Font Handling in Troff with Postscript Devices
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Format Guide
FORMAT GUIDE OVERVIEW 139 GENERAL GUIDELINES 134 ELECTRONIC RÉSUMÉ GUIDELINES 140 STANDARDS OF MAILABILITY 140 FAIR USE GUIDELINES FOR EDUCATIONAL USE 141 AGENDA 142 ITINERARY 143 LABEL/ENVELOPE 144 BUSINESS LETTER 144 PERSONAL LETTER 145 LETTER WITH ADVANCED FEATURES 146 LETTER & MEMO SECOND PAGE 146 EMAIL 147 MEMORANDUM 148 NEWS RELEASE 149 MINUTES 150 OUTLINE 151 REPORT 152 REPORT CONTINUED 153 ENDNOTE PAGE 153 CITATIONS 154 REFERENCE PAGE 155 TABLES 156 ELECTRONIC RÉSUMÉ 157 TABLE OF CONTENTS 158 Revised 2014 Copyright FBLA-PBL 2014. All Rights Reserved. Designed by: FBLA-PBL, Inc CHAPTER MANAGEMENT HANDBOOK | 137 138 | FBLA-PBL.ORG OVERVIEW In today’s business world, communication is consistently expressed through writing. Successful businesses require a consistent message throughout the organization. A foundation of this strategy is the use of a format guide, which enables a corporation to maintain a uniform image through all its communications. Use this guide to prepare for Computer Applications and Word Processing skill events. GENERAL GUIDELINES Font Size: 11 or 12 Font Style: Times New Roman, Arial, Calibri, or Cambria Spacing: 1 space after punctuation ending a sentence (stay consistent within the document) 1 space after a semicolon 1 space after a comma 1 space after a colon (stay consistent within the document) 1 space between state abbreviation and zip code Letters: Block Style with Open Punctuation Top Margin: 2 inches Side and Bottom Margins: 1 inch Bulleted Lists: Single space individual items; double space between items -
Margin Kerning and Font Expansion with Pdftex
Margin Kerning and Font Expansion with pdfTEX H`anTh´eTh`anh Introduction \f ends up at the right margin, it should be moved out to the margin by 700 thousandths of its width pdfT X has some micro-typographic extensions that E (i.e., 70 %). are not so widely used, for the lack of documentation It is conveninent to specify the protruding fac- and quite complicated setup. In this paper I would tor for individual characters in thousandths of char- like to describe their use in a step-by-step manner acter width. This is also the way how \rpcode so the reader can give a try afterwards. Two exten- was implemented in versions up to 0.14h. However, sions will be introduced: margin kerning and font this method cannot be used for characters with expansion. zero width (”faked” characters that can be used to Margin kerning is the technique to move the protrude other elements than normal characters), so characters slightly out to the margins of a text block in version 0.14h and later, the protruding amount in order to make the margins look straight. Without is specified in thousandths of an em of the font. margin kerning, certain characters when ending up A macro called \adjustprotcode (defined in file at the margins can cause the optical illusion that \protrude.tex) is used here to checks whether the the margins look rather ragged. Margin kerning used version is older than 0.14h and if so it will is similar to hanging punctuation, but it can also convert the settings for versions before 0.14h (i.e., in be applied to other characters as well. -
Basic Styles of Lettering for Monuments and Markers.Indd
BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble. -
Micro Typography Part 1: Spacing
MICRO TYPOGRAPHY PART 1 MICRO TYPOGRAPHY PART 1: SPACING Kerning :: Letter spacing :: Tracking :: Word Spacing Kerning :: Letter spacing :: Tracking :: Word Spacing KERNING Kerning is the act of adjusting the space between two characters to compensate for their relative shapes. It refers to removing space between two characters to restore the natural rhythm found among the characters in the rest of the text. If letters in a typeface are spaced mathematically even, they make a pattern that doesn’t look uniform enough. * Letter spacing: adding space between two characters within a word. Kerning :: Letter spacing :: Tracking :: Word Spacing KERNING: LETTER SHAPES There are four kinds of strokes that make up letter forms. These must be spaced in a logical, consistent manner to appear optically correct. The idea is to maintain comfortable optical volumes (figure/ground) between letter forms. Each letter should “flirt” with the one next to it. Kerning :: Letter spacing :: Tracking :: Word Spacing KERNING: LETTER SHAPES Here are the extreme spacing limits for combining stroke types. You can build your own letter spacing system for the other stroke combinations. Kerning :: Letter spacing :: Tracking :: Word Spacing KERNING PAIRS Kerning pairs are a pair of letters whose shapes (and negative space around those shapes) cause them to need a kerning adjustment. Sample letters which always need kerning: W, Y, V, T, L, O. Sample letter pairs which always need adjusting: Wy, Ae, Yo, Te, Wo. Often kerning happens between upper and lower case letters and -
The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques
The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques A dissertation submitted to Birmingham City University in fulfilment of the requirement for the degree of Doctor of Philosophy in Art and Design By: Ahmad Saleh A. Almontasheri Director of the study: Professor Mohsen Aboutorabi 2017 1 Dedication My great mother, your constant wishes and prayers were accepted. Sadly, you will not hear of this success. Happily, you are always in the scene; in the depth of my heart. May Allah have mercy on your soul. Your faithful son: Ahmad 2 Acknowledgments I especially would like to express my appreciation of my supervisors, the director of this study, Professor Mohsen Aboutorabi, and the second supervisor Dr. Mohsen Keiany. As mentors, you have been invaluable to me. I would like to extend my gratitude to you all for encouraging me to conduct this research and give your valuable time, recommendations and support. The advice you have given me, both in my research and personal life, has been priceless. I am also thankful to the external and internal examiners for their acceptance and for their feedback, which made my defence a truly enjoyable moment, and also for their comments and suggestions. Prayers and wishes would go to the soul of my great mother, Fatimah Almontasheri, and my brother, Abdul Rahman, who were the first supporters from the outset of my study. May Allah have mercy on them. I would like to extend my thanks to my teachers Saad Saleh Almontasheri and Sulaiman Yahya Alhifdhi who supported me financially and emotionally during the research. -
The Selnolig Package: Selective Suppression of Typographic Ligatures*
The selnolig package: Selective suppression of typographic ligatures* Mico Loretan† 2015/10/26 Abstract The selnolig package suppresses typographic ligatures selectively, i.e., based on predefined search patterns. The search patterns focus on ligatures deemed inappropriate because they span morpheme boundaries. For example, the word shelfful, which is mentioned in the TEXbook as a word for which the ff ligature might be inappropriate, is automatically typeset as shelfful rather than as shelfful. For English and German language documents, the selnolig package provides extensive rules for the selective suppression of so-called “common” ligatures. These comprise the ff, fi, fl, ffi, and ffl ligatures as well as the ft and fft ligatures. Other f-ligatures, such as fb, fh, fj and fk, are suppressed globally, while making exceptions for names and words of non-English/German origin, such as Kafka and fjord. For English language documents, the package further provides ligature suppression rules for a number of so-called “discretionary” or “rare” ligatures, such as ct, st, and sp. The selnolig package requires use of the LuaLATEX format provided by a recent TEX distribution, e.g., TEXLive 2013 and MiKTEX 2.9. Contents 1 Introduction ........................................... 1 2 I’m in a hurry! How do I start using this package? . 3 2.1 How do I load the selnolig package? . 3 2.2 Any hints on how to get started with LuaLATEX?...................... 4 2.3 Anything else I need to do or know? . 5 3 The selnolig package’s approach to breaking up ligatures . 6 3.1 Free, derivational, and inflectional morphemes . -
Manuscripts Form Explanatory Notes.Pdf
1 Explanatory notes:1 Form for additions or corrections to PhiloBiblon MANUSCRIPTS Information related to manuscript description is available on any PhiloBiblon HELP page: http://bancroft.berkeley.edu/philobiblon/help_es.html (BETA) http://bancroft.berkeley.edu/philobiblon/help_po.html (BITAGAP) http://bancroft.berkeley.edu/philobiblon/help_ga.html (BITAGAP) http://bancroft.berkeley.edu/philobiblon/help_ca.html (BITECA) For codicological terminology, see Denis Muzerelle’s site (http://codicologia.irht.cnrs.fr ). For terminology in Portuguese, consult Maria Isabel Faria and Maria da Graça Pericão’s Dicionário do Livro. Da escrita ao livro electrónico, Coimbra: Almedina, 2008. (BITAGAP bibid 12314). Links to many databases relevant to manuscript description (bindings, codicology, paleography, ruling, watermarks, seals, etc.) appear in PhiloBiblon online, in RESOURCES. Bookmark this page in all of your browsers to facilitate quick consultation of useful resources. For the purposes of filling out this form, the term “manuscript” refers to the physical object in which a text is written, whether a book/codex or a loose piece of parchment. A manuscript might consist of hundreds of bound leaves, five gatherings, or a single sheet of paper. The term “manuscript” is used here for all of these. A factitious manuscript is comprised of several parts or sections of different provenance. It can include codicologically distinct quires (parchment and paper), leaves or gatherings copied in different eras, printed texts, etc. A separate form with a detailed description must be prepared for each part of the manuscript that contains an appropriate text for the relevant bibliography. Information for the entire manuscript is included only in the record for the first part, which has a manid. -
Typographic Terms Alphabet the Characters of a Given Language, Arranged in a Traditional Order; 26 Characters in English
Typographic Terms alphabet The characters of a given language, arranged in a traditional order; 26 characters in English. ascender The part of a lowercase letter that rises above the main body of the letter (as in b, d, h). The part that extends above the x-height of a font. bad break Refers to widows or orphans in text copy, or a break that does not make sense of the phrasing of a line of copy, causing awkward reading. baseline The imaginary line upon which text rests. Descenders extend below the baseline. Also known as the "reading line." The line along which the bases of all capital letters (and most lowercase letters) are positioned. bleed An area of text or graphics that extends beyond the edge of the page. Commercial printers usually trim the paper after printing to create bleeds. body type The specific typeface that is used in the main text break The place where type is divided; may be the end of a line or paragraph, or as it reads best in display type. bullet A typeset character (a large dot or symbol) used to itemize lists or direct attention to the beginning of a line. (See dingbat.) cap height The height of the uppercase letters within a font. (See also cap line.) caps and small caps The typesetting option in which the lowercase letters are set as small capital letters; usually 75% the height of the size of the innercase. Typographic Terms character A symbol in writing. A letter, punctuation mark or figure. character count An estimation of the number of characters in a selection of type. -
Building Other Custom Screens
Building Other Custom Screens Overview Advanced Custom Forms Overview Advanced Custom Forms provide you more control over the look and layout of the form that users will be accessing to enter data. You can access Advanced Custom Forms by expanding the Custom Form from the Custom Form main screen. Advanced Custom Forms To begin building an Advanced Custom Forms screen, click the Add Advanced Form link. The Advanced Custom Form Maintenance screen will display. Enter a Name for the screen and begin adding content to the form. We will now review one section at a time, as well as the buttons/options on the Advanced Custom Form Maintenance screen. System: This field cannot be edited. It is based on the type of Custom Form you are working in. Name: This is the name of the Advanced Custom Form and is the name that users will see when trying to access the information. Layout: Click this button to toggle the orientation of the form between Portrait (the default) or Landscape. This effects how the form will print when sent to a printer. Table: The options under here are to be used if using a table on the form. You would want your cursor placed in the row you wish to work with, and then you can select to Clone a Row, Delete a Row, or Delete to Last Row which will remove the row with your cursor, and all rows of the table below it. Fields: This is where you can access all of the available Skyward fields and Custom Fields created for the form and choose to add them to your form. -
The Deer Scroll by Kōetsu and Sōtatsu
The Deer Scroll by Kōetsu and Sōtatsu Reappraised Golden Week Lecture Series— Four Masterpieces of Japanese Painting: A Symposium Miyeko Murase, Former Consultant for Japanese Art, Metropolitan Museum of Art and the Takeo and Itsuko Atsumi Professor Emerita, Columbia University Poem Scroll with Deer (part), Hon’ami Kōestu and Tawaraya Sōtatsu, early 17th century, handscroll, ink, gold and silver on paper, 13 3/8 x 372 in., Gift of Mrs. E. Frederick, 51.127 It has been quite some years since I last spoke here at this museum, so many in fact that I have lost count. It is really wonderful to be back, and I want to thank director Mimi Gates and curator Yukiko Shirahara, who invited me to speak today on the world-famous Deer Scroll by Sōtatsu and Kōetsu. This proud possession of the Seattle Art Museum is one of the most beautiful paintings ever created by Japanese artists.1 The scroll just came back from Japan after extensive restorative work. Although the handscroll itself does not bear any title, it is generally known as the Deer Scroll because the entire scroll is filled with images of deer, which are shown either singly, in couples, or in large herds. The animals are painted only in gold and/or silver ink, as is the very simple setting of sky, mist, and ground. As you may have noticed, these beautiful pictures of deer are really a background for the equally exquisite writings of waka poems in black ink. Here we have a symphony of three arts - poetry, painting, and calligraphy - as a testimonial to the ancient credo of Asia that these three arts occupy an equally important place in life and culture. -
GAMUT Editor Aids
GAMUT Editor Aids // 1 // SYMBOLS OF THE UPPER TOOLBAR // WITH THESE SYMBOLS . YOU TRIGGER THESE ACTIONS » Font Size » Use the dropdown to select the font size » Text Color » Change the color of the selected text » Background Color » Change the background color (highlight) of the selected text » Bold » Apply bold formatting to the selected text » Italic » Apply italic formatting to the selected text » Underline » Apply underline formatting to the selected text » Strikethrough » Apply strikethrough formatting to the selected text » Subscript » Make text or numbers appear as subscript » Superscript » Make text or numbers appear as superscript continued // 2 // SYMBOLS OF THE UPPER TOOLBAR // WITH THESE SYMBOLS . YOU TRIGGER THESE ACTIONS » Copy Formatting » Copy the formatting from one area of text and apply it to another » Remove Format » Remove the formatting from the selected area of tex » The starting number of the list can also be changed here. » Numbered List » Select this button to begin a numbered list. » Bulleted List » Select this button to begin a bulleted list. » To change the numbered list properties, right click in the list and make a selection from the following: » The starting number of the list can also be changed here. continued // 3 // SYMBOLS OF THE UPPER TOOLBAR // WITH THESE SYMBOLS . YOU TRIGGER THESE ACTIONS » Bulleted List, continued » To change the bulleted list properties, right click in the list and make a selection from the following: » Decrease Indent » Decrease the paragraph indent to the left » Increase -
Headers and Footers in Microsoft Word South Puget Sound Community College Student Computing Center Written By: Chris Dorn
Headers and Footers in Microsoft Word South Puget Sound Community College Student Computing Center Written by: Chris Dorn A header is the top margin of each page, and a footer is the bottom margin of each page. Headers and footers are useful for including material that you want to appear on every page of a document such as your name, the title of the document, or page numbers. This tutorial explains how to insert headers and footers, how to have a different header on the first page, and how to create different headers in different sections. Inserting Headers and Footers To insert a header or footer, first go to the Insert tab and select the desired option. Clicking either of these icons will display a dropdown menu with several options. SPSCC Student Computing Center__Headers and Footers __1 If you just want to add a simple header such as a title or your last name, you can choose the first option. This will bring the cursor into the header. Notice, too, that a new tab appears on the ribbon. This Design tab allows you to change certain features of the header such as the header position and page number. Design tab You can type here Once you are in the top (or bottom) margin, you can change the text formatting of the header (or footer) the same way that you would change formatting in the body of the document. For instance, if you want to center your header, you can go to the Home tab and select the center alignment icon in the Paragraph group, as pictured below: Centered header SPSCC Student Computing Center__Headers and Footers __2 Having a Different First Page Header Sometimes you may be asked to have a header that does not appear on the first page.