How to Render Math Symbols in Java
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Supreme Court of the State of New York Appellate Division: Second Judicial Department
Supreme Court of the State of New York Appellate Division: Second Judicial Department A GLOSSARY OF TERMS FOR FORMATTING COMPUTER-GENERATED BRIEFS, WITH EXAMPLES The rules concerning the formatting of briefs are contained in CPLR 5529 and in § 1250.8 of the Practice Rules of the Appellate Division. Those rules cover technical matters and therefore use certain technical terms which may be unfamiliar to attorneys and litigants. The following glossary is offered as an aid to the understanding of the rules. Typeface: A typeface is a complete set of characters of a particular and consistent design for the composition of text, and is also called a font. Typefaces often come in sets which usually include a bold and an italic version in addition to the basic design. Proportionally Spaced Typeface: Proportionally spaced type is designed so that the amount of horizontal space each letter occupies on a line of text is proportional to the design of each letter, the letter i, for example, being narrower than the letter w. More text of the same type size fits on a horizontal line of proportionally spaced type than a horizontal line of the same length of monospaced type. This sentence is set in Times New Roman, which is a proportionally spaced typeface. Monospaced Typeface: In a monospaced typeface, each letter occupies the same amount of space on a horizontal line of text. This sentence is set in Courier, which is a monospaced typeface. Point Size: A point is a unit of measurement used by printers equal to approximately 1/72 of an inch. -
Handshake Brand Guidelines 2021 1 Spring 2021
Brand GuidelinesHANDSHAKE BRAND GUIDELINES 2021 SPRING 20211 Manifesto Our brand manifesto is our call to action for students. It describes what we do, what we stand for, and what we can help students accomplish. For the ready, set, and not quite there yet. For the “I know” and the “I have no idea.” For the seekers, finders, doers, and explorers. Look ahead at what’s possible. At what’s next. If you want it, you can make it happen. No matter what you’re looking for, or where you are in your career journey—we’re here to help. Take the first step. Then the next. Towards to job you want. Find Your Next. HANDSHAKE BRAND GUIDELINES 2021 2 Logo The Handshake logo is the official signature of the Handshake brand — it is confident, simple and trustworthy. Our logo is our most important assets, serving as the chief expression of the brand. HANDSHAKE BRAND GUIDELINES 2021 3 Logo The Handshake logo is the anchor of our brand horizontal lockup of the brand wordmark and our system , and maintaining the mark’s integrity iconic symbol. Modern and timeless, the mark across all touchpoints is critical for establishing balances trustworthiness and professionalism with a successful corporate identity. The logo is a an authentic human touch. PRIMARY MARK ▶ HANDSHAKE BRAND GUIDELINES 2021 4 Logo To preserve the integrity of the brand, the or the signature Handshake red. The red logo is Handshake logo must only be displayed in a limited only permitted on use of a white or very light gray palette of color options. -
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. -
Dyalog APL Binding Strengths
Dyalog APL Nomenclature: Functions and Operators CHEAT SHEET Nomenclature: Functions and Operators Functions Glyph Glyph Name Unicode Glyph Name Code Monadic Function Dyadic Function + Plus Plus Sign 002B Conjugate Plus - Minus Hyphen-Minus 002D Negate Minus × Times Multiplication Sign 00D7 Direction Times ÷ Divide Division Sign 00F7 Reciprocal Divide ⌊ Downstile Left Floor 230A Floor Minimum ⌈ Upstile Left Ceiling 2308 Ceiling Maximum | Stile Vertical Line 007C Magnitude Residue * Star Asterisk 002A Exponential Power ⍟ Log *Circle Star 235F Natural Logarithm Logarithm ○ Circle White Circle 25CB Pi Times Circular Functions ! Exclamation Mark Exclamation Mark 0021 Factorial Binomial ∧ Logical AND Logical AND 2227 Lowest Common Multiple/AND ∨ Logical OR Logical OR 2228 Greatest Common Divisor/OR ⍲ Logical NAND *Up Caret Tilde 2372 NAND ⍱ Logical NOR *Down Caret Tilde 2371 NOR < Less Than Less-Than Sign 003C Less Than ≤ Less Than Or Equal To Less-Than Or Equal To 2264 Less Than Or Equal To = Equal Equals Sign 003D Equal To ≥ Greater Than Or Equal To Great-Than Or Equal To 2265 Greater Than Or Equal To > Greater Than Greater-Than Sign 003E Greater Than ≠ Not Equal Not Equal To 2260 Not Equal To ~ Tilde Tilde 007E NOT Without ? Question Mark Question Mark 003F Roll Deal Enlist ∊ Epsilon Small Element Of 220A Membership (Type if ⎕ML=0) ⍷ Epsilon Underbar *Epsilon Underbar 2377 Find , Comma Comma 002C Ravel Catenate/Laminate ⍪ Comma Bar *Comma Bar 236A Table Catenate First/Laminate ⌷ Squad *Squish Quad 2337 Materialise Index ⍳ Iota *Iota 2373 -
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. -
Surviving the TEX Font Encoding Mess Understanding The
Surviving the TEX font encoding mess Understanding the world of TEX fonts and mastering the basics of fontinst Ulrik Vieth Taco Hoekwater · EuroT X ’99 Heidelberg E · FAMOUS QUOTE: English is useful because it is a mess. Since English is a mess, it maps well onto the problem space, which is also a mess, which we call reality. Similary, Perl was designed to be a mess, though in the nicests of all possible ways. | LARRY WALL COROLLARY: TEX fonts are mess, as they are a product of reality. Similary, fontinst is a mess, not necessarily by design, but because it has to cope with the mess we call reality. Contents I Overview of TEX font technology II Installation TEX fonts with fontinst III Overview of math fonts EuroT X ’99 Heidelberg 24. September 1999 3 E · · I Overview of TEX font technology What is a font? What is a virtual font? • Font file formats and conversion utilities • Font attributes and classifications • Font selection schemes • Font naming schemes • Font encodings • What’s in a standard font? What’s in an expert font? • Font installation considerations • Why the need for reencoding? • Which raw font encoding to use? • What’s needed to set up fonts for use with T X? • E EuroT X ’99 Heidelberg 24. September 1999 4 E · · What is a font? in technical terms: • – fonts have many different representations depending on the point of view – TEX typesetter: fonts metrics (TFM) and nothing else – DVI driver: virtual fonts (VF), bitmaps fonts(PK), outline fonts (PFA/PFB or TTF) – PostScript: Type 1 (outlines), Type 3 (anything), Type 42 fonts (embedded TTF) in general terms: • – fonts are collections of glyphs (characters, symbols) of a particular design – fonts are organized into families, series and individual shapes – glyphs may be accessed either by character code or by symbolic names – encoding of glyphs may be fixed or controllable by encoding vectors font information consists of: • – metric information (glyph metrics and global parameters) – some representation of glyph shapes (bitmaps or outlines) EuroT X ’99 Heidelberg 24. -
THE MEANING of “EQUALS” Charles Darr Take a Look at the Following Mathematics Problem
PROFESSIONAL DEVELOPMENT THE MEANING OF “EQUALS” Charles Darr Take a look at the following mathematics problem. has been explored by mathematics education researchers internationally (Falkner, Levi and Carpenter, 1999; Kieran, 1981, 1992; MacGregor Write the number in the square below that you think and Stacey, 1997; Saenz-Ludlow and Walgamuth, 1998; Stacey and best completes the equation. MacGregor, 1999; Wright, 1999). However, the fact that so many students appear to have this 4 + 5 = + 3 misconception highlights some important considerations that we, as mathematics educators, can learn from and begin to address. How difficult do you consider this equation to be? At what age do you In what follows I look at two of these considerations. I then go on to think a student should be able to complete it correctly? discuss some strategies we can employ in the classroom to help our I recently presented this problem to over 300 Year 7 and 8 students at students gain a richer sense of what the equals sign represents. a large intermediate school. More than half answered it incorrectly.1 Moreover, the vast majority of the students who wrote something other The meaning of “equals” than 6 were inclined to write the missing number as “9”. Firstly, it is worth considering what the equals sign means in a This result is not just an intermediate school phenomenon, however. mathematical sense, and why so many children seem to struggle to Smaller numbers of students in other Years were also tested. In Years 4, develop this understanding. 5 and 6, even larger percentages wrote incorrect responses, while at Years From a mathematical point of view, the equals sign is not a command 9 and 10, more than 20 percent of the students were still not writing a to do something. -
Classifying Type Thunder Graphics Training • Type Workshop Typeface Groups
Classifying Type Thunder Graphics Training • Type Workshop Typeface Groups Cla sifying Type Typeface Groups The typefaces you choose can make or break a layout or design because they set the tone of the message.Choosing The the more right you font know for the about job is type, an important the better design your decision.type choices There will are be. so many different fonts available for the computer that it would be almost impossible to learn the names of every one. However, manys typefaces share similar qualities. Typographers classify fonts into groups to help Typographers classify type into groups to help remember the different kinds. Often, a font from within oneremember group can the be different substituted kinds. for Often, one nota font available from within to achieve one group the samecan be effect. substituted Different for anothertypographers usewhen different not available groupings. to achieve The classifi the samecation effect. system Different used by typographers Thunder Graphics use different includes groups. seven The major groups.classification system used byStevenson includes seven major groups. Use the Right arrow key to move to the next page. • Use the Left arrow key to move back a page. Use the key combination, Command (⌘) + Q to quit the presentation. Thunder Graphics Training • Type Workshop Typeface Groups ����������������������� ��������������������������������������������������������������������������������� ���������������������������������������������������������������������������� ������������������������������������������������������������������������������ -
Logo Guidelines ® Introduction
Logo Guidelines ® Introduction The strength of the Akron Brass Company’s corporate and brand identity / image throughout the world depends, in part, upon the proper use of all Akron trademarks and corporate logo including our logos, products, brand names, taglines, advertising, brochures and presentations. Because the Akron Brass Company brand cannot be compromised, we’ve created this guide to provide all the pertinent specifications you need to maintain its integrity. This document constitutes a user friendly identification system that can be used by Akron’s corporate partner, distributors, OEM’s, customers and advertising agencies to refer to Akron and its products. This is a living document and may be updated from time to time. Third parties may refer to Akron and its products by their associated Akron Trademarks, as long as such references are (A) truthful, fair and not misleading and (B) the use adheres to the guidelines set forth herein, which may be modified from time to time at Akron’s sole discretion. Always use trademarks and brand names in the way they were intended for use. Do not use them for goods and services for which they were not originally intended. Contact the Marketing Department for artwork requests or any other inquiries on logo brand guidelines. ® General Use The Akron signature is the graphic representation of our company. The Akron signature combines the two most important visual elements of our brand, the Akron logotype and the Akron symbol (the flaming “A” and the underline). The following diagram illustrates the recognizable graphic features that make the Akron signature unique. -
The Printing of Handwriting Manuals in America Update on APHA's 31St
The Printing of Handwriting Newsletter Number 163 Manuals in America Summer 2007 from the publication of the very first printed manuals there was recognition that the reproduction of handwriting in print requires compromise. Ludovico Vicentino Arrighi, in La operina (Rome, 1522/24), doubtingly asks the reader to excuse the illustrations, since “la stampa non possa in tutto ripresentarte la viva mano” (translated by John Howard Benson as “the press cannot entirely represent the living hand”). La operina was cut entirely in wood. Woodcuts, which are relatively easy to produce and to print, were the first technology used to illustrate writing manuals. Engraved metal Update on APHA’s 31st plates, first employed in a copybook in 1569, were generally acknowledged as superior in quality, but Annual Conference as they are more expensive to produce and to print than transformations: woodcuts, both technologies were pressed into service, the persistence of aldus manutius though for various applications. (ucla, october 11–13, 2007) The first handwriting instructions printed in Amer- ica, a few pages in a 1748 edition of a popular British the american printing history association compendium produced by Benjamin Franklin, includ- will hold its 31st annual conference at the Universi- ed four engraved plates showing the basic styles.* Al- ty of California in Los Angeles, California, October though Franklin was copying an earlier work, he based 11–13, 2007. The event will be launched on the evening the round-hand plate on his own distinctive hand, of Thursday, October 11, at ucla, with H. George rather than copying the English plates. (He also used Fletcher, Brooke Russell Astor Director for Special the Caslon type he so admired in showing a “Print- Collections at The New York Public library, and an Hand” for marking packages.) The Worcester, Massa- expert on Aldus Manutius and his significance, de- chusetts printer Isaiah Thomas issued his own edition livering the keynote address. -
It's the Symbol You Put Before the Answer
It’s the symbol you put before the answer Laura Swithinbank discovers that pupils often ‘see’ things differently “It’s the symbol you put before the answer.” 3. A focus on both representing and solving a problem rather than on merely solving it; ave you ever heard a pupil say this in response to being asked what the equals sign is? Having 4. A focus on both numbers and letters, rather than H heard this on more than one occasion in my on numbers alone (…) school, I carried out a brief investigation with 161 pupils, 5. A refocusing of the meaning of the equals sign. Year 3 to Year 6, in order to find out more about the way (Kieran, 2004:140-141) pupils interpret the equals sign. The response above was common however, what really interested me was the Whilst reflecting on the Kieran summary, some elements variety of other answers I received. Essentially, it was immediately struck a chord with me with regard to my own clear that pupils did not have a consistent understanding school context, particularly the concept of ‘refocusing the of the equals sign across the school. This finding spurred meaning of the equals sign’. The investigation I carried me on to consider how I presented the equals sign to my out clearly echoed points raised by Kieran. For example, pupils, and to deliberate on the following questions: when asked to explain the meaning of the ‘=’ sign, pupils at my school offered a wide range of answers including: • How can we define the equals sign? ‘the symbol you put before the answer’; ‘the total of the • What are the key issues and misconceptions with number’; ‘the amount’; ‘altogether’; ‘makes’; and ‘you regard to the equals sign in primary mathematics? reveal the answer after you’ve done the maths question’. -
Perl II Operators, Truth, Control Structures, Functions, and Processing the Command Line
Perl II Operators, truth, control structures, functions, and processing the command line Dave Messina v3 2012 1 Math 1 + 2 = 3 # kindergarten x = 1 + 2 # algebra my $x = 1 + 2; # Perl What are the differences between the algebra version and the Perl version? 2 Math my $x = 5; my $y = 2; my $z = $x + $y; 3 Math my $sum = $x + $y; my $difference = $x - $y; my $product = $x * $y; my $quotient = $x / $y; my $remainder = $x % $y; 4 Math my $x = 5; my $y = 2; my $sum = $x + $y; my $product = $x - $y; Variable names are arbitrary. Pick good ones! 5 What are these called? my $sum = $x + $y; my $difference = $x - $y; my $product = $x * $y; my $quotient = $x / $y; my $remainder = $x % $y; 6 Numeric operators Operator Meaning + add 2 numbers - subtract left number from right number * multiply 2 numbers / divide left number from right number % divide left from right and take remainder take left number to the power ** of the right number 7 Numeric comparison operators Operator Meaning < Is left number smaller than right number? > Is left number bigger than right number? <= Is left number smaller or equal to right? >= Is left number bigger or equal to right? == Is left number equal to right number? != Is left number not equal to right number? Why == ? 8 Comparison operators are yes or no questions or, put another way, true or false questions True or false: > Is left number larger than right number? 2 > 1 # true 1 > 3 # false 9 Comparison operators are true or false questions 5 > 3 -1 <= 4 5 == 5 7 != 4 10 What is truth? 0 the number 0 is false "0"