DOCSLIB.ORG

Getting Your Work Online Behance.Net | Cargo Collective | Krop | Coroflot | Behance Online Presence Behance.Net Has a Free and Pro Version

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Getting Your Work Online Behance.Net | Cargo Collective | Krop | Coroflot | Behance Online Presence Behance.Net Has a Free and Pro Version Getting your work online behance.net | cargo collective | krop | coroflot | behance online presence behance.net has a free and pro version. The free version is fine for getting internships. Free Version Pros Cons networked into AIGA looks ok but not great linked to LinkedIn limited customization when including a link to your online website in an e-mail use the /frame url... http://www.behance.net/lukelisi/frame Pro Version networked into AIGA costs $11 a month linked to LinkedIn Served sites Easy (very easy no CSS to costomize) Looks good Can switch from pro to free and back any time examples of pro sites http://www.brucemaudesign.com/ http://maartendeckers.com/ http://portfolio.emilymaye.com/ cargo online presence cargocollective.com is free (up to 12 projects). To start a cargo site you need to get an account. Go to Contact Us and apply. Talk sweetly to them... There are a number of advantages to a Cargo site. It is free for up to 12 projects. Looks professional. Many templates to choose from. You can edit the css. examples http://thea2.com/ http://jordanjacobson.com/ http://www.brianrio.com/ http://www.megancollins-design.com/ http://www.jaclynco.com/ tips Type of files : both cargo and behance take jpgs. Import motion as .mov file or embed vimeo. Use issuu.com to embed pdfs. SWF files you need to post onto a webserver. I can help you with that if you have a .swf file you want to upload. Sizing photos : size your images in photoshop opposed to letting behance or cargo do it for you. Use 72 (or 150 dpi). Width: 400 – 700 px (depends on your layout/template) Height: max 800 px Determine max width and max height (images should be as large as they can be but you do not want to scroll to see the image on a laptop. Some of your work will be at the max height and some at the max width and sometimes both. Save as jpgs. png files are good but usually file size is too large ISSUU.com is a great place to upload pdfs (process books) and can be embedded into Cargo or Behance. *Upload as SINGLE page pdfs (not spreads) Helpful Cargo tips how-to-make-a-great-thumbnail how-to-make-thumbnail-hover-states setting-up-a-custom-url how-to-use-slideshow-captions CSS hex colors: 6 digit numbers or combo of letters and numbers system fonts: web design requires you use system fonts* *in some cases you can embed fonts. if you want a non-system font for project titles, etc you can use Typekit.com. I think you may have to be have a pro account to use typekit. margin, padding..... 10/27/11 7:25 PM /* Global California styles ***********************************************************************************************************/ body, html { margin: 0px; padding: 0px; } body { background: #D9D8D3; color: #000000; font-family: Arial, Helvetica, sans-serif; font-size: 12px; height: 100%; line-height: 1.5; width: 100%; word-spacing: 1px; } /* Header / Navigation ***********************************************************************************************************/ .header_img { position: fixed; left: 20px; top: 0px; z-index: 11; } .nav_container { background: #ffffff; line-height: 1.8; margin: 0px; padding: 20px 0 20px 20px; position: fixed; top: 130px; left: 20px; white-space: nowrap; width: 200px; z-index: 12; } .nav_container.horizontal { /* Enabled via Display Options */ left: auto; padding: 35px 0 20px 35px; position: relative; top: auto; width: 670px; z-index: 25; } about:blank Page 1 of 14 10/27/11 7:25 PM .nav_container.horizontal div { float: left; padding-right: 10px; } #nav_loadspin { display: none; position: fixed; top: 37px; left: 40px; z-index: 100; } /* Navigation > Links ***************************************************************************************************/ .nav_container a { /* Applied to each navigation link */ font-size: 12px; text-decoration: none; } .project_link a { color: #000000; } .project_link a:hover { color: #ff3333; } .project_link a:active { color: #999999; } .page_link a { color: #999999; } .page_link a:hover { color: #ff3333; } .page_link a:active { color: #000000; } .link_link a { color: #999999; text-decoration: underline; } .link_link a:hover { color: #ff3333; } .link_link a:active { color: #000000; } .nav_active a { color: #000000; font-weight: bold; } .nav_active a:active { color: #999999; } .pagination { color: #999999; font-size: 11px; z-index:11; } .pagination a { color: #00AF8A; } .pagination a:hover { background: #ffff00; color: #222222; } .pagination a:active { background: #000000; color: #ffffff; } .nav_follow { color: #999999; font-size: 11px; z-index: 11; } .nav_follow a { color: #999999; font-size: 11px; text-decoration: underline; } .nav_follow a:hover { color: #333333; } .nav_follow a:active { color: #000000; } .view_tag_info { color: #999999; padding-left: 3px; font-size: 11px; } .view_tag_info a { color: #0066ff; } .view_tag_info a:hover { background: #ffff00; color: #000000; } .view_tag_info a:active { background: #000000; color: #ffffff; } about:blank Page 2 of 14 10/27/11 7:25 PM /* Content ***********************************************************************************************************/ #content_container { background: #ffffff; left: 250px; margin-bottom: 20px; padding: 10px 0px 0px 10px; position: relative; top: 20px; width: 680px; z-index:11; } /* Content > Project content ***************************************************************************************************/ #maincontainer { display: none; margin: 0 0 35px 0; width: 690px; } .bodycopy a { color: #000000; text-decoration: underline; } .bodycopy a:hover { background: #ffff00; color: #000000; text-decoration: none; } .bodycopy a:active { background: #000000; color: #ffffff; } .project_content { width: 560px; } .project_title { color: #000000; font-family: Helvetica, Arial, sans-serif; font-size: 18px; line-height: 1.5; margin: -4px 0 0 0; padding: 0 0 53px 0; } /* Project content > Header about:blank Page 3 of 14 10/27/11 7:25 PM *******************************************************************************************/ .project_header { position: absolute; top: 10px; right: 10px; z-index: 99; } .project_header div { float: right; } .project_header a { color: #999999; font-size: 12px; text-decoration: none; } .project_header a:hover { background: none !important; color: #000000; } .project_header a:active { background: #000000!important; color: #ffffff; } .project_divider { color: #bbbbbb; float: right; } /* Styling of default typographic headers and elements */ h1 { font-size: 22px; line-height: 165%; } h2 { font-size: 16px; line-height: 165%; } h3 { font-size: 14px; line-height: 150%; } blockquote { color: #666666; margin-top: 0; margin-bottom: 0; about:blank Page 4 of 14 10/27/11 7:25 PM } .project_content img { margin: 0px 10px 10px 0px; } /* Project content > Slideshows *******************************************************************************************/ #slideshow_container img { margin: 0px; } .slideshow_caption { clear: both; display: block; font-size: 11px; padding: 5px 0 5px 0; } .slideshow_wrapper { clear: both; margin: 0 10px 10px 0px; } .slideshow_wrapper a, .slideshow_wrapper a:hover, .slideshow_wrapper a:active { background: none !important; } .slideshow_nav { clear: both; color: #999999; margin: -24px 0 0 0; padding-bottom: 6px; font-size: 12px; } .slideshow_nav a { background: none !important; color: #999999; text-decoration: none; } .slideshow_nav a:hover { background: none !important; color: #000000; text-decoration: none; } about:blank Page 5 of 14 10/27/11 7:25 PM .slideshow_count { color: #999999; } ul.slideshow_thumbs { margin: 0; padding: 0; } .slideshow_thumb { float: left; list-style: none; margin: -3px 7px 7px -3px; } .slideshow_thumb a { background: none !important; border: 1px solid transparent; display: block; padding: 2px; } .slideshow_thumb a:hover { background: none !important; border: 1px solid #ccc; } a.activeSlide { background: none; border: 1px solid #ccc; } .slideshow_thumb a:active, a.activeSlide:active { background: none !important; border: 1px solid #666; } .slideshow_thumb img { border: 0; display: block; margin: 0; height: 60px; } /* Project content > Project footer *******************************************************************************************/ .project_footer { color: #999999; clear: both; about:blank Page 6 of 14 10/27/11 7:25 PM font-size: 11px; padding: 20px 0px 0px 0px; } .footer_title_type { color: #000000; font-weight: bold; } .project_views { color: #999999; font-style: italic; } /* Project Footer Links */ .project_footer .permalink a { color: #999999; } .project_footer .permalink a:hover { color: #333333; } .project_footer .permalink a:active { color: #000000; } .tags { color: #999999; } .tags a { color: #999999; text-decoration: underline; } .tags a:hover { color: #000000; } .tags a:active { color: #000000; } .project_footer .editlink a { color: #0aaf86; text-decoration: underline; } .project_footer .editlink a:hover { color: #000000; } .project_footer .editlink a:active { color: #ff3333; } .project_bottom { clear: both; height: 9px; width: 670px; } /* Content > Thumbnails ***************************************************************************************************/ .project_thumb { float: left; margin: 10px 15px 10px 10px; position: relative; } .project_thumb .hover { cursor: pointer; text-decoration: none; } .project_thumb .nohover { about:blank Page 7 of 14 10/27/11 7:25 PM text-decoration: none; } .project_thumb .hover .thumb_title span { color: #ff3333; } .project_thumb .hover .cardimgcrop { border: 5px solid #dddddd;
Load more

Recommended publications
  • Fira Code: Monospaced Font with Programming Ligatures
    Personal Open source Business Explore Pricing Blog Support This repository Sign in Sign up tonsky / FiraCode Watch 282 Star 9,014 Fork 255 Code Issues 74 Pull requests 1 Projects 0 Wiki Pulse Graphs Monospaced font with programming ligatures 145 commits 1 branch 15 releases 32 contributors OFL-1.1 master New pull request Find file Clone or download lf- committed with tonsky Add mintty to the ligatures-unsupported list (#284) Latest commit d7dbc2d 16 days ago distr Version 1.203 (added `__`, closes #120) a month ago showcases Version 1.203 (added `__`, closes #120) a month ago .gitignore - Removed `!!!` `???` `;;;` `&&&` `|||` `=~` (closes #167) `~~~` `%%%` 3 months ago FiraCode.glyphs Version 1.203 (added `__`, closes #120) a month ago LICENSE version 0.6 a year ago README.md Add mintty to the ligatures-unsupported list (#284) 16 days ago gen_calt.clj Removed `/**` `**/` and disabled ligatures for `/*/` `*/*` sequences … 2 months ago release.sh removed Retina weight from webfonts 3 months ago README.md Fira Code: monospaced font with programming ligatures Problem Programmers use a lot of symbols, often encoded with several characters. For the human brain, sequences like -> , <= or := are single logical tokens, even if they take two or three characters on the screen. Your eye spends a non-zero amount of energy to scan, parse and join multiple characters into a single logical one. Ideally, all programming languages should be designed with full-fledged Unicode symbols for operators, but that’s not the case yet. Solution Download v1.203 · How to install · News & updates Fira Code is an extension of the Fira Mono font containing a set of ligatures for common programming multi-character combinations.
    [Show full text]
  • Base Monospace
    SPACE PROBE: Investigations Into Monospace Introducing Base Monospace Typeface BASE MONOSPACE Typeface design 1997ZUZANA LICKO Specimen design RUDY VANDERLANS Rr SPACE PROBE: Investigations into Monospace SPACE PROBE: Occasionally, we receive inquiries from type users asking Monospaced Versus Proportional Spacing Investigations Into Monospace us how many kerning pairs our fonts contain. It would seem 1. that the customer wants to be dazzled with numbers. Like cylinders in a car engine or the price earnings ratio of a /o/p/q/p/r/s/t/u/v/w/ Occasionally, we receive inquiries fromstock, type theusers higher asking the number of kerning pairs, the more us how many kerning pairs our fonts contain.impressed It thewould customer seem will be. What they fail to understand /x/y/s/v/z/t/u/v/ that the customer wants to be dazzled iswith that numbers. the art Like of kerning a typeface is as subjective a discipline as is the drawing of the letters themselves. The In a monospaced typeface, such as Base Monospace, cylinders in a car engine or the price earnings ratio of each character fits into the same character width. a stock, the higher the number of kerningfact pairs,that a theparticular more typeface has thousands of kerning impressed the customer will be. What theypairs fail is relative,to understand since some typefaces require more kerning is that the art of kerning a typeface pairsis as thansubjective others aby virtue of their design characteristics. /O/P/Q/O/Q/P/R/S/Q/T/U/V/ discipline as is the drawing of the lettersIn addition, themselves.
    [Show full text]
  • Sketch Block Bold Accord Heavy SF Bold Accord SF Bold Aclonica Adamsky SF AFL Font Pespaye Nonmetric Aharoni Vet Airmole Shaded
    Sketch Block Bold Accord Heavy SF Bold Accord SF Bold Aclonica Adamsky SF AFL Font pespaye nonmetric Aharoni Vet Airmole Shaded Airmole Stripe Airstream Alegreya Alegreya Black Alegreya Black Italic Alegreya Bold Alegreya Bold Italic Alegreya Italic Alegreya Sans Alegreya Sans Black Alegreya Sans Black Italic Alegreya Sans Bold Alegreya Sans Bold Italic Alegreya Sans ExtraBold Alegreya Sans ExtraBold Italic Alegreya Sans Italic Alegreya Sans Light Alegreya Sans Light Italic Alegreya Sans Medium Alegreya Sans Medium Italic Alegreya Sans SC Alegreya Sans SC Black Alegreya Sans SC Black Italic Alegreya Sans SC Bold Alegreya Sans SC Bold Italic Alegreya Sans SC ExtraBold Alegreya Sans SC ExtraBold Italic Alegreya Sans SC Italic Alegreya Sans SC Light Alegreya Sans SC Light Italic Alegreya Sans SC Medium Alegreya Sans SC Medium Italic Alegreya Sans SC Thin Alegreya Sans SC Thin Italic Alegreya Sans Thin Alegreya Sans Thin Italic AltamonteNF AMC_SketchyOutlines AMC_SketchySolid Ancestory SF Andika New Basic Andika New Basic Bold Andika New Basic Bold Italic Andika New Basic Italic Angsana New Angsana New Angsana New Cursief Angsana New Vet Angsana New Vet Cursief Annie BTN Another Typewriter Aparajita Aparajita Bold Aparajita Bold Italic Aparajita Italic Appendix Normal Apple Boy BTN Arabic Typesetting Arabolical Archive Arial Arial Black Bold Arial Black Standaard Arial Cursief Arial Narrow Arial Narrow Vet Arial Unicode MS Arial Vet Arial Vet Cursief Aristocrat SF Averia-Bold Averia-BoldItalic Averia-Gruesa Averia-Italic Averia-Light Averia-LightItalic
    [Show full text]
  • Phase 1 Standards
    Kos-GIRO Standards 1 Kosovo GIRO Document Standards CBK, 33 Garibaldi Street, Pristina, Kosovo, Phone: +381 38 222 055 Fax: +381 38 243 763 Web: www.bqk-kos.org Kos-GIRO Standards 2 Kosovo GIRO Document v.1.3 CBK, 33 Garibaldi Street, Pristina, Kosovo, Phone: +381 38 222 055 Fax: +381 38 243 763 Web: www.bqk-kos.org Kos-GIRO Standards 3 Table of Contents 1. Introduction Page 4 2. The Form Page 4 2.1 Format Page 4 2.2 Face Side Layout Page 6 2.3 Counterfoil Layout Page 7 2.4 Reverse Side Layout Page 8 2.5 Standard Combination Forms Page 9 3. Specifications for Printing the GIRO Page 10 3.1 OCR-B and Bar Code for Automated Processing Page 10 3.2 OCR-B Page 10 3.3 Line Thickness Page 10 3.4 Character Spacing Page 10 3.5 Code line position Page 10 3.6 Tips for Ensuring a Good Quality OCR-B Typeface Page 12 3.7 Colour Scheme Page 12 3.8 Font to be changed for offset printing of blank invoices Page 13 4. OCR-B Page 13 4.1 The OCR-B Code line Page 13 4.2 Check digit Page 14 4.3 Payment Reference Page 15 4.4 From Account Page 15 4.5 Amount Page 15 4.6 Unique Identification Number Page 15 4.7 Form Code Page 15 4.8 Relation between Code Line, Barcode and Body Page 15 5. Barcode Data Page 17 5.1 Barcode 128 and 128B Page 17 5.2 Kosovo GIRO Barcode Description Page 18 5.3 PTK Barcode Sample Page 19 5.4 KEK Barcode Sample Page 20 Appendix 1.
    [Show full text]
  • Fixedsys Regular Font Free Download Fixedsys Excelsior 3.01 Font
    fixedsys regular font free download Fixedsys Excelsior 3.01 Font. Cufonfonts.com's fonts are uploaded by our members. The license information stated by the members is usually correct but we cannot guarantee it. We give great importance to copyright and have developed some techniques to make sure that the previously mentioned issue doesn't occur, also the system automatically displays the copyright information of the font here. If you believe that this font is in violation of copyright and isn't legal, please let us know in order for the font to be removed or revised. The legal authority of the font can make a request using the "Report a Violation" button above. You can also check the legal and commercial status of this font; It is the users' own legal responsibility to download and use this font. Your download will begin in a moment. How About 1.5 Million Design Resources? Don't forget to check out our partners over at Envato Elements where you can explore over 1.5 million items with unlimited downloads: Mirc Font. Use the text generator tool below to preview Mirc font, and create appealing text graphics with different colors and hundreds of text effects. Font Tags. Search. :: You Might Like. About. Font Meme is a fonts & typography resource. The "Fonts in Use" section features posts about fonts used in logos, films, TV shows, video games, books and more; The "Text Generator" section features simple tools that let you create graphics with fonts of different styles as well as various text effects; The "Font Collection" section is the place where you can browse, filter, custom preview and download free fonts.
    [Show full text]
  • Generating an APL Font
    TUGboat, Volume 8 (1987), No. 3 275 Generating an APL Font a typewriter-like typeface with fixed spacing; the Aarno Hohti and Okko Kanerva same approach for representing TEX input was University of Helsinki adopted by Knuth in the wbook. The verbatim macros have often been used for importing screen ABSTRACT. The APL language is well known for its or paper outputs into 'I@X documents; some people peculiar symbols which have inhibited the use of this misuse them for an easy construction of tables etc. language in many programming environments. Making In verbatim, the typewriter mode is entered by the APL documents of good quality has been difficult and control sequence \ begint t - that mode is ended by expensive. We describe here a simple way how to use METAFONT to generate an APL font for Tk,X by using \endtt. In the same vein, we could enter the APL existing font definitions as far as possible. mode by the control sequence \beginapl, and to end it by \endapl. However, it is more convenient Introduction to augment verbatim with aplstyle so that it This note describes an interesting exercise in using can be used with several different typewriter-like METAFONT to produce new typefaces by combining fonts. (The verbatim macros can be found in the letters from standard fonts. As we know, the APL Wbook, p. 421.) Since Q (the at sign) is used as language [6] of Kenneth Iverson has never gained the escape character inside verbatim mode, our the popularity it deserves largely because of its code might (and in fact does) look as follows: strange symbol set.
    [Show full text]
  • The Free UCS Outline Fonts Project — an Attempt to Create a Global Font
    The Free UCS Outline Fonts Project — an Attempt to Create a Global Font Primož Peterlin University of Ljubljana Faculty of Medicine, Institute of Biophysics Lipicevaˇ 2, SI-1000 Ljubljana, Slovenia [email protected] http://biofiz.mf.uni-lj.si/~peterlin/ Abstract In February 2002, the Free UCS (Universal Character Set) Outline Fonts project (http:// savannah.gnu.org/projects/freefont/) was started. Exercising the open-source approach, its aim is to provide a set of free Times-, Helvetica- and Courier-lookalikes available in the Open- Type format, and progressively cover the complete ISO 10646/Unicode range. In this stage of the project, we focus mainly on two areas: collecting existing fonts that are both typographically and license-wise (i.e., GNU GPL) compatible and can be included to cover certain parts of the charac- ter set, and patching up smaller areas that are not yet covered. Planned future activities involve ty- pographic refinement, extending kerning information beyond the basic Latin area, including True- Type hinting instructions, and facilitating the usage of fonts with various applications, including the TEX/Ω typesetting system. Résumé Le projet de fontes vectorielles libres pour UCS (http://savannah.gnu.org/projects/ freefont/) a démarré en février 2002. À travers l’Open Source, le but de ce projet est de fournir un ensemble de clones libres de Times, Helvetica et Courier, disponibles dans le format Open- Type, et couvrant progressivement l’ensemble des caractères d’ISO 10646/Unicode. À ce stage du projet nous nous concentrons sur deux domaines : la collection de fontes existantes qui soient compatibles avec notre projet, aussi bien du point de vue typographique que du point de vue de la licence (GNU GPL), qui puissent être intégrées pour couvrir certaines parties de l’ensemble de caractères ; et d’autre part, faire des ajouts de petites régions qui n’ont pas encore été couvertes.
    [Show full text]
  • 6Layouts and Fonts
    i i i ‘beginlatex’ --- 2018/12/4 --- 23:30 --- page 131 --- #167 i 6Layouts and fonts This is the chapter that most users think they want first, because they come to structured documents from a wordprocessing environment where the only way to convey different types of information is to fiddle with the font and size drop-down menus. As you will have seen by now, this is normally unnecessary in LATEX, which does most of the work for you automatically. However, there are occasions when you need to make manual typographic changes, and this chapter is about how to do them. 6.1 Changing layout The design of the page can be a very subjective matter, and also a rather subtle one. Many organisations large and small pay considerable sums to designers to come up with page layouts to suit their purposes. Styles in page layouts change with the years, as do fashions in everything else, so what may have looked attractive in 1978 or 1991 may look rather dated in 2020. As with most aspects of typography, making the document readable involves making it consistent, so the reader is not interrupted or distracted too much by apparently random changes in margins, widths, or placement of objects.1 However, there are a number of different 1 Some authors — and perhaps some designers — believe that consistency is undesir- able, and that double-page layouts in printed books should each be designed inde- £ Formatting Information ¢ 131 ¡ i i i i i i i ‘beginlatex’ --- 2018/12/4 --- 23:30 --- page 132 --- #168 i CHAPTER 6.
    [Show full text]
  • Font Collection
    z/OS Version 2 Release 3 Font Collection IBM GA32-1048-30 Note Before using this information and the product it supports, read the information in “Notices” on page 137. This edition applies to Version 2 Release 3 of z/OS (5650-ZOS) and to all subsequent releases and modifications until otherwise indicated in new editions. Last updated: 2019-02-16 © Copyright International Business Machines Corporation 2002, 2017. US Government Users Restricted Rights – Use, duplication or disclosure restricted by GSA ADP Schedule Contract with IBM Corp. Contents List of Figures........................................................................................................ v List of Tables........................................................................................................vii About this publication...........................................................................................ix Who needs to read this publication............................................................................................................ ix How this publication is organized............................................................................................................... ix Related information......................................................................................................................................x How to send your comments to IBM.......................................................................xi If you have a technical problem..................................................................................................................xi
    [Show full text]
  • Proportional Fonts with SAS® Software· Yes You Can!
    Proportional Fonts with SAS® Software· Yes You Can! John Laing, SAS Institute (Canada) Inc. <[email protected]> Abstract be expressed in an absolute unit of measurement, u~ually inches. In producing this document, much information was obtained from These days, with the proliferation of graphical user interfaces, two Hewlett-Packard publications, peL 5 Printer Language producing presentation-quality reports is becoming a required Technical Reference Manual[l], and PCL 5 Comparison Guide[2]. feature for any software tool This paper will illustrate a technique for creating this type of report from 8AS p~ocedures. by using the 8AS macro language to insert text fonnattlUg codes mto Font Basics TITLE and FOOTNOTE statements. The code shown in the paper assumes a PCLTM 5-compatible printer such as the Hewlett­ Some terms and definitions you11 need to understand when Packard LaserJet™ 4, but the method of inserting printer control working with fonts are. codes should be the same no matter which printer is used. A technique for using FSFORMS to control the output on the TYPEFACE printer also be shown, as well as drawing attractive boxes will A generic name for symbols (i.e., c~aracters) haviI?~ comm.on around tabular output in both the OSJ2®and Windows™ design features. There are two mam typeface f~mlhes, sent environments. and sans-serif. The difference between the two IS the presence or absence of "tails" on the edges ofthe letters: Overview Historically, SAS has been an excellent.product for analysing T -this is a serif font data and displaying that data in either columnar or tabular formats, but has been rather weak at "prettying-up" the reports.
    [Show full text]
  • OCR Programming User's Guide
    OCR Programming User’s Guide ™ Disclaimer Honeywell International Inc. (“HII”) reserves the right to make changes in speci- fications and other information contained in this document without prior notice, and the reader should in all cases consult HII to determine whether any such changes have been made. The information in this publication does not repre- sent a commitment on the part of HII. HII shall not be liable for technical or editorial errors or omissions contained herein; nor for incidental or consequential damages resulting from the furnish- ing, performance, or use of this material. This document contains proprietary information that is protected by copyright. All rights are reserved. No part of this document may be photocopied, repro- duced, or translated into another language without the prior written consent of HII. ©2010-2011 Honeywell International Inc. All rights reserved. Other product names or marks mentioned in this document may be trademarks or registered trademarks of other companies and are the property of their respective owners. Web Address: www.honeywellaidc.com Table of Contents OCR Programming OCR Defaults ................................................................. 1 Enabling OCR Reading.................................................. 2 Working Orientation ....................................................... 2 Pre-Defined OCR Templates ......................................... 3 Passport Template ....................................................3 ISBN Template ..........................................................4
    [Show full text]
  • The Unicode Cookbook for Linguists
    The Unicode Cookbook for Linguists Managing writing systems using orthography profiles Steven Moran Michael Cysouw language Translation and Multilingual Natural science press Language Processing 10 Translation and Multilingual Natural Language Processing Editors: Oliver Czulo (Universität Leipzig), Silvia Hansen-Schirra (Johannes Gutenberg-Universität Mainz), Reinhard Rapp (Johannes Gutenberg-Universität Mainz) In this series: 1. Fantinuoli, Claudio & Federico Zanettin (eds.). New directions in corpus-based translation studies. 2. Hansen-Schirra, Silvia & Sambor Grucza (eds.). Eyetracking and Applied Linguistics. 3. Neumann, Stella, Oliver Čulo & Silvia Hansen-Schirra (eds.). Annotation, exploitation and evaluation of parallel corpora: TC3 I. 4. Czulo, Oliver & Silvia Hansen-Schirra (eds.). Crossroads between Contrastive Linguistics, Translation Studies and Machine Translation: TC3 II. 5. Rehm, Georg, Felix Sasaki, Daniel Stein & Andreas Witt (eds.). Language technologies for a multilingual Europe: TC3 III. 6. Menzel, Katrin, Ekaterina Lapshinova-Koltunski & Kerstin Anna Kunz (eds.). New perspectives on cohesion and coherence: Implications for translation. 7. Hansen-Schirra, Silvia, Oliver Czulo & Sascha Hofmann (eds). Empirical modelling of translation and interpreting. 8. Svoboda, Tomáš, Łucja Biel & Krzysztof Łoboda (eds.). Quality aspects in institutional translation. 9. Fox, Wendy. Can integrated titles improve the viewing experience? Investigating the impact of subtitling on the reception and enjoyment of film using eye tracking and questionnaire data. 10. Moran, Steven & Michael Cysouw. The Unicode cookbook for linguists: Managing writing systems using orthography profiles ISSN: 2364-8899 The Unicode Cookbook for Linguists Managing writing systems using orthography profiles Steven Moran Michael Cysouw language science press Steven Moran & Michael Cysouw. 2018. The Unicode Cookbook for Linguists: Managing writing systems using orthography profiles (Translation and Multilingual Natural Language Processing 10).
    [Show full text]