The Comprehensive LATEX Symbol List
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BOONDOX Math Alphabets
BOONDOX math alphabets Michael Sharpe msharpe at ucsd dot edu The BOONDOX fonts are PostScript versions of subsets of the STIX fonts corresponding to regular and bold weights of three alphabets—calligraphic, fraktur and double struck, aka blackboard bold. Support files are provided so that they can be called up from LATEX math mode using the commands \mathcal, \mathbcal, \mathfrak, \mathbfrak, \mathbb and \mathbbb. The font family name derives from the fact that, at least in the US, the phrase “in the boondox” implies “in the stix.” The base PostScript fonts were constructed from STIXGeneral.otf and STIXGeneralBol.otf using a FontForge script, resulting in zxxrl8a.pfb % BOONDOXDoubleStruck-Regular zxxbl8a.pfb % BOONDOXDoubleStruck-Bold zxxrw8a.pfb % BOONDOXCalligraphic-Regular zxxbw8a.pfb % BOONDOXCalligraphic-Bold zxxrf8a.pfb % BOONDOXFraktur-Regular zxxbf8a.pfb % BOONDOXFraktur-Bold together with the corresponding .afm files. (The names are almost Berry conformant: the initial z warns that they break the rules, and the font id xx is completely unblessed by any authority. The remaining parts are nearly OK, except that the font lack many glyphs normally in 8a encoding, but all glyphs are in the correct slots.) Using afm2tfm, the afm files were transformed to raw tfm files (kern information discarded) zxxrl7z.tfm zxxbl7z.tfm zxxrw7z.tfm zxxbw7z.tfm zxxrf7z.tfm zxxbf7z.tfm zxxrow7z.tfm % same as zxxrw7z, less oblique zxxbow7z.tfm % same as zxxbw7z, less oblique which serve as the basis for further virtual math fonts. Finally, using FontForge scripts and manual adjustments to the metrics to suit my personal taste, produces (no pretense of using Berry names): 1 BOONDOX-r-cal.tfm BOONDOX-b-cal.tfm BOONDOX-r-calo.tfm BOONDOX-b-calo.tfm BOONDOX-r-frak.tfm BOONDOX-b-frak.tfm BOONDOX-r-ds.tfm BOONDOX-b-ds.tfm and the corresponding .vf files. -
The 2020 Los Angeles Printers Fair
The 2020 Los Angeles Printers Fair To say 2020 has been an unusual year is certainly the grand understatement of the year! As much as all of us have been forced to live inside our boxes, the pandemic has really been an opportunity to think outside the comforts of our boxes and explore new ideas. Given that restrictions are still in place for us at the International Printing Museum, we have had to rethink how to connect with our community of creative souls who normally come together each fall for the Printers Fair. Like so many other events in our lives right now, this has meant creating a virtual experience but with a twist. So, welcome to the 12th annual 2020 VIRTUAL LOS ANGELES PRINTERS FAIR at the International Printing Museum (or in your living room or studio or apartment...). The Printing Museum team has worked hard to create an exceptional online event that captures some of the magic of visiting the Printers Fair in person; we are bringing our big tent of creative artisans to your screen this year. The Virtual Los Angeles Printers Fair is a wonderful opportunity to meet book artists, letterpress printers and printmakers and peruse their work. The beauty of this world known as Book Arts is that this is already a group thinking and working outside the modern boxes of our world, using traditional machines and methods but typically with a very modern twist. We have set up the PrintersFair.com website to give you as much of an opportunity to meet these creatives, see their shops and learn about their work. -
2007 University of Iowa
International Writing Program Annual Report 2007 University of Iowa Dedicated to the memory of Norine Zamastil Photos and graphics (from left to right) top row Kazuko Shiraishi (1976), calligraphy by Ramon Lim, Hauling and Paul Engle (1970s), Uli symbol second row from the top calligraphy by Cheryl Jacobsen, Elena Bossi (2007), Zapf dingbat, Veronique Tadjo and Mathilde Walter Clark (2006) second row from the bottom IWP participants on the Shambaugh House porch (2005), Uli symbol, Shambaugh House, calligraphy by Cheryl Jacobsen, ˆ bottom row peace sign,ˆ Arvind and Wandana Mehrotra (1971), calligraphy by Cheryl Jacobsen, Tomaz Salamun (1971) TABLE OF CONTENTS Greetings from Iowa City 2-3 The Fall Residency 4-7 Field Trips, Receptions, & Cultural Visits 8-9 Fall Residency Activities by Writer 10-12 Writer Portraits 13-15 The 40th Anniversary 16-17 Select Anniversary Schedule 18 2007 participants 19-25 The Middle East Reading Tour 26-34 Paros: The New Symposium 33-35 Program Support 37-41 Honor Roll of Contributors 42 Photos in this report are by Tom Langdon, Kelly Bedeian, IWP staff, and friends. GREETINGS FROM IOWA CITY A Letter from IWP Director Christopher Merrill. 2 The 40th session of the International Writing for writing and fellowship. Since then, the IWP Program (IWP) marked an extraordinary milestone has hosted nearly 1100 writers from more than in our program’s history. This fall, the IWP hosted 120 countries, making ours the oldest and largest forty writers from twenty-seven countries, who residency of its kind. At every turn, the IWP took part in one of the most dynamic residencies strives to connect artists; to create understanding ever. -
Live Auction Catalog
Live Auction Catalog 1 Calligraphy Session (2 Hours) Donated by Noriko and Temesgen Ready to try something new? This traditional Japanese calligraphy session holds up to 6 participants age 16 and up at Busch Center (AUUF compound). Participants submit English words of their choice and practice them in Japanese, first with pencils then with special calligraphy brushes. Three-week notice is required. 2 Etched Glass Artwork Donated by Deborah Strawn Titled "morning, morning glory". 11" x 13", etched, painted glass with found objects. 3 Buttermilk Blueberry Pancake Breakfast for Four Donated by Jim Bradley It's my Grandpa Bradley's pancake recipe, delightfully light. You can't stop eating them. Served with Wisconsin maple syrup, your choice of real or vegetarian bacon, orange juice, and a large selection of coffees and teas, decaf and regular. Coffee choices include non-machine made cappuccino and latte, made with Italian Lavazza coffee. Breakfast will be served at Jim and Sue's house. 4 Blackbirds Painting, by Melissa Blackburn Donated by Sharon Roberts Framed mixed-media painting with pastel backgrounds, by Melissa Blackburn 5 Halcyon Days Enamel Container (Unicorn in Captivity) Donated by Sharon Roberts This Halcyon Days container is 2.5" round, enameled with detail from the "Unicorn in Captivity" tapestry. 6 Chicago Style Deep Dish Pizza for Eight Donated by Carolyn Crowder Levy Menu: Charcuterie Plate, beer, wine, soft drinks, Anti-Pasta Salad, 3 deep dish pizzas, Vanilla Ice Cream with fresh Strawberries macerated in sugar and Sabra Liqueur 7 Computer Consultation Donated by Shannon Price Have the precious pages of your great American novel overloaded your computer memory? Or maybe you've worn out a few pieces of software transferring all of Grandma's recipes from yellowing index cards into Word files for your jump drive. -
Mathematical Symbol Recognition with Support Vector Machines
Mathematical Symbol Recognition with Support Vector Machines Christopher Malon a,∗, Seiichi Uchida b, Masakazu Suzuki a a Faculty of Mathematics, Kyushu University Hakozaki 6–10–1, Higashi-ku, Fukuoka, 812–8581 Japan b Faculty of Information Science and Electrical Engineering, Kyushu University Motooka 744, Nishi-ku, Fukuoka, 819–0395 Japan Abstract Single–character recognition of mathematical symbols poses challenges from its two- dimensional pattern, the variety of similar symbols that must be recognized dis- tinctly, the imbalance and paucity of training data available, and the impossibility of final verification through spell check. We investigate the use of support vector machines to improve the classification of InftyReader, a free system for the OCR of mathematical documents. First, we compare the performance of SVM kernels and feature definitions on pairs of letters that InftyReader usually confuses. Second, we describe a successful approach to multi–class classification with SVM, utilizing the ranking of alternatives within InftyReader’s confusion clusters. The inclusion of our technique in InftyReader reduces its misrecognition rate by 41%. Key words: Support vector machine; OCR; Mathematical document; Mathematical symbol recognition Preprint submitted to Elsevier 24 January 2008 1 Introduction Mathematics is the universal language of scientific literature, but a computer may find it easier to read the human language in which surrounding text is written. The failure of conventional OCR systems to treat mathematics has several consequences: • Readers of mathematical documents cannot automatically search for earlier occurences of a variable or operator, in tracing the notation and definitions used by a journal article. • The appearance of mathematics on the same line as text often confounds OCR treatment of surrounding words. -
GUST E-Foundry Workbench
OTF math fonts GUST e-foundry’s workbench Breskens, The Netherlands, 8–12X2012 Bogusław Jackowski WARNING Describing the whole process of an OTF math font creation in details would be as dull as ditchwater. © 2010–2012 *Chibi-Liam Breskens, 8–12X2012 B. Jackowski GUST e-foundry workbench... WARNING Describing the whole process of an OTF math font creation in details would be as dull as ditchwater. Therefore, I’ll give just a few less or more representative examples in hope that it will sufficiently illustrate the TEXnique we apply in the GUST e-foundry. © 2010–2012 *Chibi-Liam Breskens, 8–12X2012 B. Jackowski GUST e-foundry workbench... OTF Math font structure According to “Unicode Support for Mathematics” (Draft Unicode Technical Report #25, by Barbara Beeton, Asmus Freytag, and Murray Sargent III) and a confidential Microsoft® document “The MATH table and OpenType Features for Math Processing”, an OTF math font should contain: Breskens, 8–12X2012 B. Jackowski GUST e-foundry workbench... OTF Math font structure According to “Unicode Support for Mathematics” (Draft Unicode Technical Report #25, by Barbara Beeton, Asmus Freytag, and Murray Sargent III) and a confidential Microsoft® document “The MATH table and OpenType Features for Math Processing”, an OTF math font should contain: glyphs falling into several groups of different kind: alphabetic glyphs, subdivided further into various type of alphabets – sans serif, calligraphic, double struck (aka blackboard bold), fraktur, and... typewriter (monospace), some of them including Greek letters -
Typography for Scientific and Business Documents
Version 1.8 Typography for Scientific and Business Documents George Yefchak Agilent Laboratories What’s the Big Deal? This paper is about typography. But first, I digress… inch marks, so you’ll probably get to enter those manually anyway.† Nothing is perfect…) Most of us agree that the use of correct grammar — or at In American English, punctuation marks are usually placed least something approaching it — is important in our printed before closing quotes rather than after them (e.g. She said documents. Of course “printed documents” refers not just to “No!”). But don’t do this if it would confuse the message words printed on paper these days, but also to things distrib- (e.g. Did she say “no!”?). Careful placement of periods and uted by slide and overhead projection, electronic broadcast- commas is particularly important when user input to ing, the web, etc. When we write something down, we computers is described: usually make our words conform to accepted rules of For username, type “john.” Wrong grammar for a selfish reason: we want the reader to think we For username, type “john”. ok know what we’re doing! But grammar has a more fundamen- tal purpose. By following the accepted rules, we help assure For username, type john . Even better, if font usage that the reader understands our message. is explained If you don’t get into the spirit of things, you might look at Dashes typography as just another set of rules to follow. But good The three characters commonly referred to as “dashes” are: typography is important, because it serves the same two purposes as good grammar. -
Formal Aspects of Computing: Latex2ε Guide for Authors
Under consideration for publication in Formal Aspects of Computing Formal Aspects of Computing: LATEX 2ε Guide for Authors Mark Reed1 and Christiane Notarmarco2 1Electronic Products and Composition Group, Cambridge University Press, Cambridge, 2Springer-Verlag London Limited, Godalming, Surrey, UK Abstract. This guide is for authors who are preparing papers for the Formal Aspects of Computing journal using the LATEX 2ε document-preparation system and the Formal Aspects of Computing class file (fac.cls). Keywords: LATEX 2ε; Class file; fac.cls; User guide 1. Introduction In addition to the standard submission of hardcopy from authors, Formal Aspects of Computing now accepts machine-readable forms of papers in LATEX 2ε. The layout design for the Formal Aspects of Computing journal has been implemented as a LATEX 2ε class file, based on the article class as discussed in the LATEX manual (2nd edition) [Lam94]. Commands which differ from the standard LATEX interface, or which are provided in addition to the standard interface, are explained in this guide (which is not a substitute for the LATEX manual itself). Note that the final printed version of papers will use the Monotype Times typeface rather than the Computer Modern available to authors. For this reason line and page breaks will change and authors should not insert hard breaks in their text. Authors planning to submit their papers in LATEX 2ε are advised to use fac.cls as early as possible in the creation of their files. 1.1. Introduction to LATEX LATEX is constructed as a series of macros on top of the TEX typesetting program. -
Pxtxalfa Math Alphabets Derived from Pxfonts and Txfonts
PXTXALFA MATH ALPHABETS DERIVED FROM PXFONTS AND TXFONTS MICHAEL SHARPE 1. Overview The txfonts and pxfonts packages, both created by Young Ryu but no longer under active development, provide fairly complete typesetting environments based on the Times and Palatino text font families respectively. Other packages (eg, txgreeks, providing the option of upright or slanted Greek letters) extend the range of coverage of its macros. These packages contain some interesting math alphabets. The script alphabet glyphs (upper case only) seem to be identical to those in Mathematica5, but the Fraktur font common to both packages is. as far as I can tell, distinct from the Fraktur of other major math font packages, and worthy of note. Blackboard bold comes in two different versions in txfonts (openface and double-struck) and in yet another double-struck version in pxfonts. The double-struck alphabets are similar in overall style to those in mathpazo and Mathematica7, with stems a mix of double-struck, regular weight and solid bold. The plan here is to provide virtual fonts for all these alphabets, plus packages that allow them to be used in stand-alone fashion and as part of the mathalfa package. The package contains the following files: those beginning with the letter ‘r’ are ‘raw’ fonts, not suitable for direct use, but sering as building blocks for some virtual math fonts. Raw fonts (.tfm only), resolved in map file: rtxmia Regular weight raw double-struck from txmia. pxtx.map Map file for the above, resolving rtmia to a re-encoded .pfb file. Virtual fonts (.tfm and .vf): txr-cal Regular weight calligraphic from txfonts and pxfonts. -
THE MATHALPHA, AKA MATHALFA PACKAGE the Math Alphabets
THE MATHALPHA, AKA MATHALFA PACKAGE MICHAEL SHARPE The math alphabets normally addressed via the macros \mathcal, \mathbb, \mathfrak and \mathscr are in a number of cases not well-adapted to the LATEX math font structure. Some suffer from one or more of the following defects: • font sizes are locked into a sequence that was appropriate for metafont{generated rather than scalable fonts; • there is no option in the loading package to enable scaling; • the font metrics are designed for text rather than math mode, leading to awkward spacing, subscript placement and accent placement when used for the latter; • the means of selecting a set of math alphabets varies from package to package. The goal of this package is to provide remedies for the above, where possible. This means, in effect, providing virtual fonts with my personal effort at correcting the metric issues, rewriting the font-loading macros usually found in a .sty and/or .fd files to admit a scale factor in all cases, and providing a .sty file which is extensible and from which any such math alphabet may be specified using a standard recipe. For example, the following fonts are potentially suitable as targets for \mathcal or \mathscr and are either included as part of TEXLive 2011, as free downloads from CTAN or other free sources, or from commercial sites. cm % Computer Modern Math Italic (cmsy) euler % euscript rsfs % Ralph Smith Formal Script---heavily sloped rsfso % based on rsfs, much less sloped lucida % From Lucida New Math (commercial) mathpi % Adobe Mathematical Pi or clones thereof -
Free Shamrock Dingbats Font
Free Shamrock Dingbats Font Free Shamrock Dingbats Font 1 / 3 2 / 3 Download free dingbat fonts at ActionFonts. ... QUESTIONS (answers below): In 2001, Irish troops vacated Camp Shamrock, ending more than two decades of .... Jun 28, 2021 — Is there a dingbat font or a library of bitmaps somewhere that I can grab? Save 8% with coupon. It can be pefectly used for stitch … Free cross ... Looking for Dingbats Shamrock fonts? ✓ Click to find the best 8 free fonts in the Dingbats Shamrock style. Every font is free to download!. Results 45 - 66 of 72 — #46013 DreamALittleBigger Make a reusable stencil, Be calm and shamrock on... for St. Patrick's Day. Free silhouette files or images and .... The Jugendstil-Medium font contains 225 beautifully designed characters. ✔️ Customize your own preview on ... Similar free fonts for Shamrock font .... Oct 25, 2012 — Clover Things by Fonts & Things. in Dingbats > Esoteric. 46,717 downloads (2 yesterday) 100% Free · Download. cloverthings.ttf. Mar 24, 2009 — free dingbat mac fonts free windows script fonts ... free fonts and dingbats to download free fonts big caslan fonts free lemon lime. The following is a list of dingbats featuring bicycle brand logos. These dingbats are available in the CyclingBrands 1 through 6 fonts which are bundled in .... Nov 8, 2009 — fontgarden.com I just found this site and has some awesome free fonts and dingbats...you all may already know abou this site but just in ... Browse the commercial free fonts classified as serif. Wingdings and other fonts like Webdings are called dingbat fonts. Emoji Meaning A four-leaf clover, a symbol of good luck. -
Another Dingbat Idea B1take Pen in Hand to Describe the Design and Any Tricky Machinations in Terms of Part of the Figure Coding of a Simple Dingbat
TUGboat, Volume 10 (1989), No. 2 Another Dingbat Idea b1take pen in hand to describe the design and any tricky machinations in terms of part of the figure coding of a simple dingbat. I hope that this will lying to the left of the line x=O or to the right of inspire all you would-be METAFONTers to try your x=charwidth; the apparent width of the character hands, heads and keyboards at creating entries for the is the real width we want T@ to know about. Dingbat Competition, announced in the last issue of My next step was to divide the total width and TUGboat. height into some reasonable number of units. One I started with a sketch of a left hand holding a quill caveat here: don't make the grid too fine, or you'll pen (left, because I had to draw with my right) and tend to overdo the number of points you select as marked what I figured would be the necessary points key points and over-analyze the character. Think to describe the figure with METAFONT. Of necessity, of the design process as a collaborative effort with the figure is simplistic, somewhat cartoonish; remem- METRFONT, rather than as an attempt to control it. ber that all the details that you lovingly describe on As Don Knuth has said, some of the most fruitful your initial large sketch (mine was approximately 180 parts of design can occur when you let METAFONT points high and 480 points wide) must survive down "have its own head".