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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..................................................................................................... -
Paratext in Bible Translations with Special Reference to Selected Bible Translations Into Beninese Languages
DigitalResources SIL eBook 58 ® Paratext in Bible Translations with Special Reference to Selected Bible Translations into Beninese Languages Geerhard Kloppenburg Paratext in Bible Translations with Special Reference to Selected Bible Translations into Beninese Languages Geerhard Kloppenburg SIL International® 2013 SIL e-Books 58 2013 SIL International® ISSN: 1934-2470 Fair-Use Policy: Books published in the SIL e-Books (SILEB) series are intended for scholarly research and educational use. You may make copies of these publications for research or instructional purposes free of charge (within fair-use guidelines) and without further permission. Republication or commercial use of SILEB or the documents contained therein is expressly prohibited without the written consent of the copyright holder(s). Editor-in-Chief Mike Cahill Compositor Margaret González VRIJE UNIVERSITEIT AMSTERDAM PARATEXT IN BIBLE TRANSLATIONS WITH SPECIAL REFERENCE TO SELECTED BIBLE TRANSLATIONS INTO BENINESE LANGUAGES THESIS MASTER IN LINGUISTICS (BIBLE TRANSLATION) THESIS ADVISOR: DR. L.J. DE VRIES GEERHARD KLOPPENBURG 2006 TABLE OF CONTENTS 1. INTRODUCTION.................................................................................................................. 3 1.1 The phenomenon of paratext............................................................................................ 3 1.2 The purpose of this study ................................................................................................. 5 2. PARATEXT: DEFINITION AND DESCRIPTION............................................................. -
Dissertation Body Text FINAL SUBMISSION VERSION
UCLA UCLA Electronic Theses and Dissertations Title Openness to the Development of the Relationship: A Theory of Close Relationships Permalink https://escholarship.org/uc/item/2030n6jk Author Page, Emily Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Openness to the Development of the Relationship: A Theory of Close Relationships A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Philosophy by Emily Page 2021 © Copyright by Emily Page 2021 ABSTRACT OF THE DISSERTATION Openness to the Development of the Relationship: A Theory of Close Relationships by Emily Page Doctor of Philosophy in Philosophy University of California, Los Angeles, 2021 Professor Alexander Jacob Julius, Chair In a word, this dissertation is about friendship. I begin by raising a problem related to one traditionally found within some of the philosophical literature regarding moral egalitarianism: that of partiality and friendship, except that I raise the issue of partiality within the context of one’s close relationships. From here I propose a solution to the problem based on understanding a close relationship as one in which friends possess the attitude of openness to the development of the relationship. The remainder of the dissertation is concerned with elaborating upon and explaining this conception of friendship and its consequences. In the course of doing this I propose a theory of the self and how we relate to one another, consider the importance of the psychophysical self, explore the notion of mutual recognition, reflect on relationship’s end, and, finally, explore the connections between friendship and play. -
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. -
Thesis and Dissertation
Thesis and Dissertation UWG General Guidelines for Formatting and Processing Go West. It changes everything. 2 TABLE OF CONTENTS Table of Contents Thesis and Dissertation Format and Processing Guidelines ...................................................... 3 General Policies and Regulations .................................................................................................. 5 Student Integrity ........................................................................................................................ 5 Submission Procedures ............................................................................................................ 5 Format Review ...................................................................................................................... 5 Typeface .................................................................................................................................... 6 Margins ...................................................................................................................................... 6 Spacing ...................................................................................................................................... 6 Pagination ................................................................................................................................. 6 Title Page .................................................................................................................................. 7 Signature Page ........................................................................................................................ -
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. -
Removing Boilerplate and Duplicate Content from Web Corpora
Masaryk University Faculty}w¡¢£¤¥¦§¨ of Informatics !"#$%&'()+,-./012345<yA| Removing Boilerplate and Duplicate Content from Web Corpora Ph.D. thesis Jan Pomik´alek Brno, 2011 Acknowledgments I want to thank my supervisor Karel Pala for all his support and encouragement in the past years. I thank LudˇekMatyska for a useful pre-review and also for being so kind and cor- recting typos in the text while reading it. I thank the KrdWrd team for providing their Canola corpus for my research and namely to Egon Stemle for his help and technical support. I thank Christian Kohlsch¨utterfor making the L3S-GN1 dataset publicly available and for an interesting e-mail discussion. Special thanks to my NLPlab colleagues for creating a great research environment. In particular, I want to thank Pavel Rychl´yfor inspiring discussions and for an interesting joint research. Special thanks to Adam Kilgarriff and Diana McCarthy for reading various parts of my thesis and for their valuable comments. My very special thanks go to Lexical Computing Ltd and namely again to the director Adam Kilgarriff for fully supporting my research and making it applicable in practice. Last but not least I thank my family for all their love and support throughout my studies. Abstract In the recent years, the Web has become a popular source of textual data for linguistic research. The Web provides an extremely large volume of texts in many languages. However, a number of problems have to be resolved in order to create collections (text corpora) which are appropriate for application in natural language processing. In this work, two related problems are addressed: cleaning a boilerplate and removing duplicate and near-duplicate content from Web data. -
International Language Environments Guide
International Language Environments Guide Sun Microsystems, Inc. 4150 Network Circle Santa Clara, CA 95054 U.S.A. Part No: 806–6642–10 May, 2002 Copyright 2002 Sun Microsystems, Inc. 4150 Network Circle, Santa Clara, CA 95054 U.S.A. All rights reserved. This product or document is protected by copyright and distributed under licenses restricting its use, copying, distribution, and decompilation. No part of this product or document may be reproduced in any form by any means without prior written authorization of Sun and its licensors, if any. Third-party software, including font technology, is copyrighted and licensed from Sun suppliers. Parts of the product may be derived from Berkeley BSD systems, licensed from the University of California. UNIX is a registered trademark in the U.S. and other countries, exclusively licensed through X/Open Company, Ltd. Sun, Sun Microsystems, the Sun logo, docs.sun.com, AnswerBook, AnswerBook2, Java, XView, ToolTalk, Solstice AdminTools, SunVideo and Solaris are trademarks, registered trademarks, or service marks of Sun Microsystems, Inc. in the U.S. and other countries. All SPARC trademarks are used under license and are trademarks or registered trademarks of SPARC International, Inc. in the U.S. and other countries. Products bearing SPARC trademarks are based upon an architecture developed by Sun Microsystems, Inc. SunOS, Solaris, X11, SPARC, UNIX, PostScript, OpenWindows, AnswerBook, SunExpress, SPARCprinter, JumpStart, Xlib The OPEN LOOK and Sun™ Graphical User Interface was developed by Sun Microsystems, Inc. for its users and licensees. Sun acknowledges the pioneering efforts of Xerox in researching and developing the concept of visual or graphical user interfaces for the computer industry. -
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. -
5Lesson 5: Web Page Layout and Elements
5Lesson 5: Web Page Layout and Elements Objectives By the end of this lesson, you will be able to: 1.1.14: Apply branding to a Web site. 2.1.1: Define and use common Web page design and layout elements (e.g., color, space, font size and style, lines, logos, symbols, pictograms, images, stationary features). 2.1.2: Determine ways that design helps and hinders audience participation (includes target audience, stakeholder expectations, cultural issues). 2.1.3: Manipulate space and content to create a visually balanced page/site that presents a coherent, unified message (includes symmetry, asymmetry, radial balance). 2.1.4: Use color and contrast to introduce variety, stimulate users and emphasize messages. 2.1.5: Use design strategies to control a user's focus on a page. 2.1.6: Apply strategies and tools for visual consistency to Web pages and site (e.g., style guides, page templates, image placement, navigation aids). 2.1.7: Convey a site's message, culture and tone (professional, casual, formal, informal) using images, colors, fonts, content style. 2.1.8: Eliminate unnecessary elements that distract from a page's message. 2.1.9: Design for typographical issues in printable content. 2.1.10: Design for screen resolution issues in online content. 2.2.1: Identify Web site characteristics and strategies to enable them, including interactivity, navigation, database integration. 2.2.9: Identify audience and end-user capabilities (e.g., lowest common denominator in usability). 3.1.3: Use hexadecimal values to specify colors in X/HTML. 3.3.7: Evaluate image colors to determine effectiveness in various cultures. -
Adobe Type 1 Font Format Adobe Systems Incorporated
Type 1 Specifications 6/21/90 final front.legal.doc Adobe Type 1 Font Format Adobe Systems Incorporated Addison-Wesley Publishing Company, Inc. Reading, Massachusetts • Menlo Park, California • New York Don Mills, Ontario • Wokingham, England • Amsterdam Bonn • Sydney • Singapore • Tokyo • Madrid • San Juan Library of Congress Cataloging-in-Publication Data Adobe type 1 font format / Adobe Systems Incorporated. p. cm Includes index ISBN 0-201-57044-0 1. PostScript (Computer program language) 2. Adobe Type 1 font (Computer program) I. Adobe Systems. QA76.73.P67A36 1990 686.2’2544536—dc20 90-42516 Copyright © 1990 Adobe Systems Incorporated. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated and Addison-Wesley, Inc. Printed in the United States of America. Published simultaneously in Canada. The information in this book is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in this book. The software described in this book is furnished under license and may only be used or copied in accordance with the terms of such license. Please remember that existing font software programs that you may desire to access as a result of information described in this book may be protected under copyright law. The unauthorized use or modification of any existing font software program could be a violation of the rights of the author.