DOCSLIB.ORG

COPYRIGHTED MATERIAL Index

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
COPYRIGHTED MATERIAL Index COPYRIGHTED MATERIAL Index ▶ A-Z ▶ HTML & CSS shortcuts ▶ Troubleshooting # symbol (links) 87, 88 background gradients 419 top 366–371 _blank 86 backups 487 box-shadow property 320 <!-- --> 182 bandwidth 487 brightness 252 3D borders 310 baseline 268 bring to front 369 3D form buttoms 343 bgcolor attribute 138 browser quirk 242 12 column grid 387–390 blinking text 282 bulleted lists 65 960 pixel grid 387–390, block elements 102, 185, 317, list-style-type property 333 391–394, 463 229, 361 position of marker 335 blueprint css 391 bold text 45 A <b> 45 C abbreviations 53 font-weight property 279 cache control 192 above the fold 379 <strong> 51 cap height 268 absolute positioning 363, 367 borders capitalize 281 absolute URLs 79 border attribute 138 carriage returns 48 accessibility 7 border (CSS shorthand) 312 cascade in CSS 239 alt text 99, 272, 480 color 311 centering boxes 315 contrast 253, 420 design 469 centering images 412 headings 480 images 319 centering layouts 315 labelling form controls 163 radius 321 centering text 285 screen readers 7 spacing 340 changes to content acronyms 53 style 310 <del> 56 adjacent sibling selector 238 width 309 <ins> 56 align attribute 103–105 bottom property 366–371 <s> 56 aligning form controls 345 bounce rate 485 checkboxes (forms) 155 aligning images using CSS 411 boxes 300-327 checked attribute 155, 156 aligning text 285 borders 309-312, 321 child folder 84 alpha transparency 256 design 469 child selector 238 alt attribute 99 box offsets 364, 364–371 chunking / grouping 465 alt text 99, 272, 480 box-shadow property 320 circles in CSS 322 ampersand 194 centering boxes 315 citations 52, 54 analytics 483–486 circles 322 cite attribute 52 angled brackets 23, 24 elliptical shapes 322 class attribute 184, 431 animated GIFs 117 float 370–375 class selector 238 ascender 268, 283 hiding content 317, 318 clear property 372 attributes 25, 26, 38 IE6 box model 316 closing tag 20, 24 attribute names 25, 26 margin 307, 314 closure 469 attribute selectors 292 max-height property 305 codecs attribute 215 attribute values 25, 26 min-height property 305 code editors 29, 31-34, 49 audio 217–223 overflow property 306 color 246–261 author details 55, 192 padding 307, 313 background color 250 autoplay attribute 214, 219 positioning schemes 367-375 bgcolor attribute 138 rounded corners 321 border color 311 visibility property 318 brightness 252 B box offsets 364, 364–371 color names 249, 252 background property 344 bottom 366–371 color pickers 251 background images 413-416 left 366–371 color values for CSS 251 background colors 138, 250 right 366–371 contrast 253, 420 INDEX design 467, 469 float 364, 370–375 design 452–473 hex codes 249, 252 float (images) 411 960 pixel grid 387–390, hsl / hsla 255–256 fonts 271-280 391–394, 463 hue 252, 255 height 303, 409–410 above the fold 379 lightness 255 hiding content 317-318 chunking / grouping 465 opacity 254 how CSS works 229–232 columns 387–390 rgb values 249, 252 how rules cascade 239 consistency 470 rgba 254 inheritance 239 fixed-width layouts 381, saturation 252, 255 internal style sheets 236 383–384 selecting a color 251 layout 358-405 getting your message across cols attribute 154 links 290-291 465–466 colspan attribute 133 lists 333-336 grouping and similarity columns (layout) 375–376 margins 314 469–470 comments in HTML 182 multiple style sheets 395 information hierarchy 465– comments in CSS 249 padding 313, 337 466 conditional comments 442 positioning boxes 363-367 layout 358-405 containing elements 362 properties and values 231 liquid layouts 382, 385–386 content attribute 191–192 pseudo-classes 289-290 screen sizes and resolution content management system rules 231–232 377–378 (CMS) 33-34 selectors 231–232, 237–238, site maps 461 code view 34 292 target audience 455 templates 81 style attribute 236 visitors' motivation 457 visual view 34 <style> element (for internal visual hierarchy 465, 467–468 continuance 469 CSS) 236 web page sizes 379–380 contrast 253, 420 tables 337-340 what information visitors need controls attribute 214, 219 text 282–297 459 copyright symbol 194 vertical-alignment 286 wireframes 463–464 cropping images 113–114 what CSS is 6 digital rights management 213 CSS 226–425 what style an element is using dimensions of boxes in CSS 303 @import rule 395 348 directory structure 81-84 !important 239 width 303, 337, 371, 409-410 images 98 attribute selectors 292 cufon (typefaces) 272 direct traffic 486 background images 413-419 currency symbols 194 diskspace 487 borders 309-321 cursive typefaces 270 display property 317 boxes 300–327 cursor styles 347 division symbol 194 box offsets 366–371 DOCTYPE declarations 181 bugs and browser quirks 242 domain name 10, 487 clearing floats 372 d Domain Name System (DNS) colors 249, 252, 255–256 dashed borders 310 9, 10 CSS1, CSS2, CSS3 (versions) databases 149, 488 dotted borders 310 242 date input 166 drop down list box 157 CSS3 8 default pages 81, 82 drop shadows 288, 320 declaration 231–232 defining intsance of a term 54 frameworks 391 definition lists 67 cursor styles 347 definitions 54 external style sheets 235 descendant selector 238 external vs internal style descender (typefaces) 268, 283 sheets 241 description attribute 191 INDEX how flash works 203 type="radio" 155 e params 218 type="search" 168 e-commerce 33 swfobject 207–208, 211, 218 types of form control 148 editing content uses of 204 type="submit" 160 <del> 56 flash of unstyled content 278 type="text" 152 <ins> 56 float property 364, 370–375 type="url" 167 <s> 56 float property (images) 411 action attribute 151 editing images 108 FLV (video format) 211 checked attribute 155, 156 editing pages in a CMS 33 folder structure 81-84 cols attribute 154 elements 52 images 98 for attribute 163 definition of 20, 24, 38 fonts id attribute 151, 163 diagram of 23, 24 choosing a typeface 269 maxlength attribute 152 elliptical shapes 322 font sizes 276 method attribute 151 email input 167 fontsquirrel.com 277 multiple attribute 158 email links 85 specifying a font 273 name attribute 152, 155, 156, embossed borders 310 preferences / font stack 269 157, 160 emphasis 51 styles / terminology 267–268 rows attribute 154 empty-cells property 339 type scales 275 selected attribute 157 empty elements 48 weights 268 size attribute 152, 158 ems (for font sizes) 274, 276 font-face property 271 value attribute 155, 156, 157, ems (unit of measurement font-family property 271, 273 160 boxes) 303 font-size property 274, 276 aligning form controls 345 encoding 209 font-weight property 279 changing submit button on entity references 193–194 for attribute 163 hover 343 equality selector 292 foreground color 249 form validation 165 escape characters/codes forward slash 24, 48, 84 get method 151 193–194 formatting code 47 grouping form elements 164 existence selector 292 forms 144–173 hidden form controls 162 exit pages 485 how forms work 149–150 hover styles 342 expires (meta information) 192 what HTML forms are 145 image buttons 161 external style sheets (when to where to position labels 163 name/value pairs 150 use) 241 why use forms 147 placeholder text 168 <button> 162 rounded corners on text inputs <fieldset> 164 342 F <form> 151 styling with CSS 341–346 fantasy typefaces 270 <input> 155, 159, 160-162, 166 submit button 160 file input / upload box 159 <label> 163 form validation 165 fixed positioning 364, 368 <legend> 164 frameborder attribute 190 fixed width layouts 381, <option> 157 FTP 489–490 383–384 <select> 157 full screen layouts 382 flash 200–223 <textarea> element 154 adding a flash movie to your type attribute 155 page 207–208 type="checkbox" 156 G declining usage 204 type="date" 166 general sibling selector 238 flash movies 203 type="email" 167 GIF 111 flash player 203 type="file" 159 animated GIFs 117 flashvars 212, 218 type="hidden" 162 GIMP 108 flash video 211 type="image" 161 global attributes 183 INDEX Google analytics 483–486 <hgroup> 438 background-images 413-416 Google maps 189 <nav> 432, 434 (gradients) 419 Google web fonts 277 <section> 433, 437 indenting text 287 gradients 419 <source> 215, 220 border-images 319 greater than symbol 194 <video> 213–216 bullet points 334 grids 387–390, 463 autoplay attribute 219 choosing images and stock grouping and similarity 469, controls attribute 219 photography 97 469–470 loop attribute 219 copyright 97 grouping / chunking 465 preload attribute 219 cursors 347 grouping elements (<div>) 187 scrolling attribute 190 dimensions 100, 107, 113–114 grouping inline elements seamless attribute 190 in CSS 409–410 (<span>) 188 src attribute (audio) 219 editing images 108, 113–114, date input 166 116, 117 email input 167 image formats 107 H search input 168 animated GIFs 117 hCard 55 URL input 167 bitmap 115 headings 22, 43 form validation 165 GIF 111, 115, 118 <hgroup> 438 placeholder text 168 JPEG 109–110, 115 height attribute 100, 214 helping older browser PNG 112, 115, 118 height property 303 understand 442 SVG 116 height property (images) HTML5 shiv / shim 442 transparent GIF/PNGs 118 409–410 layout 428–449 vector formats 116 height iframe 189 HTML5 layout 428–449 resolution 107, 115 hex codes 249, 252 HTTP orientation (landscape/ hidden form controls 162 get method 151 portrait) 114 hiding content 317, 318 post method 151, 159 position in surrounding text home pages 81, 82 HTTP headers 151 101 horizontal rules 48 Secure Sockets Layer (SSL) preparing for the web 107 hosted video 210 153 rollovers 417 href 77, 79, 88, 235 http-equiv attribute 192 sprites 417 hsl / hsla 255–256 hue 252, 255 titles 99 HTML indenting
Load more

Recommended publications
  • Art, Philosophy, and the Philosophy Of
    NATIONAL E N D O W M E N T FOR THE HUMANITIES VOLUME 4 NUMBER 1 FEBRUARY 1983 Humanities Art, Philosophy, and the Philosophy of Art period of Abstract Expressionism, ward behavior might be indistin­ when decisions for or against The guishable between the two. In all these Image were fraught with an almost cases one must seek the differences religious agony, the crass and casual outside the juxtaposed and puzzling use of tacky images by the new examples, and this is no less the case artists seemed irreverent and juve­ when seeking to account for the dif­ nile. But the Warhol show raised a ferences between works of art and question which was intoxicating and mere real things which happen immediately philosophical, namely exactly to resemble them. why were his boxes works of art This problem could have been while the almost indistinguishable raised at any time, and not just with utilitarian cartons were merely con­ the somewhat minimal sorts of tainers for soap pads? Certainly the works one might suspect the Brillo minor observable differences could Boxes to be. It was always conceiva­ not ground as grand a distinction as ble that exact counterparts to the that between Art and Reality! most prized and revered works of BY ARTHUR C. DANTO A philosophical question arises art could have come about in ways Not very many years ago, whenever we have two objects inconsistent with their being works aesthetics—understood as the phi­ which seem in every relevant par­ at all, though no observable differ­ losophy of art—was regarded as the ticular to be alike, but which belong ences could be found.
    [Show full text]
  • Ordinance No. 04-61
    .. 200500022607 BEST POSSIBLE IMAGE Filed for Record in HAMILTON COUNTY, INDIANA ALL PAGES JENNIFER J HAYDEN 0~-18-2OQ5 At 12'~7 >•• ORDINANCE 101.00 I ORDINANCE NO. 04-61 , AN ORDINANCE OF THE TOWN OF WESTFIELD CONCERNING AMENDMENT TO TITLE 16- LAND USE CONTROLS WHEREAS, The Town ofWeslfield, Indiana and the Township of Washington, both of Hamilton County, Indiana are subject to the Westfield Washington Township Zoning Ordinance; and WHEREAS, the Westfield-Washington Township Plan Commission ("Commission") considered a petition (docket 0310-PUD-06) filed with the Commission to rezone certain lands; and WHEREAS, the Westfield Washington Township Plan Commission did take action to forward the request to the Westfield town Council with a negative recommendation under the provision onc 36-7-4-605; and WHEREAS, the Secretary of the Commission certified the action of the commission to the Town Council on January 27, 2004; and WHEREAS, the Weslfield Town Council is subject to the provisions onc 36-7-4-608(t) or IC36-7-4-608(g) concerning any action on requests forwarded by the Advisory Plan Commission. NOW THEREFORE BE IT ORDAINED BY THE WESTFIELD TOWN COUNCIL THAT TITLE 16 OF THE WESTFIELD CODE OF ORDINANCE BE AMENDED AS FOLLOWS: SECTION 1. WC-16-04.Zoningmaps amended as follows: The Zoning Map accompanying and made a part of the Zoning Ordinance is amended to reclassifY the real estate described in the attachment "West Oak Planned Unit Development" hereto (Real Estate) wm EI to EI-PUD This real estate being subject to commitments and standards as detailed in the attachment "Westoak Industrial Park Planned unit Development District" 4/612004 Ordinance 04-01 SECTION 2.
    [Show full text]
  • Graphic Standards Manual
    Graphic Standards Manual To help Oregonians in their own communities achieve wellbeing and independence through opportunities that protect, empower, respect choice and preserve dignity. Safety, health and independence for all Oregonians DHS 2022 GRAPHIC STANDARDS Contents The brand ..........................................................................................................1 Project requests ................................................................................................2 The logo ......................................................................................................... 4-6 Co-branding .......................................................................................................7 Colors .................................................................................................................8 Program, office identification samples and email signature ..........................9 Fonts ...........................................................................................................10 -11 Americans with Disabilities Act basics .......................................................... 12 General readability .......................................................................................... 13 Alternate format and discrimination statement ............................................14 Accommodations ............................................................................................15 Stationary .......................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • Type Anatomy Type Classifications Type Height Measurements
    California State University, Sacramento Department of Design College of Arts and Letters fall 2014 course # and title: GPHD 130 Typography II Instructor: John P. Forrest Jr. Type Classifications Type Anatomy Type Height Measurements California State University, Sacramento Department of Design College of Arts and Letters fall 2014 course # and title: GPHD 130 Typography II Instructor: John P. Forrest Jr. Terms Ascender Kerning Stroke on a lowercase letter that rises above the meanline. In typesetting, the process of subtracting space between spe- cific pairs of characters so that the overall letterspacing appears Baseline to be even. An imaginary horizontal line upon which the base of each capital letter rests. Leading In early typesetting, strips of lead were placed between lines of Cap height type for spacing, hence the term. The vertical distance between Height of the capital letters, measured from the baseline to the two lines of type measured from baseline to baseline. capline. Meanline Capline An imaginary line marking the tops of lowercase letters, not Imaginary horizontal line defined by the height of the including the ascenders. capital letters. Pica Counter Typographic unit of measurement: 12 points equal 1 pica. Six Space enclosed by the strokes of a letter form picas equal approximately one inch. Line lengths and column widths are sometimes measured in picas. Descender Stroke on a lowercase letter form that falls below the baseline. Point A measure of size used principally in typesetting. One point is Display type equal to 1/12 of a pica, or approximately 1/72 or an inch. It is Type sizes 14 point and above, used primarily for headlines and most often used to indicate the size of type or amount of lead- titles.
    [Show full text]
  • Access Ability 2: a Practical Handbook on Accessible Graphic Design
    ACCESS ABILITY A Practical Handbook on Accessible Graphic Design 2Revised + supeRsized Second edition This handbook was produced by the Association of Registered Graphic Designers with support from the Government of Ontario. The Accessibility for Ontarians with Disabilities Act, 2005 is the foundation for making Ontario more accessible. The Act establishes authority for the government of Ontario to supervise and review the legislation. The government also conducts outreach and education about accessibility laws and promotes the benefits of hiring people with disabilities. facebook.com/ONaccessibility youtube.com/ONgov twitter.com/ONaccessibility ontario.ca/accessibility © 2019 The Association of Registered Graphic Designers (RGd) 96 Spadina Avenue, Suite 210, Toronto ON M5v 2J6 Canada No part of this book may be reproduced in any form or by electronic or mechanical means, including information storage and retrieval systems, without the written permission the The Association of Registered Graphic Designers, the designers or any individual or corporate entity holding the copyright to this work. All work reproduced in this book has been accepted on the condition that it is reproduced with the knowledge and prior consent of the actual owner of the image; consequently no responsibility is accepted by The Association of Registered Graphic Designers for any infringement of copyright arising out of publication thereof. veRsion 2.0.1. Made in Canada. Access Ability 2 . A Practical Handbook on Accessible Graphic Design. Revised + Supersized Second Edition. Adam Rallo RGd · Eric Forest RGd · James Kuo RGd · Randal Boutilier RGd · Edmund Li RGd Contents. 3. Introduction. 33. Digital Media. 67. Physical Media. 34. Digital Accessibility. 68. Print Design.
    [Show full text]
  • The Typographer's Glossary
    The Typographer’s Glossary Common Type Terminology - – — ÷ •••• •••• ···· ···· r Aa Aa the typographer’s glossary Common Type Terminology A as in Ascender accents See Diacritics. alternates Different shapes (or glyphs) for the same character in a typeface, for example small caps, swash characters, contextual alternates, case-sensitive forms, etc. When alternates are built-in as OpenType features, certain (older) operating systems and applications will not be able to access them. alternates example: fonts used: ff meta ff dingbats 2.0 ministry script type glossary | abcdefghijklmnopqrstuvwxyz www.fontshop.com toll free at 888 ff fonts 415.252.1003 Aperture The aperture is the partially enclosed, somewhat rounded negative space in some characters such as ‘C’, ‘S’, the lower part of ‘e’, or the upper part of a double-storey ‘a’. aperture example: Y fonts used: amplitude Y ff dingbats 2.0 a nY e ascender Any part in a lowercase letter that extends above the x-height, found for example in b, d, f, h, k, etc. Some types of ascenders have specific names. ascender example: Y Y font used: leitura news Handglove axis An imaginary line drawn from top to bottom of a glyph bisecting the upper and lower strokes is the axis. type glossary | abcdefghijklmnopqrstuvwxyz www.fontshop.com toll free at 888 ff fonts 415.252.1003 Bb Bb the typographer’s glossary Common Type Terminology B as in Baseline balt (baltic) (appended to a font or volume name) Language support; includes all necessary accents and characters for Estonian, Latvian, and Lithuanian (also included in CE – for Mac only). The supported languages may vary a little depending on the foundry.
    [Show full text]
  • 15.4.14 Maximum Unaccented Height (ASCENT) 15.4.15 Maximum
    15.4.14 Maximum unaccented height (ASCENT) This measurement, on the em square, is from the baseline to the highest point reached by any glyph, excluding any accents or diacritical marks. 15.4.15 Maximum unaccented depth (DESCENT) This measurement, on the em square, is from the baseline to the lowest point reached by any glyph, excluding any accents or diacritical marks. 15.4.18 Top Baseline This gives the position in the em square of the top baseline. The top baseline is used by Sanscrit-derived scripts for alignment, just as the bottom baseline is used for Latin, Greek, and Cyrillic scripts. Typeface anatomy Typographers have developed a comprehensive vocabulary for describing the many aspects of typefaces and typography. Some vocabulary applies only to a subset of all scripts. Serifs, for example, are a purely decorative characteristic of typefaces used for European scripts, whereas the glyphs used in Arabic or East Asian scripts have characteristics (such as stroke width) that may be similar in some respects but cannot reasonably be called serifs and may not be purely decorative. [edit] Serifs Typefaces can be divided into two main categories: serif and sans- Sans-Serif font serif. Serifs comprise the small features at the end of strokes within letters. The printing industry refers Serif font to typeface without serifs as sans- serif (from French sans: "without"), or as grotesque (or, in German, Serif font (serifs highlighted in red) grotesk). Great variety exists among both serif and sans-serif typefaces. Both groups contain faces designed for setting large amounts of body text, and others intended primarily as decorative.
    [Show full text]
  • Redactioneel
    Redactioneel Taco Hoekwater tor Eijkhout, Hans Hagen, Sven Bovin, Siep Kroonenberg Siep Kroonenberg en Erik Frambach) ontvingen we lekker korte artikeltjes [email protected] met een hoop afwisseling. En natuurlijk weer de toolbox zelf. Alweer een dunne en late maps. We hopen dat de kwaliteit Het literate programming artikel van Michael Guravage dit een beetje goedmaakt. is een laatkomertje: dit artikel hoort bij de door hem ge- We moeten nog eens ernstig nadenken over organisatie geven lezing tijdens de vorige voorjaarsbijeenkomst. Een en procedures. Als twee mensen in dezelfde organisatie het korte introductie in zowel de theorie als het gebruik van werk doen dan kan er wat dat betreft niet veel misgaan; literate programming. nu we proberen contacten met auteurs en proeflezen los Thierry Bouche’s artikel is alvast een vooruitblik op de te koppelen van produktie blijkt een strakkere organisatie volgende bijeenkomst: het zetten van poezie is zonder eni- noodzakelijk om te garanderen dat er daadwerkelijk iets ge twijfel een voorbeeld van extreem gebruik van TEX. gebeurt. Eindelijk horen we ook weer eens iets over Omega. Dit Bovendien hebben we het zonder een aantal vaste au- artikel is het enige artikel in deze maps dat ‘traditioneel’, teurs moeten stellen: ditmaal geen ‘gezeefd’, ‘maar’ negen dat wil zeggen via (o)dvips en de Adobe Distiller is gege- pagina’s van Hans Hagen, en van Taco zelfs helemaal niets. nereerd. Er is de afgelopen paar jaar een hoop veranderd We zouden graag zeggen dat jullie de ontbrekende pagina’s aan Omega, en het Omega team heeft beloofd dat we voor nog tegoed hebben voor het volgende nummer, maar we de volgende maps een artikel krijgen over alle nieuwighe- willen niet opnieuw beloftes doen die we misschien niet den.
    [Show full text]
  • Mb Type Frequently Asked Questions
    MB TYPE Why do you call it Mac OS? It’s macOS now, dude. FREQUENTLY ASKED QUESTIONS “Mac OS” is the spelling Apple uses to refer collectively to the various versions of their OS. “macOS” is a term that has only been applied to OS versions since 2016. I support The #1 mosT frequenTly asked quesTion versions of Mac OS from long before that. I’m a Windows user. For reasons known only to myself, I installed the OTF font fles. But the fonts don’t appear How do I use the fonts in my documents? correctly in PDFs. Once installed, each family will show up in your Font This is a known limitation of the PDF generator in Word- menu under multiple subfamily names. (The exact number Perfect and Word on Windows. Switching to the TTF font depends on the number of styles in the family.) fles will cure the problem. Where are the webfonts? insTallaTion They’re in the WOFF2 subfolder of each font family you What is this thing I downloaded from MB Type? downloaded. A zip fle. Extract the fles and you’ll see a set of nested How do I use the WOFF2 fonts on a website? directories containing the font families you purchased. I recommend making a backup in case you need to install Put the WOFF2 fles on your web server. Then use a the fonts again (for instance, on another computer). @font-face rule in your CSS fle to link each WOFF2 font to a CSS font family (and optionally, styling attributes).
    [Show full text]
  • IDML File Format Specification
    IDML File Format Specification Version 8.0 2 © 2012 Adobe Systems Incorporated. All rights reserved. If this guide is distributed with software that includes an end user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end user license agreement. The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide. Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. Any references to company names and company logos in sample material are for demonstration purposes only and are not intended to refer to any actual organization.
    [Show full text]
  • ABCDEFGHIJKLMNOPQRSTU VWXYZ Abcdefghijklmnopqrstu Vwxyz
    Color, Contrast, and Spacing COLOR CONTRAST COLOR CONTRAST COLOR CONTRAST COLOR COLOR Spacing COLOR Spacing COLOR Spacing COLOR Monotype 46 Typography 1 — The City College of New York 1 Proportions Helvetica Bold 72pt Modern proportions (uniform width) ABDEFGHIJKL MNOPQRST UVWXYZ Trajan 72pt Roman Proportions (varied widths) Thin: IJ Narrow: BEFLPRS Medium: HATVX ABDEFGHIJKL Wide: DCGNOQ Ultra Wide: MW *From Mark Jamra’s Form and Proportion in a Text Type- face: A Few Guidelines MNOPQRST Typography 1 — The City College of New York UVWXYZ 2 Proportions Helvetica Bold 84pt • Modern proportions (uniform width) • Tall x-height • Cap height = Ascender height RHAMburgers • Short descenders Optima Bold 84pt • Roman Proportions (BEFLPRS are nar- rowest and MW widest) • Tall x-height • Cap height < Ascender height RHAMburgers • Short descenders Helvetica Bold x Optima Bold 84pt Helvetica cap-HeigHt Optima cap-HeigHt Helvetica x-HeigHt Optima x-HeigHt RHAMburgers Baseline Typography 1 — The City College of New York 3 Proportions Helvetica Bold 84pt • Modern proportions (uniform width) • Tall x-height • Cap height = Ascender height RHAMburgers • Short descenders Adobe Garamond Pro Bold 84pt • Roman Proportions (BEFLPRS are nar- rowest and MW widest) • Short x-height • Cap height < Ascender height RHAMburgers • Short descenders Helvetica Bold x Adobe Garamond Pro Bold 84pt Helvetica cap-HeigHt garamOnd cap-HeigHt Helvetica x-HeigHt garamOnd x-HeigHt RHAMburgers Baseline Typography 1 — The City College of New York 4 Type Variables Type Variables H
    [Show full text]