Multimedia Foundations Glossary of Terms Chapter 8 – Text
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Download Fedra Sans Bold
Download fedra sans bold click here to download Download Fedra Sans Std Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans Expert Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans SC Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download fedra sans std bold font with bold style. Download free fonts for Mac, Windows and Linux. All fonts are in TrueType format. Download fedra sans std bold font for Windows, Linux and Mac free at www.doorway.ru - database of around free OpenType and TrueType. Fedra Sans Book ItalicMacromedia Fontographer 4. 1 Fedra Sans Book ItalicFedra Sans Book ItalicMacromedia Fontographer 4. 1 Fedra Sans Pro-Bold. Download OTF. Similar. Fedra Sans Pro-Bold Italic · Fedra Sans Pro Light Light · Fedra Sans Pro Normal Normal · Fedra Sans Pro-Book. Fedra Sans was originally commissioned by Paris-based Ruedi Baur Integral Design and developed as a corporate font for Bayerische Rück, a German. Fedra Sans: Fedra Sans is a contemporary sans serif, highly legible, font Fedra Sans Medium Italic px Fedra Sans Bold Italic px . Is there any reason to make new fonts when there are so many already available for downloading? Fedra Sans is a typeface designed by Peter Bil'ak, and is available for Desktop. Try, buy and download these fonts now! Bold SC Italic. Büroflächen. Bold TF. Font Fedra Sans Std Normal font download free at www.doorway.ru, the largest collection of cool fonts for Fedra Sans Std Bold Italic font. -
A Mean-Line Model to Predict the Design Performance of Radial Inflow Turbines in Organic Rankine Cycles
UNIVERSITÀ DEGLI STUDI DI PADOVA DIPARTIMENTO DI INGEGNERIA INDUSTRIALE CORSO DI LAUREA MAGISTRALE IN INGEGNERIA ENERGETICA TECHNISCHE UNIVERSITÄT BERLIN INSTITUT FÜR ENERGIETECHNIK Tesi di Laurea Magistrale in Ingegneria Energetica A MEAN-LINE MODEL TO PREDICT THE DESIGN PERFORMANCE OF RADIAL INFLOW TURBINES IN ORGANIC RANKINE CYCLES Relatori: Prof. Andrea Lazzaretto Prof.ssa Tatjana Morozyuk (Technische Universität Berlin) Correlatore: Ing. Giovanni Manente Laureando: ANDREA PALTRINIERI ANNO ACCADEMICO 2013/2014 ii Abstract This Master Thesis contributes to the knowledge and the optimization of radial inflow turbine for the Organic Rankine Cycles application. A large amount of literature sources is analysed to understand in the better way the context in which this work is located. First of all, the ORC technology is studied, taking care of all the scientific aspects that characterize it: applications, cycle configurations and selection of the optimal working fluids. After that, the focus is pointed on the expanders, as they are the most important components of this kind of power production plants. Nevertheless. Their behaviour is not always wisely considered in an organic vision of the cycle. In fact, it has been noticed that mostly literature concerning the optimization of ORC considers the performances of the expander as a constant, omitting in this way an essential part of the optimisation process. Starting from these observations, in this Master Thesis radial inflow turbines are carefully analysed, performing a theoretical investigation of the achievable performance. Starting from a critical study of publications concerning the design of radial expanders, a theoretical model is proposed. Then, a design procedure of the geometrical and thermo dynamical characteristics of radial inflow turbine operating whit fluid R-245fa is implemented in a Matlab code. -
Optical Character Recognition - a Combined ANN/HMM Approach
Optical Character Recognition - A Combined ANN/HMM Approach Dissertation submitted to the Department of Computer Science Technical University of Kaiserslautern for the fulfillment of the requirements for the doctoral degree Doctor of Engineering (Dr.-Ing.) by Sheikh Faisal Rashid Dean: Prof. Dr. Klaus Schneider Thesis supervisors: Prof. Dr. Thomas Breuel, TU Kaiserslautern Prof. Dr. Andreas Dengel, TU Kaiserslautern Chair of supervisory committee: Prof. Dr. Karsten Berns, TU Kaiserslautern Kaiserslautern, 11 July, 2014 D 386 Abstract Optical character recognition (OCR) of machine printed text is ubiquitously considered as a solved problem. However, error free OCR of degraded (broken and merged) and noisy text is still challenging for modern OCR systems. OCR of degraded text with high accuracy is very important due to many applications in business, industry and large scale document digitization projects. This thesis presents a new OCR method for degraded text recognition by introducing a combined ANN/HMM OCR approach. The approach provides significantly better performance in comparison with state-of-the-art HMM based OCR methods and existing open source OCR systems. In addition, the thesis introduces novel applications of ANNs and HMMs for document image preprocessing and recognition of low resolution text. Furthermore, the thesis provides psychophysical experiments to determine the effect of letter permutation in visual word recognition of Latin and Cursive script languages. HMMs and ANNs are widely employed pattern recognition paradigms and have been used in numerous pattern classification problems. This work presents a simple and novel method for combining the HMMs and ANNs in application to segmentation free OCR of degraded text. HMMs and ANNs are powerful pattern recognition strategies and their combination is interesting to improve current state-of-the-art research in OCR. -
Web Typography │ 2 Table of Content
Imprint Published in January 2011 Smashing Media GmbH, Freiburg, Germany Cover Design: Ricardo Gimenes Editing: Manuela Müller Proofreading: Brian Goessling Concept: Sven Lennartz, Vitaly Friedman Founded in September 2006, Smashing Magazine delivers useful and innovative information to Web designers and developers. Smashing Magazine is a well-respected international online publication for professional Web designers and developers. Our main goal is to support the Web design community with useful and valuable articles and resources, written and created by experienced designers and developers. ISBN: 978-3-943075-07-6 Version: March 29, 2011 Smashing eBook #6│Getting the Hang of Web Typography │ 2 Table of Content Preface The Ails Of Typographic Anti-Aliasing 10 Principles For Readable Web Typography 5 Principles and Ideas of Setting Type on the Web Lessons From Swiss Style Graphic Design 8 Simple Ways to Improve Typography in Your Designs Typographic Design Patterns and Best Practices The Typography Dress Code: Principles of Choosing and Using Typefaces Best Practices of Combining Typefaces Guide to CSS Font Stacks: Techniques and Resources New Typographic Possibilities with CSS 3 Good Old @Font-Face Rule Revisted The Current Web Font Formats Review of Popular Web Font Embedding Services How to Embed Web Fonts from your Server Web Typography – Work-arounds, Tips and Tricks 10 Useful Typography Tools Glossary The Authors Smashing eBook #6│Getting the Hang of Web Typography │ 3 Preface Script is one of the oldest cultural assets. The first attempts at written expressions date back more than 5,000 years ago. From the Sumerians cuneiform writing to the invention of the Gutenberg printing press in Medieval Germany up to today՚s modern desktop publishing it՚s been a long way that has left its impact on the current use and practice of typography. -
Betekenis Van De Methode Van Taguchi Voor Off-Line Kwaliteitscontrole Voor De Bedrijfsmechanisatie
Betekenis van de methode van Taguchi voor off-line kwaliteitscontrole voor de bedrijfsmechanisatie Citation for published version (APA): Coenen, F. J. (1991). Betekenis van de methode van Taguchi voor off-line kwaliteitscontrole voor de bedrijfsmechanisatie. (TH Eindhoven. Afd. Werktuigbouwkunde, Vakgroep Produktietechnologie : WPB; Vol. WPA1017). Technische Universiteit Eindhoven. Document status and date: Gepubliceerd: 01/01/1991 Document Version: Uitgevers PDF, ook bekend als Version of Record Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. -
\/ Oh/Ir Stars in the Galaxy
\/ OH/IR STARS IN THE GALAXY B. BAUD OH/IR STARS IN THE GALAXY OH/IR STARS IN THE GALAXY PROEFSCHRIFT TER VERKRIJGING VAN DE GRAAD VAN DOCTOR IN DE WISKUNDE EN NATUURWETENSCHAPPEN AAN DE RIJKSUNIVERSITEIT TE LEIDEN, OP GEZAG VAN DE RECTOR MAGNIFICUS DR. D.J. KUENEN, HOOGLERAAR IN DE FACULTEIT DER WISKUNDE EN NATUURWETENSCHAPPEN, VOLGENS BESLUIT VAN HET COLLEGE VAN DEKANEN TE VERDEDIGEN OP WOENSDAG 12 APRIL 1978 TE KLOKKE 15.15 UUR DOOR BOUDEWIJN BAUD GEBOREN TE DJAKARTA IN 1948 STERREWACHT LEIDEN 1978 elve/laborvlncit - lelden PROMOTOR: DR. HJ. HABING Aan mijn moeder Aan Alberl ine CONTENTS Summary CHAPTER I A SYSTEMATIC SEARCH AT 1612 MHZ FOR OH MASER SOURCES I SURVEYS NEAR THE GALACTIC CENTRE I Introduction 2 II Equipment and survey observations 2 III Analysis and confirmatory observations 5 IV The Type II OH/IR sources 6 V Selection effects 15 V.1 Velocity coverage and spectral resolution 15 V.2 Variability 16 CHAPTER II A SYSTEMATIC SEARCH AT 1612 MHZ FOR OH MASER SOURCES II A LARGE-SCALE SURVEY BETWEEN 10 i 15° and \b\ 17 I Introduction 17 II Equipment 17 11.1 The survey 17 11.2 Confirmation observations 20 III Results 20 111.1 Analysis of the survey observations 20 111.2 Confirmation of Type II OH/IR sources 21 111.3 The new Type II OH/IR sources 21 111.4 Known Type II OH/IR sources 28 111.5 Unclassified sources 33 IV Discussion 35 CHAPTER III GALACTIC DISTRIBUTION AND EMISSION PROPERTIES OF OH/IR SOURCES 38 I Introduction 38 II Observations and basic data 39 III Distribution of OH/IR sources in velocity,longitude and latitude 43 111.1 Velocity distribution 43 111.2 Longitude distribution 47 111.3 Latitude distribution 48 IV Luminosity function 49 IV.I Spectral resolution 49 IV.2 Mean peak flux density of OH/ItC sources 50 IV.3 Luminosity distribution 51 V Comparison with the identified Type II OH/IR sources 53 VI The galactic distribution of OH/IR sources 54 VI. -
Quick Guide to Precision Measuring Instruments
E4329 Quick Guide to Precision Measuring Instruments Coordinate Measuring Machines Vision Measuring Systems Form Measurement Optical Measuring Sensor Systems Test Equipment and Seismometers Digital Scale and DRO Systems Small Tool Instruments and Data Management Quick Guide to Precision Measuring Instruments Quick Guide to Precision Measuring Instruments 2 CONTENTS Meaning of Symbols 4 Conformance to CE Marking 5 Micrometers 6 Micrometer Heads 10 Internal Micrometers 14 Calipers 16 Height Gages 18 Dial Indicators/Dial Test Indicators 20 Gauge Blocks 24 Laser Scan Micrometers and Laser Indicators 26 Linear Gages 28 Linear Scales 30 Profile Projectors 32 Microscopes 34 Vision Measuring Machines 36 Surftest (Surface Roughness Testers) 38 Contracer (Contour Measuring Instruments) 40 Roundtest (Roundness Measuring Instruments) 42 Hardness Testing Machines 44 Vibration Measuring Instruments 46 Seismic Observation Equipment 48 Coordinate Measuring Machines 50 3 Quick Guide to Precision Measuring Instruments Quick Guide to Precision Measuring Instruments Meaning of Symbols ABSOLUTE Linear Encoder Mitutoyo's technology has realized the absolute position method (absolute method). With this method, you do not have to reset the system to zero after turning it off and then turning it on. The position information recorded on the scale is read every time. The following three types of absolute encoders are available: electrostatic capacitance model, electromagnetic induction model and model combining the electrostatic capacitance and optical methods. These encoders are widely used in a variety of measuring instruments as the length measuring system that can generate highly reliable measurement data. Advantages: 1. No count error occurs even if you move the slider or spindle extremely rapidly. 2. You do not have to reset the system to zero when turning on the system after turning it off*1. -
2.1 Typography
Working With Type FUN ROB MELTON BENSON POLYTECHNIC HIGH SCHOOL WITH PORTLAND, OREGON TYPE Points and picas If you are trying to measure something very short or very thin, then inches are not precise enough. Originally English printers devised picas to precisely measure the width of type and points to precise- ly measure the height of type. Now those terms are used interchangeably. There are 12 points in one pica, 6 picas in one inch — or 72 points in one inch. This is a 1-point line (or rule). 72 of these would be one inch thick. This is a 12-point rule. It is 1 pica thick. Six of these would be one inch thick. POINTS PICAS INCHES Thickness of rules I Lengths of rules Lengths of stories I Sizes of type (headlines, text, IWidths of text, photos, cutlines, IDepths of photos and ads cutlines, etc.) gutters, etc. (though some publications use IAll measurements smaller than picas for photo depths) a pica. Type sizes Type is measured in points. Body type is 7–12 point type, while display type starts at 14 point and goes to 127 point type. Traditionally, standard point sizes are 14, 18, 24, 30, 36, 42, 48, 54, 60 and 72. Using a personal computer, you can create headlines in one-point increments beginning at 4 point and going up to 650 point. Most page designers still begin with these standard sizes. The biggest headline you are likely to see is a 72 pt. head and it is generally reserved for big stories on broadsheet newspapers. -
Typography Height
THIS MONTH POInts OF VIEW a Serif Sans serif b Ascender Serif Typography Height Typography is the art and technique of arranging type. Like a Serif Descender person’s speaking style and skill, the quality of our treatment of Figure 1 | Typefaces. (a) The anatomy of letterform for serif (Garamond) letters on a page can influence how people respond to our mes- and sans serif (Univers) type both set at 58 point. (b) Four of the most sage. It is an essential act of encoding and interpretation, linking readily available fonts. what we say to what people see. Typography has been known to affect perception of credibility. line and paragraph settings (Fig. 2b). The relative scale of white In one study, identical job resumes printed using different type- space in Figure 2b makes the hierarchy of the content apparent. faces were sent out for review. Resumes with typefaces deemed Differentially aligning the paragraph text and bulleted list, when appropriate for a given industry resulted in applicants being con- allowed, differentiates the content. sidered more knowledgeable, mature, experienced, professional, To achieve meaningfully spaced text, use the ‘space before’ and believable and trustworthy than when less appropriate typefaces ‘space after’ settings instead of extra carriage returns. Find the were used1. In this case, picking the right typeface can help some- settings under Font menu > Paragraphs (PowerPoint) or Format one’s chances of landing a job. menu > Paragraphs (Word). The paragraph text in Figure 2b is set The term typeface is frequently conflated with font; Arial is a with 5 point space after it; the bulleted list has 3 point space after ‘typeface’ that may include roman, bold and italic ‘fonts’. -
Type & Typography
Type & Typography by Walton Mendelson 2017 One-Off Press Copyright © 2009-2017 Walton Mendelson All rights reserved. [email protected] All images in this book are copyrighted by their respective authors. PhotoShop, Illustrator, and Acrobat are registered trademarks of Adobe. CreateSpace is a registered trademark of Amazon. All trademarks, these and any others mentioned in the text are the property of their respective owners. This book and One- Off Press are independent of any product, vendor, company, or person mentioned in this book. No product, company, or person mentioned or quoted in this book has in any way, either explicitly or implicitly endorsed, authorized or sponsored this book. The opinions expressed are the author’s. Type & Typography Type is the lifeblood of books. While there is no reason that you can’t format your book without any knowledge of type, typography—the art, craft, and technique of composing and printing with type—lets you transform your manuscript into a professional looking book. As with writing, every book has its own issues that you have to discover as you design and format it. These pages cannot answer every question, but they can show you how to assess the problems and understand the tools you have to get things right. “Typography is what language looks like,” Ellen Lupton. Homage to Hermann Zapf 3 4 Type and Typography Type styles and Letter Spacing: The parts of a glyph have names, the most important distinctions are between serif/sans serif, and roman/italic. Normal letter spacing is subtly adjusted to avoid typographical problems, such as widows and rivers; open, touching, or expanded are most often used in display matter. -
VISIBLE LANGUAGE Volume V, Number 3, Summer 1971
VISIBLE LANGUAGE Volume V, Number 3, Summer 1971 197-220 A Prototype Computerized Page-design System Aaron Marcus 221-228 The Letter Names of the Latin Alphabet Arthur E. Gordon 229-248 Steps toward H andwriting Analysis and Recognition Makoto Y asuhara 249-264 The Calligraphy of Ch'an and Zen Monks Jan Fontein and Money L. Hickman 265-278 Experiments with Unjustified Text J ames Hartley and Peter Burnhill 279-281 Book Review 282-284 Correspondence 285-287 Abstracts ofJournal Articles in French and German 288 The Authors COVER: Detail of The Sixth Patriarch Tearing up a Sutra by Liang K'ai. See Figure I on page 251. Visible Language, Volume V, Number 3, Summer 1971. Published quarterly (Winter, Spring, Summer, and Autumn) by Visible Language, cfo The Cleveland Museum of Art, Cleveland, Ohio, USA 44106. Copyright© 1971 by Visible Language. Dr. Merald E. Wrolstad, Editor and Publisher cfo The Cleveland Museum of Art, Cleveland, Ohio, USA 44106. ADVISORY BOARD Dr. Roland Barthes, Ecole Pratique des Hautes Etudes, Paris Fernand Baudin, Bonlez par Grez-Doiceau, Belgium Pieter Brattinga, Form Mediation International, Amsterdam Will Burtin, New York City Rev. Edward M . Catich, Saint Ambrose College J ohn L. Debes m, Director, Center for Visual Literacy, Rochester, N.Y. John Dreyfus, Monotype Corporation, et al. Eugene Ettenberg, Columbia University Ephraim Gleichenhaus, ICTA Representative, New York Dr. William T. Hagestad, Wisconsin State University, River Falls Dr. Randall P. Harrison, Michigan State University Ernest Hoch, ICOGRADA Representative, Coventry College of Art Dr. J. K. Hvistendahl, AEJ/GD Representative, Iowa State University Alexander Lawson, Rochester Institute of Technology R. -
XML Professional Publisher: Fonts
XML Professional Publisher: Fonts for use with XPP 9.4 January 2020 Notice © SDL Group 1999, 2003-2005, 2009, 2012-2020. All rights reserved. Printed in U.S.A. SDL Group has prepared this document for use by its personnel, licensees, and customers. The information contained herein is the property of SDL and shall not, in whole or in part, be reproduced, translated, or converted to any electronic or machine-readable form without prior written approval from SDL. Printed copies are also covered by this notice and subject to any applicable confidentiality agreements. The information contained in this document does not constitute a warranty of performance. Further, SDL reserves the right to revise this document and to make changes from time to time in the content thereof. SDL assumes no liability for losses incurred as a result of out-of-date or incorrect information contained in this document. Trademark Notice See the Trademark file at http://docs.sdl.com for trademark information. U.S. Government Restricted Rights Legend Use, duplication or disclosure by the government is subject to restrictions as set forth in subparagraph (c)(1)(ii) of the Rights in Technical Data and Computer Software clause at DFARS 252.227-7013 or other similar regulations of other governmental agencies, which designate software and documentation as proprietary. Contractor or manufacturer is SDL Group, 201 Edgewater Drive, Wakefield, MA 01880-6216. ii Contents Part I Installing Fonts Chapter 1 Installing Fonts Understanding the Installation Process ....................... 1-2 Obtain the Proper Fonts ................................. 1-2 Type 1 Fonts ......................................... 1-2 CID Fonts ............................................ 1-3 OpenType/PostScript Fonts ...........................