Phonetic Symbols in Word Processing and on the Web
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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 -
Recognising Cursive Arabic Text Using a Speech Recognition System M S Khorsheed
Proceedings of the 7th WSEAS International Conference on Automation & Information, Cavtat, Croatia, June 13-15, 2006 (pp122-125) Recognising Cursive Arabic Text using a Speech Recognition System M S Khorsheed Abstract| This paper presents a system to recognise cursive Arabic typewritten text. The system is built using the Hidden Markov Model Toolkit (HTK) which is a portable toolkit for speech recognition system. The proposed system decomposes the page into its text lines and then extracts a set of simple statistical features from small overlapped windows running through each text line. The feature vector sequence is injected to the global model for training and recognition purposes. A data corpus which includes Arabic text from two computer- generated fonts is used to assess the performance of the proposed system. Keywords| Document Analysis, Pattern Analysis and Fig. 1 A block diagram of the HTK-based Arabic recognition Recognition, Machine Vision, Arabic OCR, HTK system. I. INTRODUCTION The HMM provides an explicit representation for time- MONG the branches of pattern recognition is the varying patterns and probabilistic interpretations that can automatic reading of a text, namely, text recognition. A tolerate variations in these patterns. The objective is to imitate the human ability to read In o®-line recognition systems, the general idea is to printed text with human accuracy, but at a higher speed. transform the word image into a sequence of observations. Most optical character recognition methods assume that The observations produced by the training samples are individual characters can be isolated, and such techniques, used to tune the model parameters whereas those pro- although successful when presented with Latin typewrit- duced by the testing samples are used to investigate the ten or typeset text, cannot be applied reliably to cursive system performance. -
The Unicode Cookbook for Linguists: Managing Writing Systems Using Orthography Profiles
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2017 The Unicode Cookbook for Linguists: Managing writing systems using orthography profiles Moran, Steven ; Cysouw, Michael DOI: https://doi.org/10.5281/zenodo.290662 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-135400 Monograph The following work is licensed under a Creative Commons: Attribution 4.0 International (CC BY 4.0) License. Originally published at: Moran, Steven; Cysouw, Michael (2017). The Unicode Cookbook for Linguists: Managing writing systems using orthography profiles. CERN Data Centre: Zenodo. DOI: https://doi.org/10.5281/zenodo.290662 The Unicode Cookbook for Linguists Managing writing systems using orthography profiles Steven Moran & Michael Cysouw Change dedication in localmetadata.tex Preface This text is meant as a practical guide for linguists, and programmers, whowork with data in multilingual computational environments. We introduce the basic concepts needed to understand how writing systems and character encodings function, and how they work together. The intersection of the Unicode Standard and the International Phonetic Al- phabet is often not met without frustration by users. Nevertheless, thetwo standards have provided language researchers with a consistent computational architecture needed to process, publish and analyze data from many different languages. We bring to light common, but not always transparent, pitfalls that researchers face when working with Unicode and IPA. Our research uses quantitative methods to compare languages and uncover and clarify their phylogenetic relations. However, the majority of lexical data available from the world’s languages is in author- or document-specific orthogra- phies. -
Assessment of Options for Handling Full Unicode Character Encodings in MARC21 a Study for the Library of Congress
1 Assessment of Options for Handling Full Unicode Character Encodings in MARC21 A Study for the Library of Congress Part 1: New Scripts Jack Cain Senior Consultant Trylus Computing, Toronto 1 Purpose This assessment intends to study the issues and make recommendations on the possible expansion of the character set repertoire for bibliographic records in MARC21 format. 1.1 “Encoding Scheme” vs. “Repertoire” An encoding scheme contains codes by which characters are represented in computer memory. These codes are organized according to a certain methodology called an encoding scheme. The list of all characters so encoded is referred to as the “repertoire” of characters in the given encoding schemes. For example, ASCII is one encoding scheme, perhaps the one best known to the average non-technical person in North America. “A”, “B”, & “C” are three characters in the repertoire of this encoding scheme. These three characters are assigned encodings 41, 42 & 43 in ASCII (expressed here in hexadecimal). 1.2 MARC8 "MARC8" is the term commonly used to refer both to the encoding scheme and its repertoire as used in MARC records up to 1998. The ‘8’ refers to the fact that, unlike Unicode which is a multi-byte per character code set, the MARC8 encoding scheme is principally made up of multiple one byte tables in which each character is encoded using a single 8 bit byte. (It also includes the EACC set which actually uses fixed length 3 bytes per character.) (For details on MARC8 and its specifications see: http://www.loc.gov/marc/.) MARC8 was introduced around 1968 and was initially limited to essentially Latin script only. -
Proposal for Generation Panel for Sinhala Script Label
Proposal for the Generation Panel for the Sinhala Script Label Generation Ruleset for the Root Zone 1 General information Sinhala belongs to the Indo-European language family with its roots deeply associated with Indo-Aryan sub family to which the languages such as Persian and Hindi belong. Although it is not very clear whether people in Sri Lanka spoke a dialect of Prakrit at the time of arrival of Buddhism in the island, there is enough evidence that Sinhala evolved from mixing of Sanskrit, Magadi (the language which was spoken in Magada Province of India where Lord Buddha was born) and local language which was spoken by people of Sri Lanka prior to the arrival of Vijaya, the founder of Sinhala Kingdom. It is also surmised that Sinhala had evolved from an ancient variant of Apabramsa (middle Indic) which is known as ‘Elu’. When tracing history of Elu, it was preceded by Hela or Pali Sihala. Sinhala though has close relationships with Indo Aryan languages which are spoken primarily in the north, north eastern and central India, was very much influenced by Tamil which belongs to the Dravidian family of languages. Though Sinhala is related closely to Indic languages, it also has its own unique characteristics: Sinhala has symbols for two vowels which are not found in any other Indic languages in India: ‘æ’ (ඇ) and ‘æ:’ (ඈ). Sinhala script had evolved from Southern Brahmi script from which almost all the Southern Indic Scripts such as Telugu and Oriya had evolved. Later Sinhala was influenced by Pallava Grantha writing of Southern India. -
FONT GUIDE Workbook to Help You Find the Right One for Your Brand
FONT GUIDE Workbook to help you find the right one for your brand. www.ottocreative.com.au Choosing the right font for your brand YOUR BRAND VALUES: How different font styles can be used to make up your brand: Logo Typeface: Is usually a bit more special and packed with your brands personality. This font should be used sparingly and kept for special occasions. Headings font: Logo Font This font will reflect the same brand values as your logo font - eg in this example both fonts are feminine and elegant. Headings Unlike your logo typeface, this font should be easier to read and look good a number of different sizes and thicknesses. Body copy Body font: The main rule here is that this font MUST be easy to read, both digitally and for print. If there is already alot going on in your logo and heading font, keep this style simple. Typefaces, common associations & popular font styles San Serif: Clean, Modern, Neutral Try these: Roboto, Open Sans, Lato, Montserrat, Raleway Serif: Classic, Traditional, reliable Try these: Playfair Display, Lora, Source Serif Pro, Prata, Gentium Basic Slab Serif: Youthful, modern, approachable Try these: Roboto Slab, Merriweather, Slabo 27px, Bitter, Arvo Script: Feminine, Romantic, Elegant Try these: Dancing Script, Pacifico, Satisfy, Courgette, Great Vibes Monotype:Simple, Technical, Futuristic Try these: Source Code Pro, Nanum Gothic Coding, Fira Mono, Cutive Mono Handwritten: Authentic, casual, creative Try these: Indie Flower, Shadows into light, Amatic SC, Caveat, Kalam Display: Playful, fun, personality galore Try these: Lobster, Abril Fatface, Luckiest Guy, Bangers, Monoton NOTE: Be careful when using handwritten and display fonts, as they can be hard to read. -
Basic Sans Serif 7 Font Family Free Download Basic Sans Serif 7 Font
basic sans serif 7 font family free download Basic Sans Serif 7 Font. Use the text generator tool below to preview Basic Sans Serif 7 font, and create appealing text graphics with different colors and hundreds of text effects. Font Tags. Search. :: You Might Like. About. Font Meme is a fonts & typography resource. The "Fonts in Use" section features posts about fonts used in logos, films, TV shows, video games, books and more; The "Text Generator" section features simple tools that let you create graphics with fonts of different styles as well as various text effects; The "Font Collection" section is the place where you can browse, filter, custom preview and download free fonts. Microsoft Sans Serif font family. Microsoft Sans Serif font is a very legible User Interface (UI) font. It was designed to be metrically compatible with the MS Sans bitmap font that shipped in early versions of Microsoft Windows. File name Micross.ttf Styles & Weights Microsoft Sans Serif Designers N/A Copyright © 2012 Microsoft Corporation. All Rights Reserved. Font vendor Microsoft Corp. Script Tags dlng:'Armn', 'Cyrl', 'Geor', 'Grek', 'Latn' slng:'Arab', 'Armn', 'Cyrl', 'Geor', 'Grek', 'Hebr', 'Latn', 'Thai' Code pages 1252 Latin 1 1250 Latin 2: Eastern Europe 1251 Cyrillic 1253 Greek 1254 Turkish 1255 Hebrew 1256 Arabic 1257 Windows Baltic 1258 Vietnamese 874 Thai Mac Roman Macintosh Character Set (US Roman) 862 Hebrew 860 MS-DOS Portuguese 437 US Fixed pitch False. Licensing and redistribution info. Font redistribution FAQ for Windows License Microsoft fonts for enterprises, web developers, for hardware & software redistribution or server installations. -
Proposal to Encode 0D5F MALAYALAM LETTER ARCHAIC II
Proposal to encode 0D5F MALAYALAM LETTER ARCHAIC II Shriramana Sharma, jamadagni-at-gmail-dot-com, India 2012-May-22 §1. Introduction In the Malayalam Unicode encoding, the independent letter form for the long vowel Ī is: ഈ where the length mark ◌ൗ is appended to the short vowel ഇ to parallel the symbols for U/UU i.e. ഉ/ഊ. However, Ī was originally written as: As these are entirely different representations of Ī, although their sound value may be the same, it is proposed to encode the archaic form as a separate character. §2. Background As the core Unicode encoding for the major Indic scripts is based on ISCII, and the ISCII code chart for Malayalam only contained the modern form for the independent Ī [1, p 24]: … thus it is this written form that came to be encoded as 0D08 MALAYALAM LETTER II. While this “new” written form is seen in print as early as 1936 CE [2]: … there is no doubt that the much earlier form was parallel to the modern Grantha , both of which are derived from the old Grantha Ī as seen below: 1 ma - īdṛgvidhā | tatarāya īṇ Old Grantha from the Iḷaiyānputtūr copper plates [3, p 13]. Also seen is the Vatteḻuttu Ī of the same time (line 2, 2nd char from right) which also exhibits the two dots. Of course, both are derived from old South Indian Brahmi Ī which again has the two dots. It is said [entire paragraph: Radhakrishna Warrier, personal communication] that it was the poet Vaḷḷattōḷ Nārāyaṇa Mēnōn (1878–1958) who introduced the new form of Ī ഈ. -
Alphabetization† †† Wendy Korwin*, Haakon Lund** *119 W
Knowl. Org. 46(2019)No.3 209 W. Korwin and H. Lund. Alphabetization Alphabetization† †† Wendy Korwin*, Haakon Lund** *119 W. Dunedin Rd., Columbus, OH 43214, USA, <[email protected]> **University of Copenhagen, Department of Information Studies, DK-2300 Copenhagen S Denmark, <[email protected]> Wendy Korwin received her PhD in American studies from the College of William and Mary in 2017 with a dissertation entitled Material Literacy: Alphabets, Bodies, and Consumer Culture. She has worked as both a librarian and an archivist, and is currently based in Columbus, Ohio, United States. Haakon Lund is Associate Professor at the University of Copenhagen, Department of Information Studies in Denmark. He is educated as a librarian (MLSc) from the Royal School of Library and Information Science, and his research includes research data management, system usability and users, and gaze interaction. He has pre- sented his research at international conferences and published several journal articles. Korwin, Wendy and Haakon Lund. 2019. “Alphabetization.” Knowledge Organization 46(3): 209-222. 62 references. DOI:10.5771/0943-7444-2019-3-209. Abstract: The article provides definitions of alphabetization and related concepts and traces its historical devel- opment and challenges, covering analog as well as digital media. It introduces basic principles as well as standards, norms, and guidelines. The function of alphabetization is considered and related to alternatives such as system- atic arrangement or classification. Received: 18 February 2019; Revised: 15 March 2019; Accepted: 21 March 2019 Keywords: order, orders, lettering, alphabetization, arrangement † Derived from the article of similar title in the ISKO Encyclopedia of Knowledge Organization Version 1.0; published 2019-01-10. -
Cyberarts 2021 Since Its Inception in 1987, the Prix Ars Electronica Has Been Honoring Creativity and Inno- Vativeness in the Use of Digital Media
Documentation of the Prix Ars Electronica 2021 Lavishly illustrated and containing texts by the prize-winning artists and statements by the juries that singled them out for recognition, this catalog showcases the works honored by the Prix Ars Electronica 2021. The Prix Ars Electronica is the world’s most time-honored media arts competition. Winners are awarded the coveted Golden Nica statuette. Ever CyberArts 2021 since its inception in 1987, the Prix Ars Electronica has been honoring creativity and inno- vativeness in the use of digital media. This year, experts from all over the world evaluated Prix Ars Electronica S+T+ARTS 3,158 submissions from 86 countries in four categories: Computer Animation, Artificial Intelligence & Life Art, Digital Musics & Sound Art, and the u19–create your world com - Prize ’21 petition for young people. The volume also provides insights into the achievements of the winners of the Isao Tomita Special Prize and the Ars Electronica Award for Digital Humanity. ars.electronica.art/prix STARTS Prize ’21 STARTS (= Science + Technology + Arts) is an initiative of the European Commission to foster alliances of technology and artistic practice. As part of this initiative, the STARTS Prize awards the most pioneering collaborations and results in the field of creativity 21 ’ and innovation at the intersection of science and technology with the arts. The STARTS Prize ‘21 of the European Commission was launched by Ars Electronica, BOZAR, Waag, INOVA+, T6 Ecosystems, French Tech Grande Provence, and the Frankfurt Book Fair. This Prize catalog presents the winners of the European Commission’s two Grand Prizes, which honor Innovation in Technology, Industry and Society stimulated by the Arts, and more of the STARTS Prize ‘21 highlights. -
Tutorial: Changing Languages (Localization)
L O Tutorial C A L I Z A T Changing Languages I O N (Localization) in the TNT Products Changing Languages (Localization) Before Getting Started This booklet surveys the steps necessary to localize the TNT products. Micro- Images has worked hard to internationalize the TNT products so that they may be localized for any country, culture, and language. MicroImages does not cre- ate translated versions of the TNT products, but it does supply the means so that those who have enrolled as Official Translators can create a localization. A local- ization can use any font, so that none of the original English words or Latin characters remain. Alternatively, an Official Translator may choose a less ambi- tious level of localization and translate only selected interface elements, leaving the rest in English. As an Official Translator, your localization efforts can put you into a unique leadership position in your country. Contact MicroImages for de- tails of the Official Translator agreement. Prerequisites To implement a TNT Products localization, you must • enroll with MicroImages, Inc. as the Official Translator for your language, • be a skilled computer user who is comfortable with both the English version of TNT and the target language for your locale, and • be familiar with the TNT processes, since your localization task includes finding linguistic and conceptual equivalents for all interface text, messages, and documentation. MicroImages encourages you in your localization efforts. Already the growing list of completed localized versions has made the TNT products ever more widely accepted around the world. The Locale A Locale is defined by the textres file that contains all the informa- tion needed for a specific translation so that all the text in the TNT interface appears in another language. -
Iso/Iec Jtc1 Sc2 Wg2 N3984
ISO/IEC JTC1 SC2 WG2 N3984 Notes on the naming of some characters proposed in the FCD of ISO/IEC 10646:2012 (3rd ed.) (JTC1/SC2/WG2 N3945, JTC1/SC2 N4168) Karl Pentzlin — 2011-02-02 This paper addresses the naming of the following characters proposed for inclusion: U+2E33 RAISED DOT U+2E34 RAISED COMMA (both proposed in JTC1/SC2/WG2 N3912) U+A78F LATIN LETTER GLOTTAL DOT (proposed in JTC1/SC2/WG2 N3567 as LATIN LETTER MIDDLE DOT) shown by the following excerpts from N3945: 1. Dots, Points, and "middle" and "raised" characters encoded in Unicode 6.0 (without script-specific ones and fullwidth/small forms; of similar characters within a block, a single character is selected as representative): Dots and Points: U+002E FULL STOP U+00B7 MIDDLE DOT U+02D9 DOT ABOVE U+0387 GREEK ANO TELEIA U+2024 ONE DOT LEADER U+2027 HYPHENATION POINT U+22C5 DOT OPERATOR U+2E31 WORD SEPARATOR MIDDLE DOT U+02D9 has the property Sk (Symbol, modifier), U+22C5 has Sm (Symbol, math), while all others have Po (Punctuation, other). U+A78F is proposed to have Lo (Letter, other). "Middle" and "raised" characters: U+02F4 MODIFIER LETTER MIDDLE GRAVE ACCENT U+2E0C LEFT RAISED OMISSION BRACKET (representing several similar characters in the same block) U+02F8 MODIFIER LETTER RAISED COLON U+A71B MODIFIER LETTER RAISED UP ARROW The following table will show these characters using some different widespread fonts. Font 002E 00B7 02D9 0387 2024 2027 22C5 2E31 02F4 2E0C 02F8 A71B Andron Mega Corpus x.E x·E x˙E α·Ε x․E x‧E x⋅E --- x˴E x⸌E x˸E --- Arial x.E x·E x˙E α·Ε x․E x‧E