DOCSLIB.ORG

Using Opentype Features in Libreofiie

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Using Opentype Features in Libreofiie Using OpenType Features in LibreOfiie David J. Perry Ver. 1.2 updated August 4, 2017 Note: Part I provides background for those who have litle or no experience using OpenType. If you are already familiar with OpenType features and just want to learn how to access the in Libre# O$ce% you can go directly to Part II. tou might also need to read Part Ii if you have worked with OT features through a graphical interface rather than by using four-character codes. N.B.: names o keys on the key#oard are s"o$n in smal% capitals (enter, tab, etc.(. I. About OpenType A. Introduction )penType (ab#reviated O* herea+er( is a font te&"no%ogy t"at enab%es t"e appearance o &"aracters to be c"anged without altering the under%ying te,t. W"y wou%d one want su&" a thing? /n some languages, c"aracters may need to be res"aped depending on conte,t. In Arabi&, for instance, le0ers have diferent s"apes depending on w"ether t"ey come at the beginning o a $ord, in t"e midd%e, or at the end. Te user types a le0er and t"e appropriate s"ape is dis3 p%ayed. In languages li!e Arabi&, the operating system automati&al%y app%ies the needed O* eatures wit"out intervention by the user. Windo$s and Linu, use O* to support su&" com3 p%e, s&ripts (5ac O6 X uses a diferent te&"no%ogy for this(. /n languages t"at do not re8uire res"aping, O* provides ac&ess to many re9nements tradition3 al%y used in hig"38ua%ity typograp"y. In the remainder o t"is arti&%e we wi%% fo&us on su&" ty3 pograp"i& features t"at users may wis" to app%y to their te,t. Here is one e,amp%e. Numerals can be %ining 012;4<=7>? or o%dsty%e 0123456789. Te la0er are designed to ft be0er among words in running te,t. Eac" numera% can be designed to take up t"e same widt" as the others, w"i&" makes num#ers in tab%es line up ni&e%y, or numerals can be proportional, w"ere ' or instance ) ‘1B is narro$er t"an ‘0B. :e was born on June 10, 17>1 in a smal% vi%%age. 4ining tabu%ar numerals :e was born on June 10, 1781 in a smal% vi%%age. )%dsty%e tabu%ar numerals :e was born on June 10, 1781 in a smal% vi%%age. )%dsty%e proportional numera%s )penType inc%udes features for lining, o%dsty%e, tabu%ar and proportional numerals. Most fonts use lining tabu%ar numera%s as t"e de au%t, alt"ough some feature o%dsty%e unless lining numerals are spe&i9&al%y re8uested. Cont designers use four3&"aracter codes to spe&i y O* features, su&" as t"e fo%%o$ing: lnum = lining numerals onum = oldstyle numerals tnum = tabu%ar numerals pnum = proportional numerals B. Using the four-character codes 6ome programs inc%ude a user inter ace with pu%%3do$n menus, c"e&!#o,es, and so forth to ac&ess O* features. I%%ustration 1 s"o$s ho$ O* features are ac&essed in the open-sour&e pu#%is"ing program S&ri#us.1 At this time (5ay 2017(, Li#re)E&e does not have this kind o inter ace, alt"ough it may in the future. Instead, you need to use the four3&"aracter codes mentioned above. Part I/ e,p%ains ho$ to do this. :ere are the codes for some common O* features. smcp sma%% capita%s2 c2sc &apitals c"anged to smal% capitals liga &ommon ligatures dlig dis&retionary ligatures frac diagonal fractions A more comp%ete list is found in the Wi!ipedia %ist o typograp"i& features. §§1.4, 1.6, and 1.7 of this arti !" d"a! with f"at$r"s that ar" r"!"%ant to s ri&ts s$ h as Latin and Gr""). Fou s"ou%d consu%t the do&umentation t"at &ame with your font to fnd out w"i&" O* eatures are inc%uded. (Do&umentation may not inc%ude the four3&"aracter codes, under the assumption t"at users wi%% have a grap"3 i&al inter ace avai%ab%eG t"e Wi!ipedia arti&%e &an he%p you lo&ate the codes i needed.( I there is no do&umentation, you can try a fea3 ture and see i it wor!sG i it doesn’t, no "arm is done. Tis do&ument is set in t"e ont Li#ertinus Seri , an open-sour&e font $ith many O* featuresG a%% e,amp%es make use o this font unless other$ise noted. 4i#ertinus is an ofs"oot o Linu, Li#ertine, and t"e 4inu, Li#ertine we#site s"o$s e,3 amp%es o the various features and is a good $ay to learn about O* i you are ne$ to it. II. Using OpenType in LibreOfiie 5ost testing for this arti&%e was done with 4) Writer. Limited testing with Impress and Draw indi&ates t"at the O* features also $or! in those programs. A. Turning single features on or of 5ost O* features are turned of unless you e,p%i&itly turn t"em on. I a feature is le+ /%%ustration 1: A grap"ical inter ace or )* eatures. 1 2is screenshot is from ver. 1.;.5, a deve%opment versionG hopefu%%y t"is wi%% be oE&ia%%y re%eased soon. 2 )* fonts can contain proper%y designed sma%% capita%s. Some programs display sma%% caps by shrin!ing t"e fu%%3siHed le0ers, but t"ese o+en loo! spind%y and bad%y spa&ed. True sma%% caps can have slight%y t"i&!er stems to wor! be0er at sma%% siHes and have t"e spa&ing bet$een le0ers optimiHed. OpenType Features in LibreOfiie version 1.2 page 2 of, you see the de au%t c"aracter s"ape t"at the designer put into the font; i a feature is turned on, an alternate s"ape appears. To turn on o%dsty%e numera%s, go the bo, on t"e too%#ar w"ere the font name is disp%ayed *4i#ertinus Seri , in this do&ument+, put the cursor at t"e end o name, and type a co%on fo%%o$ed by the four3&"aracter code: Libertinus Serif:onum 2en hit IJKIL to app%y t"e c"ange. I%%ustration 2 s"o$s t"is contro%. Here the Cardo font is in use and we are app%ying an O* feature cal%ed Sty%isti& Set 1, w"ose four3%e0er code is ss01. / the font name is long, it may be diE&u%t to p%ace the cursor at t"e endG in t"is case, p%ace it any$"ere in t"e name and hit en, or use t"e rig"t arro$ !ey. You also can empty t"e bo, and type the font name p%us t"e &o%on and t"e feature, alt"ough it’s usua%%y more ac&urate to use the e,isting name. Illustration 2: An OT feature specified in LO’s font control. / you wis" to app%y an O* feature to te,t a%ready entered, se%e&t t"e te,t be ore editing the ont name. I you don’t se%e&t any te,t and spe&i y an O* feature, any te,t typed t"ereafer wi%% "ave this feature active unti% you turn it of. 6ome features are turned on by de au%t in Li#re)E&e, su&" as standard ligatures. I for some reason you wis" to turn su&" a feature of, type =0 afer t"e feature name, li!e t"is: 'de au%t) 4i#ertinus Seri :%iga=0 2e eE&ient fs" ooats wit" ligatures. *"e; less e Oi&ient fis" f%oats wit"out ligatures. /n fact, te&"ni&al%y you s"ou%d type =1 to turn a feature on (%iga=1(, but 1 is the de au%t value so you don’t need to spe&i y it. =0 turns a feature of. B. Using more than one feature at once Fou can turn on more t"an one feature at once by p%acing an ampersand between feature names, as in the fo%%o$ing w"i&" turns on proportional o%dsty%e numerals: Libertinus Serif:onum&pnum Not a%% com#inations o features are designed to wor! toget"er, and some font makers take greater care in t"is regard than others. So use common sense and e,periment as needed. 6ometimes it maters w"i&" feature you spe&i y frst and sometimes it doesn’t. ; 4i#ertinus Serif in&%udes t"e T3" ligature in t"e Common Ligatures feature, so it is turned o1 here. Many fonts put t"is combination under Discretionary Ligatures. Variations li!e t"is are o+en found wit" certain O* features, w"i&" is w"y font designers shou%d provide do&umentation and users need to consu%t it. OpenType Features in LibreOfiie version 1.2 page 3 Fou can also use a hyp"en/minus sign to turn a feature of.
Load more

Recommended publications
  • Ubuntu Kung Fu
    Prepared exclusively for Alison Tyler Download at Boykma.Com What readers are saying about Ubuntu Kung Fu Ubuntu Kung Fu is excellent. The tips are fun and the hope of discov- ering hidden gems makes it a worthwhile task. John Southern Former editor of Linux Magazine I enjoyed Ubuntu Kung Fu and learned some new things. I would rec- ommend this book—nice tips and a lot of fun to be had. Carthik Sharma Creator of the Ubuntu Blog (http://ubuntu.wordpress.com) Wow! There are some great tips here! I have used Ubuntu since April 2005, starting with version 5.04. I found much in this book to inspire me and to teach me, and it answered lingering questions I didn’t know I had. The book is a good resource that I will gladly recommend to both newcomers and veteran users. Matthew Helmke Administrator, Ubuntu Forums Ubuntu Kung Fu is a fantastic compendium of useful, uncommon Ubuntu knowledge. Eric Hewitt Consultant, LiveLogic, LLC Prepared exclusively for Alison Tyler Download at Boykma.Com Ubuntu Kung Fu Tips, Tricks, Hints, and Hacks Keir Thomas The Pragmatic Bookshelf Raleigh, North Carolina Dallas, Texas Prepared exclusively for Alison Tyler Download at Boykma.Com Many of the designations used by manufacturers and sellers to distinguish their prod- ucts are claimed as trademarks. Where those designations appear in this book, and The Pragmatic Programmers, LLC was aware of a trademark claim, the designations have been printed in initial capital letters or in all capitals. The Pragmatic Starter Kit, The Pragmatic Programmer, Pragmatic Programming, Pragmatic Bookshelf and the linking g device are trademarks of The Pragmatic Programmers, LLC.
    [Show full text]
  • Introducing Opentype Ab
    UBS AG ab Postfach CH-8098 Zürich Tel. +41-44-234 11 11 Brand Management Visual Identity Stephanie Teige FG09 G5R4-Z8S Tel. +41-1-234 59 09 Introducing OpenType Fax +41-1-234 36 41 [email protected] July 2005 www.ubs.com OpenType is a new font format developed collaboratively by Adobe and Microsoft. OpenType enhances the TrueType and PostScript technologies and extends their capabilities. Most fonts today are released in the OpenType format, now considered the industry standard. The resulting new generation of UBSHeadline and Frutiger fonts offers improved typographic and layout features. 1. What is OpenType? Frutiger is not always Frutiger Due to the wide variety of Frutiger styles available world- A single font format wide, be sure to install and use only the client-specific UBS OpenType provides a single universally acceptable font licensed version of this font. Do not use any other versions format that can be used on any major operating system of Frutiger to create UBS media. and in any application. Using the client-specific UBS Frutiger guarantees access to Macintosh Windows UBS-relevant cuts. It also prevents changes to kerning and line-break in comparison to random Frutiger styles. UBSHeadline, Frutiger UBSHeadline, Frutiger (PostScript) (TrueType) Linotype Frutiger UBS Frutiger Frutiger LT 45 Light Frutiger 45 Light Macintosh and Frutiger LT 46 Light Italic Frutiger 45 Light Italic Windows Frutiger LT 55 Roman Frutiger 55 Roman Frutiger LT 56 Italic Frutiger 55 Roman Italic UBSHeadline, Frutiger Frutiger LT 65 Bold Frutiger 45 Light Bold (OpenType) Frutiger LT 75 Black Frutiger 55 Roman Bold Frutiger LT 47 Light Condensed Frutiger 47 Light CN Unicode OpenType supports Unicode, which allows much larger Comparison of common Linotype Frutiger versus UBS client- character sets – more than 65,000 glyphs per font in many specific Frutiger.
    [Show full text]
  • Opentype Installation Basics for Context
    The PracTEX Journal TPJ 2005 No 02, 2005-04-15 Rev. 2005-04-16 OpenType installation basics for ConTEXt Adam T. Lindsay To make a sweeping generalization, ConTEXt tends to attract people who are in- terested in customizing their own documents. While LATEX’s use is dominated by pre-cooked document layouts, using templates for academic publishing, ConTEXt seems to attract those people looking for just a little bit more flexibility. It is not surprising, then, that many ConTEXt users – both professional and personal users – tire of dealing with the default Computer Modern font family, and look to install their own fonts in order to imbue their documents with their own personality. Font purchasing has been a tricky business. Fonts have traditionally been avail- able in two different formats (PostScript and TrueType) for each of two different platforms (different encapsulating file formats for PC and Mac). Periodically, mod- ern updates to those font formats have appeared, promising new features with that new technology (e.g., Multiple Masters, GX), only to have withered and died in the marketplace. So designers and others who buy fonts may tire of the frac- tured market of multiple font formats, but they should understandably be a little leery of new font formats. It is within this environment that the OpenType font format was conceived. It attempts to unify TrueType and PostScript imaging models, and unifies the file formats so that there is one file designed to work on any platform. It unifies across many encodings by utilizing Unicode as the native font encoding. It unifies across expert encodings, small caps fonts, and other fonts with alternative glyphs by in- troducing OpenType features, which allow fairly sophisticated glyph replacement procedures.
    [Show full text]
  • Opentype Postscript Fonts with Unusual Units-Per-Em Values
    Luigi Scarso VOORJAAR 2010 73 OpenType PostScript fonts with unusual units-per-em values Abstract Symbola is an example of OpenType font with TrueType OpenType fonts with Postscript outline are usually defined outlines which has been designed to match the style of in a dimensionless workspace of 1000×1000 units per em Computer Modern font. (upm). Adobe Reader exhibits a strange behaviour with pdf documents that embed an OpenType PostScript font with A brief note about bitmap fonts: among others, Adobe unusual upm: this paper describes a solution implemented has published a “Glyph Bitmap Distribution Format by LuaTEX that resolves this problem. (BDF)” [2] and with fontforge it’s easy to convert a bdf font into an opentype one without outlines. A fairly Keywords complete bdf font is http://unifoundry.com/unifont-5.1 LuaTeX, ConTeXt Mark IV, OpenType, FontMatrix. .20080820.bdf.gz: this Vle can be converted to an Open- type format unifontmedium.otf with fontforge and it Introduction can inspected with showttf, a C program from [3]. Here is an example of glyph U+26A5 MALE AND FEMALE Opentype is a font format that encompasses three kinds SIGN: of widely used fonts: 1. outline fonts with cubic Bézier curves, sometimes Glyph 9887 ( uni26A5) starts at 492 length=17 referred to CFF fonts or PostScript fonts; height=12 width=8 sbX=4 sbY=10 advance=16 2. outline fonts with quadratic Bézier curve, sometimes Bit aligned referred to TrueType fonts; .....*** 3. bitmap fonts. ......** .....*.* Nowadays in digital typography an outline font is almost ..***... the only choice and no longer there is a relevant diUer- .*...*.
    [Show full text]
  • 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.
    [Show full text]
  • 264 Tugboat, Volume 37 (2016), No. 3 Typographers' Inn Peter Flynn
    264 TUGboat, Volume 37 (2016), No. 3 A Typographers’ Inn X LE TEX Peter Flynn Back at the ranch, we have been experimenting with X LE ATEX in our workflow, spurred on by two recent Dashing it off requests to use a specific set of OpenType fonts for A I recently put up a new version of Formatting Infor- some GNU/Linux documentation. X LE TEX offers A mation (http://latex.silmaril.ie), and in the two major improvements on pdfLTEX: the use of section on punctuation I described the difference be- OpenType and TrueType fonts, and the handling of tween hyphens, en rules, em rules, and minus signs. UTF-8 multibyte characters. In particular I explained how to type a spaced Font packages. You can’t easily use the font pack- dash — like that, using ‘dash~---Ђlike’ to put a A ages you use with pdfLTEX because the default font tie before the dash and a normal space afterwards, encoding is EU1 in the fontspec package which is key so that if the dash occurred near a line-break, it to using OTF/TTF fonts, rather than the T1 or OT1 would never end up at the start of a line, only at A conventionally used in pdfLTEX. But late last year the end. I somehow managed to imply that a spaced Herbert Voß kindly posted a list of the OTF/TTF dash was preferable to an unspaced one (probably fonts distributed with TEX Live which have packages because it’s my personal preference, but certainly A of their own for use with X LE TEX [6].
    [Show full text]
  • The Fontspec Package Font Selection for XƎLATEX and Lualatex
    The fontspec package Font selection for XƎLATEX and LuaLATEX Will Robertson and Khaled Hosny [email protected] 2013/05/12 v2.3b Contents 7.5 Different features for dif- ferent font sizes . 14 1 History 3 8 Font independent options 15 2 Introduction 3 8.1 Colour . 15 2.1 About this manual . 3 8.2 Scale . 16 2.2 Acknowledgements . 3 8.3 Interword space . 17 8.4 Post-punctuation space . 17 3 Package loading and options 4 8.5 The hyphenation character 18 3.1 Maths fonts adjustments . 4 8.6 Optical font sizes . 18 3.2 Configuration . 5 3.3 Warnings .......... 5 II OpenType 19 I General font selection 5 9 Introduction 19 9.1 How to select font features 19 4 Font selection 5 4.1 By font name . 5 10 Complete listing of OpenType 4.2 By file name . 6 font features 20 10.1 Ligatures . 20 5 Default font families 7 10.2 Letters . 20 6 New commands to select font 10.3 Numbers . 21 families 7 10.4 Contextuals . 22 6.1 More control over font 10.5 Vertical Position . 22 shape selection . 8 10.6 Fractions . 24 6.2 Math(s) fonts . 10 10.7 Stylistic Set variations . 25 6.3 Miscellaneous font select- 10.8 Character Variants . 25 ing details . 11 10.9 Alternates . 25 10.10 Style . 27 7 Selecting font features 11 10.11 Diacritics . 29 7.1 Default settings . 11 10.12 Kerning . 29 7.2 Changing the currently se- 10.13 Font transformations . 30 lected features .
    [Show full text]
  • 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.
    [Show full text]
  • The Selnolig Package: Selective Suppression of Typographic Ligatures*
    The selnolig package: Selective suppression of typographic ligatures* Mico Loretan† 2015/10/26 Abstract The selnolig package suppresses typographic ligatures selectively, i.e., based on predefined search patterns. The search patterns focus on ligatures deemed inappropriate because they span morpheme boundaries. For example, the word shelfful, which is mentioned in the TEXbook as a word for which the ff ligature might be inappropriate, is automatically typeset as shelfful rather than as shelfful. For English and German language documents, the selnolig package provides extensive rules for the selective suppression of so-called “common” ligatures. These comprise the ff, fi, fl, ffi, and ffl ligatures as well as the ft and fft ligatures. Other f-ligatures, such as fb, fh, fj and fk, are suppressed globally, while making exceptions for names and words of non-English/German origin, such as Kafka and fjord. For English language documents, the package further provides ligature suppression rules for a number of so-called “discretionary” or “rare” ligatures, such as ct, st, and sp. The selnolig package requires use of the LuaLATEX format provided by a recent TEX distribution, e.g., TEXLive 2013 and MiKTEX 2.9. Contents 1 Introduction ........................................... 1 2 I’m in a hurry! How do I start using this package? . 3 2.1 How do I load the selnolig package? . 3 2.2 Any hints on how to get started with LuaLATEX?...................... 4 2.3 Anything else I need to do or know? . 5 3 The selnolig package’s approach to breaking up ligatures . 6 3.1 Free, derivational, and inflectional morphemes .
    [Show full text]
  • P Font-Change Q UV 3
    p font•change q UV Version 2015.2 Macros to Change Text & Math fonts in TEX 45 Beautiful Variants 3 Amit Raj Dhawan [email protected] September 2, 2015 This work had been released under Creative Commons Attribution-Share Alike 3.0 Unported License on July 19, 2010. You are free to Share (to copy, distribute and transmit the work) and to Remix (to adapt the work) provided you follow the Attribution and Share Alike guidelines of the licence. For the full licence text, please visit: http://creativecommons.org/licenses/by-sa/3.0/legalcode. 4 When I reach the destination, more than I realize that I have realized the goal, I am occupied with the reminiscences of the journey. It strikes to me again and again, ‘‘Isn’t the journey to the goal the real attainment of the goal?’’ In this way even if I miss goal, I still have attained goal. Contents Introduction .................................................................................. 1 Usage .................................................................................. 1 Example ............................................................................... 3 AMS Symbols .......................................................................... 3 Available Weights ...................................................................... 5 Warning ............................................................................... 5 Charter ....................................................................................... 6 Utopia .......................................................................................
    [Show full text]
  • LYX for Academia
    LYX for academia John R Hudson∗† 1 What is LYX? LyX is a cross-platform program which harnesses the resources of the TEX, XeTeX and LuaTeX typesetting engines and a wide variety of writing tools, including the LibreOffice dictionaries and thesauri, to enable writers, editors, copy-editors and typesetters to create superior docu- ments for web and print media. 2 TEX, LATEX and LYX TEX1, a typesetting engine written in Pascal by Donald Knuth, implements best typesetting practice as set out in the The Chicago manual of style (University of Chicago Press, 1982). Among the limitations of TEX arising from its creation before the growth of the Internet is that it does not support Unicode and offers only a limited range of typefaces. The XeTEX and LuaTEX typesetting engines seek to address these weaknesses and support for them was added in LYX 2. LATEX began as a markup language to help DEC employees to use TEX but has spawned a large number of packages to serve the diverse needs of writers, all of which are available from CTAN. No one needs them all; so selections of the most useful are distributed, notably as MacTeX for Apple computers, TexLive for Linux and MiKTeX for Windows, to which users can add whatever else they need from CTAN. LYX was created by Matthias Ettrich in 1995 as a graphical user interface for the LATEX macros. Originally, it simply hid the complexity of the most common features of LATEX so that the user could produce beautiful documents without knowing anything about LATEX. But it has gradually evolved into a flexible writing tool that can handle an increasing range of LATEX features while enabling those who understand LATEX to tweak the output in a variety of ways.
    [Show full text]
  • 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
    [Show full text]