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How to Design a Recto-Verso Print Displaying Different Images In
How to design a recto-verso print displaying different images in various everyday-life lighting conditions Nicolas Dalloz, Serge Mazauric, Thierry Fournel, Mathieu Hébert To cite this version: Nicolas Dalloz, Serge Mazauric, Thierry Fournel, Mathieu Hébert. How to design a recto-verso print displaying different images in various everyday-life lighting conditions. Electronic Imaging Symposium, Jan 2017, Burlingame, CA, United States. pp.33 - 41, 10.2352/ISSN.2470-1173.2017.8.MAAP-289. hal-01458756 HAL Id: hal-01458756 https://hal.archives-ouvertes.fr/hal-01458756 Submitted on 6 Feb 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. How to design a recto-verso print displaying different images in various everyday-life lighting conditions Nicolas Dalloz,1 Serge Mazauric,2 Thierry Fournel, 2 Mathieu Hébert2 1 Institut d’Optique – Graduate School, 2 avenue Augustin Fresnel, 91127 Palaiseau, France. 2 Univ Lyon, UJM-Saint-Etienne, CNRS, Institut d’Optique Graduate School, Laboratoire Hubert Curien UMR 5516, F-42023, Saint- Etienne, France. Abstract The spectral reflectance and transmittance model for recto- This study aims at explaining how to design multi-view prints verso halftone prints necessary to compute the multiview images is that can show different images in different illumination conditions. -
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..................................................................................................... -
Educator's Guide
EDUCATOR’S GUIDE Ages 8-12 Grades 3-7 Visit us at www.nationalgeographic.com/books/librarians-and-educators • ZeustheMighty.com Dear educators and librarians, Everyone knows that kids love animal stories and that National Geographic Kids Books strives to bring you the most captivating, colorful, and cool animals on the planet—but, get ready to hear about some critters you’ve never heard of before in our new fact-based fiction series ZEUS THE MIGHTY! These animals believe they are Greek gods and goddesses, and their mighty quests in ancient Greece—aka the Mount Olympus Pet Center in Athens, Georgia—will give readers a whole new experience with Greek mythology. As the title suggests, each book in the series will follow our heroic hamster, Zeus, and his companions on epic journeys, battling mythical monsters and mis- understandings. We hope you enjoy this book and will join our quest to bring an exciting new world of Greek mythology to middle-grade readers everywhere. This second series in our fact-based fiction imprint, Under the Stars, gives readers a rollicking romp through reimagined tales, such as Jason and the Argonauts, while the “Truth Behind the Fiction” section in each book provides the original myth along with facts about ancient Greek history and culture. This fun combination of laughing and learning will appeal to fans of animals, mythology, and funny stories. Check out ZeusTheMighty.com for videos, excerpts, quizzes, educator and reader guides, and information about our companion podcast Greeking Out. Thank you for your valued partnership and support of our program. -
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. -
Sig Process Book
A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry. -
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. -
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. -
Chinese Inventions - Paper & Movable Type Printing by Vickie
Name Date Chinese Inventions - Paper & Movable Type Printing By Vickie Invention is an interesting thing. Sometimes, an invention was developed to fulfill a specific need. Other times, it was simply a chance discovery. Looking back in history, there are two Chinese inventions that fell into the first category. They are paper and movable type printing. Long before paper was invented, the ancient Chinese carved characters to record their thoughts on tortoise shells, animal bones, and stones. Since those "writing boards" were heavy and not easy to carry around, they switched to writing on bamboo, wooden strips, and silk. The new alternatives were clearly better, but they were either still heavy or very costly. Then, during the Western Han dynasty (202 B.C. - 8 A.D.), paper made its debut. Its inventor is unknown. When paper first came out, it was not easy to produce in large quantities. And its quality was poor. Several decades later, a palace official named Tsai Lun (also spelled as Cai Lun) had a breakthrough in the papermaking process. He experimented with different materials and eventually settled on using tree bark, rags, and bits of rope to produce paper. He presented his first batch of paper to the emperor of the Eastern Han dynasty in 105 A.D. Tsai Lun's technique of making paper became an instant hit! It was quickly introduced to Korea and other countries nearby. In 751 A.D., Arabs learned the technique from the Chinese soldiers they captured in a war. They passed it on to Europe and, eventually, other parts of the world.