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Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
June 2015 Broadside
T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff. -
Avid Marquee Title Tool User's Guide
Avid® Marquee® Title Tool User’s Guide ™ make manage move | media Avid ® Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States Patents: 4,746,994; 4,970,663; 5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,577,190; 5,583,496; 5,584,006; 5,627,765; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,719,570; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 5,995,115; 6,016,152; 6,061,758; 6,130,676; 6,532,043; 6,546,190; 6,636,869; 6,747,705; 6,813,622; D352,278; D392,267; D392,268; D392,269; D395,291; D396,853; D398,912. -
HTML5 Favorite Twitter Searches App Browser-Based Mobile Apps with HTML5, CSS3, Javascript and Web Storage
Androidfp_19.fm Page 1 Friday, May 18, 2012 10:32 AM 19 HTML5 Favorite Twitter Searches App Browser-Based Mobile Apps with HTML5, CSS3, JavaScript and Web Storage Objectives In this chapter you’ll: ■ Implement a web-based version of the Favorite Twitter Searches app from Chapter 5. ■ Use HTML5 and CSS3 to implement the interface of a web app. ■ Use JavaScript to implement the logic of a web app. ■ Use HTML5’s Web Storage APIs to store key-value pairs of data that persist between executions of a web app. ■ Use a CSS reset to remove all browser specific HTML- element formatting before styling an HTML document’s elements. ■ Save a shortcut for a web app to your device’s home screen so you can easily launch a web app. = DRAFT: © Copyright 1992–2012 by Deitel & Associates, Inc. All Rights Reserved. Androidfp_19.fm Page 2 Friday, May 18, 2012 10:32 AM 2 Chapter 19 HTML5 Favorite Twitter Searches App 19.1 Introduction 19.5 Building the App 19.2 Test-Driving the Favorite Twitter 19.5.1 HTML5 Document Searches App 19.5.2 CSS 19.5.3 JavaScript 19.3 Technologies Overview Outline 19.6 Wrap-Up 19.1 Introduction The Favorite Twitter Searches app from Chapter 5 allowed users to save their favorite Twit- ter search strings with easy-to-remember, user-chosen, short tag names. Users could then conveniently follow tweets on their favorite topics. In this chapter, we reimplement the Fa- vorite Twitter Searches app as a web app, using HTML5, CSS3 and JavaScript. -
Booklet & CD Design & Typography: David Tayler Cover Art: Adriaen Coorte
Voices of Music An Evening with Bach An Evening with Bach 1. Air on a G string (BWV 1069) Johann Sebastian Bach (1685–1750) 2. Schlummert ein (BWV 82) Susanne Rydén, soprano 3. Badinerie (BWV 1067) Dan Laurin, voice flute 4. Ich folge dir gleichfalls (St. John Passion BWV 245) Susanne Rydén, soprano; Louise Carslake, baroque flute 5. Giga (BWV 1004) Dan Laurin, recorder 6. Schafe können sicher weiden (BWV 208) Susanne Rydén, soprano 7. Prelude in C minor (BWV 871) Hanneke van Proosdij, harpsichord 8. Schlafe mein Liebster (BWV 213) Susanne Rydén, soprano 9. Prelude in G major (BWV 1007) David Tayler, theorbo 10. Es ist vollbracht (St. John Passion BWV 245) Jennifer Lane, alto; William Skeen, viola da gamba 11. Sarabanda (BWV 1004) Elizabeth Blumenstock, baroque violin 12. Kein Arzt ist außer dir zu finden (BWV 103) Jennifer Lane, alto; Hanneke van Proosdij, sixth flute 13. Prelude in E flat major (BWV 998) Hanneke van Proosdij, lautenwerk 14. Bist du bei mir (BWV 508) Susanne Rydén, soprano 15. Passacaglia Mein Freund ist mein J.C. Bach (1642–1703) Susanne Rydén, soprano; Elizabeth Blumenstock, baroque violin Notes The Great Collectors During the 1980s, both Classical & Early Music recordings underwent a profound change due to the advent of the Compact Disc as well as the arrival of larger stores specializing in music. One of the casualties of this change was the recital recording, in which an artist or ensemble would present an interesting arrangement of musical pieces that followed a certain theme or style—much like a live concert. Although recital recordings were of course made, and are perhaps making a comeback, most recordings featured a single composer and were sold in alphabetized bins: B for Bach; V for Vivaldi. -
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. -
Chapter 10 Document Object Model and Dynamic HTML
Chapter 10 Document Object Model and Dynamic HTML The term Dynamic HTML, often abbreviated as DHTML, refers to the technique of making Web pages dynamic by client-side scripting to manipulate the document content and presen- tation. Web pages can be made more lively, dynamic, or interactive by DHTML techniques. With DHTML you can prescribe actions triggered by browser events to make the page more lively and responsive. Such actions may alter the content and appearance of any parts of the page. The changes are fast and e±cient because they are made by the browser without having to network with any servers. Typically the client-side scripting is written in Javascript which is being standardized. Chapter 9 already introduced Javascript and basic techniques for making Web pages dynamic. Contrary to what the name may suggest, DHTML is not a markup language or a software tool. It is a technique to make dynamic Web pages via client-side programming. In the past, DHTML relies on browser/vendor speci¯c features to work. Making such pages work for all browsers requires much e®ort, testing, and unnecessarily long programs. Standardization e®orts at W3C and elsewhere are making it possible to write standard- based DHTML that work for all compliant browsers. Standard-based DHTML involves three aspects: 447 448 CHAPTER 10. DOCUMENT OBJECT MODEL AND DYNAMIC HTML Figure 10.1: DOM Compliant Browser Browser Javascript DOM API XHTML Document 1. Javascript|for cross-browser scripting (Chapter 9) 2. Cascading Style Sheets (CSS)|for style and presentation control (Chapter 6) 3. Document Object Model (DOM)|for a uniform programming interface to access and manipulate the Web page as a document When these three aspects are combined, you get the ability to program changes in Web pages in reaction to user or browser generated events, and therefore to make HTML pages more dynamic. -
SHOPC Minutes
· IOLu\f\ Clex-~ Kc.J 1 \) 1 Approved May 6, 2020 SJlo Izozo 2 I).' LI J'.W1 3 s 4 ~ ~ 5 THE SOUTHBOROUGH HOUSING OPPORTUNITY PARTNERSHIP COMMITTEE 6 (SHOPC) 7 MEETING MINUTES 8 Wednesday, April 29, 2020 8:30 AM 9 VIRTUAL MEETING/REMO E PARTICIPATION 10 11 Members present: Doriann Jasinski, Lisa Braccio, John Wood, Alex Frisch, Tom Bhisitkul, Tom Marcoulier 12 and Jesse Stein. Also present: Karina Quinn, Town Planner, Sarah Hoecker, Business Administrator I and 13 Kathleen Battles, Recording Secretary. Sarah Hoecker managed virtual connection through ZOOM 14 application. 15 16 CALL TO ORDER: The meeting was called to order at 8:44 AM. 17 18 Ms. Jasinski read the following statement: 19 Pursuant to Governor Baker's March 12, 2020 Order Suspending Certain Provisions of the Open Meeting 20 Law, G.L. c. 30A, &18, and the Governor's March 15, 2020 Order imposing strict limitations on the 21 number of people that may gather in one place, this meeting of the Southborough Housing Opportunity 22 Partnership Committee (SHOPC) is being conducted via remote participation to the greatest extent 23 possible. Specific information and the general guidelines for the remote participation by members of 24 the public and/ or parties with a right and/or requirement to attend this meeting can be found on the 25 Town of Southborough's website, at https://www.southboroughtown.com/. 26 For this meeting, members of the pubic who wish to listen to the meeting or participate in the public 27 hearing may do so in the following manner: 28 https://www.southboroughtown.com/remotemeetings 29 30 No in-person attendance of members of the public will be permitted, but every effort will be made to 31 ensure that the public can adequately access the proceedings in real time, via technological means. -
Web Typography Characteristics O Type Is Displayed at Between 72 and 110 Dpi, Much Lower Than in Print
GD 321A :: Week 07 1 of 7 25 February 2004 Web Typography Characteristics o Type is displayed at between 72 and 110 dpi, much lower than in print. o Pages are rendered on the fly, and presentation varies depending on a number of factors: Operating system (Mac, Windows, Linux) Web browser maker (Netscape, Mozilla, Internet Explorer, Safari, Opera) Web browser version (3.0, 4.0, 5.5, 6.0, etc.) User preferences (adjustments to the default typeface, size, colors, etc.) Fonts installed on the end-user’s system o Consider your typography as mere suggestions rather than strict requirements. o Browser Samples: Note the differences in the amount of content displayed and in the size of the fonts between the two operating systems. Internet Explorer 5.2 on Mac OS X 10.2 Internet Explorer 5.5 on Windows 95 Why is type on the web so bad? o Initial goal of the web was to share physics documents with researchers around the world. Academics focused on the structural logic and portability of the information, not the visual presentation. o Early HTML documents used container tags (<h1>, <h2>, <p>, etc.) to create a visual hierarchy, not to precisely control the appearance of a page. o Older browsers emphasized the ability to customize font settings—it was considered a feature at the time. Has it gotten better? o When designers began working on the web, more visual control was desired. o Netscape introduced the <font> tag in 1995 to allow for better control of text, including size, face and color. o Today, designers are learning and using Cascading Style Sheets (CSS). -
Advancements in Web Typography (Webfonts and WOFF)
Advancements in Web Typography (WebFonts and WOFF) Aaron A. Aliño Graphic Communication Department California Polytechnic State University 2010 Advancements in Web Typography (WebFonts and WOFF) Aaron A. Aliño Graphic Communication Department California Polytechnic State University 2010 Table of Contents Chapter I: Introduction………………………………………………………….…………..2 Chapter II: Literature Review……………………………………………………….………5 Chapter III: Research Methods………………………………………………….…..…....18 Chapter IV: Results………………………………………………………………….……..24 Chapter V: Conclusions……………………………………………………………….…..38 References……………………………………………………………………………...…..41 1 Chapter I: Introduction When it comes to the control one has in designing and creating content for the World Wide Web, typography should be no different. Print designers have had the advantage for a long time over their ability to choose exactly how type is printed, limited only by their imagination and the mechanical limits of setting and printing type. Web designers, on the other hand, have been held back by the inherent hardware and software limitations associated with web design and font selection. What this means is that web designers have not been able to control type exactly the way they want. Web designers have been limited to fonts that can safely be displayed on most computers and web browsers. If web designers wanted to display type with a special font, they had to resort to a workaround that was not always effective. Web designers should have the same absolute control over typography as print designers. Control of web typography has gotten much better compared to the early days of web design, but 2 considering how powerful and robust computers and web browsers are now, it seems unfortunate that control over web typography is so primitive That has changed now. -
General Principles
html Karl W Broman Department of Biostatistics Johns Hopkins University http://www.biostat.jhsph.edu/~kbroman General principles • Simple is better – Content over form – Text before images • Look at others’ source • Be satisfied with what you get 2 1 Good 3 Not so good 4 2 About html • html = hypertext markup language • Like LaTeX – Plain text files – Marked up to indicate content (e.g., italics surrounded by <i> and </i>) – The browser interprets the marks to form the page • A good book: – Musciano & Kennedy (2002) Html and xhtml: the definitive guide, 5th edition. O’Reilly. 5 At Hopkins Biostat ~/public_html ~ → /users/faculty/kbroman /users/faculty/kbroman/public_html → /users/html/kbroman/public_html 6 3 Basic marks <h1> … <h5> Headers of different sizes <p> Start paragraph <br> Line break <hr> Horizontal rule 7 Marks can take arguments <p align="left"> <p align="right"> <p align="center"> 8 4 A basic page <html><head><title>My example page</title> </head><body> <h2>This is an example page</h2> <p>I can write a bunch of stuff here. <p>And then create a new paragraph.<br> Or I can just start a new line. <hr> <p align="right"><font size=2>Small stuff on the right</font> </body></html> 9 As seen in the browser 10 5 Links <a href="http://www.biostat.jhsph.edu/~kbroman">My home page</a> <a href="publications">My publications</a> <a href="publications/mypaper.pdf">pdf (200k)</a> 11 Images <a href="myphoto.jpg">A link to a picture</a> <img="myphoto.jpg" alt="A description"> 12 6 Fonts, etc. -
Fonts Installed with Each Windows OS
FONTS INSTALLED WITH EACH WINDOWS OPERATING SYSTEM WINDOWS95 WINDOWS98 WINDOWS2000 WINDOWSXP WINDOWSVista WINDOWS7 Fonts New Fonts New Fonts New Fonts New Fonts New Fonts Arial Abadi MT Condensed Light Comic Sans MS Estrangelo Edessa Cambria Gabriola Arial Bold Aharoni Bold Comic Sans MS Bold Franklin Gothic Medium Calibri Segoe Print Arial Bold Italic Arial Black Georgia Franklin Gothic Med. Italic Candara Segoe Print Bold Georgia Bold Arial Italic Book Antiqua Gautami Consolas Segoe Script Georgia Bold Italic Courier Calisto MT Kartika Constantina Segoe Script Bold Georgia Italic Courier New Century Gothic Impact Latha Corbel Segoe UI Light Courier New Bold Century Gothic Bold Mangal Lucida Console Nyala Segoe UI Semibold Courier New Bold Italic Century Gothic Bold Italic Microsoft Sans Serif Lucida Sans Demibold Segoe UI Segoe UI Symbol Courier New Italic Century Gothic Italic Palatino Linotype Lucida Sans Demibold Italic Modern Comic San MS Palatino Linotype Bold Lucida Sans Unicode MS Sans Serif Comic San MS Bold Palatino Linotype Bld Italic Modern MS Serif Copperplate Gothic Bold Palatino Linotype Italic Mv Boli Roman Small Fonts Copperplate Gothic Light Plantagenet Cherokee Script Symbol Impact Raavi NOTE: Trebuchet MS The new Vista fonts are the Times New Roman Lucida Console Trebuchet MS Bold Script newer cleartype format Times New Roman Bold Lucida Handwriting Italic Trebuchet MS Bold Italic Shruti designed for the new Vista Times New Roman Italic Lucida Sans Italic Trebuchet MS Italic Sylfaen display technology. Microsoft Times