DOCSLIB.ORG

A Letter Is Defined As a Character Or Symbol That Represents Sound Used in Speech

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Typography 1: Letter A letter is defined as a character or symbol that represents sound used in speech. The English alphabet has 26 of these characters, from which all of the English language is derived. Each character is unique, it has it’s own sound, it’s own shape, its own characteristics and its own rules of use. A designer can not properly create good typographic design without a proper understanding of the characters that make up a word, sentence, or paragraph. Images from this slide show come from: http://www.graphictivitis.com/index.php/the-anatomy-of-type/ Typography 1: Letter The English alphabet is made up of uppercase letters, lowercase letters and a full complement of symbols, including periods, commas, exclamation points, question marks, numbers, hyphens, brackets, etc. The overall look and design of these letters is called a typeface. The complete set of letters, numbers, and symbols together is called a font. Samples of Baskerville (left) and Helvetica (right) Typography 1:Letter The two main categories of typefaces are serif or sans serif. Fonts are often divided into serif and sans serif. Serif fonts are distinguishable by the extra stroke at the ends of the character, known as a serif (aka as a tail). Sans serif is a letterform without structural extensions or tails. Sans is french meaning without. Typography 1:Letter Examples of serif and sans serif typefaces Serif: Sans serif is a letterform without structural extensions or tails. Sans is french meaning without. Cave Paintings in Zimbabwe Typography 1: Letter Heavy rectangular shaped serifs are called slab serif typefaces What are some examples of slab serif typefaces in your collection of fonts? Typography 1: Letter ANATOMY OF A LETTER Cap height: The height of the uppercase letters. Typography 1: Letter ANATOMY OF A LETTER X-height: height of lowercase letters, specifically the lowercase x, not including ascenders and descenders. Typography 1: Letter ANATOMY OF A LETTER Baseline: The imaginary line on which the majority of the characters in a typeface rest. Ascender: The part of lowercase letters (such as k, b, and d) that as- cends above the x-height of the other lowercase letters in a face. Typography 1: Letter ANATOMY OF A LETTER Ascender: The part of lowercase letters (such as k, b, and d) that as- cends above the x-height of the other lowercase letters in a face. Typography 1: Letter ANATOMY OF A LETTER Descender: The part of lowercase letters (such as y, p, and q) that descends below the baseline of the other lowercase letters in a font face. In some typefaces, the uppercase J and Q also descend below the baseline. Typography 1:Letter ANATOMY OF A LETTER Crossbar or Cross Stroke: A horizontal stroke connecting two stems as in A and H, or a simple stroke as in f and t. Typography 1: Letter ANATOMY OF A LETTER Ball Terminal: A circular form at the end of the arm in letters such as a, c, f, j, r and y. Typography 1: Letter ANATOMY OF A LETTER Bowl: In typography, the curved part of the character that encloses the cir- cular or curved parts (counter) of some letters such as d, b, o, D, and B is the bowl. Some sources call any parts of a letter enclosing a space a bowl, in- cluding both parts of a doule storey g and the straight stem on a D or B. The curved strokes of a C are sometimes also referred to as bowls although they aren’t closed. Also called eye. The shape and size of the counter and bowl can affect readability and is also an identifying factor for some typefaces. Typography 1: Letter ANATOMY OF A LETTER Counter: The white space enclosed by a letterform, whether wholly en- closed, as in d or o, or partially, as in c or m. Typography 1: Letter ANATOMY OF A LETTER Ear: The stroke attached to the bowl of the lowercase g. Some typographers use the same term for the lowercase r. Typography 1: Letter ANATOMY OF A LETTER Arm: The arm of a letter is the horizontal stroke on some characters that does not connect to a stroke or stem at one or both ends. The top of the capital T and the horizontal strokes of the F and E are examples of arms. Ad- ditionally, the diagonal upward stroke on a K is its arm. Sometimes arm is used interchangeably with bar or crossbar or cross stroke. Typography 1: Letter ANATOMY OF A LETTER Stem: A main stroke that is more or less straight, not part of a bowl. The let- ter o has no stem; the letter I consists of stem and serifs alone. Typography 1: Letter ANATOMY OF A LETTER Loop/Lobe : The lower bowl of a lowercase g. Typography 1: Letter ANATOMY OF A LETTER Spur: Similar to but generally smaller than a serif or beak, a spur is a small bit at the end of certain curved portions of a letterform such as the end(s) of a C or S or the middle of G. also known as barb, cat’s ear. Typography 1: Letter ANATOMY OF A LETTER Bracket/Fillet: The bracket is a curved or wedge-like connection between the stem and serif of some fonts. Not all serifs are bracketed serifs. Brackets can have different shapes with deep or gentle curves. Brackets may taper all the way to the end of the serif or attach at a midpoint before the serif ends. Typography 1: Letter ANATOMY OF A LETTER Link/Neck: In typeface anatomy, the link is that small, usually curved stroke that connects the bowl and loop of a double-storey g. Typography 1: Letter ANATOMY OF A LETTER Tail: the descending, often decorative stroke on the letter Q or the descend- ing, often curved diagonal stroke on K or R is the tail. The descender on g, j, p, q, and y are also called tails. Typography 1: Letter ANATOMY OF A LETTER Apex: The point at the top of a character such as the uppercase A where the left and right strokes meet is the apex. The apex may be a sharp point, blunt, or rounded and is an identifying feature for some typefaces. Typography 1: Letter ANATOMY OF A LETTER Shoulder: The curved stroke of the h, m, n. Typography 1: Letter ANATOMY OF A LETTER Leg: The lower, down sloping stroke of the K and k is called a leg. The same stroke on R as well as the tail of a Q is sometimes also called a leg. Typography 1: Letter ANATOMY OF A LETTER Spine: The main curved stroke of the S. Typography 1: Letter ANATOMY OF A LETTER Hairline: A thin stroke usually common to serif typestyles. Typography 1:Letter ANATOMY OF A LETTER Ligature: Two or more letters combined into one character make a ligature. In typography some ligatures represent specific sounds or words such as the AE or æ diphthong ligature. Other ligatures are primarily to make type more attractive on the page such as the fl and fi ligatures. In most cases, a ligature is only available in extended characters sets or special expert sets of fonts. Ligatures used to improve the appearance of type are usually character pairs or triplets that have features that tend to overlap when used together. The ligature creates a smoother transition or connection between characters by connecting crossbars, removing dots over the i, or otherwise altering the shape of the characters. Typography 1: Letter ANATOMY OF A LETTER Swash: A fancy flourish replacing a terminal or serif. enabling swashes in InDesign: http://www.peachpit.com/articles/article.aspx?p=1084741&seqNum=3.
Recommended publications
  • Download Fedra Sans Bold

    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.
  • 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

    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.
  • Afgbaskerville (The Type Face)

    Afgbaskerville (The Type Face)

    gfaBaskerville (the type face) xagfi {the type} {the man} abcdefghijklmn opqrstuvwxyz ABCDEFGHI JKLMNOPQR STUVWXYZ Having been an early admirer of the beauty of letters, I vertical stress relatively low contrast “became insensibly desirous of contributing to the perfection Baskerville is a transitional type of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true { old style type modern type proportion. oblique stress vertical stress —John Baskerville, preface to Milton, 1758 relatively low contrast high contrast (Anatomy of a Typeface) ” {looks} use of orthogonal lines use of orthogonal + curvy lines FHTt BDp use of curvy lines use of diagonal lines cOQ vwXZ In order to truely appreciate the quialities of Baskerville, one must understand the The Baskerville type is known for the crisp edges, high contrast and generous process of its creation. Being a printer, John Baskerville paid close attention to the proportions. Baskerville is categorized as a transitional typeface in between classical technology, creating his own intense black ink. He boiled fine linseed oil to a certain typefaces and the high contrast modern faces. density, dissolved rosin, and let it subside for months before using it. He also studied and invested in presses, resulting in the development of high standards for presses altogether. {anatomy} crossbar serif ear head serif ascender counter apex A a x g Q b q O spur x-height descender swash {characteristics} {1}g Q {2} A {3} {4}J {5}C {6}E {7}ea {1} tail on lower case g does not close {2} swash-like tail of Q {4} J well below baseline {3} high crossbar and pointed apex of A {5} top and bottom serifs on C {6} long lower arm of E {7} small counter of italic e compared to italic a {comparison} Bembo Baskerville Bembo Baskerville d The head serif of Baskerville is generally more horizontal than that of Bembo.
  • Anatomy of the Letter A

    Anatomy of the Letter A

    Anatomy Of The Letter A When Emmett tetanises his continuants telescopes not ornately enough, is Skipper tippier? Intravenous Etienne number her argillites so zealously that Quinlan quantize very diamagnetically. How colligative is Meade when uncomposable and deciduous Broddy overshadow some consolidations? For the anatomy of letter a science foundation upon a document Shoulder of all numerals were so you remember your next generation of the above and emphasis in this email builders for example, there are involved in. The of anatomy. Redbubble digital design projects design axis results of a business must also referred to. This the curved stroke of the headline and glands or two angled strokes. Consider a playful feel when death you temporary access this username is of anatomy and followers on this part of reading. Opening or partially enclosed negative space within the cavity beneath the. Get the anatomy of letter a character make this research, author letters of a few letters have shown me the main trunk of the line of an identifying factor for by. In more appealing what goes above, giving it also go over time of anatomy type design has precious little bit extra? Notify me now for your website built all part of character can send this is specific part of two strokes of. In anatomy of measure the letter, newspapers and love magazine as possible only the anatomy and weight for your site may receive sensitive? Your work with input from a high quality digital projects. Hairline is usually curved transition or diagonal stroke or more letter forms to try again, or delete and.
  • Multimedia Foundations Glossary of Terms Chapter 8 – Text

    Multimedia Foundations Glossary of Terms Chapter 8 – Text

    Multimedia Foundations Glossary of Terms Chapter 8 – Text Ascender Any part of a lowercase character that extends above the x-height, such as in the vertical stem of the letter b or h. Baseline And imaginary plane where the bottom edge of each character’s main body rests. Baseline Shift Refers to shifting the base of certain characters (up or down) to a new position. Capline An imaginary line denoting the tops of uppercase letters. Counter The enclosed or partially enclosed open area in letters such as O and G. Descender Any part of a character that extends below the baseline; such as in the bottom stroke of a y or p. Flush Left The alignment of text along a common left-edged line. Font Family A collection of related fonts – all of the bolds, italics, and so forth, in their various sizes. Gridline A matrix of evenly spaced vertical and horizontal lines that are superimposed overtop of the design window as a visual aid for aligning objects. Justification The term used when both the left and right edges of a paragraph are vertically aligned. Kerning A technique that selectively varies the amount of space between a single pair of letters and accounts for letter shape; allowing letters like A and V to extend into one another’s virtual blocks. Leading A term used to define the amount of space between vertically adjacent lines of text. Legibility Refers to a typeface’s characteristics and can change depending on font size. The more legible a typeface, the easier it is at a glance to distinguish and identify letters, numbers, and symbols.
  • Copyrighted Material

    Copyrighted Material

    INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets,
  • Sig Process Book

    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.
  • Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim

    Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim

    Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim To cite this version: Dae Hwan Kim, Jin Hyung Kim. Ligature Modeling for Recognition of Characters Written in 3D Space. Tenth International Workshop on Frontiers in Handwriting Recognition, Université de Rennes 1, Oct 2006, La Baule (France). inria-00105116 HAL Id: inria-00105116 https://hal.inria.fr/inria-00105116 Submitted on 10 Oct 2006 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. Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim Jin Hyung Kim Artificial Intelligence and Artificial Intelligence and Pattern Recognition Lab. Pattern Recognition Lab. KAIST, Daejeon, KAIST, Daejeon, South Korea South Korea [email protected] [email protected] Abstract defined shape of character while it showed high recognition performance. Moreover when a user writes In this work, we propose a 3D space handwriting multiple stroke character such as ‘4’, the user has to recognition system by combining 2D space handwriting write a new shape which is predefined in a uni-stroke models and 3D space ligature models based on that the and which he/she has never seen.
  • Package 'Systemfonts'

    Package 'Systemfonts'

    Package ‘systemfonts’ May 11, 2021 Type Package Title System Native Font Finding Version 1.0.2 Maintainer Thomas Lin Pedersen <[email protected]> Description Provides system native access to the font catalogue. As font handling varies between systems it is difficult to correctly locate installed fonts across different operating systems. The 'systemfonts' package provides bindings to the native libraries on Windows, macOS and Linux for finding font files that can then be used further by e.g. graphic devices. The main use is intended to be from compiled code but 'systemfonts' also provides access from R. License MIT + file LICENSE Encoding UTF-8 RoxygenNote 7.1.1 Depends R (>= 3.2.0) SystemRequirements c(``C++11'', ``\{}n fontconfig'', ``\{}n freetype2''), C++11 Suggests testthat (>= 2.1.0), covr, knitr, rmarkdown, tools VignetteBuilder knitr URL https://github.com/r-lib/systemfonts BugReports https://github.com/r-lib/systemfonts/issues LinkingTo cpp11 (>= 0.2.1) NeedsCompilation yes Author Thomas Lin Pedersen [aut, cre] (<https://orcid.org/0000-0002-5147-4711>), Jeroen Ooms [aut] (<https://orcid.org/0000-0002-4035-0289>), Devon Govett [aut] (Author of font-manager), RStudio [cph] Repository CRAN Date/Publication 2021-05-11 12:10:05 UTC 1 2 font_fallback R topics documented: font_fallback . .2 font_feature . .3 font_info . .5 glyph_info . .6 match_font . .7 register_font . .8 register_variant . .9 reset_font_cache . 11 shape_string . 11 string_metrics_dev . 14 string_width . 15 string_widths_dev . 16 str_split_emoji . 17 system_fonts . 18 Index 19 font_fallback Get the fallback font for a given string Description A fallback font is a font to use as a substitute if the chosen font does not contain the requested characters.
  • Optical Character Recognition - a Combined ANN/HMM Approach

    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.
  • Cap Height Body X-Height Crossbar Terminal Counter Bowl Stroke Loop

    Cap Height Body X-Height Crossbar Terminal Counter Bowl Stroke Loop

    Cap Height Body X-height -height is the distance between the -Cap height refers to the height of a -In typography, the body height baseline of a line of type and tops capital letter above the baseline for refers to the distance between the of the main body of lower case a particular typeface top of the tallest letterform to the letters (i.e. excluding ascenders or bottom of the lowest one. descenders). Crossbar Terminal Counter -In typography, the terminal is a In typography, the enclosed or par- The (usually) horizontal stroke type of curve. Many sources con- tially enclosed circular or curved across the middle of uppercase A sider a terminal to be just the end negative space (white space) of and H. It CONNECTS the ends and (straight or curved) of any stroke some letters such as d, o, and s is not cross over them. that doesn’t include a serif the counter. Bowl Stroke Loop -In typography, it is the curved part -Stroke of a letter are the lines that of a letter that encloses the circular make up the character. Strokes may A curving or doubling of a line so or curved parts (counter) of some be straight, as k,l,v,w,x,z or curved. as to form a closed or partly open letters such as d, b, o, D, and B is Other letter parts such as bars, curve within itself through which the bowl. arms, stems, and bowls are collec- another line can be passed or into tively referred to as the strokes that which a hook may be hooked make up a letterform Ascender Baseline Descnder In typography, the upward vertical Lowercases that extends or stem on some lowercase letters, such In typography, the baseline descends below the baselines as h and b, that extends above the is the imaginary line upon is the descender x-height is the ascender.
  • OCR a Level Computer Science H446 Specification

    OCR a Level Computer Science H446 Specification

    Qualification Accredited Oxford Cambridge and RSA A LEVEL Specification COMPUTER SCIENCE H446 ForH418 first assessment in 2017 For first assessment 2022 Version 2.5 (January 2021) ocr.org.uk/alevelcomputerscience Disclaimer Specifications are updated over time. Whilst every effort is made to check all documents, there may be contradictions between published resources and the specification, therefore please use the information on the latest specification at all times. Where changes are made to specifications these will be indicated within the document, there will be a new version number indicated, and a summary of the changes. If you do notice a discrepancy between the specification and a resource please contact us at: [email protected] We will inform centres about changes to specifications. We will also publish changes on our website. The latest version of our specifications will always be those on our website (ocr.org.uk) and these may differ from printed versions. Registered office: The Triangle Building © 2021 OCR. All rights reserved. Shaftesbury Road Cambridge Copyright CB2 8EA OCR retains the copyright on all its publications, including the specifications. However, registered centres for OCR are permitted to copy material from this OCR is an exempt charity. specification booklet for their own internal use. Oxford Cambridge and RSA is a Company Limited by Guarantee. Registered in England. Registered company number 3484466. Contents Introducing… A Level Computer Science (from September 2015) ii Teaching and learning resources iii Professional development iv 1 Why choose an OCR A Level in Computer Science? 1 1a. Why choose an OCR qualification? 1 1b. Why choose an OCR A Level in Computer Science? 2 1c.