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The Origin of the Peculiarities of the Vietnamese Alphabet André-Georges Haudricourt
The origin of the peculiarities of the Vietnamese alphabet André-Georges Haudricourt To cite this version: André-Georges Haudricourt. The origin of the peculiarities of the Vietnamese alphabet. Mon-Khmer Studies, 2010, 39, pp.89-104. halshs-00918824v2 HAL Id: halshs-00918824 https://halshs.archives-ouvertes.fr/halshs-00918824v2 Submitted on 17 Dec 2013 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. Published in Mon-Khmer Studies 39. 89–104 (2010). The origin of the peculiarities of the Vietnamese alphabet by André-Georges Haudricourt Translated by Alexis Michaud, LACITO-CNRS, France Originally published as: L’origine des particularités de l’alphabet vietnamien, Dân Việt Nam 3:61-68, 1949. Translator’s foreword André-Georges Haudricourt’s contribution to Southeast Asian studies is internationally acknowledged, witness the Haudricourt Festschrift (Suriya, Thomas and Suwilai 1985). However, many of Haudricourt’s works are not yet available to the English-reading public. A volume of the most important papers by André-Georges Haudricourt, translated by an international team of specialists, is currently in preparation. Its aim is to share with the English- speaking academic community Haudricourt’s seminal publications, many of which address issues in Southeast Asian languages, linguistics and social anthropology. -
Typesetting Classical Greek Philology Could Not find Anything Really Suitable for Her
276 TUGboat, Volume 23 (2002), No. 3/4 professor of classical Greek in a nearby classical high Philology school, was complaining that she could not typeset her class tests in Greek, as she could do in Latin. I stated that with LATEX she should not have any The teubner LATEX package: difficulty, but when I started searching on CTAN,I Typesetting classical Greek philology could not find anything really suitable for her. At Claudio Beccari that time I found only the excellent Greek fonts de- signed by Silvio Levy [1] in 1987 but for a variety of Abstract reasons I did not find them satisfactory for the New The teubner package provides support for typeset- Font Selection Scheme that had been introduced in LAT X in 1994. ting classical Greek philological texts with LATEX, E including textual and rhythmic verse. The special Thus, starting from Levy’s fonts, I designed signs and glyphs made available by this package may many other different families, series, and shapes, also be useful for typesetting philological texts with and added new glyphs. This eventually resulted in other alphabets. my CB Greek fonts that now have been available on CTAN for some years. Many Greek users and schol- 1 Introduction ars began to use them, giving me valuable feedback In this paper a relatively large package is described regarding corrections some shapes, and, even more that allows the setting into type of philological texts, important, making them more useful for the com- particularly those written about Greek literature or munity of people who typeset in Greek — both in poetry. -
Cap Height Body X-Height Crossbar Terminal Counter Bowl Stroke Loop
Cap Height Body X-height -height is the distance between the -Cap height refers to the height of a -In typography, the body height baseline of a line of type and tops capital letter above the baseline for refers to the distance between the of the main body of lower case a particular typeface top of the tallest letterform to the letters (i.e. excluding ascenders or bottom of the lowest one. descenders). Crossbar Terminal Counter -In typography, the terminal is a In typography, the enclosed or par- The (usually) horizontal stroke type of curve. Many sources con- tially enclosed circular or curved across the middle of uppercase A sider a terminal to be just the end negative space (white space) of and H. It CONNECTS the ends and (straight or curved) of any stroke some letters such as d, o, and s is not cross over them. that doesn’t include a serif the counter. Bowl Stroke Loop -In typography, it is the curved part -Stroke of a letter are the lines that of a letter that encloses the circular make up the character. Strokes may A curving or doubling of a line so or curved parts (counter) of some be straight, as k,l,v,w,x,z or curved. as to form a closed or partly open letters such as d, b, o, D, and B is Other letter parts such as bars, curve within itself through which the bowl. arms, stems, and bowls are collec- another line can be passed or into tively referred to as the strokes that which a hook may be hooked make up a letterform Ascender Baseline Descnder In typography, the upward vertical Lowercases that extends or stem on some lowercase letters, such In typography, the baseline descends below the baselines as h and b, that extends above the is the imaginary line upon is the descender x-height is the ascender. -
OCR a Level Computer Science H446 Specification
Qualification Accredited Oxford Cambridge and RSA A LEVEL Specification COMPUTER SCIENCE H446 ForH418 first assessment in 2017 For first assessment 2022 Version 2.5 (January 2021) ocr.org.uk/alevelcomputerscience Disclaimer Specifications are updated over time. Whilst every effort is made to check all documents, there may be contradictions between published resources and the specification, therefore please use the information on the latest specification at all times. Where changes are made to specifications these will be indicated within the document, there will be a new version number indicated, and a summary of the changes. If you do notice a discrepancy between the specification and a resource please contact us at: [email protected] We will inform centres about changes to specifications. We will also publish changes on our website. The latest version of our specifications will always be those on our website (ocr.org.uk) and these may differ from printed versions. Registered office: The Triangle Building © 2021 OCR. All rights reserved. Shaftesbury Road Cambridge Copyright CB2 8EA OCR retains the copyright on all its publications, including the specifications. However, registered centres for OCR are permitted to copy material from this OCR is an exempt charity. specification booklet for their own internal use. Oxford Cambridge and RSA is a Company Limited by Guarantee. Registered in England. Registered company number 3484466. Contents Introducing… A Level Computer Science (from September 2015) ii Teaching and learning resources iii Professional development iv 1 Why choose an OCR A Level in Computer Science? 1 1a. Why choose an OCR qualification? 1 1b. Why choose an OCR A Level in Computer Science? 2 1c. -
No. 3 Science and History Behind the Design of Lucida Charles Bigelow
204 TUGboat, Volume 39 (2018), No. 3 Science and history behind the design of Lucida Charles Bigelow & Kris Holmes 1 Introduction When desktop publishing was new and Lucida the first type family created expressly for medium and low-resolution digital rendering on computer screens and laser printers, we discussed the main design de- cisions we made in adapting typeface features to digital technology (Bigelow & Holmes, 1986). Since then, and especially since the turn of the 21st century, digital type technology has aided the study of reading and legibility by facilitating the Figure 1: Earliest known type specimen sheet (detail), development and display of typefaces for psycho- Erhard Ratdolt, 1486. Both paragraphs are set at logical and psychophysical investigations. When we approximately 9 pt, but the font in the upper one has a designed Lucida in the early 1980s, we consulted larger x-height and therefore looks bigger. (See text.) scientific studies of reading and vision, so in light of renewed interest in the field, it may be useful to say Despite such early optimism, 20th century type more about how they influenced our design thinking. designers and manufacturers continued to create The application of vision science to legibility type forms more by art and craft than by scientific analysis has long been an aspect of reading research. research. Definitions and measures of “legibility” Two of the earliest and most prominent reading often proved recalcitrant, and the printing and ty- researchers, Émile Javal in France and Edmund Burke pographic industries continued for the most part to Huey in the US, expressed optimism that scientific rely upon craft lore and traditional type aesthetics. -
Characters for Classical Latin
Characters for Classical Latin David J. Perry version 13, 2 July 2020 Introduction The purpose of this document is to identify all characters of interest to those who work with Classical Latin, no matter how rare. Epigraphers will want many of these, but I want to collect any character that is needed in any context. Those that are already available in Unicode will be so identified; those that may be available can be debated; and those that are clearly absent and should be proposed can be proposed; and those that are so rare as to be unencodable will be known. If you have any suggestions for additional characters or reactions to the suggestions made here, please email me at [email protected] . No matter how rare, let’s get all possible characters on this list. Version 6 of this document has been updated to reflect the many characters of interest to Latinists encoded as of Unicode version 13.0. Characters are indicated by their Unicode value, a hexadecimal number, and their name printed IN SMALL CAPITALS. Unicode values may be preceded by U+ to set them off from surrounding text. Combining diacritics are printed over a dotted cir- cle ◌ to show that they are intended to be used over a base character. For more basic information about Unicode, see the website of The Unicode Consortium, http://www.unicode.org/ or my book cited below. Please note that abbreviations constructed with lines above or through existing let- ters are not considered separate characters except in unusual circumstances, nor are the space-saving ligatures found in Latin inscriptions unless they have a unique grammatical or phonemic function (which they normally don’t). -
Type & Typography
Type & Typography by Walton Mendelson 2017 One-Off Press Copyright © 2009-2017 Walton Mendelson All rights reserved. [email protected] All images in this book are copyrighted by their respective authors. PhotoShop, Illustrator, and Acrobat are registered trademarks of Adobe. CreateSpace is a registered trademark of Amazon. All trademarks, these and any others mentioned in the text are the property of their respective owners. This book and One- Off Press are independent of any product, vendor, company, or person mentioned in this book. No product, company, or person mentioned or quoted in this book has in any way, either explicitly or implicitly endorsed, authorized or sponsored this book. The opinions expressed are the author’s. Type & Typography Type is the lifeblood of books. While there is no reason that you can’t format your book without any knowledge of type, typography—the art, craft, and technique of composing and printing with type—lets you transform your manuscript into a professional looking book. As with writing, every book has its own issues that you have to discover as you design and format it. These pages cannot answer every question, but they can show you how to assess the problems and understand the tools you have to get things right. “Typography is what language looks like,” Ellen Lupton. Homage to Hermann Zapf 3 4 Type and Typography Type styles and Letter Spacing: The parts of a glyph have names, the most important distinctions are between serif/sans serif, and roman/italic. Normal letter spacing is subtly adjusted to avoid typographical problems, such as widows and rivers; open, touching, or expanded are most often used in display matter. -
Introducyon to the Metric System Bemeasurement, Provips0.Nformal, 'Hands-On Experiences For.The Stud4tts
'DOCUMENT RESUME ED 13A 755 084 CE 009 744 AUTHOR Cáoper, Gloria S., Ed.; Mag4,sos Joel B., Ed. TITLE q Met,rits for.Theatrical COstum g: ° INSTITUTION Ohio State Univ., Columbus. enter for Vocational Education. SPONS AGENCY Ohio State Univ., Columbus. Center for.Vocational Education. PUB DATE 76 4. CONTRACT - OEC-0-74-9335 NOTE 59p.1 For a. related docuMent see CE 009 736-790 EDRS PRICE 10-$0.8.3 C-$3.50 Plus Pdstage: DESCRIPTORS *Curriculu; Fine Arts; Instructional Materials; Learning. ctivities;xMeasurement.Instrnments; *Metric, System; S condary Education; Teaching Technigue8; *Theater AttS; Units of Sttidy (Subject Fields) ; , *Vocational Eiducation- IDENTIFIERS Costumes (Theatrical) AESTRACT . Desigliedto meet tbe job-related m4triceasgrement needs of theatrical costuming students,'thiS instructio11 alpickage is one of live-for the arts and-huminities occupations cluster, part of aset b*: 55 packages for:metric instrection in diftepent occupations.. .The package is in'tended for students who already knovthe occupaiiOnal terminology, measurement terms, and tools currently in use. Each of the five units in this instructional package.contains performance' objectiveS, learning:Activities, and'supporting information in-the form of text,.exertises,- ard tabled. In. add±tion, Suggested teaching technigueS are included. At the'back of the package*are objective-base'd:e"luation items, a-page of answers to' the exercises,and tests, a list of metric materials ,needed for the ,activities4 references,- and a/list of supPliers.t The_material is Y- designed. to accVmodate awariety of.individual teacting,:and learning k. styles, e.g., in,dependent:study, small group, or whole-class Setivity. -
Consistency Evaluation of Values of Weight, Height, and Body
DOI: 10.1590/1980-5497201700040002 ORIGINAL ARTICLE / ARTIGO ORIGINAL Consistency evaluation of values of weight, height, and body mass index in Food Intake and Physical Activity of School Children: the quality control of data entry in the computerized system Avaliação da consistência de valores de peso, altura e índice de massa corporal no questionário Consumo Alimentar e Atividade Física de Escolares: o controle da qualidade da entrada de dados no sistema Gilmar Mercês de JesusI, Maria Alice Altenburg de AssisI,II, Emil KupekIII, Lizziane Andrade DiasIV ABSTRACT: Introduction: The quality control of data entry in computerized questionnaires is an important step in the validation of new instruments. The study assessed the consistency of recorded weight and height on the Food Intake and Physical Activity of School Children (Web-CAAFE) between repeated measures and against directly measured data. Methods: Students from the 2nd to the 5th grade (n = 390) had their weight and height directly measured and then filled out the Web-CAAFE. A subsample (n = 92) filled out the Web-CAAFE twice, three hours apart. The analysis included hierarchical linear regression, mixed linear regression model, to evaluate the bias, and intraclass correlation coefficient (ICC), to assess consistency. Univariate linear regression assessed the effect of gender, reading/writing performance, and computer/internet use and possession on residuals of fixed and random effects.Results: The Web-CAAFE showed high values of ICC between repeated measures (body weight = 0.996, height = 0.937, body mass index – BMI = 0.972), and regarding the checked measures (body weight = 0.962, height = 0.882, BMI = 0.828). -
Caesar) Final Report, Volume I: Summary
AFRL-HE-WP-TR-2002-0169 UNITED STATES AIR FORCE RESEARCH LABORATORY CIVILIAN AMERICAN AND EUROPEAN SURFACE ANTHROPOMETRY RESOURCE (CAESAR) FINAL REPORT, VOLUME I: SUMMARY Kathleen M. Robinette HUMAN EFFECTIVENESS DIRECTORATE CREW SYSTEM INTERFACE DIVISION WRIGHT-PATTERSON AFB, OHIO 45433-7022 Sherri Blackwell SYTRONICS, INC. 4433 DAYTON-XENIA RD DAYTON, OHIO 45432 Hein Daanen TNO HUMAN FACTORS INSTITUTE SOESTERBERG, THE NETHERLANDS Mark Boehmer Scott Fleming Tina Brill David Hoeferlin Dennis Burnsides SYTRONICS, INC. 4433 DAYTON-XENIA RD DAYTON, OHIO 45432 Project accomplished under a Cooperative Research Agreement with 400 COMMONWEALTH DR WARRENDALE, PA 15096 JUNE 2002 INTERIM REPORT FOR THE PERIOD DECEMBER 1997 TO JUNE 2002 Human Effectiveness Directorate Crew System Interface Division Approved for public release; distribution is unlimited. 2255 H Street Wright-Patterson AFB OH 45433-7022 PREFACE The authors would like to thank the other members of the data collection teams whose hard work contributed to this study, especially Sara Kelly, Bridget Bailey, Teresa Crase, Anna Riley, Dennis Allen, Steve Trimble, Koen Tan, Silvia Penna, Roberta Borghesi, Catia Di Ceglia Valeria Brusco, Giorgia Latini, Samantha Castello, Beth Bryant McCrary and Sarah Endicott. We would also like to thank all of the people from the partner companies who contributed time and effort. In particular we would like to thank Kim Bennett from Jantzen Inc., who helped with just about every aspect from scanning garment materials, sizing and production to greeting subjects at the site she arranged through Jantzen, and Laura Blalock who helped with the scanning garment fabrics and the production of the shorts. We also want to thank all the partners who arranged for data collection sites at their companies, including Mari Milosic from Magna Interiors, Joe Koncelik from Georgia Tech., Marc Rioux and the National Research Council of Canada, and especially Linda Urette at NISSAN who provided our first site. -
Typography Output
Name: _____________________________________________________ Date: _______ Typography output 1 L 2 3 4 U B O D Y H E I G H T P W Y P E P 5 6 7 X H E I G H T S T R E S S O 8 R C T S G 9 C S A E M R 10 11 A B H A S M A A 12 13 C R O S S B A R O S P I N E L P 14 E S U L C L H 15 E L O E S C Y 16 B O W L A N D C O U N T E R A 17 M I E P D R P 18 19 D E S C E N D E R E I L I N K A E R F T N A 20 21 L C A P H E I G H T L I A 22 23 24 F O N T F A M I L Y S A N S E R I F E A L 25 L I G A T U R E Across 20. The height of a capital letter measured from 7. A straight vertical stroke (or the main 3. In typography, the body height refers to the the baseline. straight diagonal stroke in a letter which has no distance between the top of the tallest 22. Complete collection of typefaces in verticals). letterform to the bottom of the lowest one. different weights and classifications, but having 8. -
Font Management Basic Terminology ∞ I
CS 175.21 Windsor Green Spring 2010 Font Management Basic Terminology ∞ I. Font Definition∞ A. Strictly speaking the contents of the two cases - upper and lower - in metal type (for one size) B. Nowadays, the word font means all the glyphs (symbols) for a font in all sizes. Examples; Century, Fritz Quadrata, Myriad, , Giddyup, Gill Sans Ultra Bold Bickham Script C. The term typeface is interchangeable with font in today’s modern computer world A. Myriad Italic D. All the variations for a font is called a font family — B. Myria Regular this includes different weights (thicknesses like bold and light) and glyph widths (condensed and extended). C. Myriad Light II. Acquiring Fonts D. Myriad Bold A. Computer fonts: postscript, True type and Open Type E. Myriad SemiboldCondesed B. Font foundries: companies that create fonts F. Myriad Semibold Italic C. Special system fonts: Microsoft has special TT fonts used in the Windows OS Apple has special TT fonts used in their OS and dfonts. D. Application fonts: Microsoft auto installs numerous True type fonts during Office installation Adobe auto installs numerous OpenType fonts during Adobe CS installation E. Purchased fonts 1. Adobe (no longer creates new PostScript fonts but supports them — the focus is now on Open Type fonts) 2. High end fonts for home use and professional printing: OpenType and PostScript 3. Be careful buying fonts! The same typeface is sometimes available from different foundries. 4. Some websites where you can purchase fonts and where foundries are listed. fonts.com myfonts.com philsfonts.com Page 1 5. Some Foundries linotype.com itcfonts.com bertholdtype.com adobe.com/type Licensing agreements for purchased fonts — how can you legally use a font? 6.