for authors of chemical manuscripts, their publishers and editors, on where to divide chemical names at the end of a line and instructions on how to avoid these names being divided at illogical places as often suggested by desk dictionaries. Instead, readability and chemical sense should prevail when authors insert optional hyphens. Accordingly, the software used to convert electronic manuscripts to print can now be programmed to avoid illogical end-of-line hyphenation and thereby save the author much time and annoy- ance when proofreading. The recommendations also allow readers of the printed article to determine which end-of-line hyphens are an integral part of the name and should not be deleted when ‘undividing’ the name. These recommendations may also prove useful in languages other than English. -
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. -
Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim
Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim To cite this version: Dae Hwan Kim, Jin Hyung Kim. Ligature Modeling for Recognition of Characters Written in 3D Space. Tenth International Workshop on Frontiers in Handwriting Recognition, Université de Rennes 1, Oct 2006, La Baule (France). inria-00105116 HAL Id: inria-00105116 https://hal.inria.fr/inria-00105116 Submitted on 10 Oct 2006 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. Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim Jin Hyung Kim Artificial Intelligence and Artificial Intelligence and Pattern Recognition Lab. Pattern Recognition Lab. KAIST, Daejeon, KAIST, Daejeon, South Korea South Korea [email protected] [email protected] Abstract defined shape of character while it showed high recognition performance. Moreover when a user writes In this work, we propose a 3D space handwriting multiple stroke character such as ‘4’, the user has to recognition system by combining 2D space handwriting write a new shape which is predefined in a uni-stroke models and 3D space ligature models based on that the and which he/she has never seen. -
Community College of Denver's Style Guide for Web and Print Publications
Community College of Denver’s Style Guide for Web and Print Publications CCD’s Style Guide supplies all CCD employees with one common goal: to create a functioning, active, and up-to-date publications with universal and consistent styling, grammar, and punctuation use. About the College-Wide Editorial Style Guide The following strategies are intended to enhance consistency and accuracy in the written communications of CCD, with particular attention to local peculiarities and frequently asked questions. For additional guidelines on the mechanics of written communication, see The AP Style Guide. If you have a question about this style guide, please contact the director of marketing and communication. Web Style Guide Page 1 of 10 Updated 2019 Contents About the College-Wide Editorial Style Guide ............................................... 1 One-Page Quick Style Guide ...................................................................... 4 Building Names ............................................................................................................. 4 Emails .......................................................................................................................... 4 Phone Numbers ............................................................................................................. 4 Academic Terms ............................................................................................................ 4 Times .......................................................................................................................... -
TI-83 Plus Graphing Calculator Keystroke Guide
TI-83 Plus Graphing Calculator Keystroke Guide In your textbook you will notice that on some pages a key-shaped icon appears next to a brief description of a feature on your graphing calculator. In this guide the page number in the textbook on which each of these icons occurs is shown, as well as the key word or phrase that appears in the box, followed by a detailed description of how to use this feature on your TI-83 Plus graphing calculator. Each feature is also given its own number for easy reference. page 2 1 Negative and Subtract You may have noticed that the calculator has two keys with a minus sign on them. The (–) key in the bottom row of keys is actually the negative key. The negative key is used only to write a negative number. The following numbers and expressions would be entered using the negative key: --57* 6-4+154/(-6) . The – key in the right-hand column on the keyboard with the +, ×, and ÷ keys, is the subtraction key. It is grouped with the other keys used to perform the basic four arithmetic operations (addition, subtraction, multiplication, and division). The subtraction key is used between two numbers to indicate that a subtraction is to be done. The following expressions would be entered using the blue subtraction key: 17-813* 7-25-6(3+ 4) . You can tell which of these keys has been used from the screen display, if you look closely. The negative sign produced by the negative key is one pixel (dot) shorter and placed one pixel row higher than the subtraction sign produced by the subtraction key. -
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. -
Copy Editing and Proofreading Symbols
Copy Editing and Proofreading Symbols Symbol Meaning Example Delete Remove the end fitting. Close up The tolerances are with in the range. Delete and Close up Deltete and close up the gap. not Insert The box is inserted correctly. # # Space Theprocedure is incorrect. Transpose Remove the fitting end. / or lc Lower case The Engineer and manager agreed. Capitalize A representative of nasa was present. Capitalize first letter and GARRETT PRODUCTS are great. lower case remainder stet stet Let stand Remove the battery cables. ¶ New paragraph The box is full. The meeting will be on Thursday. no ¶ Remove paragraph break The meeting will be on Thursday. no All members must attend. Move to a new position All members attended who were new. Move left Remove the faulty part. Flush left Move left. Flush right Move right. Move right Remove the faulty part. Center Table 4-1 Raise 162 Lower 162 Superscript 162 Subscript 162 . Period Rewrite the procedure. Then complete the tasks. ‘ ‘ Apostrophe or single quote The companys policies were rewritten. ; Semicolon He left however, he returned later. ; Symbol Meaning Example Colon There were three items nuts, bolts, and screws. : : , Comma Apply pressure to the first second and third bolts. , , -| Hyphen A valuable byproduct was created. sp Spell out The info was incorrect. sp Abbreviate The part was twelve feet long. || or = Align Personnel Facilities Equipment __________ Underscore The part was listed under Electrical. Run in with previous line He rewrote the pages and went home. Em dash It was the beginning so I thought. En dash The value is 120 408. -
Classifying Type Thunder Graphics Training • Type Workshop Typeface Groups
Classifying Type Thunder Graphics Training • Type Workshop Typeface Groups Cla sifying Type Typeface Groups The typefaces you choose can make or break a layout or design because they set the tone of the message.Choosing The the more right you font know for the about job is type, an important the better design your decision.type choices There will are be. so many different fonts available for the computer that it would be almost impossible to learn the names of every one. However, manys typefaces share similar qualities. Typographers classify fonts into groups to help Typographers classify type into groups to help remember the different kinds. Often, a font from within oneremember group can the be different substituted kinds. for Often, one nota font available from within to achieve one group the samecan be effect. substituted Different for anothertypographers usewhen different not available groupings. to achieve The classifi the samecation effect. system Different used by typographers Thunder Graphics use different includes groups. seven The major groups.classification system used byStevenson includes seven major groups. Use the Right arrow key to move to the next page. • Use the Left arrow key to move back a page. Use the key combination, Command (⌘) + Q to quit the presentation. Thunder Graphics Training • Type Workshop Typeface Groups ����������������������� ��������������������������������������������������������������������������������� ���������������������������������������������������������������������������� ������������������������������������������������������������������������������ -
The 2020 Los Angeles Printers Fair
The 2020 Los Angeles Printers Fair To say 2020 has been an unusual year is certainly the grand understatement of the year! As much as all of us have been forced to live inside our boxes, the pandemic has really been an opportunity to think outside the comforts of our boxes and explore new ideas. Given that restrictions are still in place for us at the International Printing Museum, we have had to rethink how to connect with our community of creative souls who normally come together each fall for the Printers Fair. Like so many other events in our lives right now, this has meant creating a virtual experience but with a twist. So, welcome to the 12th annual 2020 VIRTUAL LOS ANGELES PRINTERS FAIR at the International Printing Museum (or in your living room or studio or apartment...). The Printing Museum team has worked hard to create an exceptional online event that captures some of the magic of visiting the Printers Fair in person; we are bringing our big tent of creative artisans to your screen this year. The Virtual Los Angeles Printers Fair is a wonderful opportunity to meet book artists, letterpress printers and printmakers and peruse their work. The beauty of this world known as Book Arts is that this is already a group thinking and working outside the modern boxes of our world, using traditional machines and methods but typically with a very modern twist. We have set up the PrintersFair.com website to give you as much of an opportunity to meet these creatives, see their shops and learn about their work.