Line Matrix Printers LG Programmer's Reference Manual

Total Page:16

File Type:pdf, Size:1020Kb

Line Matrix Printers LG Programmer's Reference Manual Line Matrix Printers LG Programmer's Reference Manual Line Matrix Printers LG Programmer's Reference Manual Printronix, Inc. makes no representations or warranties of any kind regarding this material, including, but not limited to, implied warranties of merchantability and fitness for a particular purpose. Printronix, Inc. shall not be held responsible for errors contained herein or any omissions from this material or for any damages, whether direct, indirect, incidental or consequential, in connection with the furnishing, distribution, performance or use of this material. The information in this manual is subject to change without notice. This document contains proprietary information protected by copyright. No part of this document may be reproduced, copied, translated or incorporated in any other material in any form or by any means, whether manual, graphic, electronic, mechanical or otherwise, without the prior written consent of Printronix, Inc. COPYRIGHT 2000, 2012, PRINTRONIX, INC. All rights reserved. Trademark Acknowledgements ANSI is a registered trademark of American National Standards Institute, Inc. Code V is a trademark of Quality Micro Systems. Chatillon is a trademark of John Chatillon & Sons, Inc. ENERGY STAR® is a registered trademark of the United States Environmental Protection Agency. As an ENERGY STAR® Partner, Printronix has determined that this product meets the ENERGY STAR® guidelines for energy efficiency. Ethernet is a trademark of Xerox Corporation. IBM is a registered trademark of International Business Machines Corporation. IGP is a registered trademark of Printronix, Inc. Intelligent Printer Data Stream and IPDS are trademarks of International Business Machines Corporation. LinePrinter Plus is a registered trademark of Printronix, Inc. MS-DOS is a registered trademark of Microsoft Corporation. PC-DOS is a trademark of International Business Machines Corporation. PGL is a registered trademark of Printronix, Inc. PrintNet is a registered trademark of Printronix, Inc. Printronix is a registered trademark of Printronix, Inc. PSA is a trademark of Printronix, Inc. QMS is a registered trademark of Quality Micro Systems. RibbonMinder is a trademark of Printronix, Inc. SureStak is a trademark of Printronix, Inc. Thermaline is a registered trademark of Printronix, Inc. Torx is a registered trademark of Camcar/Textron Inc. Utica is a registered trademark of Cooper Power Tools. Table of Contents 1 Introduction......................................................... 13 About This Manual............................................................................... 13 How to Use This Manual ............................................................... 13 The LGplus Line Matrix Printer ............................................................ 14 Printer Features ................................................................................... 15 Printer Emulations......................................................................... 15 Text Formatting and Language Options........................................ 15 Bar Code Formatting.................................................................... 16 Diagnostics.................................................................................... 16 Printing Speed ..................................................................................... 16 2 LG Emulation Control Codes.............................. 17 LG Emulation ....................................................................................... 17 Bar Code Printing .............................................................................. 17 Print Mode and Plot Mode ................................................................... 18 Optimizing Print Mode ......................................................................... 19 Optimizing Plot Mode........................................................................... 19 Character Printing................................................................................ 19 DEC Multinational Character Set......................................................... 21 Selecting Graphic Character Sets ....................................................... 22 Control Code Types ............................................................................ 23 Special Parsing Requirements ........................................................... 32 Control Code Description Format ....................................................... 34 Control Code Index.............................................................................. 35 Set/Reset Mode ................................................................................. 40 Line Feed/New Line Mode (LNM) ...................................................... 41 Carriage Return/New Line Mode (DECCRNLM) ................................. 42 Autowrap Mode (DECAWM) ............................................................... 43 Pitch Select Mode (DECPSM) ........................................................... 44 Set Page Orientation (DECSPO) ....................................................... 45 Position Unit Mode (PUM) ................................................................. 46 Force Plot Mode (DECFPM) .............................................................. 47 Select Size Unit (SSU) ....................................................................... 48 Graphic Size Selection (GSS) ............................................................ 49 Graphic Size Modification (GSM) ................................................... 50 Setting Plot Density .......................................................................... 51 Table of Contents Set Graphics Density (DECSGD) .................................................. 52 Spacing .............................................................................................. 54 Spacing Pitch Increment (SPI) ............................................................ 55 Select Vertical (Line) Spacing (SVS) ................................................. 57 Set Vertical Pitch (DECVERP) ........................................................... 58 Select Horizontal (Character) Spacing (SHS) ..................................... 59 Set Horizontal Pitch (DECSHORP) ................................................... 60 Vertical Format .................................................................................. 61 Load Vertical Format Unit (VFU) ..................................................... 62 End Load (VFU) ............................................................................... 63 Channel Command ............................................................................. 64 Forms .................................................................................................. 66 Loading Forms Sequence (DECLFM) ................................................. 67 Form Types ........................................................................................ 71 Start Forms Sequence (DECIFM) ...................................................... 72 Terminate Forms Sequence (DECTFM) ............................................ 73 Delete Forms Sequence (DECDFM) ................................................. 73 Forms Considerations.......................................................................... 74 Request Forms Status (DECFMSR) .................................................. 75 Form Status Report (DECRFMS) ...................................................... 75 Logos................................................................................................... 76 Loading Logos Sequence (DECLLG) ................................................ 76 Select Logo Sequence (DECILG) ...................................................... 78 Deleting Logos Sequence (DECDLG) ............................................... 78 Request Logo Status (DECRLGS) .................................................... 79 Logo Status Report (DECLGSR) ....................................................... 79 Page Print Area and Margins ............................................................. 80 Changing the Print Area .................................................................... 81 Page Format Select (PFS)................................................................... 82 Set Lines Per Physical Page (DECSLPP) ......................................... 86 Set Top and Bottom Margins (DECSTBM) ........................................ 87 Set Left and Right Margins (DECSLRM) ........................................... 88 Active Column and Active Line (Cursor Motion) ................................ 89 Forward Index (IND) .......................................................................... 89 Reverse Index (RI) ............................................................................. 90 Next Line (NEL) ................................................................................. 90 Horizontal Position Absolute (HPA) ................................................... 91 Horizontal Position Relative (HPR) .................................................... 91 Horizontal Position Backward (HPB) ................................................. 92 Vertical Position Absolute (VPA) ....................................................... 92 Vertical Position Relative (VPR) ........................................................ 93 Vertical Position Backward (VPB) ...................................................... 93 Table of Contents Cursor
Recommended publications
  • Type Design for Typewriters: Olivetti by María Ramos Silva
    Type design for typewriters: Olivetti by María Ramos Silva Dissertation submitted in partial fulfilment of the requirements for the MA in Typeface Design Department of Typography & Graphic Communication University of Reading, United Kingdom September 2015 The word utopia is the most convenient way to sell off what one has not the will, ability, or courage to do. A dream seems like a dream until one begin to work on it. Only then it becomes a goal, which is something infinitely bigger.1 -- Adriano Olivetti. 1 Original text: ‘Il termine utopia è la maniera più comoda per liquidare quello che non si ha voglia, capacità, o coraggio di fare. Un sogno sembra un sogno fino a quando non si comincia da qualche parte, solo allora diventa un proposito, cio è qualcosa di infinitamente più grande.’ Source: fondazioneadrianolivetti.it. -- Abstract The history of the typewriter has been covered by writers and researchers. However, the interest shown in the origin of the machine has not revealed a further interest in one of the true reasons of its existence, the printed letters. The following pages try to bring some light on this part of the history of type design, typewriter typefaces. The research focused on a particular company, Olivetti, one of the most important typewriter manufacturers. The first two sections describe the context for the main topic. These introductory pages explain briefly the history of the typewriter and highlight the particular facts that led Olivetti on its way to success. The next section, ‘Typewriters and text composition’, creates a link between the historical background and the machine.
    [Show full text]
  • ANSI® Programmer's Reference Manual Line Matrix Series Printers
    ANSI® Programmer’s Reference Manual Line Matrix Series Printers Printronix, LLC makes no representations or warranties of any kind regarding this material, including, but not limited to, implied warranties of merchantability and fitness for a particular purpose. Printronix, LLC shall not be held responsible for errors contained herein or any omissions from this material or for any damages, whether direct, indirect, incidental or consequential, in connection with the furnishing, distribution, performance or use of this material. The information in this manual is subject to change without notice. This document contains proprietary information protected by copyright. No part of this document may be reproduced, copied, translated or incorporated in any other material in any form or by any means, whether manual, graphic, electronic, mechanical or otherwise, without the prior written consent of Printronix, LLC Copyright © 1998, 2012 Printronix, LLC All rights reserved. Trademark Acknowledgements ANSI is a registered trademark of American National Standards Institute, Inc. Centronics is a registered trademark of Genicom Corporation. Dataproducts is a registered trademark of Dataproducts Corporation. Epson is a registered trademark of Seiko Epson Corporation. IBM and Proprinter are registered trademarks and PC-DOS is a trademark of International Business Machines Corporation. MS-DOS is a registered trademark of Microsoft Corporation. Printronix, IGP, PGL, LinePrinter Plus, and PSA are registered trademarks of Printronix, LLC. QMS is a registered
    [Show full text]
  • 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.
    [Show full text]
  • Cross-Sensory Correspondences and Symbolism in Spoken and Written Language
    Cross-Sensory Correspondences and Symbolism in Spoken and Written Language Peter Walker Department of Psychology, Lancaster University, UK & Department of Psychology, Sunway University, Malaysia Word count (excluding title, references, author affiliations, acknowledgements, figures and figure legends) = 18832 Author Note Correspondence to: Peter Walker Department of Psychology Lancaster University Lancaster, LA1 4YF UK email: [email protected] CORRESPONDENCES AND SYMBOLISM Abstract Lexical sound symbolism in language appears to exploit the feature associations embedded in cross-sensory correspondences. For example, words incorporating relatively high acoustic frequencies (i.e., front/close rather than back/open vowels) are deemed more appropriate as names for concepts associated with brightness, lightness in weight, sharpness, smallness, speed and thinness, because higher pitched sounds appear to have these cross- sensory features. Correspondences also support prosodic sound symbolism. For example, speakers might raise the fundamental frequency of their voice to emphasise the smallness of the concept they are naming. The conceptual nature of correspondences and their functional bi-directionality indicate they should also support other types of symbolism, including a visual equivalent of prosodic sound symbolism. For example, the correspondence between auditory pitch and visual thinness predicts that a typeface with relatively thin letter strokes will reinforce a word's reference to a relatively high pitch sound (e.g., squeal). An initial rating study confirms that the thinness-thickness of a typeface's letter strokes accesses the same cross-sensory correspondences observed elsewhere. A series of speeded word classification experiments then confirms that the thinness-thickness of letter strokes can facilitate a reader's comprehension of the pitch of a sound named by a word (thinner letter strokes being appropriate for higher pitch sounds), as can the brightness of the text (e.g., white-on-grey text being appropriate for the names of higher pitch sounds).
    [Show full text]
  • Pitch Font Free Download Pitch Display Font
    pitch font free download Pitch Display Font. Use the text generator tool below to preview Pitch Display font, and create appealing text graphics with different colors and hundreds of text effects. Font Tags. Search. :: You Might Like. About. Font Meme is a fonts & typography resource. The "Fonts in Use" section features posts about fonts used in logos, films, TV shows, video games, books and more; The "Text Generator" section features simple tools that let you create graphics with fonts of different styles as well as various text effects; The "Font Collection" section is the place where you can browse, filter, custom preview and download free fonts. 20 Best Fixed Width Fonts You Can Download For Free. You can never have enough free fonts in your freebies collection! This article gathers 20 best fixed width fonts you can download for free. But, what makes fixed width fonts special than regular ones? This type of fonts will automatically align better and all the characters will have the same width, which makes the text easier to read. Their regularity and proportions make them very practical for various online projects. These will surely come in handy to any web designer or graphic designer. You can use fixed width fonts for both online and printed projects. Depending on what you are looking for, you can use them for posters, t-shirts, signs, logos, web or game graphics, etc. These fixed-width fonts can be used for both free for personal projects. Should you require them for commercial purposes, please check their licenses file individually. With that in mind, browse through this collection of excellent fixed-width fonts and integrate them in your upcoming projects.
    [Show full text]
  • Fonts Reference, Version 12.2.1
    Start Oracle® Documaker Fonts Reference version 12.2 Part number: E41180-01 August 2013 Notice Copyright © 2009, 2013, Oracle and/or its affiliates. All rights reserved. The Programs (which include both the software and documentation) contain proprietary information; they are provided under a license agreement containing restrictions on use and disclosure and are also protected by copyright, patent, and other intellectual and industrial property laws. Reverse engineering, disassembly, or decompilation of the Programs, except to the extent required to obtain interoperability with other independently created software or as specified by law, is prohibited. The information contained in this document is subject to change without notice. If you find any problems in the documentation, please report them to us in writing. This document is not warranted to be error-free. Except as may be expressly permitted in your license agreement for these Programs, no part of these Programs may be reproduced or transmitted in any form or by any means, electronic or mechanical, for any purpose. If the Programs are delivered to the United States Government or anyone licensing or using the Programs on behalf of the United States Government, the following notice is applicable: U.S. GOVERNMENT RIGHTS Programs, software, databases, and related documentation and technical data delivered to U.S. Government customers are "commercial computer software" or "commercial technical data" pursuant to the applicable Federal Acquisition Regulation and agency-specific supplemental regulations. As such, use, duplication, disclosure, modification, and adaptation of the Programs, including documentation and technical data, shall be subject to the licensing restrictions set forth in the applicable Oracle license agreement, and, to the extent applicable, the additional rights set forth in FAR 52.227-19, Commercial Computer Software--Restricted Rights (June 1987).
    [Show full text]
  • Serif Sans Serif
    GEN0002 Effective use of Fonts Styles There are 2 main families of font: - Times New Roman Book Antiqua Century Schoolbook Serif The little ‘feet’ Bookman Old Style on the base of letters are called serifs Arial Tahoma Sans Serif Verdana Comic Sans MS Sans serif Pitch means ‘without feet’ The width of a character is known as its Pitch. With a Fixed Pitch v Proportional Fixed Pitch font, such as Courier New, every letter is Fixed Pitch v Proportional exactly the same width, so an ‘i’ takes up the same amount of space as a ‘w’. With a Proportional font, such as Times New Roman, the width of each letter is proportional to its shape, so an ‘i’ is narrower than a ‘w’. Size Font size is measured in Points. 72 points = 1 inch (2.54cm). 6 8 10 12 14 16 18 24 36 48 72 Readability v Legibility Readability refers to how easy it is to read a lot of text. A proportional, serif typeface at 10- 14 points is the most readable. Avoid setting large amounts of text in Bold, Italics, CAPS, SMALL CAPS, etc. Small amounts of these are OK when necessary. We read groups of words, so avoid very long and very short lines of text – split long lines into columns if necessary. Legibility refers to how easy it is to recognise short bursts of text, such as headlines, posters, signs, etc. Sans serif typefaces are easier to read, particularly at bigger point sizes. Avoid setting types in ALL CAPS. Also avoid typefaces such as Antique Olive, where the ascenders are hardly bigger than the bodies.
    [Show full text]
  • Inter-Word and Inter-Letter Spacing Effects During Reading Revisited
    Text spacing effects revisited Inter-word and Inter-letter spacing effects during reading revisited: Interactions with word and font characteristics Timothy J. Slattery1 Mark Yates2 Bernhard Angele1 Department of Psychology, Bournemouth University1 Department of Psychology, University of South Alabama2 Correspondence to: Timothy J. Slattery Department of Psychology Bournemouth University Email: [email protected] Running Head: Text spacing effects revisited 1 Text spacing effects revisited Abstract Despite the large number of eye movement studies conducted over the past 30+ years, relatively few have examined the influence that font characteristics have on reading. However, there has been renewed interest in one particular font characteristic, letter spacing, which has both theoretical (visual word recognition) and applied (font design) importance. Recently published results that letter spacing has a bigger impact on the reading performance of dyslexic children have perhaps garnered the most attention (Zorzi et al. 2012). Unfortunately, the effects of increased inter-letter spacing have been mixed with some authors reporting facilitation and others reporting inhibition (van den Boer & Hakvoort, 2015). We present findings from three experiments designed to resolve the seemingly inconsistent letter-spacing effects and provide clarity to researchers and font designers and researchers. The results indicate that the direction of spacing effects depend on the size of the ‘default’ spacing chosen by font developers. Experiment 3, found that inter-letter spacing interacts with inter-word spacing, as the required space between words depends on the amount of space used between letters. Inter-word spacing also interacted with word type as the inhibition seen with smaller inter-word spacing was evident with nouns and verbs but not with function words.
    [Show full text]
  • Font Collection
    z/OS Version 2 Release 3 Font Collection IBM GA32-1048-30 Note Before using this information and the product it supports, read the information in “Notices” on page 137. This edition applies to Version 2 Release 3 of z/OS (5650-ZOS) and to all subsequent releases and modifications until otherwise indicated in new editions. Last updated: 2019-02-16 © Copyright International Business Machines Corporation 2002, 2017. US Government Users Restricted Rights – Use, duplication or disclosure restricted by GSA ADP Schedule Contract with IBM Corp. Contents List of Figures........................................................................................................ v List of Tables........................................................................................................vii About this publication...........................................................................................ix Who needs to read this publication............................................................................................................ ix How this publication is organized............................................................................................................... ix Related information......................................................................................................................................x How to send your comments to IBM.......................................................................xi If you have a technical problem..................................................................................................................xi
    [Show full text]
  • Font Summary Overview 1
    InfoPrint Font Collection Font Summary Overview 1 Font concepts 2 Version 3.7 AFP Fonts 3 AFP Outline Fonts 4 AFP Classic OpenType Fonts 5 AFP Asian Classic OpenType Fonts 6 WorldType Fonts 7 AFP Raster Fonts 8 Code pages and extended code pages 9 For information not in this manual, refer to the Help System in your product. Read this manual carefully and keep it handy for future reference. TABLE OF CONTENTS Introduction Important............................................................................................................................................ 3 Cautions regarding this guide............................................................................................................. 3 Publications for this product ................................................................................................................ 3 How to read the documentation ......................................................................................................... 3 Before using InfoPrint Font Collection.................................................................................................. 3 Related publications ........................................................................................................................... 4 Symbols.............................................................................................................................................. 4 Abbreviations ....................................................................................................................................
    [Show full text]
  • On the Typography of Flight Deck Documentation
    NASA CONTRACTOR REPORT # 177605 ON THE TYPOGRAPHY OF FLIGHT-DECK DOCUMENTATION ASAF DEGANI CONTRACT NCC2-327 December, 1992 National Aeronautics and Space Administration 38 NASA CONTRACTOR REPORT # 177605 ON THE TYPOGRAPHY OF FLIGHT-DECK DOCUMENTATION ASAF DEGANI SAN JOSE STATE UNIVERSITY FOUNDATION SAN JOSE, CALIFORNIA Prepared for Ames Research Center CONTRACT NCC2-327 December, 1992 National Aeronautics and Space Administration Ames Research Center Moffett Field, California 94035-1000 39 Contents Summary 1. Background 2. Objectives and Scope 3. Typography 3.1. Principles of typography 3.2. Typeface (Fonts) 3.3. Lower-case vs. UPPER-CASE Characters 3.4. Font height (typesize) 3.5. Stroke width and height-to-width ratio 3.6. Horizontal and vertical spacing 3.7. Line length 3.8. Face (italic, bold) and underline 3.9. Contrast 3.10. Color coding 3.11. The commutative effect of improper typography 4. Several Environmental Conditions Influencing Reading 4.1. Glare 4.2. Slope and angular alignment for reading 4.3. The quality of paper and print 4.4. The effect of pilot’s age on reading 5. Final Note 6. List of Design Recommendations 7. Acknowledgments 8. References 40 iii Summary Many types of paper documentation are employed on the flight-deck. They range from a simple checklist card to a bulky Aircraft Flight Manual (AFM). Some of these documentation have typographical and graphical deficien- cies; yet, many cockpit tasks such as conducting checklists, way-point entry, limitations and performance calculations, and many more, require the use of these documents. Moreover, during emergency and abnormal situations, the flight crews’ effectiveness in combating the situation is highly depen- dent on such documentation; accessing and reading procedures has a significant impact on flight safety.
    [Show full text]
  • Printips, We Discuss the Elements of Typography and the Tools You Need to Communicate with Your Provide Suggestions for Both Print and Web
    May we have a word? As your printer, our job is to provide you with PrinTips, we discuss the elements of typography and the tools you need to communicate with your provide suggestions for both print and web. customers and prospects so they will buy from you instead of the competion. You know we’re And remember this - as web-based communication PrinTiPs experts at developing and producing printed grows, it doesn’t mean that the standards and pieces, but did you know that we’re also skilled fundamentals of design for print are no longer relevant. Your Eco-friendly Printer July 2011 Vol 5; No. 07 in web-based communication? In fact, they are even more important as we all learn more about effective design for desktop and mobile With our solid foundation in standards for print, web sites. we are able to adjust text, color, resolution, Sincerely, Typography Basics for layout and the other elements of design to Mike Stempien Mike Stempien move easily from print to web. In this issue of 650.377.0700 Documents and Web Sites Order business cards online with our Business Card Template - Call Linda @ 650.377.0700 s we move forward with adding is an alphabet (defined as upper and lower web-based communication methods case letters, numerals, punctuation marks and Presorted Ato traditional print-based ones, symbols) in a single size, weight and style. Standard it becomes clear that modifications to A typeface is a family of fonts representing San Mateo U.S. Postage existing standards for print are needed. various sizes, weights and styles.
    [Show full text]