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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. -
Old German Translation Tips
OLD GERMAN TRANSLATION TIPS BASIC STEPS 1. Identify the alphabet used (Fraktur, Sütterlin/Suetterlin, or Kurrent) and convert the letters to modern equivalents, and then; 2. Translate from German to English. CONVERTING OLD ALPHABETS Helps for Translating That Old German Handwriting http://nancysfamilyhistoryblog.blogspot.com/2011/06/helps-for-translating-that-old- german.html Helps for Translating the Old German Typeface http://nancysfamilyhistoryblog.blogspot.com/2011/10/helps-for-translating-old-german.html Omniglot https://www.omniglot.com/writing/german.htm –Scroll down for script styles. ONLINE TRANSLATORS AND DICTIONARIES Abkuerzungen http://abkuerzungen.de/main.php?language=de – for finding the meaning of abbreviations. Leo https://www.leo.org/german-english Members can also connect with each other via the LEO forums to ask for help. Langenscheidt online dictionary: Lingojam https://lingojam.com/OldGerman Linguee https://www.linguee.com/ Choose German → English from the dropdown menu. This site uses human translators, not machines! It gives you examples of the words used in a real-life context and provides all possible German translations of the word. You will find that anti-virus software treats some translation sites/apps (e.g. Babylon translator) as malware. ‘GENEALOGICAL GERMAN’ Family words in German https://www.omniglot.com/language/kinship/german.htm German Genealogical Word List: https://www.familysearch.org/wiki/en/German_Genealogical_Word_List Understanding a German Baptism Records http://www.stemwedegenealogy.com/baptism_sample.htm Understanding German Marriage Records http://www.stemwedegenealogy.com/marriage_sample.htm FACEBOOK HELP Genealogy Translations https://www.facebook.com/groups/genealogytranslation/ – for a wide range of languages, not only German. • Work out as much as you can for yourself first. -
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. -
Towards Chinese Calligraphy Zhuzhong Qian
Macalester International Volume 18 Chinese Worlds: Multiple Temporalities Article 12 and Transformations Spring 2007 Towards Chinese Calligraphy Zhuzhong Qian Desheng Fang Follow this and additional works at: http://digitalcommons.macalester.edu/macintl Recommended Citation Qian, Zhuzhong and Fang, Desheng (2007) "Towards Chinese Calligraphy," Macalester International: Vol. 18, Article 12. Available at: http://digitalcommons.macalester.edu/macintl/vol18/iss1/12 This Article is brought to you for free and open access by the Institute for Global Citizenship at DigitalCommons@Macalester College. It has been accepted for inclusion in Macalester International by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Towards Chinese Calligraphy Qian Zhuzhong and Fang Desheng I. History of Chinese Calligraphy: A Brief Overview Chinese calligraphy, like script itself, began with hieroglyphs and, over time, has developed various styles and schools, constituting an important part of the national cultural heritage. Chinese scripts are generally divided into five categories: Seal script, Clerical (or Official) script, Regular script, Running script, and Cursive script. What follows is a brief introduction of the evolution of Chinese calligraphy. A. From Prehistory to Xia Dynasty (ca. 16 century B.C.) The art of calligraphy began with the creation of Chinese characters. Without modern technology in ancient times, “Sound couldn’t travel to another place and couldn’t remain, so writings came into being to act as the track of meaning and sound.”1 However, instead of characters, the first calligraphy works were picture-like symbols. These symbols first appeared on ceramic vessels and only showed ambiguous con- cepts without clear meanings. -
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. -
Package Mathfont V. 1.6 User Guide Conrad Kosowsky December 2019 [email protected]
Package mathfont v. 1.6 User Guide Conrad Kosowsky December 2019 [email protected] For easy, off-the-shelf use, type the following in your docu- ment preamble and compile using X LE ATEX or LuaLATEX: \usepackage[hfont namei]{mathfont} Abstract The mathfont package provides a flexible interface for changing the font of math- mode characters. The package allows the user to specify a default unicode font for each of six basic classes of Latin and Greek characters, and it provides additional support for unicode math and alphanumeric symbols, including punctuation. Crucially, mathfont is compatible with both X LE ATEX and LuaLATEX, and it provides several font-loading commands that allow the user to change fonts locally or for individual characters within math mode. Handling fonts in TEX and LATEX is a notoriously difficult task. Donald Knuth origi- nally designed TEX to support fonts created with Metafont, and while subsequent versions of TEX extended this functionality to postscript fonts, Plain TEX's font-loading capabilities remain limited. Many, if not most, LATEX users are unfamiliar with the fd files that must be used in font declaration, and the minutiae of TEX's \font primitive can be esoteric and confusing. LATEX 2"'s New Font Selection System (nfss) implemented a straightforward syn- tax for loading and managing fonts, but LATEX macros overlaying a TEX core face the same versatility issues as Plain TEX itself. Fonts in math mode present a double challenge: after loading a font either in Plain TEX or through the nfss, defining math symbols can be unin- tuitive for users who are unfamiliar with TEX's \mathcode primitive. -
First Line of Title
HEAVENLY HANDWRITING, TEUTONIC TYPE: FAITH AND SCRIPT IN GERMAN PENNSYLVANIA, CA. 1683 – 1855 by Alexander Lawrence Ames A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in American Material Culture Spring 2014 © 2014 Alexander Lawrence Ames All Rights Reserved HEAVENLY HANDWRITING, TEUTONIC TYPE: FAITH AND SCRIPT IN GERMAN PENNSYLVANIA, CA. 1683 – 1855 by Alexander Lawrence Ames Approved: __________________________________________________________ Consuela Metzger, M.L.I.S. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ J. Ritchie Garrison, Ph.D. Director of the Winterthur Program in American Material Culture Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education ACKNOWLEDGMENTS Whom does one thank first for assistance toward completion of an academic project only brought to fruition by the support of dozens of scholars, professionals, colleagues, family members, and friends? I must first express gratitude to my relations, especially my mother Dr. Candice M. Ames and my brother Andrew J. Ames and his family, without whose support I surely never could have undertaken the journey from Minnesota to the Winterthur Program in American Material Culture nearly two years ago. At Winterthur, I found mentors who extended every effort to encourage my academic growth. Rosemary Krill, Brock Jobe, J. Ritchie Garrison, and Greg Landrey did much to help me explore new fields. I owe a particular debt to Winterthur’s art conservators. In one, Consuela Metzger, I found a thesis advisor willing to devote countless hours to guiding my intellectual exploration. -
ISO/IEC International Standard 10646-1
Final Proposed Draft Amendment (FPDAM) 5 ISO/IEC 10646:2003/Amd.5:2007 (E) Information technology — Universal Multiple-Octet Coded Character Set (UCS) — AMENDMENT 5: Tai Tham, Tai Viet, Avestan, Egyptian Hieroglyphs, CJK Unified Ideographs Extension C, and other characters Page 2, Clause 3 Normative references Page 20, Sub-clause 26.1 Hangul syllable Update the reference to the Unicode Bidirectional Algo- composition method rithm and the Unicode Normalization Forms as follows: Replace the three parenthetical notations in the second Unicode Standard Annex, UAX#9, The Unicode Bidi- sentence of the first paragraph with: rectional Algorithm, Version 5.2.0, [Date TBD]. (syllable-initial or initial consonant) (syllable-peak or medial vowel) Unicode Standard Annex, UAX#15, Unicode Normali- (syllable-final or final consonant) zation Forms, Version 5.2.0, [Date TBD]. Page 2, Clause 4 Terms and definitions Page 20, Clause 27 Source references for CJK Ideographs Replace the Code table entry with: In the list after the second paragraph, insert the follow- Code chart ing entry: Code table Hanzi M sources, A rectangular array showing the representation of coded characters allocated to the octets in a code. In the third paragraph, replace “(G, H, T, J, K, KP, V, and U)” with “(G, H, M, T, J, K, KP, V, and U)”. Remove the „Detailed code table‟ entry. Replace all further occurrences of „code table‟ in the Page 21, Sub-clause 27.1 Source references text of the standard with „code chart‟. for CJK Unified Ideographs Replace the last sentence of the second paragraph Page 13, Clause 17 Structure of the code with the following: tables and lists (now renamed „Structure of the code charts and lists‟) The current full set of CJK Unified Ideographs is represented by the collection 385 CJK UNIFIED Insert the following note after the first paragraph. -
Carolingian Uncial: a Context for the Lothar Psalter
CAROLINGIAN UNCIAL: A CONTEXT FOR THE LOTHAR PSALTER ROSAMOND McKITTERICK IN his famous identification and dating ofthe Morgan Golden Gospels published in the Festschrift for Belle da Costa Greene, E. A. Lowe was quite explicit in his categorizing of Carolingian uncial as the 'invention of a display artist'.^ He went on to define it as an artificial script beginning to be found in manuscripts of the ninth century and even of the late eighth century. These uncials were reserved for special display purposes, for headings, titles, colophons, opening lines and, exceptionally, as in the case ofthe Morgan Gospels Lowe was discussing, for an entire codex. Lowe acknowledged that uncial had been used in these ways before the end of the eighth century, but then it was * natural' not 'artificial' uncial. One of the problems I wish to address is the degree to which Frankish uncial in the late eighth and the ninth centuries is indeed 'artificial' rather than 'natural'. Can it be regarded as a deliberate recreation of a script type, or is it a refinement and elevation in status of an existing book script? Secondly, to what degree is a particular script type used for a particular text type in the early Middle Ages? The third problem, related at least to the first, if not to the second, is whether Frankish uncial, be it natural or artificial, is sufficiently distinctive when used by a particular scriptorium to enable us to locate a manuscript or fragment to one atelier rather than another. This problem needs, of course, to be set within the context of later Carolingian book production, the notions of 'house' style as opposed to 'regional' style and the criteria for locating manuscript production to particular scriptoria in the Frankish kingdoms under the Carolingians that I have discussed elsewhere." It is also of particular importance when considering the Hofschule atehers ofthe mid-ninth century associated with the Emperor Lothar and with King Charles the Bald. -
5892 Cisco Category: Standards Track August 2010 ISSN: 2070-1721
Internet Engineering Task Force (IETF) P. Faltstrom, Ed. Request for Comments: 5892 Cisco Category: Standards Track August 2010 ISSN: 2070-1721 The Unicode Code Points and Internationalized Domain Names for Applications (IDNA) Abstract This document specifies rules for deciding whether a code point, considered in isolation or in context, is a candidate for inclusion in an Internationalized Domain Name (IDN). It is part of the specification of Internationalizing Domain Names in Applications 2008 (IDNA2008). Status of This Memo This is an Internet Standards Track document. This document is a product of the Internet Engineering Task Force (IETF). It represents the consensus of the IETF community. It has received public review and has been approved for publication by the Internet Engineering Steering Group (IESG). Further information on Internet Standards is available in Section 2 of RFC 5741. Information about the current status of this document, any errata, and how to provide feedback on it may be obtained at http://www.rfc-editor.org/info/rfc5892. Copyright Notice Copyright (c) 2010 IETF Trust and the persons identified as the document authors. All rights reserved. This document is subject to BCP 78 and the IETF Trust's Legal Provisions Relating to IETF Documents (http://trustee.ietf.org/license-info) in effect on the date of publication of this document. Please review these documents carefully, as they describe your rights and restrictions with respect to this document. Code Components extracted from this document must include Simplified BSD License text as described in Section 4.e of the Trust Legal Provisions and are provided without warranty as described in the Simplified BSD License. -
7332 EARLY MUSIC PRINTING TEXT PT 246X174mm
Early Music Printing in German-Speaking Lands Edited by Andrea Lindmayr-Brandl, Elisabeth Giselbrecht and Grantley McDonald First published 2018 ISBN: 978-1-138-24105-3 (hbk) ISBN: 978-1-315-28145-2 (ebk) Chapter 8 The music editions of Christian Egenolff: a new catalogue and its implications Royston Gustavson (CC BY-NC-ND 4.0) 8 The music editions of Christian Egenolff A new catalogue and its implications1 Royston Gustavson For Grantley McDonald Introduction Christian Egenolff is one of the most important music printers in the German-speaking area in the sixteenth century, in part because he was the first German printer to use single- impression movable type to print mensural music (which is much cheaper than the previous double-impression process), and in part because of his editions of Tenorlieder. Music, however, formed a very small part of his output, both in terms of total editions (sixteen of more than 600 editions) and of the physical scale of the editions. To place this into perspective, to print one copy of each of his known music editions (excluding the lost Gesangbüchlin) would have taken 282 sheets of paper; to print one copy of his 1534 bible (VD16 B 2692) took 290 sheets of paper. Previous catalogues of Egenolff’s music editions have been incomplete, although that by Hans-Christian Müller in 1964 was an outstanding version based on the evidence known at that time.2 A third of Egenolff’s extant editions have until now remained without a known title as the title pages were missing, just over half have had a contested date of printing, and two works have been believed to exist in two editions, whereas there is only one edition, but two issues, of each. -
JAF Herb Specimen © Just Another Foundry, 2010 Page 1 of 9
JAF Herb specimen © Just Another Foundry, 2010 Page 1 of 9 Designer: Tim Ahrens Format: Cross platform OpenType Styles & weights: Regular, Bold, Condensed & Bold Condensed Purchase options : OpenType complete family €79 Single font €29 JAF Herb Webfont subscription €19 per year Tradition ist die Weitergabe des Feuers und nicht die Anbetung der Asche. Gustav Mahler www.justanotherfoundry.com JAF Herb specimen © Just Another Foundry, 2010 Page 2 of 9 Making of Herb Herb is based on 16th century cursive broken Introducing qualities of blackletter into scripts and printing types. Originally designed roman typefaces has become popular in by Tim Ahrens in the MA Typeface Design recent years. The sources of inspiration range course at the University of Reading, it was from rotunda to textura and fraktur. In order further refined and extended in 2010. to achieve a unique style, other kinds of The idea for Herb was to develop a typeface blackletter were used as a source for Herb. that has the positive properties of blackletter One class of broken script that has never but does not evoke the same negative been implemented as printing fonts is the connotations – a type that has the complex, gothic cursive. Since fraktur type hardly ever humane character of fraktur without looking has an ‘italic’ companion like roman types few conservative, aggressive or intolerant. people even know that cursive blackletter As Rudolf Koch illustrated, roman type exists. The only type of cursive broken script appears as timeless, noble and sophisticated. that has gained a certain awareness level is Fraktur, on the other hand, has different civilité, which was a popular printing type in qualities: it is displayed as unpretentious, the 16th century, especially in the Netherlands.