Declaration of Independence Font Style
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Suggested Fonts List
Suggested Fonts List This is a list of some fonts our designers have available to use when designing your book. This is only a sample of some of the most popular fonts; they have thousands of others to choose from as well. For your convenience, we have marked each font as being appropriate for body text or display text. Body Text fonts are meant for the main body text of your book—paragraphs, lists, etc. These fonts are designed to be easier on the eyes for smoother reading. Display Text fonts are meant for chapter titles, subtitles, etc. They are often “fancier” fonts, such as script or handwriting. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Last updated 6/6/2014 B = Body Text: Fonts meant for the main body text of your book. D = Display Text: Fonts meant for chapter titles, etc. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Font Name Font Styles Font Sample BD Abraham Lincoln Regular The quick brown fox jumps over the lazy dog. 1234567890 Adobe Caslon Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Garamond Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Jenson Pro Light The quick brown fox jumps over the lazy dog. -
19. Punctuation
punctuation 19. Punctuation Punctuation is important because it helps achieve clarity and readability . ’ Apostrophes Use • before the “s” in singular possessives: The prime minister’s suggestion was considered. • after the “s” in plural possessives: The ministers’ decision was unanimous. Do not use • in plural dates and abbreviations: 1930s, NGOs • in the possessive pronoun “its”: The government characterised its budget as prudent. See also: Capitalisation, pp. 66-68. : Colons Use • to lead into a list, an explanation or elaboration, an indented quotation • to mark the break between a title and subtitle: Social Sciences for a Digital World: Building Infrastructure for the Future (book) Trends in transport to 2050: A macroscopic view (chapter) Do not use • more than once in a given sentence • a space before colons and semicolons. 90 oecd style guide - third edition @oecd 2015 punctuation , Commas Use • to separate items in most lists (except as indicated under semicolons) • to set off a non-restrictive relative clause or other element that is not part of the main sentence: Mr Smith, the first chairperson of the committee, recommended a fully independent watchdog. • commas in pairs; be sure not to forget the second one • before a conjunction introducing an independent clause: It is one thing to know a gene’s chemical structure, but it is quite another to understand its actual function. • between adjectives if each modifies the noun alone and if you could insert the word “and”: The committee recommended swift, extensive changes. Do not use • after “i.e.” or “e.g.” • before parentheses • preceding and following en-dashes • before “and”, at the end of a sequence of items, unless one of the items includes another “and”: The doctor suggested an aspirin, half a grapefruit and a cup of broth. -
Menupro 9 User Guide Getting Started • I
MenuPro® by SoftCafé Version 9 MenuPro® User's Guide Copyright © 1994-2010 SoftCafe, LLC. All rights reserved. Microsoft is a registered trademark of Microsoft Corporation. Monotype is a trademark of Agfa Monotype Limited registered in the U.S. Patent and Trademark Office and elsewhere. Adobe and Acrobat are trademarks of Adobe Systems Incorporated. Abadi, Albertus, Arial, Bembo, Corsiva, Gill Sans, Pepita and Swing are trademarks of The Monotype Corporation registered in the U.S. Patent and Trademark Office and certain other jurisdictions. Binner Gothic, Braggadocio, Broadway, Colonna, Coronet, Forte, Gallia, Ginger, Impact, Imprint, Matura, Palace Script, and Runic are trademarks of The Monotype Corporation and may be registered in certain jurisdictions. American Diner is a trademark of HandCraftedFonts Company. Buffalo Gal is a trademark of Thomas A. Rickner. Curlz is a trademark of The Monotype Corporation. Ginko is a trademark of Paul Pegoraro. Lebeau is a trademark of Bo Berndal. Andy and Looseprint are trademarks of Steve Matteson. Caslon Antique, Choc, Mistral, Ortem and Zambesi are trademarks of Polyvroom BV. Cruz Handy and Woodcut Alpha are trademarks of Agfa Monotype Corporation may be registered in certain jurisdictions. Balmoral, ITC Braganza, ITC Juanita, ITC Rastko and Papyrus are trademarks of the International Typeface Corporation and may be registered in certain jurisdictions. ITC Eras and ITC Rennie Mackintosh are trademarks of the International Typeface Corporation registered in the U.S. Patent & Trademark Office and may be registered in certain jurisdictions. Ashley Crawford, Galaxy Run, Goudy Ornate, Haarlemmer and Othello are trademarks of Agfa Monotype Corporation and may be registered in certain jurisdictions. -
The Monotype Library Opentype Edition
en FR De eS intRoDuction intRoDuction einFühRung pReSentación Welcome to The Monotype Library, OpenType Edition; a renowned Bienvenue à la Typothèque Monotype, Édition OpenType; une collection Willkommen bei Monotype, einem renommierten Hersteller klassischer Bienvenido a la biblioteca Monotype, la famosa colección de fuentes collection of classic and contemporary professional fonts. renommée de polices professionnelles classiques et contemporaines. und zeitgenössischer professioneller Fonts, die jetzt auch im OpenType- profesionales clásicas y contemporáneas, ahora también en formato Format erhältlich sind. OpenType. The Monotype Library, OpenType Edition, offers a uniquely versatile La Typothèque Monotype, Édition OpenType propose une collection range of fonts to suit every purpose. New additions include eye- extrêmement souple de polices pour chaque occasion. Parmi les Die Monotype Bibliothek, die OpenType Ausgabe bietet eine Esta primera edición de la biblioteca Monotype en formato OpenType catching display faces such as Smart Sans, workhorse texts such as nouvelles polices, citons des polices attrayantes destinées aux affichages einzigartig vielseitige Sammlung von Fonts für jeden Einsatz. Neben ofrece un gran repertorio de fuentes cuya incomparable versatilidad Bembo Book, Mentor and Mosquito Formal plus cutting edge Neo comme Smart Sans, des caractères très lisibles comme Bembo Book, den klassischen Schriften werden auch neue Schriftentwicklungen wie permite cubrir todas las necesidades. Entre las nuevas adiciones destacan Sans & Neo Tech. In this catalogue, each typeface is referenced by Mentor et Mosquito Formal, et des polices de pointe comme Neo die Displayschrift Smart Sans, Brotschriften wie Bembo Book, Mentor llamativos caracteres decorativos como Smart Sans, textos básicos classification to help you find the font most suitable for your project. -
UEB Guidelines for Technical Material
Guidelines for Technical Material Unified English Braille Guidelines for Technical Material This version updated October 2008 ii Last updated October 2008 iii About this Document This document has been produced by the Maths Focus Group, a subgroup of the UEB Rules Committee within the International Council on English Braille (ICEB). At the ICEB General Assembly in April 2008 it was agreed that the document should be released for use internationally, and that feedback should be gathered with a view to a producing a new edition prior to the 2012 General Assembly. The purpose of this document is to give transcribers enough information and examples to produce Maths, Science and Computer notation in Unified English Braille. This document is available in the following file formats: pdf, doc or brf. These files can be sourced through the ICEB representatives on your local Braille Authorities. Please send feedback on this document to ICEB, again through the Braille Authority in your own country. Last updated October 2008 iv Guidelines for Technical Material 1 General Principles..............................................................................................1 1.1 Spacing .......................................................................................................1 1.2 Underlying rules for numbers and letters.....................................................2 1.3 Print Symbols ..............................................................................................3 1.4 Format.........................................................................................................3 -
Not-So-Frequently Asked Questions for LATEX
Not-So-Frequently Asked Questions for LATEX Miles 2010 This document addresses more esoteric issues in LATEX that have nonethe- less actually arisen with the author. We hope that somebody will find it useful! • Why is LATEX telling me that a command I use is undefined? Answer. Make sure that you're using the amsmath package. This is included in rsipacks.sty (so it will automatically be included in your RSI paper and minipaper). To include it in other documents, put \usepackage{amsmath} in your preamble, before \begin{document}. Just to be safe, throw in amssymb and amsthm as well (so that you have all the fonts and symbols you would expect, and so that you can define theorems environments). If the command is a standard one, be sure that you spelled it correctly. If it's a command you defined (or thought you did), make sure that you really defined it. • How do I get script letters, like L , H , F , and G ? Answer. You need the mathrsfs package, so put \usepackage{mathrsfs} in your preamble. Then you can use the font name mathscr to get the desired font in math mode. For example, \mathscr{L} yields L . • How do I typeset a series of displayed equations so that the equals signs line up? Answer. First, you need the amsmath package (see above). Once you have that, you use the align* environment, like this : \begin{align*} math &= more math \\ &= more math \\ 1 other math &\le different math \\ &= yet more math \end{align*} This will produce something like n i X X X f(i; j) = f(i; j) i=1 j=1 1≤j≤i≤n n n X X = f(i; j); j=1 i=j 1 + 1 + 1 = 2 + 1 = 3: You can replace the equals signs with whatever other appropriate sym- bol you like (≤, ≥, ≡, =∼, ⊂, etc.). -
AN INTRODUCTION to BRAILLE MATHEMATICS Using UEB and the Nemeth Code Provisional Online Edition 2017
AN INTRODUCTION TO BRAILLE MATHEMATICS Using UEB and the Nemeth Code Provisional Online Edition 2017 CONTENTS About the Provisional Online Edition Foreword to the 2017 Edition Prerequisites Study Tips . .. i Each time a new lesson is posted, this file will be replaced in order to include the new list. Lesson 1 1.1 Philosophy 1.2 Non-technical and Technical Texts 1.2.1 Non-technical Texts 1.2.2 Technical Texts INTRODUCTION TO NUMERALS AND THE NUMERIC INDICATOR 1.3 Representation of Arabic Numerals 1.3.1 English Braille Numerals 1.3.2 Nemeth Code Digits 1.4 Numeric Indicator 1.4.1 SPECIAL CASE—Segmented Numbers THE PRACTICE MATERIAL Practice 1A THE MATHEMATICAL COMMA AND DECIMAL POINT 1.5 Mathematical Comma 1.6 Mathematical Decimal Point 1.6.1 Spacing of the Decimal Point 1.6.2 The Decimal Point and the Numeric Indicator 1.7 FORMAT: General Principles Practice 1B INTRODUCTION TO SIGNS OF OPERATION 1.8 Signs of Operation 1.8.1 Spacing with Signs of Operation 1.8.2 Positive and Negative Numbers Practice 1C INTRODUCTION TO SIGNS OF COMPARISON 1.9 Signs of Comparison 1.9.1 Spacing with Signs of Comparison iii 5/5/2017 Practice 1D MONETARY, PERCENT, AND PRIME SIGNS 1.10 Monetary Signs 1.10.1 Spacing with Monetary Signs 1.11 Percent and Per Mille Signs 1.11.1 Spacing with Percent and Per Mille Signs 1.12 Prime Sign Practice 1E CONTINENTAL SYMBOLS 1.13 The Continental Comma 1.14 The Continental Decimal Point Answers to Practice Material Lesson 2 INTRODUCTION TO CODE SWITCHING 2.1 A Complete Transcription 2.2 Use of the Switch Indicators Practice -
Tibetan Romanization Table
Tibetan Comment [LRH1]: Transliteration revisions are highlighted below in light-gray or otherwise noted in a comment. ALA-LC romanization of Tibetan letters follows the principles of the Wylie transliteration system, as described by Turrell Wylie (1959). Diacritical marks are used for those letters representing Indic or other non-Tibetan languages, and parallel the use of these marks when transcribing their counterpart letters in Sanskrit. These are applied for the sake of consistency, and to reflect international publishing standards. Accordingly, romanize words of non-Tibetan origin systematically (following this table) in all cases, even though the word may derive from Sanskrit or another language. When Tibetan is written in another script (e.g., ʼPhags-pa) the corresponding letters in that script are also romanized according to this table. Consonants (see Notes 1-3) Vernacular Romanization Vernacular Romanization Vernacular Romanization ka da zha ཀ་ ད་ ཞ་ kha na za ཁ་ ན་ ཟ་ Comment [LH2]: While the current ALA-LC ga pa ’a table stipulates that an apostrophe should be used, ག་ པ་ འ་ this revision proposal recommends that the long- nga pha ya standing defacto LC practice of using an alif (U+02BC) be continued and explicitly stipulated in ང་ ཕ་ ཡ་ the Table. See accompanying Narrative for details. ca ba ra ཅ་ བ་ ར་ cha ma la ཆ་ མ་ ལ་ ja tsa sha ཇ་ ཙ་ ཤ་ nya tsha sa ཉ་ ཚ་ ས་ ta dza ha ཏ་ ཛ་ ཧ་ tha wa a ཐ་ ཝ་ ཨ་ Vowels and Diphthongs (see Notes 4 and 5) ཨི་ i ཨཱི་ ī རྀ་ r̥ ཨུ་ u ཨཱུ་ ū རཱྀ་ r̥̄ ཨེ་ e ཨཻ་ ai ལྀ་ ḷ ཨོ་ o ཨཽ་ au ལཱྀ ḹ ā ཨཱ་ Other Letters or Diacritical Marks Used in Words of Non-Tibetan Origin (see Notes 6 and 7) ṭa gha ḍha ཊ་ གྷ་ ཌྷ་ ṭha jha anusvāra ṃ Comment [LH3]: This letter combination does ཋ་ ཇྷ་ ◌ ཾ not occur in Tibetan texts, and has been deprecated from the Unicode Standard. -
The Creation of Josquin's Reputation and Legacy
The Creation of Josquin’s Reputation and Legacy Chengxuan Li Quotation “Josquin’s influence on the music of the sixteenth century was so profound that it seems impossible to isolate a special ‘school of Josquin’. He has created the musical language of his age to an extent far exceeding that of any other composer. His music had the impact of an epochal event.” Helmuth Osthoff (1958) This quotation shows that how Josquin’s reputation is widely spread, even to the present day WHAT FACTORS CONTRIBUTE TO JOSQUIN’S FAME? v Humanism affects his music style a lot, which is consisted of individual expression and delight senses v Ave Maria is a prime example of how Josquin experimented with varied combinations of voices and textures to highlight different emotional aspects of the text v The invention of printing was a way to preserve and transmit music. That’s why his music could be published and well-known even NOW Josquin and Authentication David Mather Issues with Attributing Pieces to Josquin v Josquin is not only the most popular composer of his day, but is a talented singer; he travels all over Europe singing in the papal choir and studying composition v It becomes difficult to place Josquin securely in some periods; compositions from different locations leads to appearances of music attributed to Josquin in lone sources, questioning the credibility of the source and copyist v Josquin is not the only composer traveling during this period to study composition; music and notation is studied in church libraries, and composers would hear others’ -
Math Symbol Tables
APPENDIX A Math symbol tables A.1 Hebrew and Greek letters Hebrew letters Type Typeset \aleph ℵ \beth ℶ \daleth ℸ \gimel ℷ © Springer International Publishing AG 2016 481 G. Grätzer, More Math Into LATEX, DOI 10.1007/978-3-319-23796-1 482 Appendix A Math symbol tables Greek letters Lowercase Type Typeset Type Typeset Type Typeset \alpha \iota \sigma \beta \kappa \tau \gamma \lambda \upsilon \delta \mu \phi \epsilon \nu \chi \zeta \xi \psi \eta \pi \omega \theta \rho \varepsilon \varpi \varsigma \vartheta \varrho \varphi \digamma ϝ \varkappa Uppercase Type Typeset Type Typeset Type Typeset \Gamma Γ \Xi Ξ \Phi Φ \Delta Δ \Pi Π \Psi Ψ \Theta Θ \Sigma Σ \Omega Ω \Lambda Λ \Upsilon Υ \varGamma \varXi \varPhi \varDelta \varPi \varPsi \varTheta \varSigma \varOmega \varLambda \varUpsilon A.2 Binary relations 483 A.2 Binary relations Type Typeset Type Typeset < < > > = = : ∶ \in ∈ \ni or \owns ∋ \leq or \le ≤ \geq or \ge ≥ \ll ≪ \gg ≫ \prec ≺ \succ ≻ \preceq ⪯ \succeq ⪰ \sim ∼ \approx ≈ \simeq ≃ \cong ≅ \equiv ≡ \doteq ≐ \subset ⊂ \supset ⊃ \subseteq ⊆ \supseteq ⊇ \sqsubseteq ⊑ \sqsupseteq ⊒ \smile ⌣ \frown ⌢ \perp ⟂ \models ⊧ \mid ∣ \parallel ∥ \vdash ⊢ \dashv ⊣ \propto ∝ \asymp ≍ \bowtie ⋈ \sqsubset ⊏ \sqsupset ⊐ \Join ⨝ Note the \colon command used in ∶ → 2, typed as f \colon x \to x^2 484 Appendix A Math symbol tables More binary relations Type Typeset Type Typeset \leqq ≦ \geqq ≧ \leqslant ⩽ \geqslant ⩾ \eqslantless ⪕ \eqslantgtr ⪖ \lesssim ≲ \gtrsim ≳ \lessapprox ⪅ \gtrapprox ⪆ \approxeq ≊ \lessdot -
Font List Goldedition 2.0
Font List GoldEdition 2.0 Catalog NamePC PS File Name PC TT File Name Mac PS File Name Printer Font Printer Font 1. Aachen by Linotype Medium lt_70005.pfb lt_70005.ttf AacheMedPla 2. Aachen by Linotype Bold lt_70004.pfb lt_70004.ttf AacheBolPla 3. Aachen by Adobe Bold lte50127.pfb lte50127.ttf AacheLTBol 4. Aachen by Adobe Central European Bold accb____.pfb AacheCEBol 5. Abadi® Extra Light abel____.pfb abel____.ttf AbadiMTExtLig 6. Abadi® Extra Light Italic abeli___.pfb abeli___.ttf AbadiMTExtLigIta 7. Abadi® Light abal____.pfb abal____.ttf AbadiMTLig 8. Abadi® Light Italic abali___.pfb abali___.ttf AbadiMTLigIta 9. Abadi® Regular aba_____.pfb aba_____.ttf AbadiMT 10. Abadi® Italic abai____.pfb abai____.ttf AbadiMTIta 11. Abadi® Bold abab____.pfb abab____.ttf AbadiMTBol 12. Abadi® Bold Italic ababi___.pfb ababi___.ttf AbadiMTBolIta 13. Abadi® Extra Bold abeb____.pfb abeb____.ttf AbadiMTExtBol 14. Abadi® Extra Bold Italic abebi___.pfb abebi___.ttf AbadiMTExtBolIta 15. Abadi® Light Condensed abacl___.pfb abacl___.ttf AbadiMTConLig 16. Abadi® Condensed abac____.pfb abac____.ttf AbadiMTCon 17. Abadi® Condensed Bold abacb___.pfb abacb___.ttf AbadiMTConBol 18. Abadi® Condensed Extra Bold abace___.pfb abace___.ttf AbadiMTConExtBol 19. ITC Abaton™ by Linotype Regular LT_70006.pfb LT_70006.ttf ITCAba 20. Abbot Uncial™ Regular ABBOU___.PFB AbbotUnc 21. Linotype Abstract™ Regular LT_14354.pfb LT_14354.ttf AbstrLT 22. Academy™ Engraved Regular 46152___.PFB 46152___.TTF AcadeEngPla 23. Achispado™ Regular lt_57657.pfb LT_57657.ttf AchisLT 24. Acorn Regular ACORN___.PFB Acorn 25. Acorn Bold ACORB___.PFB AcornBol 26. ITC Adderville™ Book AdrvilBk.pfb ADDEIW__.TTF AdderITCBoo 27. ITC Adderville™ Medium AdrvilMd.pfb ADDEITM_.TTF AdderITCMed 28. -
The Brill Typeface User Guide & Complete List of Characters
The Brill Typeface User Guide & Complete List of Characters Version 2.06, October 31, 2014 Pim Rietbroek Preamble Few typefaces – if any – allow the user to access every Latin character, every IPA character, every diacritic, and to have these combine in a typographically satisfactory manner, in a range of styles (roman, italic, and more); even fewer add full support for Greek, both modern and ancient, with specialised characters that papyrologists and epigraphers need; not to mention coverage of the Slavic languages in the Cyrillic range. The Brill typeface aims to do just that, and to be a tool for all scholars in the humanities; for Brill’s authors and editors; for Brill’s staff and service providers; and finally, for anyone in need of this tool, as long as it is not used for any commercial gain.* There are several fonts in different styles, each of which has the same set of characters as all the others. The Unicode Standard is rigorously adhered to: there is no dependence on the Private Use Area (PUA), as it happens frequently in other fonts with regard to characters carrying rare diacritics or combinations of diacritics. Instead, all alphabetic characters can carry any diacritic or combination of diacritics, even stacked, with automatic correct positioning. This is made possible by the inclusion of all of Unicode’s combining characters and by the application of extensive OpenType Glyph Positioning programming. Credits The Brill fonts are an original design by John Hudson of Tiro Typeworks. Alice Savoie contributed to Brill bold and bold italic. The black-letter (‘Fraktur’) range of characters was made by Karsten Lücke.