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Margin Kerning and Font Expansion with Pdftex
Margin Kerning and Font Expansion with pdfTEX H`anTh´eTh`anh Introduction \f ends up at the right margin, it should be moved out to the margin by 700 thousandths of its width pdfT X has some micro-typographic extensions that E (i.e., 70 %). are not so widely used, for the lack of documentation It is conveninent to specify the protruding fac- and quite complicated setup. In this paper I would tor for individual characters in thousandths of char- like to describe their use in a step-by-step manner acter width. This is also the way how \rpcode so the reader can give a try afterwards. Two exten- was implemented in versions up to 0.14h. However, sions will be introduced: margin kerning and font this method cannot be used for characters with expansion. zero width (”faked” characters that can be used to Margin kerning is the technique to move the protrude other elements than normal characters), so characters slightly out to the margins of a text block in version 0.14h and later, the protruding amount in order to make the margins look straight. Without is specified in thousandths of an em of the font. margin kerning, certain characters when ending up A macro called \adjustprotcode (defined in file at the margins can cause the optical illusion that \protrude.tex) is used here to checks whether the the margins look rather ragged. Margin kerning used version is older than 0.14h and if so it will is similar to hanging punctuation, but it can also convert the settings for versions before 0.14h (i.e., in be applied to other characters as well. -
Basic Styles of Lettering for Monuments and Markers.Indd
BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble. -
Micro Typography Part 1: Spacing
MICRO TYPOGRAPHY PART 1 MICRO TYPOGRAPHY PART 1: SPACING Kerning :: Letter spacing :: Tracking :: Word Spacing Kerning :: Letter spacing :: Tracking :: Word Spacing KERNING Kerning is the act of adjusting the space between two characters to compensate for their relative shapes. It refers to removing space between two characters to restore the natural rhythm found among the characters in the rest of the text. If letters in a typeface are spaced mathematically even, they make a pattern that doesn’t look uniform enough. * Letter spacing: adding space between two characters within a word. Kerning :: Letter spacing :: Tracking :: Word Spacing KERNING: LETTER SHAPES There are four kinds of strokes that make up letter forms. These must be spaced in a logical, consistent manner to appear optically correct. The idea is to maintain comfortable optical volumes (figure/ground) between letter forms. Each letter should “flirt” with the one next to it. Kerning :: Letter spacing :: Tracking :: Word Spacing KERNING: LETTER SHAPES Here are the extreme spacing limits for combining stroke types. You can build your own letter spacing system for the other stroke combinations. Kerning :: Letter spacing :: Tracking :: Word Spacing KERNING PAIRS Kerning pairs are a pair of letters whose shapes (and negative space around those shapes) cause them to need a kerning adjustment. Sample letters which always need kerning: W, Y, V, T, L, O. Sample letter pairs which always need adjusting: Wy, Ae, Yo, Te, Wo. Often kerning happens between upper and lower case letters and -
A Stochastic Approach to “Dynamic-Demand” Refrigerator Control David Angeli, Senior Member, IEEE, and Panagiotis-Aristidis Kountouriotis
IEEE TRANSACTIONS ON CONTROL SYSTEMS TECHNOLOGY, VOL. 20, NO. 3, MAY 2012 581 A Stochastic Approach to “Dynamic-Demand” Refrigerator Control David Angeli, Senior Member, IEEE, and Panagiotis-Aristidis Kountouriotis Abstract—Dynamic demand management is a very promising In order for such (supply) regulation to be possible, however, research direction for improving power system resilience. This it is required that “frequency response services”, as well as suffi- paper considers the problem of managing power consumption by cient reserves, are included in the system.1 This is essential not means of “smart” thermostatic control of domestic refrigerators. In this approach, the operating temperature of these appliances only for instantaneous frequency balancing, but, more impor- and thus their energy consumption, is modified dynamically, tantly, for the ability to respond to sudden power plant failures, within a safe range, in response to mains frequency fluctuations. which would otherwise lead to severe blackouts. Previous research has highlighted the potential of this idea for From an economic perspective, frequency response services responding to sudden power plant outages. However, deterministic and reserve power are costly and any method which manages control schemes have proved inadequate as individual appliances tend to “synchronize” with each other, leading to unacceptable to reduce the magnitude of these services, without sacrificing levels of overshoot in energy demand, when they “recover” their system stability, is of significant importance [16]. In recent steady-state operating cycles. In this paper we design decentral- years, research has been initiated on the possibility of using ized random controllers that are able to respond to sudden plant frequency responsive loads, commonly referred to as “dynamic outages and which avoid the instability phenomena associated demand control”, so as to reduce the amount of frequency with other feedback strategies. -
Typographic Terms Alphabet the Characters of a Given Language, Arranged in a Traditional Order; 26 Characters in English
Typographic Terms alphabet The characters of a given language, arranged in a traditional order; 26 characters in English. ascender The part of a lowercase letter that rises above the main body of the letter (as in b, d, h). The part that extends above the x-height of a font. bad break Refers to widows or orphans in text copy, or a break that does not make sense of the phrasing of a line of copy, causing awkward reading. baseline The imaginary line upon which text rests. Descenders extend below the baseline. Also known as the "reading line." The line along which the bases of all capital letters (and most lowercase letters) are positioned. bleed An area of text or graphics that extends beyond the edge of the page. Commercial printers usually trim the paper after printing to create bleeds. body type The specific typeface that is used in the main text break The place where type is divided; may be the end of a line or paragraph, or as it reads best in display type. bullet A typeset character (a large dot or symbol) used to itemize lists or direct attention to the beginning of a line. (See dingbat.) cap height The height of the uppercase letters within a font. (See also cap line.) caps and small caps The typesetting option in which the lowercase letters are set as small capital letters; usually 75% the height of the size of the innercase. Typographic Terms character A symbol in writing. A letter, punctuation mark or figure. character count An estimation of the number of characters in a selection of type. -
Adobe Type 1 Font Format Adobe Systems Incorporated
Type 1 Specifications 6/21/90 final front.legal.doc Adobe Type 1 Font Format Adobe Systems Incorporated Addison-Wesley Publishing Company, Inc. Reading, Massachusetts • Menlo Park, California • New York Don Mills, Ontario • Wokingham, England • Amsterdam Bonn • Sydney • Singapore • Tokyo • Madrid • San Juan Library of Congress Cataloging-in-Publication Data Adobe type 1 font format / Adobe Systems Incorporated. p. cm Includes index ISBN 0-201-57044-0 1. PostScript (Computer program language) 2. Adobe Type 1 font (Computer program) I. Adobe Systems. QA76.73.P67A36 1990 686.2’2544536—dc20 90-42516 Copyright © 1990 Adobe Systems Incorporated. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated and Addison-Wesley, Inc. Printed in the United States of America. Published simultaneously in Canada. The information in this book is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in this book. The software described in this book is furnished under license and may only be used or copied in accordance with the terms of such license. Please remember that existing font software programs that you may desire to access as a result of information described in this book may be protected under copyright law. The unauthorized use or modification of any existing font software program could be a violation of the rights of the author. -
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. -
Kerning of Form a Third Can Producethis Setting Varied Results but Can Sometimes Work Well Situations
TYPOGRAPHY 1 EXERCISE: KERNING ESTIMATED TIME: 2–3 HOURS PROFESSOR JACOB ROBISON SKILLS: Observation, Kerning Phone: (412) 610-2753 TOOLS: Adobe InDesign Email: [email protected] PROJECT WORTH: 100 points KERNING The adjustment of spacing between letters in words. Every typeface has a distinct rhythm of strokes and spaces. This relationship between form and counter-form defines the optimal spacing of that particular typeface, and, therefore, of the overall spacing between words and lines of type, and among paragraphs. Learning to properly kern pairs of letter forms is an absolutely critical skill that requires a significant amount of practice and observation to master. The goal is to create a uniform gray value with minimal distraction for the reader. Creating consistent gray value in text depends on setting the letters so that there is even alternation of solid and void–within and between the letters. In digital typesetting, there are two types of automatic kerning: Metric and Optical. With metric kerning, a program such as Adobe Illustrator or Adobe InDesign uses values found in a particular fonts kerning table. These values were defined by the type designer when the font was created. The metric kerning setting represents the designers intent for spacing between certain letters within a given font. With optical kerning, a program such as Adobe Illustrator or Adobe InDesign uses an algorithm to calculate the optimal spacing for each pair of consecutive characters. Generally speaking, this setting can produce varied results but can sometimes work well in certain situations. A third form of kerning is referred to as Manual With manual kerning, a designer ignores the automatic settings of metric and optical and kerns the text based on personal taste. -
Base Monospace
SPACE PROBE: Investigations Into Monospace Introducing Base Monospace Typeface BASE MONOSPACE Typeface design 1997ZUZANA LICKO Specimen design RUDY VANDERLANS Rr SPACE PROBE: Investigations into Monospace SPACE PROBE: Occasionally, we receive inquiries from type users asking Monospaced Versus Proportional Spacing Investigations Into Monospace us how many kerning pairs our fonts contain. It would seem 1. that the customer wants to be dazzled with numbers. Like cylinders in a car engine or the price earnings ratio of a /o/p/q/p/r/s/t/u/v/w/ Occasionally, we receive inquiries fromstock, type theusers higher asking the number of kerning pairs, the more us how many kerning pairs our fonts contain.impressed It thewould customer seem will be. What they fail to understand /x/y/s/v/z/t/u/v/ that the customer wants to be dazzled iswith that numbers. the art Like of kerning a typeface is as subjective a discipline as is the drawing of the letters themselves. The In a monospaced typeface, such as Base Monospace, cylinders in a car engine or the price earnings ratio of each character fits into the same character width. a stock, the higher the number of kerningfact pairs,that a theparticular more typeface has thousands of kerning impressed the customer will be. What theypairs fail is relative,to understand since some typefaces require more kerning is that the art of kerning a typeface pairsis as thansubjective others aby virtue of their design characteristics. /O/P/Q/O/Q/P/R/S/Q/T/U/V/ discipline as is the drawing of the lettersIn addition, themselves. -
TYPOGRAPHY 1 Text Mechanics
TYPOGRAPHY 1 text mechanics text MECHANICS TYPOGRAPHY 1 text mechanics The Optics of Spacing Every typeface has a distinct rhythm of strokes and spaces. This relationship between form and counterform defines the optimal spacing of that particular typeface and, therefore, of the overall spacing between words and lines of type, and among paragraphs. Space Space S p a c e TYPOGRAPHY 1 text mechanics Kerning Kerning is an adjustment of the space between two letters. As the characters of the Latin alphabet emerged over time; they were not designed with mechanical or automated spacing in mind. Thus some letter combinations look awkward without special spacing considerations. Gaps occur around letters whose forms angle outward or frame an open space (W, Y, V, T). Spacing Matters TYPOGRAPHY 1 text mechanics Kerning (continued) With metric kerning, a program such as Adobe Illustrator or Adobe InDesign uses values found in a particular fonts kerning table. These values were defined by the type designer when the font was created. The metric kerning setting represents the designers intent for spacing between certain letters within a given font. With optical kerning, a program such as Adobe Illustrator or Adobe InDesign uses an algorithm to calculate the optimal spacing for each pair of consecutive characters. Generally speaking, this setting can produce varied results but can sometimes work well in certain situations. TYPOGRAPHY 1 text mechanics Kerning (continued) Warm Type default / no kerning applied Warm Ty pe optical kerning applied Warm Type metric kerning applied TYPOGRAPHY 1 text mechanics Manual Kerning A third form of kerning is called manual, a designer ignores the automatic settings of metric and optical. -
Truetype Fonts In
TUGboat, Volume 20 (1999), No. 4 347 different from those written in METAFONT usually bring some problems with compatibilityor platform dependence. The most common problem is the need for manual font generation at a specific resolution, demanded byT EX, or you need a special device driver for this purpose. An “easy” solution of all these problems is a conversion of a font into METAFONT format. Once the font is converted, you can use it the same way as regular METAFONT fonts. As long as I wanted to use some TTFsinTEX some time ago and I didn’t find anyconverter, I decided to write myown. Let’s look at the TrueType fonts first. Each character is described byits outline, composed of Bezier curves. Some information used for scaling is also included. Currently, the converter reads onlythe glyphinformation for a character. The glyph consists of several closed paths. All paths are filled using invert-filter, i.e., the area filled twice will not be filled at all. These paths should not cross themselves, but, as long as the Windows OS doesn’t care about that, some fonts are not drawn properly. This causes problems in METAFONT, which treats this as an error in the input file. (Actually, this error can occur onlywhen there is a crossing on a single path so that a “loop” comes up. The paths are processed independentlyby METAFONT, so crossing of two paths should not cause problems.) Because of this representation of TrueType fonts, the conversion program also generates a set of Bezier curves forming closed paths. There is also another kind of glyphs, composed glyphs. -
Font Guide Final Ƒ 2010.Indd
IBM Global Fonts Typographic Guidelines May 2010 Table of Contents Global Fonts and Typographic Guidelines........................................................................................................................................ ....... 3 Font Customization and Adjustment for IBM ....................................................................................................................................... 6 Examples of headline, text and settings specifications for ITC Lubalin Graph ............................................................................................. 7 Examples of headline, text and settings specifications for Helvetica Neue ................................................................................................. 11 Examples of headline and text settings for Berthold Bodoni Pro, showing the default settings and the preferred setting specifications .........................................................................................................................................................................................16 Examples of headline and text settings for Janson Text Pro, showing the default settings and the preferred setting specifications ........................................................................................................................................................................................ 24 Latin and Non-Latin Font Alternatives ......................................................................................................................................................35