A Sociolinguistics of Typography Why Graphic Design Matters to Linguistics

Total Page:16

File Type:pdf, Size:1020Kb

A Sociolinguistics of Typography Why Graphic Design Matters to Linguistics A Sociolinguistics of Typography Why Graphic Design Matters to Linguistics Univ.-Prof. Dr. Jürgen Spitzmüller Universität Wien ¨ Institut für Sprachwissenschaft Peter the Great St. Petersburg Polytechnic University R/w./ö.wR Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨ÿR Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨ÿR Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨ÿR Sociolinguistics of Cyrillic Writing Recommended Readings A Sociolinguistics of Typography Jürgen Spitzmüller Outline ‚ Daniel Bunčić. ö.wÏ. Biscriptality:A sociolinguistic Concepts & Terms Functions of Text typology.Heidelberg: Winter. Design ‚ Sebastian Kempgen & Vittorio Springíeld Tomelleri (Typo)graphic Variation as (eds.). ö.wR. Slavic alphabets and identities. Vol. wR Social Practice (Bamberger Beiträge zur Linguistik). Bamberg: University of Bamberg Press. https://nbn-resolving.org/html/urn: nbn:de:bvb:ÿÅé-opusÿ-óÿw.Åw (accessed öó September, ö.wR). é¨ÿR Typography: Deínition A Sociolinguistics of Typography Jürgen Spitzmüller Etymology: Greek τύπος (týpos = ‘letter, sign’) Outline ˆ γράφειν (gráphein = ‘to scratch, to write’) Concepts & Terms Original (strict) meaning: Production of a printed work by Functions of Text Design means of a speciíc technical procedure, namely printing (Typo)graphic press with re-usable, movable (metal) letters. Variation as Social Practice ô Lithography, Xylography, etc. Modern Deínition: “the style and appearance of printed matter” (Oxford English Dictionary) « Including style and appearance of written language on screen. ÿ¨ÿR The Typographic Techniques A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms Functions of Text Design (Typo)graphic Variation as Social Practice Figure w: Hand Composition Figure ö: Printing Plate ó¨ÿR Figure é: Letter Press The Typographic Techniques A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms Functions of Text Design (Typo)graphic Variation as Social Practice Figure ÿ: Letters and Clichés ϨÿR The Typographic Techniques A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms Functions of Text Design (Typo)graphic Variation as Social Practice Figure ÿ: Letters and Clichés ϨÿR The Typographic Techniques A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms Functions of Text Design (Typo)graphic Variation as Social Practice Figure ÿ: Letters and Clichés ϨÿR The Typographic Techniques A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms Functions of Text Design (Typo)graphic Variation as Social Practice Figure ÿ: Letters and Clichés ϨÿR Lithography Figure Ï: Lithography Other (Traditional) Printing Techniques A Sociolinguistics of Typography Xylography Jürgen Spitzmüller Outline Concepts & Terms Functions of Text Design (Typo)graphic Variation as Social Practice Figure ó: Xylography ŨÿR Other (Traditional) Printing Techniques A Sociolinguistics of Typography Xylography Lithography Jürgen Spitzmüller Outline Concepts & Terms Functions of Text Design (Typo)graphic Variation as Social Practice Figure ó: Xylography Figure Ï: Lithography ŨÿR Typography: Deínition A Sociolinguistics of Typography Jürgen Spitzmüller Etymology: Greek τύπος (týpos = ‘letter, sign’) Outline ˆ γράφειν (gráphein = ‘to scratch, to write’) Concepts & Terms Original (strict) meaning: Production of a printed work by Functions of Text Design means of a speciíc technical procedure, namely printing (Typo)graphic press with re-usable, movable (metal) letters. Variation as Social Practice ô Lithography, Xylography, etc. Modern Deínition: “the style and appearance of printed matter” (Oxford English Dictionary) « Including style and appearance of written language on screen. ϨÿR Typography: Deínition A Sociolinguistics of Typography Jürgen Spitzmüller Etymology: Greek τύπος (týpos = ‘letter, sign’) Outline ˆ γράφειν (gráphein = ‘to scratch, to write’) Concepts & Terms Original (strict) meaning: Production of a printed work by Functions of Text Design means of a speciíc technical procedure, namely printing (Typo)graphic press with re-usable, movable (metal) letters. Variation as Social Practice ô Lithography, Xylography, etc. Modern Deínition: “the style and appearance of printed matter” (Oxford English Dictionary) « Including style and appearance of written language on screen. ϨÿR Typography: Deínition A Sociolinguistics of Typography Jürgen Spitzmüller Etymology: Greek τύπος (týpos = ‘letter, sign’) Outline ˆ γράφειν (gráphein = ‘to scratch, to write’) Concepts & Terms Original (strict) meaning: Production of a printed work by Functions of Text Design means of a speciíc technical procedure, namely printing (Typo)graphic press with re-usable, movable (metal) letters. Variation as Social Practice ô Lithography, Xylography, etc. Modern Deínition: “the style and appearance of printed matter” (Oxford English Dictionary) « Including style and appearance of written language on screen. ϨÿR Typographic Levels Classic Categorization A Sociolinguistics of Typography Jürgen Spitzmüller Macrotypography: Overall design of a printed matter and the composition of letters on the page Outline Concepts & Terms ‚ Selection of printing material (paper etc.), selection of Functions of Text type faces, visual composition of the page (layout, type Design area), setting of type sizes and distances, page breaks, (Typo)graphic Variation as visual layout of the document as a whole. Social Practice Microtypography: Composition and design of script in a line ‚ Composition of letters to words, emphasis (= bold face, italics, small capitals, underlining, tracking, mixing of type faces, etc.), letter distance (running width and kerning), distance of words (justiícation), hyphenation, alignment, line distance (leading); a wide deínition also include design of type faces. R¨ÿR Typographic Levels Classic Categorization A Sociolinguistics of Typography Jürgen Spitzmüller Macrotypography: Overall design of a printed matter and the composition of letters on the page Outline Concepts & Terms ‚ Selection of printing material (paper etc.), selection of Functions of Text type faces, visual composition of the page (layout, type Design area), setting of type sizes and distances, page breaks, (Typo)graphic Variation as visual layout of the document as a whole. Social Practice Microtypography: Composition and design of script in a line ‚ Composition of letters to words, emphasis (= bold face, italics, small capitals, underlining, tracking, mixing of type faces, etc.), letter distance (running width and kerning), distance of words (justiícation), hyphenation, alignment, line distance (leading); a wide deínition also include design of type faces. R¨ÿR Typographic Levels Classic Categorization A Sociolinguistics of Typography Jürgen Spitzmüller Macrotypography: Overall design of a printed matter and the composition of letters on the page Outline Concepts & Terms ‚ Selection of printing material (paper etc.), selection of Functions of Text type faces, visual composition of the page (layout, type Design area), setting of type sizes and distances, page breaks, (Typo)graphic Variation as visual layout of the document as a whole. Social Practice Microtypography: Composition and design of script in a line ‚ Composition of letters to words, emphasis (= bold face, italics, small capitals, underlining, tracking, mixing of type faces, etc.), letter distance (running width and kerning), distance of words (justiícation), hyphenation, alignment, line distance (leading); a wide deínition also include design of type faces. R¨ÿR Typographic Levels Classic Categorization A Sociolinguistics of Typography Jürgen Spitzmüller Macrotypography: Overall design of a printed matter and the composition of letters on the page Outline Concepts & Terms ‚ Selection of printing material (paper etc.), selection of Functions of Text type faces, visual composition of the page (layout, type Design area), setting of type sizes and distances, page breaks, (Typo)graphic Variation as visual layout of the document as a whole. Social Practice Microtypography: Composition and design of script in a line ‚ Composition of letters to words, emphasis (= bold face, italics, small capitals, underlining, tracking, mixing of type faces, etc.), letter distance (running width and kerning), distance of words (justiícation), hyphenation, alignment, line distance (leading); a wide deínition also include design of type faces. R¨ÿR Typographic Levels Linguistic Diéerentiation as Proposed by Stöckl (ö..ó) A Sociolinguistics of Typography Microtypography: “the design of fonts
Recommended publications
  • Dynamic Optical Scaling and Variable-Sized Characters
    ELECTRONIC PUBLISHING, VOL. 7(4), 231±250 (DECEMBER 1994) Dynamic optical scaling and variable-sized characters JACQUES ANDREIRÂ ENEÁ VATTON Irisa/Inria±Rennes Cnrs/Inria±RhÃones-Alpes Campus Universitaire de Beaulieu 2 rue de Vignate F±35042 Rennes cedex, France F±38610 GiÁeres, France SUMMARY First, a survey on optical scaling is carried out, both from the traditional point of view and from that of today's digital typography. Then the special case of large characters, such as braces or integral signs, is considered. It is shown that such variable-sized symbols should be computed at print time in order to approach the quality of metal typesetting. Finally, an implementation of such dynamic fonts, still in progress in the Grif editor, is described. KEY WORDS Optical scaling Variable sized characters Large symbols Dynamic font Parametrized font Grif 1 INTRODUCTION The expression `optical scaling' refers to a concept known by type designers for centuries, even if this expression is relatively new and not very suitable:1 metal characters differ from one body to another one not only in size, but in shape too. Figure 1 (bottom) shows various Garamond `e' at different point size but photographically magni®ed to the same size. It is obvious that the `e' is, relatively, fatter at 8 point size than at 36 point size. On the other hand, the counter (the white inner part) is, relatively, larger at 8 point size than at 36 point size. The main reasons are : with small characters, thinner strokes would be unreadable, and smaller counters would result in inkspreading (the white part would be ®lled in with ink and would get black); on the other hand, if the strokes of large characters were as fat as small ones, characters would look bolder.
    [Show full text]
  • Geography 360 Principles of Cartography
    Geography 360 Principles of Cartography April 26, 2006 Typography Outlines 1. Principles of typography • Anatomy of letterform • Classifying type family • Typographic variables 2. Using type for map design • Choosing type family • Choosing typographic variables • Guidelines for type placement 1. Principles of typography • What constitutes letterform? – with focus on serif and shading • Classifying type family – based on common characteristics of letterform • Typographic variables – Type style, size, case, spacing, … Some design aspects of letterform •Serif: finishing strokes added to the end of the main strokes of the letter • Shading: main slant of letterforms Source: Dent Figure 14.1 •Serif vs. San Serif • Diagonal shading vs. horizontal shading Aspects of letterform • Serif vs. Sans Serif – Serif: lettering styles that contain such finishing strokes – Sans Serif: lettering styles that do not contain such finishing strokes • Diagonal Shading vs. horizontal/vertical Shading – Where is the position of the maximum stress in curved letters? – See Dent Figure 14.3 What is type family? • Type family: a group of type designs that reflect common design characteristics and share a common base name (Fig. 11.18) Palatino Helvetica Bookman Gill Sans Classifying type family Alexander Lawson, 1971, Printing types: An Introduction Classifying type family Class Appearance Distinct Other characteristics name Black Letter Hand Decorative Text lettering Oldstyle Lacking Diagonal Roman geometric shading Modern Geometric Vertical/horizo ntal shading Sans Precise, No serif Gothic serif clean-cut Typographic variables • Type family can be further differentiated by typographic variables such as • Type style: italic, normal, bold (Fig. 11.18 B) • Type size: 24 point (Fig. 11. 18D) • Type case: UPPERCASE, lowercase, Title Case, Sentence case (Fig.
    [Show full text]
  • A Sociolinguistics of Typography Why Graphic Design Matters to Linguistics
    A Sociolinguistics of Typography Why Graphic Design Matters to Linguistics Univ.-Prof. Dr. Jürgen Spitzmüller Universität Wien ¨ Institut für Sprachwissenschaft Charles University Prague ¨ ó/ww/ö.wR Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Typography: Deínition A Sociolinguistics of Typography Jürgen Spitzmüller Etymology: Greek τύπος (týpos = ‘letter, sign’) Outline ˆ γράφειν (gráphein = ‘to scratch, to write’) Concepts & Terms Original (strict) meaning: Production of a printed work by Functions
    [Show full text]
  • Developing an Arabic Typography Course for Visual Communication Design
    Developing an Arabic Typography course for Visual Communication Design Students in the Middle East and North African Region A thesis submitted to the School of Visual Communication Design, College of Communication and Information of Kent State University in partial fulfillment of the requirements for the degree of Master of Fine Arts by Basma Almusallam May, 2014 Thesis written by Basma Almusallam B.F.A, Kuwait University, 2008 M.F.A, Kent State University, 2014 Approved by ___________________________ Jillian Coorey, M.F.A., Advisor ___________________________ AnnMarie LeBlanc, M.F.A., Director, School of Visual Communication Design ___________________________ Stanley T. Wearden, Ph.D., Dean, College of Communication and Information Table of Contents TABLE OF CONTENTS………………………………………………………………...... iii LIST OF FIGURES……………………………………………………………………….. v PREFACE………………………………………………………………………………..... vi CHAPTER I. INTRODUCTION…………………………………………………………. 1 The Current Issue………………………………………………….. 1 Core Objectives……………………………………………………. 3 II. THE HISTORY OF THE ARABIC WRITING SYSTEM, CALLIGRAPHY AND TYPOGRAPHY………………………………………....………….. 4 The Arabic Writing System……………………………………….. 4 Arabic Calligraphy………………………………………………… 5 The Undocumented Art of Arabic Calligraphy……………….…… 6 The Shift Towards Typography and the Digital Era………………. 7 The Pressing Issue of the Present………………………………….. 8 A NOTE ON THE PROCESS…………………………………………………………….. 10 Applying a Framework for Research Documentation…………….. 11 Mental Model……………………………………………………… 12 Proposed User Testing…………………………………………….
    [Show full text]
  • Web Typography │ 2 Table of Content
    Imprint Published in January 2011 Smashing Media GmbH, Freiburg, Germany Cover Design: Ricardo Gimenes Editing: Manuela Müller Proofreading: Brian Goessling Concept: Sven Lennartz, Vitaly Friedman Founded in September 2006, Smashing Magazine delivers useful and innovative information to Web designers and developers. Smashing Magazine is a well-respected international online publication for professional Web designers and developers. Our main goal is to support the Web design community with useful and valuable articles and resources, written and created by experienced designers and developers. ISBN: 978-3-943075-07-6 Version: March 29, 2011 Smashing eBook #6│Getting the Hang of Web Typography │ 2 Table of Content Preface The Ails Of Typographic Anti-Aliasing 10 Principles For Readable Web Typography 5 Principles and Ideas of Setting Type on the Web Lessons From Swiss Style Graphic Design 8 Simple Ways to Improve Typography in Your Designs Typographic Design Patterns and Best Practices The Typography Dress Code: Principles of Choosing and Using Typefaces Best Practices of Combining Typefaces Guide to CSS Font Stacks: Techniques and Resources New Typographic Possibilities with CSS 3 Good Old @Font-Face Rule Revisted The Current Web Font Formats Review of Popular Web Font Embedding Services How to Embed Web Fonts from your Server Web Typography – Work-arounds, Tips and Tricks 10 Useful Typography Tools Glossary The Authors Smashing eBook #6│Getting the Hang of Web Typography │ 3 Preface Script is one of the oldest cultural assets. The first attempts at written expressions date back more than 5,000 years ago. From the Sumerians cuneiform writing to the invention of the Gutenberg printing press in Medieval Germany up to today՚s modern desktop publishing it՚s been a long way that has left its impact on the current use and practice of typography.
    [Show full text]
  • Zhao2019.Pdf (4.735Mb)
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Individual differences and ageing effects in mental rotation Binglei Zhao Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Psychology to The University of Edinburgh October 2018 1 Declaration I hereby declare that this thesis is of my own composition, and that is contains not material previously submitted for the award of any other degree. The work presented in this thesis has been executed by myself, except where due acknowledgement is made in the text. All analyses reported in this thesis are original and were carried out by myself with a great amount of help from my supervisors Prof. Sergio Della Sala and Dr. Elena Gherri. Signed, 30 Oct 2018 Binglei Zhao 2 Acknowledgements The four-year journey leading to the materialisation of this thesis would not have possible without the people around me.
    [Show full text]
  • Designing Typefaces for Maps. a Protocol of Tests
    Designing typefaces for maps. A protocol of tests. Sébastien Biniek,a Guillaume Touya,a Gilles Rouffineau,b and Thomas Huot-Marchandc a Univ. Paris-Est, LASTIG COGIT, IGN, ENSG, F-94160 Saint-Mande, France b ÉSAD Grenoble Valence, 38 000, Grenoble, France c ANRT, ENSAD, 54013, Nancy, France. Abstract: The text management in map design is a topic generally linked to placement and composition issues. Whereas the type design issue is rarely addressed or at least only partially. Moreover the typefaces especially designed for maps are rare. This paper presents a protocol of tests to evaluate characters for digital topographic maps and fonts that were designed for the screen through the use of geographical information systems using this protocol. It was launched by the Atelier National de Recherche Typographique Research (ANRT, located in Nancy, France) and took place over his ‘post-master’ course in 2013. The purpose is to isolate different issues inherent to text in a topographic map: map background, nonlinear text placement and toponymic hierarchies. Further research is necessary to improve this kind of approach. Keywords: Typography, Fonts, Topographic maps cannot be said that cartography is used to exploit the 1. Introduction latest innovations in type design. Even some typographic The graphic and textual components of a map form a choices can be disappointing for type designers. For single image that is both seen and read but unlike map example, we would like to notice the recent change of objects, map texts doesn’t have pre-defined positions. On typeface that has been operated at Swisstopo (the Swiss the other hand, the text is always linked to a map object national mapping agency).
    [Show full text]
  • Why Do U.S. Consumers Purchase Ethnically Disparate Products?
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2015 Why Do U.S. Consumers Purchase Ethnically Disparate Products? Jong Han Hyun University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Marketing Commons Recommended Citation Hyun, Jong Han, "Why Do U.S. Consumers Purchase Ethnically Disparate Products?. " PhD diss., University of Tennessee, 2015. https://trace.tennessee.edu/utk_graddiss/3339 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Jong Han Hyun entitled "Why Do U.S. Consumers Purchase Ethnically Disparate Products?." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Retail, Hospitality, and Tourism Management. Ann E. Fairhurst, Major Professor We have read this dissertation and recommend its acceptance: Hee-Jin Lim, Sejin Ha, Stephanie M. Noble Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Why Do U.S. Consumers Purchase Ethnically Disparate Products? A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Jong Han Hyun May 2015 Copyright © 2015 by Jong Han Hyun All rights reserved.
    [Show full text]
  • Overview: the Functions of Zarb
    Zarb Teaching Toolbar, Version 4.1 1 OVERVIEW: THE FUNCTIONS OF ZARB Here you can see all Zarb functions in order of appearance in the menus and toolbars. Double-click the green entries to move to the corresponding chapter within this document. Menu and Toolbar Zarb 1 Menu and Toolbar Zarb 2 General gap functions Puzzle functions Letters Crosswords Letter groups Crisscross puzzle Word beginning / word end Wordsearch puzzle Word construction Acrostic Cloze text Change puzzle size Gaps Hidden-letter fonts Gaps - solutions added Cryptogram Gaps from list Every second letter Gaps - inner letters Rearrangement Functions Gaps - punctuation Word backwards Alter gap form Word backwards with gap Language-specific functions Word backwards without gap Basic vocabulary Text backwards Infinitives Anagram Gaps - parts of speech Scramble word with gap English irregular Verbs Scramble word without gap Dutch irregular verbs Scramble inner letters German irregular verbs Scramble sentence Conjugate German verbs Scramble text Antonyms Word chain Synonyms Mistake text Thesaurus analysis Capitals only Help Functions Lower-case only Generate / edit word list Fun formats Check against word list Diverse Exercises Word frequency Word form exercise Character-set tables Matching exercise Insert header Multiple choice Paste text from the web Flash cards Remove hidden text Generate flash cards Transform table Help and Information Zarb manual Zarb overview About Zarb © Copyright 2008 Hans Zybura. All rights reserved. Zarb Teaching Toolbar, Version 4.1 2 TABLE OF CONTENTS
    [Show full text]
  • Effects of Altered Sensory Input from the Neck on Cerebellar Function, Body Schema and Sensorimotor Integration
    Effects of Altered Sensory Input from the Neck on Cerebellar Function, Body Schema and Sensorimotor Integration by Julianne Baarbé Submitted in Partial Fulfillment of the Requirements for the Degree Masters of Health Sciences at University of Ontario Institute of Technology, June 2015 Effects of Altered Sensory Input from the Neck on Cerebellar Function, Body Schema and Sensorimotor Integration by Julianne Baarbé Abstract Neck muscles have a high density of muscle spindle afferents and their input is critical for formulating the perception of head position relative to the body. Chronic alterations in afferent input from the neck may be studied in individuals with subclinical neck pain (SCNP), defined as non-severe recurrent neck pain lasting at least three months in the past year and testable on pain-free days so as to explore altered-afferent-input effects on cerebellar processing, upper extremity function and spatial awareness in the absence of pain. The first study tested participants with SCNP using transcranial magnetic stimulation to activate the cerebellar-thalamic-cortical circuit and produce cerebellar inhibition (CBI). SCNP participants were randomized to receive cervical manipulation or passive head movement (PHM), following which all participants completed a motor acquisition task. Healthy controls and SCNP participants who received manipulation showed significantly less CBI and improved motor performance whereas the SCNP group who received PHM showed no changes to CBI. The second study tested SCNP participants on upper extremity dart throwing. Three sets of ten darts were thrown at a slow-to-normal speed and three sets of ten darts were thrown at a fast speed. Compared to healthy participants, SCNP participants showed significantly greater elbow and forearm variability in motor selection, greater peak acceleration velocity of shoulder flexion-extension movement, and greater peak deceleration velocity of wrist movement.
    [Show full text]
  • HP Laserjet 9040Mfp/9050Mfp User Guide
    hp LaserJet 9040mfp hp LaserJet 9050mfp use hp LaserJet 9040mfp/9050mfp User Guide Copyright and License Trademark Credits © 2004 Copyright Hewlett-Packard Development Company, L.P. Adobe, Acrobat, and PostScript are trademarks of Adobe Systems Incorporated. Reproduction, adaptation or translation without prior written ® permission is prohibited, except as allowed under the copyright laws. ENERGY STAR is a U.S. registered mark. The information contained herein is subject to change without notice. Linux is a U.S. registered trademark of Linus Torvalds. The only warranties for HP products and services are set forth in the Microsoft, Windows, Windows NT, and MS-DOS are U.S. registered express warranty statements accompanying such products and trademarks of Microsoft Corporation. services. Nothing herein should be construed as constituting an UNIX is a registered trademark of The Open Group. additional warranty. HP shall not be liable for technical or editorial errors or omissions contained herein. Publication number: Q3726-90907 Edition 1, 11/2004 Contents 1 The basics Overview. .7 Features and benefits of the MFP. .7 Parts and accessories . .11 External view of MFP . .13 Helpful software for increased flexibility . .14 Software features . .14 Drivers . .15 Software for Macintosh computers. .18 Installing the printing system software . .19 Uninstalling the software . .22 Software for networks. .23 HP Web Jetadmin . .23 Communicating by using the HP Jetdirect embedded print server . .25 Communicating by using the HP Jetdirect print server . .25 Embedded Web Server. .25 HP Toolbox . .26 Supported operating systems . .26 To view HP Toolbox . .27 HP Toolbox sections . .27 Loading input trays . .29 Loading Tray 1 .
    [Show full text]
  • Typography Height
    THIS MONTH POInts OF VIEW a Serif Sans serif b Ascender Serif Typography Height Typography is the art and technique of arranging type. Like a Serif Descender person’s speaking style and skill, the quality of our treatment of Figure 1 | Typefaces. (a) The anatomy of letterform for serif (Garamond) letters on a page can influence how people respond to our mes- and sans serif (Univers) type both set at 58 point. (b) Four of the most sage. It is an essential act of encoding and interpretation, linking readily available fonts. what we say to what people see. Typography has been known to affect perception of credibility. line and paragraph settings (Fig. 2b). The relative scale of white In one study, identical job resumes printed using different type- space in Figure 2b makes the hierarchy of the content apparent. faces were sent out for review. Resumes with typefaces deemed Differentially aligning the paragraph text and bulleted list, when appropriate for a given industry resulted in applicants being con- allowed, differentiates the content. sidered more knowledgeable, mature, experienced, professional, To achieve meaningfully spaced text, use the ‘space before’ and believable and trustworthy than when less appropriate typefaces ‘space after’ settings instead of extra carriage returns. Find the were used1. In this case, picking the right typeface can help some- settings under Font menu > Paragraphs (PowerPoint) or Format one’s chances of landing a job. menu > Paragraphs (Word). The paragraph text in Figure 2b is set The term typeface is frequently conflated with font; Arial is a with 5 point space after it; the bulleted list has 3 point space after ‘typeface’ that may include roman, bold and italic ‘fonts’.
    [Show full text]