The Desktop Toolbox: Software for Document Creation
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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. -
Unicode Nearly Plain-Text Encoding of Mathematics Murray Sargent III Office Authoring Services, Microsoft Corporation 4-Apr-06
Unicode Nearly Plain Text Encoding of Mathematics Unicode Nearly Plain-Text Encoding of Mathematics Murray Sargent III Office Authoring Services, Microsoft Corporation 4-Apr-06 1. Introduction ............................................................................................................ 2 2. Encoding Simple Math Expressions ...................................................................... 3 2.1 Fractions .......................................................................................................... 4 2.2 Subscripts and Superscripts........................................................................... 6 2.3 Use of the Blank (Space) Character ............................................................... 7 3. Encoding Other Math Expressions ........................................................................ 8 3.1 Delimiters ........................................................................................................ 8 3.2 Literal Operators ........................................................................................... 10 3.3 Prescripts and Above/Below Scripts........................................................... 11 3.4 n-ary Operators ............................................................................................. 11 3.5 Mathematical Functions ............................................................................... 12 3.6 Square Roots and Radicals ........................................................................... 13 3.7 Enclosures..................................................................................................... -
Adobe Indesign Introduction to Digital Humanities
Platform Study Adobe InDesign Introduction to Digital Humanities 2015 Matt Higgins Design is mind control. Introduction Modernist designers sought to find universal concepts within design. They wanted to know how visual elements affected human beings on a psychological level. This is why the works of Modernists such as Josef Müller-Brockmann, El Lissitzky, and Jan Tschichold, feature basic colors and shapes. They believed stripping design down to its most basic elements would remove any sentiment or bias that certain visuals could produce and allow for an objective study on how humans are affected by design. There have been countless movements like Modernism. They have invariably found their way into design. Many of those movements would reject the principles of Modernism and their universals. But it is plain to see, regardless of philosophy or ideology, that design affects human beings. If it did not, why would we continue designing? The nature of graphic design has always been to communicate. To affect people. Fresh Dialogue Sagmeister & Walsh This differentiates it from traditional fine arts. Certainly a We can think of design in terms of verbal conversation. What painting can communicate. The medium only matters in how it words are spoken is just as important as how the words are relates to the relaying of the message. But we tend to think of spoken. Then we take into account body language. From there fine art as a form of self expression. The artists is much more we can list a whole host of factors beyond the words spoken that involved in the work. -
Introducing Opentype Ab
UBS AG ab Postfach CH-8098 Zürich Tel. +41-44-234 11 11 Brand Management Visual Identity Stephanie Teige FG09 G5R4-Z8S Tel. +41-1-234 59 09 Introducing OpenType Fax +41-1-234 36 41 [email protected] July 2005 www.ubs.com OpenType is a new font format developed collaboratively by Adobe and Microsoft. OpenType enhances the TrueType and PostScript technologies and extends their capabilities. Most fonts today are released in the OpenType format, now considered the industry standard. The resulting new generation of UBSHeadline and Frutiger fonts offers improved typographic and layout features. 1. What is OpenType? Frutiger is not always Frutiger Due to the wide variety of Frutiger styles available world- A single font format wide, be sure to install and use only the client-specific UBS OpenType provides a single universally acceptable font licensed version of this font. Do not use any other versions format that can be used on any major operating system of Frutiger to create UBS media. and in any application. Using the client-specific UBS Frutiger guarantees access to Macintosh Windows UBS-relevant cuts. It also prevents changes to kerning and line-break in comparison to random Frutiger styles. UBSHeadline, Frutiger UBSHeadline, Frutiger (PostScript) (TrueType) Linotype Frutiger UBS Frutiger Frutiger LT 45 Light Frutiger 45 Light Macintosh and Frutiger LT 46 Light Italic Frutiger 45 Light Italic Windows Frutiger LT 55 Roman Frutiger 55 Roman Frutiger LT 56 Italic Frutiger 55 Roman Italic UBSHeadline, Frutiger Frutiger LT 65 Bold Frutiger 45 Light Bold (OpenType) Frutiger LT 75 Black Frutiger 55 Roman Bold Frutiger LT 47 Light Condensed Frutiger 47 Light CN Unicode OpenType supports Unicode, which allows much larger Comparison of common Linotype Frutiger versus UBS client- character sets – more than 65,000 glyphs per font in many specific Frutiger. -
Glossary 1 Terms Used in Graphic Design and Printing
Computer Presentation of Data 121 GLOSSARY 1 GLOSSARY 1 TERMS USED IN GRAPHIC DESIGN AND PRINTING Words in italics are separately defmed. alphabet length The space occupied by the 26 lowercase letters in a given typeface and size, when they are set in a single line without spaces. alphanumerics Letters and numbers, as opposed to other kinds of symbol. artwork Text or graphics presented in a form suitable for reproduction. In desktop publishing, the artwork is usu ally in the form of output from a laser printer. ascender Thepartofalowercase letter, such as 'd' or'h', that rises above the x-height. asymmetrical layout A page layout that has no central axis. Typically, both headings and text would be ranged left. back-edge In a bound document, the edge of the page nearest to the binding. baseline An imaginary horizontal line with which the bases of most lowercase letters (i.e. those without descenders) are aligned. baseline-to-baseline measurement The measurement (usually in points) from the baseline of one line of type to the baseline of the next. See also: linefeed. body size The term originates from metal type and it refers to the size of the 'body' on which each character is cast. The body size, usually measured in points, is the vertical di mension of the surfaces carrying the characters. With digital type there is no physical body, so the term has little relevance. See also: point size. brightness The subjective impression caused by the lumi nance of an object. cap. height See: capital-letter height. capital-letter height The height of the capital letters in a given typeface and size, measured from the baseline to the capita/line. -
Create Adobe® PDF Files for Print and Press
How to Create Adobe PDF Files for Print and Press Adobe Acrobat® at work Create PDF files for online publishing ® Create Adobe PDF Files Create PDF files for printing for Print and Press Create PDF files for press Create PDF files for presentation Create PDF files from paper documents Create PDF forms Adobe Acrobat 4 Edition Collaborate with PDF Adobe Systems Incorporated 345 Park Avenue, San Jose, CA 95110-2704 USA World Wide Web www.adobe.com How to Create Adobe PDF Files for Print and Press Adobe Acrobat® at work Create PDF files for online publishing ® Create Adobe PDF Files Create PDF files for printing for Print and Press Create PDF files for press Create PDF files for presentation Create PDF files from paper documents Create PDF forms Adobe Acrobat 4 Edition Collaborate with PDF Adobe Systems Incorporated 345 Park Avenue, San Jose, CA 95110-2704 USA World Wide Web www.adobe.com How to Create Adobe PDF Files for Print and Press Adobe Acrobat 4 Edition This book was created using Adobe Illustrator®, Adobe PageMaker®, Adobe Photoshop®, and font software from the Adobe Type Library. Adobe, the Adobe logo, AdobePS, Adobe Type Manager, Acrobat, Acrobat Exchange, ATM, Distiller, PostScript Extreme, FrameMaker, Illustrator, InDesign, PageMaker, Photoshop, PostScript, and PostScript 3 are trademarks of Adobe Systems Incorporated. Microsoft and Windows are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Apple, Macintosh, and TrueType are trademarks of Apple Computer, Inc., registered in the United States and other countries. UNIX is a registered trademark of the Open Group. -
2Dca3(B) Dtp with Pagemaker & Photoshop Unit -2
2DCA3(B) DTP WITH PAGEMAKER & PHOTOSHOP UNIT -2 2DCA3(B) DTP WITH PAGEMAKER & PHOTOSHOP UNIT -2 Adobe PageMaker 2.1 INTRODUCTION Adobe PageMaker is the “world‟s leading cross- platform professional page layout software”. PageMaker is primarily used for designing and producing publication that requires a combination of text and graphics. PageMaker has a rich array of facilities to import text and artwork from other computer application packages, as well as allowing you to generate these directly from within PageMaker itself. PageMaker can handle text better than Illustrator and Photoshop and also give you the flexibility of graphic control not available in word processors. एडोफ ऩेजभेकय "दनु नमा का प्रभखु क्रॉस-प्रेटफॉभम ऩेशेवय ऩेज रेआउट सॉफ़्टवेमय" है। ऩेजभेकय भख्ु म 셂ऩ से डडजाइन औय प्रकाशन के लरए उऩमोग ककमा जाता है जजसभᴂ ऩाठ औय ग्राकपक्स के सॊमोजन की आवश्मकता होती है। ऩेजभेकय के ऩास अन्म कॊ प्मटू य एजप्रके शन ऩकै े जⴂ से टेक््ट औय कराकृ नत आमात कयने के लरए सवु वधाओॊ का एक सभद्धृ सयणी है, साथ ही आऩको सीधे ऩेजभेकय के बीतय से इन्हᴂ उत्ऩन्न कयने की अनभु नत है। ऩेजभेकय टेक््ट को इर्रेटय औय पोटोशॉऩ से फेहतय तयीके से हℂडर कय सकता है औय आऩको ग्राकपक कॊ रोर की सवु वधा बी देता है जो वड म प्रोसेसय भᴂ उऩरब्ध नहीॊ है। 2.2 Aldus & Adobe PageMaker PageMaker was the first desktop publishing program, introduced in 1985 by Aldus Corporation, initially for the Apple Macintosh but soon after also for the PC. -
5 the Rules of Typography
The Rules of Typography Typographic Terminology THE RULES OF TYPOGRAPHY Typographic Terminology TYPEFACE VS. FONT: Two Definitions Typeface Font THE FULL FAMILY vs. ONE WEIGHT A full family of fonts A member of a typeface family example: Helvetica Neue example: Helvetica Neue Bold THE DESIGN vs. THE DIGITAL FILE The intellectual property created A digital file of a typeface by a type designer THE RULES OF TYPOGRAPHY Typographic Terminology LEADING 16/20 16/29 “In a badly designed book, the letters “In a badly designed book, the letters Leading refers to the amount of space mill and stand like starving horses in a mill and stand like starving horses in a between lines of type using points as field. In a book designed by rote, they the measurement. The name was sit like stale bread and mutton on field. In a book designed by rote, they derived from the strips of lead that the page. In a well-made book, where sit like stale bread and mutton on were used during the typesetting designer, compositor and printer have process to create the space. Now we all done their jobs, no matter how the page. In a well-made book, where perform this digitally—also with many thousands of lines and pages, the designer, compositor and printer have consideration to the optimal setting letters are alive. They dance in their for any particular typeface. seats. Sometimes they rise and dance all done their jobs, no matter how When speaking about leading we in the margins and aisles.” many thousands of lines and pages, the first say the type size “on” the leading. -
Book Typography 101 at the End of This Session, Participants Should Be Able To: 1
3/21/2016 Objectives Book Typography 101 At the end of this session, participants should be able to: 1. Evaluate typeset pages for adherence Dick Margulis to traditional standards of good composition 2. Make sensible design recommendations to clients based on readability of text and clarity of communication © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services What is typography? Typography encompasses • The design and layout of the printed or virtual page • The selection of fonts • The specification of typesetting variables • The actual composition of text © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services What is typography? What is typography? The goal of good typography is to allow Typography that intrudes its own cleverness the unencumbered communication and interferes with the dialogue of the author’s meaning to the reader. between author and reader is almost always inappropriate. Assigned reading: “The Crystal Goblet,” by Beatrice Ward http://www.arts.ucsb.edu/faculty/reese/classes/artistsbooks/Beatrice%20Warde,%20The%20Crystal%20Goblet.pdf (or just google it) © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services 1 3/21/2016 How we read The basics • Saccades • Page size and margins The quick brown fox jumps over the lazy dog. Mary had a little lamb, a little bread, a little jam. • Line length and leading • Boules • Justification My very educated mother just served us nine. • Typeface My very educated mother just served us nine. -
INTRODUCTORY CONCEPTS Desktop Publishing Terms Overview
INTRODUCTORY CONCEPTS Desktop Publishing Terms Overview GOAL: Produce a reference guide demonstrating desktop publishing (DTP) terms. Crosswalk Measurable Learner to Show-Me Instructional Activities Assessment Objectives Standards Define terms related to desktop CA1, 2.1 Accurately define at least 15 Use the Desktop Publishing Terms publishing. A1 alphabetized desktop publishing terms to assessment to evaluate the definitions Import text files and word CA1, 2.1 be used as a reference guide. Students provided of each term. Also evaluate processing documents into will select terms from a listing generated the ability to demonstrate the specified publications. C2 by the instructor or other provided terms; the use of appropriate desktop Set margins. B1 CA1, 2.1 source(s). The terms will be displayed publishing layout and design with text, Create columns. B2 CA1, 2.1 in an appropriate easy-to-read format graphics, columns, and gutters Set guttering. B3 CA1, 2.1 according to DTP concepts. Each effectively manipulated; the use of Create an effective focal point. CA1, 2.1 definition is to demonstrate the term appropriately selected graphics to B6 used, e.g., drop cap will begin with a represent definitions; proper font Utilize pasteboard. B7 CA1, 2.1 drop cap. Effective DTP layout and selection and sizing; and the use of the Import graphics from various CA3, 2.7 design are to be used in margins, focal number of terms and graphics specified. sources (e.g., software-specific point, columns and gutters, etc. A The ability to provide an error-free library, other applications, minimum of 5 related graphics are to be document will also be assessed. -
Desktop Publishing: Page Layout Design Introduction
M2: Desktop Publishing Objectives Desktop Publishing: Page Layout Design Introduction Discrete Documents Course: Master of Arts Softwares Course Name: Computer and Information Technology Course Code: HIND4014 Basic Tools Semester: II File Extension Session: 2019-20 Desktop Publishing Software: Adobe Pagemaker Mr. Joynath Mishra Introduction Assistant Professor (Guest) Importance Computer Science and Information Technology Coverpage Creation Mahatma Gandhi Central University Poster Creation Motihari, Bihar Exercise References April 6, 2020 . Outline M2: Desktop Publishing 1 Objectives Objectives 2 Introduction Introduction Discrete 3 Discrete Documents Documents Softwares 4 Softwares Basic Tools File Extension 5 Basic Tools Desktop Publishing Software: Adobe 6 File Extension Pagemaker Introduction Importance 7 Desktop Publishing Software: Adobe Pagemaker Introduction Coverpage Creation Importance Poster Creation Coverpage Creation Poster Creation Exercise References 8 Exercise 9 References . Objectives M2: Desktop Publishing Objectives Introduction Discrete Documents Softwares Objectives Basic Tools Study on Context of Desktop Publishing File Extension Importance of Desktop Publishing Desktop Publishing Study on creation of title/cover page, advertisement Software: Adobe Pagemaker Introduction Importance Coverpage Creation Poster Creation Exercise References . Introduction M2: Desktop Publishing Introduction Objectives Desktop publishing is a process to produce organized soft copy format of text and graphics in a single page/platform. -
Generating Postscript Names for Fonts Using Opentype Font Variations
bc Adobe Enterprise & Developer Support Adobe Technical Note #5902 Generating PostScript Names for Fonts Using OpenType Font Variations Version 1.0, September 14 2016 1 Introduction This document specifies how to generate PostScript names for OpenType variable font instances. Please see the OpenType specification chapter, OpenType Font Variations Overview for an overview of variable fonts and related terms, and the chapter fvar - Font Variations Table for the terms specific to this discussion. The ‘fvar’ table optionally allows for PostScript names for named instances of an OpenType variations fonts to be specified. However, the PostScript names for named instances may be omitted, and there is no mechanism to provide a PostScript name for instances at arbitrary points in the variable font design space. This document describes how to generate PostScript names for such cases. This is useful in several workflows. For the foreseeable future, arbitrary instances of a variable font must be exported as a non- variable font for legacy applications and for printing: a PostScript name is required for this. The primary goal of the document is to provide a standard method for providing human readable PostScript names, using the instance font design space coordinates and axis tags. A secondary goal is to allow the PostScript name for a variable font instance to be used as a font reference, such that the design space coordinates of the instance can be recovered from the PostScript name. However, a descriptive PostScript name is possible only for a limited number of design axes, and some fonts may exceed this. For such fonts, a last resort method is described which serves the purpose of generating a PostScript name, but without semantic content.