TEX: a Branch in Desktop Publishing Evolution, Part 2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Typesetting Classical Greek Philology Could Not find Anything Really Suitable for Her
276 TUGboat, Volume 23 (2002), No. 3/4 professor of classical Greek in a nearby classical high Philology school, was complaining that she could not typeset her class tests in Greek, as she could do in Latin. I stated that with LATEX she should not have any The teubner LATEX package: difficulty, but when I started searching on CTAN,I Typesetting classical Greek philology could not find anything really suitable for her. At Claudio Beccari that time I found only the excellent Greek fonts de- signed by Silvio Levy [1] in 1987 but for a variety of Abstract reasons I did not find them satisfactory for the New The teubner package provides support for typeset- Font Selection Scheme that had been introduced in LAT X in 1994. ting classical Greek philological texts with LATEX, E including textual and rhythmic verse. The special Thus, starting from Levy’s fonts, I designed signs and glyphs made available by this package may many other different families, series, and shapes, also be useful for typesetting philological texts with and added new glyphs. This eventually resulted in other alphabets. my CB Greek fonts that now have been available on CTAN for some years. Many Greek users and schol- 1 Introduction ars began to use them, giving me valuable feedback In this paper a relatively large package is described regarding corrections some shapes, and, even more that allows the setting into type of philological texts, important, making them more useful for the com- particularly those written about Greek literature or munity of people who typeset in Greek — both in poetry. -
Build It with Nitrogen the Fast-Off-The-Block Erlang Web Framework
Build it with Nitrogen The fast-off-the-block Erlang web framework Lloyd R. Prentice & Jesse Gumm dedicated to: Laurie, love of my life— Lloyd Jackie, my best half — Jesse and to: Rusty Klophaus and other giants of Open Source— LRP & JG Contents I. Frying Pan to Fire5 1. You want me to build what?7 2. Enter the lion’s den9 2.1. The big picture........................ 10 2.2. Install Nitrogen........................ 11 2.3. Lay of the land........................ 13 II. Projects 19 3. nitroBoard I 21 3.1. Plan of attack......................... 21 3.2. Create a new project..................... 23 3.3. Prototype welcome page................... 27 3.4. Anatomy of a page...................... 30 3.5. Anatomy of a route...................... 33 3.6. Anatomy of a template.................... 34 3.7. Elements............................ 35 3.8. Actions............................. 38 3.9. Triggers and Targets..................... 39 3.10. Enough theory........................ 40 i 3.11. Visitors............................ 44 3.12. Styling............................. 64 3.13. Debugging........................... 66 3.14. What you’ve learned..................... 66 3.15. Think and do......................... 68 4. nitroBoard II 69 4.1. Plan of attack......................... 69 4.2. Associates........................... 70 4.3. I am in/I am out....................... 78 4.4. Styling............................. 81 4.5. What you’ve learned..................... 82 4.6. Think and do......................... 82 5. A Simple Login System 83 5.1. Getting Started........................ 83 5.2. Dependencies......................... 84 5.2.1. Rebar Dependency: erlpass ............. 84 5.3. The index page........................ 85 5.4. Creating an account..................... 87 5.4.1. db_login module................... 89 5.5. The login form........................ 91 5.5.1. -
Dynamic Optical Scaling and Variable-Sized Characters
ELECTRONIC PUBLISHING, VOL. 7(4), 231±250 (DECEMBER 1994) Dynamic optical scaling and variable-sized characters JACQUES ANDREIRÂ ENEÁ VATTON Irisa/Inria±Rennes Cnrs/Inria±RhÃones-Alpes Campus Universitaire de Beaulieu 2 rue de Vignate F±35042 Rennes cedex, France F±38610 GiÁeres, France SUMMARY First, a survey on optical scaling is carried out, both from the traditional point of view and from that of today's digital typography. Then the special case of large characters, such as braces or integral signs, is considered. It is shown that such variable-sized symbols should be computed at print time in order to approach the quality of metal typesetting. Finally, an implementation of such dynamic fonts, still in progress in the Grif editor, is described. KEY WORDS Optical scaling Variable sized characters Large symbols Dynamic font Parametrized font Grif 1 INTRODUCTION The expression `optical scaling' refers to a concept known by type designers for centuries, even if this expression is relatively new and not very suitable:1 metal characters differ from one body to another one not only in size, but in shape too. Figure 1 (bottom) shows various Garamond `e' at different point size but photographically magni®ed to the same size. It is obvious that the `e' is, relatively, fatter at 8 point size than at 36 point size. On the other hand, the counter (the white inner part) is, relatively, larger at 8 point size than at 36 point size. The main reasons are : with small characters, thinner strokes would be unreadable, and smaller counters would result in inkspreading (the white part would be ®lled in with ink and would get black); on the other hand, if the strokes of large characters were as fat as small ones, characters would look bolder. -
LYX Frequently Asked Questions with Answers
LYX Frequently Asked Questions with Answers by the LYX Team∗ January 20, 2008 Abstract This is the list of Frequently Asked Questions for LYX, the Open Source document processor that provides a What-You-See-Is-What-You-Mean environment for producing high quality documents. For further help, you may wish to contact the LYX User Group mailing list at [email protected] after you have read through the docs. Contents 1 Introduction and General Information 3 1.1 What is LYX? ......................... 3 1.2 That's ne, but is it useful? . 3 1.3 Where do I start? . 4 1.4 Does LYX run on my computer? . 5 1.5 How much hard disk space does LYX need? . 5 1.6 Is LYX really Open Source? . 5 2 Internet Resources 5 2.1 Where should I look on the World Wide Web for LYX stu? 5 2.2 Where can I get LYX material by FTP? . 6 2.3 What mailing lists are there? . 6 2.4 Are the mailing lists archived anywhere? . 6 2.5 Okay, wise guy! Where are they archived? . 6 3 Compatibility with other word/document processors 6 3.1 Can I read/write LATEX les? . 6 3.2 Can I read/write Word les? . 7 3.3 Can I read/write HTML les? . 7 4 Obtaining and Compiling LYX 7 4.1 What do I need? . 7 4.2 How do I compile it? . 8 4.3 I hate compiling. Where are precompiled binaries? . 8 ∗If you have comments or error corrections, please send them to the LYX Documentation mailing list, <[email protected]>. -
Introducing Opentype Ab
UBS AG ab Postfach CH-8098 Zürich Tel. +41-44-234 11 11 Brand Management Visual Identity Stephanie Teige FG09 G5R4-Z8S Tel. +41-1-234 59 09 Introducing OpenType Fax +41-1-234 36 41 [email protected] July 2005 www.ubs.com OpenType is a new font format developed collaboratively by Adobe and Microsoft. OpenType enhances the TrueType and PostScript technologies and extends their capabilities. Most fonts today are released in the OpenType format, now considered the industry standard. The resulting new generation of UBSHeadline and Frutiger fonts offers improved typographic and layout features. 1. What is OpenType? Frutiger is not always Frutiger Due to the wide variety of Frutiger styles available world- A single font format wide, be sure to install and use only the client-specific UBS OpenType provides a single universally acceptable font licensed version of this font. Do not use any other versions format that can be used on any major operating system of Frutiger to create UBS media. and in any application. Using the client-specific UBS Frutiger guarantees access to Macintosh Windows UBS-relevant cuts. It also prevents changes to kerning and line-break in comparison to random Frutiger styles. UBSHeadline, Frutiger UBSHeadline, Frutiger (PostScript) (TrueType) Linotype Frutiger UBS Frutiger Frutiger LT 45 Light Frutiger 45 Light Macintosh and Frutiger LT 46 Light Italic Frutiger 45 Light Italic Windows Frutiger LT 55 Roman Frutiger 55 Roman Frutiger LT 56 Italic Frutiger 55 Roman Italic UBSHeadline, Frutiger Frutiger LT 65 Bold Frutiger 45 Light Bold (OpenType) Frutiger LT 75 Black Frutiger 55 Roman Bold Frutiger LT 47 Light Condensed Frutiger 47 Light CN Unicode OpenType supports Unicode, which allows much larger Comparison of common Linotype Frutiger versus UBS client- character sets – more than 65,000 glyphs per font in many specific Frutiger. -
X E TEX Live
X TE EX Live Jonathan Kew SIL International Horsleys Green High Wycombe Bucks HP14 3XL, England jonathan_kew (at) sil dot org 1 X TE EX in TEX Live in the preamble are sufficient to set the typefaces through- out the document. ese fonts were installed by simply e release of TEX Live 2007 marked a milestone for the dropping the .otf or .ttf files in the computer’s Fonts X TE EX project, as the first major TEX distribution to in- folder; no .tfm, .fd, .sty, .map, or other TEX-related files clude X TE EX (version 0.996) as an integral part. Prior to had to be created or installed. this, X TE EX was a tool that could be added to a TEX setup, Release 0.996 of X T X also provides some enhance- but version and configuration differences meant that it was E E ments over earlier, pre-T X Live versions. In particular, difficult to ensure smooth integration in all cases, and it was E there are new primitives for low-level access to glyph infor- only available for users who specifically chose to seek it out mation (useful during font development and testing); some and install it. (One exception to this is the MacTEX pack- preliminary support for the use of OpenType math fonts age, which has included X TE EX for the past year or so, but (such as the Cambria Math font shipped with MS Office this was just one distribution on one platform.) Integration 2007); and a variety of bug fixes. -
A Sociolinguistics of Typography Why Graphic Design Matters to Linguistics
A Sociolinguistics of Typography Why Graphic Design Matters to Linguistics Univ.-Prof. Dr. Jürgen Spitzmüller Universität Wien ¨ Institut für Sprachwissenschaft Charles University Prague ¨ ó/ww/ö.wR Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Typography: Deínition A Sociolinguistics of Typography Jürgen Spitzmüller Etymology: Greek τύπος (týpos = ‘letter, sign’) Outline ˆ γράφειν (gráphein = ‘to scratch, to write’) Concepts & Terms Original (strict) meaning: Production of a printed work by Functions -
The File Cmfonts.Fdd for Use with Latex2ε
The file cmfonts.fdd for use with LATEX 2".∗ Frank Mittelbach Rainer Sch¨opf 2019/12/16 This file is maintained byA theLTEX Project team. Bug reports can be opened (category latex) at https://latex-project.org/bugs.html. 1 Introduction This file contains the external font information needed to load the Computer Modern fonts designed by Don Knuth and distributed with TEX. From this file all .fd files (font definition files) for the Computer Modern fonts, both with old encoding (OT1) and Cork encoding (T1) are generated. The Cork encoded fonts are known under the name ec fonts. 2 Customization If you plan to install the AMS font package or if you have it already installed, please note that within this package there are additional sizes of the Computer Modern symbol and math italic fonts. With the release of LATEX 2", these AMS `extracm' fonts have been included in the LATEX font set. Therefore, the math .fd files produced here assume the presence of these AMS extensions. For text fonts in T1 encoding, the directive new selects the new (version 1.2) DC fonts. For the text fonts in OT1 and U encoding, the optional docstrip directive ori selects a conservatively generated set of font definition files, which means that only the basic font sizes coming with an old LATEX 2.09 installation are included into the \DeclareFontShape commands. However, on many installations, people have added missing sizes by scaling up or down available Metafont sources. For example, the Computer Modern Roman italic font cmti is only available in the sizes 7, 8, 9, and 10pt. -
DE-Tex-FAQ (Vers. 72
Fragen und Antworten (FAQ) über das Textsatzsystem TEX und DANTE, Deutschsprachige Anwendervereinigung TEX e.V. Bernd Raichle, Rolf Niepraschk und Thomas Hafner Version 72 vom September 2003 Dieser Text enthält häufig gestellte Fragen und passende Antworten zum Textsatzsy- stem TEX und zu DANTE e.V. Er kann über beliebige Medien frei verteilt werden, solange er unverändert bleibt (in- klusive dieses Hinweises). Die Autoren bitten bei Verteilung über gedruckte Medien, über Datenträger wie CD-ROM u. ä. um Zusendung von mindestens drei Belegexem- plaren. Anregungen, Ergänzungen, Kommentare und Bemerkungen zur FAQ senden Sie bit- te per E-Mail an [email protected] 1 Inhalt Inhalt 1 Allgemeines 5 1.1 Über diese FAQ . 5 1.2 CTAN, das ‚Comprehensive TEX Archive Network‘ . 8 1.3 Newsgroups und Diskussionslisten . 10 2 Anwendervereinigungen, Tagungen, Literatur 17 2.1 DANTE e.V. 17 2.2 Anwendervereinigungen . 19 2.3 Tagungen »geändert« .................................... 21 2.4 Literatur »geändert« .................................... 22 3 Textsatzsystem TEX – Übersicht 32 3.1 Grundlegendes . 32 3.2 Welche TEX-Formate gibt es? Was ist LATEX? . 38 3.3 Welche TEX-Weiterentwicklungen gibt es? . 41 4 Textsatzsystem TEX – Bezugsquellen 45 4.1 Wie bekomme ich ein TEX-System? . 45 4.2 TEX-Implementierungen »geändert« ........................... 48 4.3 Editoren, Frontend-/GUI-Programme »geändert« .................... 54 5 TEX, LATEX, Makros etc. (I) 62 5.1 LATEX – Grundlegendes . 62 5.2 LATEX – Probleme beim Umstieg von LATEX 2.09 . 67 5.3 (Silben-)Trennung, Absatz-, Seitenumbruch . 68 5.4 Seitenlayout, Layout allgemein, Kopf- und Fußzeilen »geändert« . 72 6 TEX, LATEX, Makros etc. (II) 79 6.1 Abbildungen und Tafeln . -
Glossary 1 Terms Used in Graphic Design and Printing
Computer Presentation of Data 121 GLOSSARY 1 GLOSSARY 1 TERMS USED IN GRAPHIC DESIGN AND PRINTING Words in italics are separately defmed. alphabet length The space occupied by the 26 lowercase letters in a given typeface and size, when they are set in a single line without spaces. alphanumerics Letters and numbers, as opposed to other kinds of symbol. artwork Text or graphics presented in a form suitable for reproduction. In desktop publishing, the artwork is usu ally in the form of output from a laser printer. ascender Thepartofalowercase letter, such as 'd' or'h', that rises above the x-height. asymmetrical layout A page layout that has no central axis. Typically, both headings and text would be ranged left. back-edge In a bound document, the edge of the page nearest to the binding. baseline An imaginary horizontal line with which the bases of most lowercase letters (i.e. those without descenders) are aligned. baseline-to-baseline measurement The measurement (usually in points) from the baseline of one line of type to the baseline of the next. See also: linefeed. body size The term originates from metal type and it refers to the size of the 'body' on which each character is cast. The body size, usually measured in points, is the vertical di mension of the surfaces carrying the characters. With digital type there is no physical body, so the term has little relevance. See also: point size. brightness The subjective impression caused by the lumi nance of an object. cap. height See: capital-letter height. capital-letter height The height of the capital letters in a given typeface and size, measured from the baseline to the capita/line. -
Travels in TEX Land: Choosing a TEX Environment for Windows
The PracTEX Journal TPJ 2005 No 02, 2005-04-15 Rev. 2005-04-17 Travels in TEX Land: Choosing a TEX Environment for Windows David Walden The author of this column wanders through world of TEX, as a non-expert, reporting what he observes and learns, which hopefully will be interesting to other non-expert users of TEX. 1 Introduction This column recounts my experiences looking at and thinking about different ways TEX is set up for users to go through the document-composition to type- setting cycle (input and edit, compile, and view or print). First, I’ll describe my own experience randomly trying various TEX environments. I suspect that some other users have had a similar introduction to TEX; and perhaps other users have just used the environment that was available at their workplace or school. Then I’ll consider some categories for thinking about options in TEX setups. Last, I’ll suggest some follow-on steps. Since I use Microsoft Windows as my computer operating system, this note focuses on environments that are available for Windows.1 2 My random path to choosing a TEX environment 2 I started using TEX in the late 1990s. 1But see my offer in Section 4. 2 While I started using TEX, I switched from TEX to using LATEX as soon as I discovered LATEX existed. Since both TEX and LATEX are operated in the same way, I’ll mostly refer to TEX in this note, since that is the more basic system. c 2005 David C. Walden I don’t quite remember my first setup for trying TEX. -
The Luacode Package
The luacode package Manuel Pégourié-Gonnard <[email protected]> v1.2a 2012/01/23 Abstract Executing Lua code from within TEX with \directlua can sometimes be tricky: there is no easy way to use the percent character, counting backslashes may be hard, and Lua comments don’t work the way you expect. This package provides the \luaexec command and the luacode(*) environments to help with these problems, as well as helper macros and a debugging mode. Contents 1 Documentation1 1.1 Lua code in LATEX...................................1 1.2 Helper macros......................................3 1.3 Debugging........................................3 2 Implementation3 2.1 Preliminaries......................................4 2.2 Internal code......................................5 2.3 Public macros and environments...........................7 3 Test file 8 1 Documentation 1.1 Lua code in LATEX For an introduction to the most important gotchas of \directlua, see lualatex-doc.pdf. Before presenting the tools in this package, let me insist that the best way to manage a non- trivial piece of Lua code is probably to use an external file and source it from Lua, as explained in the cited document. \luadirect First, the exact syntax of \directlua has changed along version of LuaTEX, so this package provides a \luadirect command which is an exact synonym of \directlua except that it doesn’t have the funny, changing parts of its syntax, and benefits from the debugging facilities described below (1.3).1 The problems with \directlua (or \luadirect) are mainly with TEX special characters. Actually, things are not that bad, since most special characters do work, namely: _, ^, &, $, {, }. Three are a bit tricky but they can be managed with \string: \, # and ~.