DOCSLIB.ORG

Screen Design Basics Typography Handling of Text

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Screen Design Basics Typography Handling of Text Screen Design Basics Typography Handling of Text Prof. Dr. Felicidad Romero-Tejedor Objec>ves of the unit: 1. Learn to see the text as a unit 2. Text and func>on 3. LeGer, text, layout 4. Leer, text and shape 5. Perceive the relaon between leGer shape and meaning Objec>ves of the unit: 1. Learn to see the text as a unit 2. Text and func>on 3. LeGer, text, layout 4. Leer, text and shape 5. Perceive the relaon between leGer shape and meaning Typography Greek »typos« (= form) + »graphéin« = wring Typography transforms spoken language in visual form. The invention of letters comes from a folk of traders called Phoenicians. Adrian Fruger, Signs and Symbols: Their Design and Meaning Ancient Greeks added the vowels in the Phoenician alphabet. So began the Latin writing. The origin of capitals is carving in stone. Trajan‘s Column (AD 113): oficial Roman alphabet. Trajan letter font by Carol Twombly 1990. Writing technique was developed from the writing instrument, the nib (Latin writing). Different developments come from other techniques. The capital letters developed in small letters by quickly writing with a pen. Quickly writing means easier letters. We have capital letters (majuscule) and small letters (minuscule). Here you see the levels of difficulty by hand writing. capital leGers (majuscule) small leGers (minuscule) Ceremonial – common, daily Several capital leGers did not become small leGers Letters build an unit with the combination from capital and small letters. Orphan Widow line Different fonts have different effect for the text as an unit. CronosPro Arial GillSans Didot Myriad Helvetica Palatino Times Objec>ves of the unit: 1. Learn to see the text as a unit 2. Text and func>on 3. LeGer, text, layout 4. Leer, text and shape 5. Perceive the relaon between leGer shape and meaning WORDSAREPICTURES ANDTHEREADERHASTO UNDERSTANDTHECOM PLETEMEANING Reading is to decode contents. For this reason the reader has to separate the words (above). WORDS·ARE·PICTURES· AND·THE·READER·HAS·TO UNDERSTAND·THE·COM PLETE·MEANING Reading is to decode contents. For this reason the reader has to separate the words (above). WORDS ARE PICTURES AND THE READER HAS TO UNDERSTAND THE COMPLETE MEANING. Reading is to decode contents. For this reason the reader has to separate the words (above). Letters have a function in the layout: Body text / running text Headlines Caption of images Slogans Logos Etc. San-serif (sans = without). We have differences in the letters (fonts) Serif typeface. Decorative typefaces Ini>al leGers in a German scripture (13 century). 1. The monk becomes a »sheet« of leather. 2. The writer draws lines. 3. The monk designs a portrait. 4. Wove paper will be cut. Text with different func>ons needs differences in appearance. Image cap>on Body text / running text Headlines We read the texts depending on their funcons. We read the texts depending on their funcons. Objec>ves of the unit: 1. Learn to see the text as a unit 2. Text and func>on 3. Leer, text, layout 4. Leer, Text and shape 5. Perceive the relaon between leGer shape and meaning Letters are designed within a grid. Letters are designed within a grid. Letter fonts are members of a family. The terms normal, regular and plain, some>mes also book, are being used for the standard weight font of a typeface. Where both appear and differ, book is o^en lighter than regular, but in some typefaces it is bolder. Small capitals are not capitals. To reduce the size of the capitals is not good. capitals capitals Small capitals Small capitals Reduced capitals Reduced capitals Small capitals and italic (used for emphasis) Italic comes from quickly handwriting. Oblique type ist not italic! regular regular italic italic oblique oblique Italic Oblique The addi>on of leGers build a web as tex>ls. The space between leGers is so important as the leGers. vom v o m v o m Type color / blackness: refers to the weight or boldness balance of type to white space. Slate fencing effect. Bad legibility Too wide and bold, the words cannot be read at once. If the text builds a too light grey, it is beau>ful but not for good legibility. Justified (flush left and right) If the text is not good compensated, it has the disadvantage that it tends to lead to very uneven spaces between words. The problem does not exist with flush left and ragged right. Boldface Bold is good for headlines, but not for body text. It breaks the balanced type color (blackness) of the text. If you use boldface in a body text, people do not read the text, people look only the bold words. Typography line terms The leading »line spacing« or »interline spacing« It means: the distance between the baselines Font 12 points, distance between the baselines 12 points. Font 14 points, distance between the baselines 14 points. Font 14 , baseline distance 18 points. Font 14 , baseline distance 18 points. Font 14 , baseline distance 18 points. Objec>ves of the unit: 1. Learn to see the text as a unit 2. Text and func>on 3. Leer, text layout 4. Leer and shape 5. Perceive the relaon between leGer shape and meaning Typography as syntactic play (playing with shapes) We work with the sentence: »Typografie ist grenzenlos.« It means »Typography is limitless.« The sentence is far away in the space Typografie ist grenzenlos. The writing comes near. It fills the space. Typografie ist grenzenlos Typografie The sentence closes the space, it does not let any free space. It is as a closed door. Writing comes from background to the front. It is aggressive. ist grenzenlos Text functions as a structure. Background should not be read. Background and foreground overlap. Eye catching for the word »Typografie«. Agitated background trembles, it moves itself. The word »Typografie« is a part of the background as a hole. The »pog« relation of »Typografie« has a symmetry. There are rhythms with colors. Blue color is very important in this combination (only one letter means exception). »Y« as an incursion of light. Letters will be illustrative. Hand drawing for a new, funny effect. Woodcarving. Not so funny, not elegant. It gives the effect of handmade roughness. Letters as architecture (objects). The »S« has a diagonal and arranges the words »Typograpie« and »grenzenlos«. You can do here an interpretation. The »i« is a man, the part of »S« is a horse … You can do with the shape of a letter a logotype. This is a hole part of a »g«. Objec>ves of the unit: 1. Learn to see the text as a unit 2. Text and func>on 3. Text als leGer layout 4. Leer, text and shape 5. Perceive the relaon between leGer shape and meaning Typography and semantic. Letter shape and its meaning Botanic garden Decorative Typofaces Zoological garden Sewing store Brick mason company Writing as architecture, 1933 Text shape and meaning in an object. Aratos- Manuscript. (AD 1. century. Copy about AD 800) Perseus killes the Gorgon Medusa. (1. century. Copy 8. century) One text with religious contain (catholic). Poem about the mount Fuji You can see the letters, but you can hear the letters as a train too. »in« with an arrow, also »out«. The arrows show the direction. »Inn«: you can go there… Here the letters are in style of art nouveau. Forms grow as the nature… Publicity for reading the magazin. »Lesen« means »read«. The letters are made from books. Wut = anger Das Bild kann nicht angezeigt werden. Dieser Computer verfügt möglicherweise über zu wenig Arbeitsspeicher, um das Bild zu öfnen, oder das Bild ist beschädigt. Starten Sie den Computer neu, und öfnen Sie dann erneut die Datei. Wenn weiterhin das rote x angezeigt wird, müssen Sie das Bild möglicherweise löschen und dann erneut einfügen. v x ySEXY Exercises 1.Experiment with letters: Take texts from magazines and create a collage with several types of texts. Describe the sort of texts and how it is used in the magazine. 2. Take a geometrical basic shape (square, circle or triangle) as a background and arrange the shape with a letter (of your name). Do several compositions as a logotype. You can do this exercise in your computer. 3. Write in your computer a sentence and try to visualize the meaning. Last project: Project: Design of a Website including all learned .
Load more

Recommended publications
  • Kpk-Typography-Part1.Pdf
    Understanding Typography Part One A brief history of written and printed communication, the function of typography in graphic design and the essential typographic terminology. Early Writing Systems Photo Source: http://www.sanford-artedventures.com Earliest known attempts to communicate with imagery was around 25,000 B.C. This was primarily pictorial forms (i.e cave drawings) Early humans used symbols to communicate ideas Pictographs Systems of symbols that represent concepts in a consistent manner Simplified drawings represent objects Example is Egyptian system of hieroglyphics Photo Source: A Typographic Workbook, Kate Clair Advantage of this system is the ability to communicate universally (no language barriers) Image Source: http://bit.ly/bHhnx3 Pictographs Systems of symbols that represent concepts in a consistent manner Simplified drawings represent objects Example is Egyptian system of hieroglyphics Photo Source: A Typographic Workbook, Kate Clair Advantage of this system is the ability to communicate universally (no language barriers) Image Source: http://bit.ly/6gAvue Early Alphabets Phoenician The Phoenicians developed an alphabet of 22 symbols around 1000 B.C Symbols related to the sounds in the language Consonants only; no vowels Eliminated the need for people to memorize thousands of symbols The term “Phonetics” comes from this concept Early Alphabets Greek Greeks expanded on Phoenician alphabet Added vowels and named each character First system for reading left to right and top to bottom Early Alphabets Roman Romans developed
    [Show full text]
  • Icographic 3
    A quarterly Review of International Visual Communication Design Issue number 3, 1972 icographic 3 Price per issue 1 US dollar Contents include Designing a periodical for a variety of Designing for Nuffield Foundation textual needs science teaching projects Published in London by the On Typos: new Japanese type face Type designing in the future A new Hebrew sans serif for bilingual International Council of Graphic Designing and producing a Penguin paperbacks printing Design Associations consumers' association magazine Language and readability Demise of the point system in sight Our compliments to the International Council of Graphic Design Associations for arranging the congress in Vienna on the important Learning Industry PHILIPS A quarterly Review of International Introduction by Ernest Hoch icographic Visual Communication Design Executive Editor Patrick Wallis Burke Design for print is one of the princi­ informed exchange of views and pal domains of the graphic designer's experience of its members, that Guest Editor of issue number 3 Ernest Hoch work although no longer as pre­ Icograda and icograph ic can contri­ dominant as it was a mere fifteen bute to our collective advancement. Contributors to issue number 3 Peter Burnhill years ago. Alongside the new electro­ Ivan and Robin Dodd nic media, for a long time to come, The most revolutionizing influence on Germano Facetti the printed word and image will printing technology came from the Maurice Goldring remain, in the words of F Borden modern data processing industry and Angela Hackelsberger Mace at the VisCom 71 Congress the combined potential of computer Ernest Hoch 'the most readily accessible, easily applications with photographic tech­ John Miles retrievable, economic and efficient niques.
    [Show full text]
  • [1 ] Oracle® Hierarchical Storage Manager And
    Oracle®[1] Hierarchical Storage Manager and StorageTek QFS Software File System Recovery Guide Release 6.0 E42065-03 March 2015 Oracle Hierarchical Storage Manager and StorageTek QFS Software File System Recovery Guide, Release 6.0 E42065-03 Copyright © 2011, 2015, Oracle and/or its affiliates. All rights reserved. Primary Author: Robert Craig Johnson This software and related documentation are provided under a license agreement containing restrictions on use and disclosure and are protected by intellectual property laws. Except as expressly permitted in your license agreement or allowed by law, you may not use, copy, reproduce, translate, broadcast, modify, license, transmit, distribute, exhibit, perform, publish, or display any part, in any form, or by any means. Reverse engineering, disassembly, or decompilation of this software, unless required by law for interoperability, is prohibited. The information contained herein is subject to change without notice and is not warranted to be error-free. If you find any errors, please report them to us in writing. If this is software or related documentation that is delivered to the U.S. Government or anyone licensing it on behalf of the U.S. Government, then the following notice is applicable: U.S. GOVERNMENT END USERS: Oracle programs, including any operating system, integrated software, any programs installed on the hardware, and/or documentation, delivered to U.S. Government end users are "commercial computer software" pursuant to the applicable Federal Acquisition Regulation and agency-specific supplemental regulations. As such, use, duplication, disclosure, modification, and adaptation of the programs, including any operating system, integrated software, any programs installed on the hardware, and/or documentation, shall be subject to license terms and license restrictions applicable to the programs.
    [Show full text]
  • Before Kukulkán
    BEFORE KUKULKÁN VERA TIESLER, ANDREA CUCINA, TRAVIS W. STANTON, and DAVID A. FREIDEL FOREWORD BY TRACI ARDREN BEFORE KUKULKÁN • Bioarchaeology of Maya Life, Death, and Identity at Classic Period Yaxuná THE UNIVERSITY OF ARIZONA PRESS TUCSON The University of Arizona Press www.uapress.arizona.edu © 2017 by The Arizona Board of Regents All rights reserved. Published 2017 Printed in the United States of America 22 21 20 19 18 17 6 5 4 3 2 1 ISBN-13: 978-0-8165-3264-3 (cloth) Cover design by Leigh McDonald Cover photo: Polychrome female figurine depicting the Moon Goddess, Burial 24, Yaxuná, Yucatán, Mexico. Her teeth are filed and her face colored with black, white, and red lines. Photo by Vania Carillo Bosch. Publication of this book is made possible in part by a subvention from the University of California, Riverside. Library of Congress Cataloging-in-Publication Data Names: Tiesler, Vera, author. | Cucina, Andrea, 1966– author. | Stanton, Travis W., 1971– author. | Freidel, David A., author. | Ardren, Traci, writer of foreword. Title: Before Kukulkán : bioarchaeology of Maya life, death, and identity at classic period Yaxuná / Vera Tiesler, Andrea Cucina, Travis W. Stanton, and David A. Freidel ; foreword by Traci Ardren. Description: Tucson : The University of Arizona Press, 2017. | Includes bibliographical references and index. Identifiers: LCCN 2017012669 | ISBN 9780816532643 (cloth : alk. paper) Subjects: LCSH: Mayas—Antiquities. | Mayas—Yucatán Peninsula—Social life and customs. | Excavations (Archaeology)—Mexico—Yaxuná Site. Classification: LCC F1435.1.Y89 T57 2017 | DDC 305.897/427—dc23 LC record available at https:// lccn.loc.gov/2017012669 This paper meets the requirements for ANSI/NISO Z39.48-1992 (Permanence of Paper).
    [Show full text]
  • Professional Typography with Adobe Indesign FOURTH EDITION Type
    InDesignProfessional Typography with Adobe InDesign FOURTH EDITION Type Nigel French InDesign Type: Professional Typography with Adobe® InDesign®, Fourth Edition © 2018 Nigel French. All rights reserved. Adobe Press is an imprint of Pearson Education, Inc. For the latest on Adobe Press books, go to www.adobepress.com. To report errors, please send a note to [email protected]. For information regarding permissions, request forms and the appropriate contacts within the Pearson Education Global Rights & Permissions department, please visit www.pearsoned.com/permissions/. The content of this guide 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 the informational content contained in this guide. Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. Any references to company names in sample files are for demonstration purposes only and are not intended to refer to any actual organization. Adobe, the Adobe logo, Creative Cloud, the Creative Cloud logo, InDesign, and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Adobe product screenshots reprinted with permission from Adobe Systems Incorporated. Apple, Mac OS, macOS, and Macintosh are trademarks of Apple, registered in the U.S.
    [Show full text]
  • The Macintosh Font Book 1989.Pdf
    • • t h e v}i~~,~~t~%)fJ:;;.~,,,~~Y\";:i;:r;;,, <\x;}2::.(';.:;·.. :.,:;;::\· ~ '.:~ ··~'.i" T B 0 0 K Typographic Tips, Techniques and Resources .o PEACHPIT PRESS E R F E R T F E N T 0 N "<...... ()\'.}~c- "'=-J THE ERFERT FENTON 0 Peachpit Press Berkeley, California THE MACINTOSH FONT BOOK © 1989 by Erfert Fenton Peachpit Press 1085 Keith Avenue Berkeley, California 94708 415/527-8555 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information, contact Peachpit Press, Inc. Notice of Liability: The information in this book is distributed on an "As Is" basis, without warranty. \Vhile every precaution has been taken in the preparation of this book, neither the author nor Peachpit Press, Inc. shall have any liability to any person or entity with respect to any liability, loss, or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described herein. Trademarks: Throughout this book trademarked names are used. Rather than put a trademark symbol in every occurrence of a trademarked name, we state that we are using the names only in an editorial fashion and to the benefit of the trademark owner with no intention of infringement of the trademark. Library of Congress Cataloging-in-Publication Data Fenton, Erfert The Macintosh Font Book Includes index 1. Desktop publishing 2. Macintosh (Computer)­ Programming. 3. Printing-Data processing-Specimens.
    [Show full text]
  • Prepress Selection of Typeface Styles and Sizes for Gravure Printing Eric Henty
    Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 5-1-1993 Prepress selection of typeface styles and sizes for gravure printing Eric Henty Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Henty, Eric, "Prepress selection of typeface styles and sizes for gravure printing" (1993). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. School of Plinting Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate of Approval Master's Thesis This is to certify that the Master's Thesis of EllC Henty With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master of Science degree at the convocation of Thesis Committee: Archie Provan Thesis Advisor Marie Freckleton Graduate Program Coordinator George H. Ryan Director or Designate Prepress Selection of Typeface Styles and Sizes for Gravure Printing by Eric H. Henty A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences in the College of Imaging Arts and Sciences of the Rochester Institute of Technology May 1993 Thesis Advisor: Archie Provan Permission to Reproduce Thesis Permission to reproduce this Thesis is denied without prior written consent of the author who can be reached at the following address: Eric H.
    [Show full text]
  • A Crash Course in Typography: the Basics of Type | the Jotform Blog
    9/24/2019 A Crash Course in Typography: The Basics of Type | The JotForm Blog (https://www.jotform.com/blog/) (https://www.jotform.com) MOBILE FORMS (HTTPS://WWW.JOTFORM.COM/PRODUCTS/MOBILE-FORMS/) MY FORMS (/MYFORMS/) TEMPLATES ▼ THEMES ▼ FEATURES ▼ SUPPORT ▼ PRICING (/PRICING/) LOGIN SIGN UP Home (https://www.jotform.com/blog) / Advice (https://www.jotform.com/blog/advice/) / A Crash Course in Typography: The Basics of Type (https://www.jotform.com/blog/a A Crash Course in Typography: The Basics of Type by Cameron Chapman (https://www.jotform.com/blog/author/cameron-chapman/) ypography could be considered the most important part of any design. It’s (https://twitTter.codmef/isnhitaerley? among the most important elements of any design project. And text=A yet it’s often the part of a design that’s left for last, or barely considered at all. Crash Designers are often intimidated by typography, which can result in bland Course typographical design or a designer always using one or two “reliable” typefaces in in their designs. Typography: The This series aims to change that. If you’re intimidated by typography, or even just Basics aren’t quite sure where to start, then read on. We’ll break down typographic of theory and practice, starting with the basics (so that everyone starts on the Type&url=https%3A%2F%2Fwww.jotform.com%2Fblog%2Fa- same page). crash- course- In this part, we’ll talk about the basics of typographic theory, including the in- different kinds of typefaces (and how typefaces and fonts differ), as well as the typography-basic anatomy of a typeface.
    [Show full text]
  • Smithsonian Guidelines for Accessible Exhibition Design
    Smithsonian Guidelines for Accessible Exhibition Design Smithsonian Accessibility Program i Smithsonian Guidelines for Accessible Exhibition Design On Striving for Accessible Exhibition Design Exhibitions are complex presentations that convey concepts, showcase objects, and excite the senses. However, as museums recognize the diversity within their audiences, they realize that exhibitions must do more: exhibitions must teach to different learning styles, respond to issues of cultural and gender equity, and offer multiple levels of information. The resulting changes in exhibitions have made these presentations more understandable, enjoyable, and connected to visitors’ lives. Accessible design must be a part of this new philosophy of exhibition development because people with disabilities are a part of museums’ diverse audience. Discovering exciting, attractive ways to make exhibitions accessible will most directly serve people with disabilities and older adults. But to name an audience who will not benefit by these designs is impossible. Accessibility begins as a mandate to serve people who have been discriminated against for centuries; it prevails as a tool that serves diverse audiences for a lifetime. Exhibition designers, curators, registrars, conservators, collections managers, designers, editors, developers, educators, and other exhibition team members each offer particular insights into the exhibition medium. All of you are in a unique position to synthesize accessibility solutions into your development processes. The Smithsonian challenges its exhibition teams to invent such solutions and to share those findings with colleagues through this document. Smithsonian Guidelines for Accessible Exhibition Design is a living document. The design tools here, like all creative resources, must be mixed and matched and tested in different combinations to find workable solutions.
    [Show full text]
  • Gartner.Com Style Guide Typography
    gartner.com Style Guide Typography 10 June 2008 Product Delivery Typography 10 June 2008 Graphic Type Main Header The Use of Graphic Type Like colors, images and the placement of elements on the page, typography also plays a key role in setting the tone of a user experience. Gartner’s unique typographical look is expressed through various fonts from the Helvetica Neue font family. By setting key graphics in this font we can capture the spirit of the brand. Graphic type is used in the following cases: Headers/Page signage Buttons Promos Charts Feature Featured content To keep pages fast-loading and to aid production, most text will need to be CSS-formatted type. Graphic type is used sparingly where we can achieve the most effect (i.e. header and feature areas) while not compromising load times Chart and ease of production. © Gartner Inc. Proprietary & Confidential Gartner.com Styleguide 2 Typography 10 June 2008 Graphic Type Page Headers Product Header Classic gartner.com Section Headers Theme Header © Gartner Inc. Proprietary & Confidential Gartner.com Styleguide 3 Typography 10 June 2008 Graphic Type Promos and Featured Content Classic gartner.com Center court promo Summit Event website promos and features Classic gartner.com Right rail promos Theme feature © Gartner Inc. Proprietary & Confidential Gartner.com Styleguide 4 Typography 10 June 2008 Graphic Type Specs for Product Header Helvetica Neue 55 Roman 18 points. crisp Type color may vary across product lines Helvetica Neue 45 Light 26 points. smooth White type on a dark field Product header in the context of the Web page © Gartner Inc.
    [Show full text]
  • Oracle® Hierarchical Storage Manager And
    Oracle®[1] Hierarchical Storage Manager and StorageTek QFS Software Maintenance and Administration Guide Release 6.1.4 E42064-08 July 2019 Oracle Hierarchical Storage Manager and StorageTek QFS Software Maintenance and Administration Guide, Release 6.1.4 E42064-08 Copyright © 2011, 2019, Oracle and/or its affiliates. All rights reserved. This software and related documentation are provided under a license agreement containing restrictions on use and disclosure and are protected by intellectual property laws. Except as expressly permitted in your license agreement or allowed by law, you may not use, copy, reproduce, translate, broadcast, modify, license, transmit, distribute, exhibit, perform, publish, or display any part, in any form, or by any means. Reverse engineering, disassembly, or decompilation of this software, unless required by law for interoperability, is prohibited. The information contained herein is subject to change without notice and is not warranted to be error-free. If you find any errors, please report them to us in writing. If this is software or related documentation that is delivered to the U.S. Government or anyone licensing it on behalf of the U.S. Government, then the following notice is applicable: U.S. GOVERNMENT END USERS: Oracle programs, including any operating system, integrated software, any programs installed on the hardware, and/or documentation, delivered to U.S. Government end users are "commercial computer software" pursuant to the applicable Federal Acquisition Regulation and agency-specific supplemental regulations. As such, use, duplication, disclosure, modification, and adaptation of the programs, including any operating system, integrated software, any programs installed on the hardware, and/or documentation, shall be subject to license terms and license restrictions applicable to the programs.
    [Show full text]
  • Modern LATEX Second Edition (Wip)
    Modern LATEX Second edition (wip) Matt Kline Copyright © 2018–2020 by Matt Kline This book is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License. In short, you are free to share, translate, adapt, or improve this book so long as you give proper credit and provide your contributions under the same license. The license’s full text is available at https://creativecommons.org/licenses/by-sa/4.0/legalcode ISBN 978-1-387-80513-6 Print copies of this book will be available at cost from Lulu once this edition is finalized. The author apologizes for any typos, formatting mistakes, inaccuracies, and other flubs. He welcomes fixes and improvements in this book’s Git repository at https://github.com/mrkline/latex-book Questions, comments, concerns, and diatribes can also be emailed to matt <at> bitbashing.io The author does not have a checking account with the Bank of San Serriffe, but will happily pay for your contributions with a beverage of your choice next time we meet. Second edition (wip) (online pdf), typeset July 24, 2020. To Max, who once told me about a cool program he used to type up his college papers. Contents 1. Typography and You .......................... 1 What is LATEX? ........................... 2 Another guide? ........................... 3 2. Installation ............................... 5 Editors ................................ 6 Online options ........................... 6 3. Hello, LATEX! .............................. 7 Spacing ................................ 8 Commands ............................. 9 Special characters and line breaks .................. 10 Environments ............................ 11 Groups and command scope .................... 12 4. Document Structure .......................... 13 The preamble and packages ..................... 13 Hierarchy .............................. 14 On your own ............................ 15 5. Formatting Text ............................ 17 Emphasis ............................... 17 Meeting the whole (type) family .................
    [Show full text]