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Bluebook Citation in Scholarly Legal Writing
BLUEBOOK CITATION IN SCHOLARLY LEGAL WRITING © 2016 The Writing Center at GULC. All Rights Reserved. The writing assignments you receive in 1L Legal Research and Writing or Legal Practice are primarily practice-based documents such as memoranda and briefs, so your experience using the Bluebook as a first year student has likely been limited to the practitioner style of legal writing. When writing scholarly papers and for your law journal, however, you will need to use the Bluebook’s typeface conventions for law review articles. Although answers to all your citation questions can be found in the Bluebook itself, there are some key, but subtle differences between practitioner writing and scholarly writing you should be careful not to overlook. Your first encounter with law review-style citations will probably be the journal Write-On competition at the end of your first year. This guide may help you in the transition from providing Bluebook citations in court documents to doing the same for law review articles, with a focus on the sources that you are likely to encounter in the Write-On competition. 1. Typeface (Rule 2) Most law reviews use the same typeface style, which includes Ordinary Times New Roman, Italics, and SMALL CAPITALS. In court documents, use Ordinary Roman, Italics, and Underlining. Scholarly Writing In scholarly writing footnotes, use Ordinary Roman type for case names in full citations, including in citation sentences contained in footnotes. This typeface is also used in the main text of a document. Use Italics for the short form of case citations. Use Italics for article titles, introductory signals, procedural phrases in case names, and explanatory signals in citations. -
Indesign CC 2015 and Earlier
Adobe InDesign Help Legal notices Legal notices For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html. Last updated 11/4/2019 iii Contents Chapter 1: Introduction to InDesign What's new in InDesign . .1 InDesign manual (PDF) . .7 InDesign system requirements . .7 What's New in InDesign . 10 Chapter 2: Workspace and workflow GPU Performance . 18 Properties panel . 20 Import PDF comments . 24 Sync Settings using Adobe Creative Cloud . 27 Default keyboard shortcuts . 31 Set preferences . 45 Create new documents | InDesign CC 2015 and earlier . 47 Touch workspace . 50 Convert QuarkXPress and PageMaker documents . 53 Work with files and templates . 57 Understand a basic managed-file workflow . 63 Toolbox . 69 Share content . 75 Customize menus and keyboard shortcuts . 81 Recovery and undo . 84 PageMaker menu commands . 85 Assignment packages . 91 Adjust your workflow . 94 Work with managed files . 97 View the workspace . 102 Save documents . 106 Chapter 3: Layout and design Create a table of contents . 112 Layout adjustment . 118 Create book files . 121 Add basic page numbering . 127 Generate QR codes . 128 Create text and text frames . 131 About pages and spreads . 137 Create new documents (Chinese, Japanese, and Korean only) . 140 Create an index . 144 Create documents . 156 Text variables . 159 Create type on a path . .. -
Miramo®: Reference Guide (9.2)
Miramo® Automated Publishing Reference Guide VERSION 9.2 Copyright © 2000 - 2012 Datazone Ltd. All rights reserved. Miramo® and mmChart are trademarks of Datazone Ltd. All other trademarks are the property of their respective owners. Readers of this documentation should note that its contents are intended for guidance only, and do not con- stitute formal offers or undertakings. ‘License Agreement’ This software, called Miramo, is licensed for use by the user subject to the terms of a License Agreement between the user and Datazone Ltd. Use of this software outside the terms of this license agreement is strictly prohibited. Unless agreed otherwise, this License Agreement grants a non-exclusive, non-transfer- able license to use the software programs and related documentation in this package (collectively referred to as Miramo) on licensed computers only. Any attempted sublicense, assignment, rental, sale or other transfer of the software or the rights or obligations of the License Agreement without prior written consent of Datazone shall be void. In the case of a Miramo Development License, it shall be used to develop appli- cations only and no attempt shall be made to remove the associated watermark included in output docu- ments by any automated method. The documentation accompanying this software must not be copied or re-distributed to any third-party in either printed, photocopied, scanned or electronic form. The software and documentation are copyrighted. Unless otherwise agreed in writing, copies of the soft- ware may be made only for backup and archival purposes. Unauthorized copying, reverse engineering, decompiling, disassembling, and creating derivative works based on the software are prohibited. -
A Guide to Quarkcopydesk 8.5 CONTENTS
A Guide to QuarkCopyDesk 8.5 CONTENTS Contents About this guide...............................................................................9 What we're assuming about you............................................................................9 Where to go for help..............................................................................................9 Conventions..........................................................................................................10 Technology note...................................................................................................10 The user interface...........................................................................11 Menus...................................................................................................................11 QuarkCopyDesk menu (Mac OS only)...........................................................................11 File menu.......................................................................................................................12 Edit menu......................................................................................................................12 Style menu.....................................................................................................................13 Component menu.........................................................................................................15 View menu.....................................................................................................................15 -
Stage 1.X — Meta-Design with Machine Learning Is Coming, and That’S a Good Thing
Dialectic Volume II, Issue II: Theoretical Speculation Stage 1.X — Meta-Design with Machine Learning is Coming, and That’s a Good Thing Steven SkaggS¹ 1. University of Louisville, Department of Fine Arts, Hite Art Institute, Louisville, ky, uSa SuggeSted citation: Skaggs, Steven. “Stage 1.X—Meta-design with Machine Learning is Coming and That’s a Good Thing.” Dialectic, 2.2 (2019): pgs. 49-68. Published by the AIGA Design Educators Community (DEC) and Michigan Publishing. doi: http://dx.doi.org/10.3998/dialectic.14932326.0002.204. Abstract The capabilities of digital technology to reproduce likenesses of existing people and places and to create fictional terraformed landscapes are well known. The increasing encroachment of bots into all areas of life has caused some to wonder if a designer bot is plausible. In my recent book Fire- Signs, ¹ I note that the acute cultural, stylistic, and semantic articulations made possible by current semiotic theory may enable digital resources to work within territories that were once considered the exclusive creative domain of the graphic designer. Such metadesign assistance may be resist ed by some who fear that it will altogether replace the need for the designer. In this article, I first suggest how metadesign might enter the design process, and then explore its use to affect layout and composition. I argue that, at least within that restricted domain, it promises greater creative benefits than liabilities to human graphic designers. 1 Skaggs, S. FireSigns: A Semiotic Theory for Graphic Design. Cambridge, mA, USA: mIt Press, 2017. Copyright © 2019, Dialectic and the AIGA Design Educators Community (DEC). -
Adobe Type 1 Font Format Adobe Systems Incorporated
Type 1 Specifications 6/21/90 final front.legal.doc Adobe Type 1 Font Format Adobe Systems Incorporated Addison-Wesley Publishing Company, Inc. Reading, Massachusetts • Menlo Park, California • New York Don Mills, Ontario • Wokingham, England • Amsterdam Bonn • Sydney • Singapore • Tokyo • Madrid • San Juan Library of Congress Cataloging-in-Publication Data Adobe type 1 font format / Adobe Systems Incorporated. p. cm Includes index ISBN 0-201-57044-0 1. PostScript (Computer program language) 2. Adobe Type 1 font (Computer program) I. Adobe Systems. QA76.73.P67A36 1990 686.2’2544536—dc20 90-42516 Copyright © 1990 Adobe Systems Incorporated. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated and Addison-Wesley, Inc. Printed in the United States of America. Published simultaneously in Canada. The information in this book 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 this book. The software described in this book is furnished under license and may only be used or copied in accordance with the terms of such license. Please remember that existing font software programs that you may desire to access as a result of information described in this book may be protected under copyright law. The unauthorized use or modification of any existing font software program could be a violation of the rights of the author. -
INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam. -
2.1 Typography
Working With Type FUN ROB MELTON BENSON POLYTECHNIC HIGH SCHOOL WITH PORTLAND, OREGON TYPE Points and picas If you are trying to measure something very short or very thin, then inches are not precise enough. Originally English printers devised picas to precisely measure the width of type and points to precise- ly measure the height of type. Now those terms are used interchangeably. There are 12 points in one pica, 6 picas in one inch — or 72 points in one inch. This is a 1-point line (or rule). 72 of these would be one inch thick. This is a 12-point rule. It is 1 pica thick. Six of these would be one inch thick. POINTS PICAS INCHES Thickness of rules I Lengths of rules Lengths of stories I Sizes of type (headlines, text, IWidths of text, photos, cutlines, IDepths of photos and ads cutlines, etc.) gutters, etc. (though some publications use IAll measurements smaller than picas for photo depths) a pica. Type sizes Type is measured in points. Body type is 7–12 point type, while display type starts at 14 point and goes to 127 point type. Traditionally, standard point sizes are 14, 18, 24, 30, 36, 42, 48, 54, 60 and 72. Using a personal computer, you can create headlines in one-point increments beginning at 4 point and going up to 650 point. Most page designers still begin with these standard sizes. The biggest headline you are likely to see is a 72 pt. head and it is generally reserved for big stories on broadsheet newspapers. -
Type & Typography
Type & Typography by Walton Mendelson 2017 One-Off Press Copyright © 2009-2017 Walton Mendelson All rights reserved. [email protected] All images in this book are copyrighted by their respective authors. PhotoShop, Illustrator, and Acrobat are registered trademarks of Adobe. CreateSpace is a registered trademark of Amazon. All trademarks, these and any others mentioned in the text are the property of their respective owners. This book and One- Off Press are independent of any product, vendor, company, or person mentioned in this book. No product, company, or person mentioned or quoted in this book has in any way, either explicitly or implicitly endorsed, authorized or sponsored this book. The opinions expressed are the author’s. Type & Typography Type is the lifeblood of books. While there is no reason that you can’t format your book without any knowledge of type, typography—the art, craft, and technique of composing and printing with type—lets you transform your manuscript into a professional looking book. As with writing, every book has its own issues that you have to discover as you design and format it. These pages cannot answer every question, but they can show you how to assess the problems and understand the tools you have to get things right. “Typography is what language looks like,” Ellen Lupton. Homage to Hermann Zapf 3 4 Type and Typography Type styles and Letter Spacing: The parts of a glyph have names, the most important distinctions are between serif/sans serif, and roman/italic. Normal letter spacing is subtly adjusted to avoid typographical problems, such as widows and rivers; open, touching, or expanded are most often used in display matter. -
15. Italic and Roman Type
italic and roman type 15. Italic and roman type Italic type (slanted to the right) should be used sparingly . It is harder to read than roman type, both in print and on screen, and overuse reduces its utility as a means of emphasis or contrast . • Italics should be used for formally published material: books, journals, newspapers, magazines, databases, and working paper and policy paper series names (but the specific working paper or policy paper title should be in roman type and in quotation marks) . • Italics should also be used for foreign words or expressions (e .g . Länder), except in the case of proper nouns (e .g . Deutsche Bundesbank) . • Write Latin abbreviations in italics, except “cf .”, “e .g .”, “et al .”, “etc .”, “ibid .”, “i .e .”, “NB”, “vs .” . Use roman type for: • titles of documents and papers (which should also appear in double quotation marks) • titles of programmes, codes, laws, declarations (e g. Paris Declaration) and guidelines (which should also appear in title case) • quotation marks (even when the text is in italics) . notes ❯ Where the body of a text is in italics, items that normally would be italicised become roman . ❯ Use bold sparingly and never underline (except Internet addresses) . See also: Abbreviations and acronyms, pp. 52-55; Bibliographical referencing: Sources and citations, pp. 56-64; Capitalisation, pp. 66-68. 84 oecd style guide - third edition @oecd 2015 From: OECD Style Guide Third Edition Access the complete publication at: https://doi.org/10.1787/9789264243439-en Please cite this chapter as: OECD (2015), “Italic and roman type”, in OECD Style Guide: Third Edition, OECD Publishing, Paris. -
Fonts for Latin Paleography
FONTS FOR LATIN PALEOGRAPHY Capitalis elegans, capitalis rustica, uncialis, semiuncialis, antiqua cursiva romana, merovingia, insularis majuscula, insularis minuscula, visigothica, beneventana, carolina minuscula, gothica rotunda, gothica textura prescissa, gothica textura quadrata, gothica cursiva, gothica bastarda, humanistica. User's manual 5th edition 2 January 2017 Juan-José Marcos [email protected] Professor of Classics. Plasencia. (Cáceres). Spain. Designer of fonts for ancient scripts and linguistics ALPHABETUM Unicode font http://guindo.pntic.mec.es/jmag0042/alphabet.html PALEOGRAPHIC fonts http://guindo.pntic.mec.es/jmag0042/palefont.html TABLE OF CONTENTS CHAPTER Page Table of contents 2 Introduction 3 Epigraphy and Paleography 3 The Roman majuscule book-hand 4 Square Capitals ( capitalis elegans ) 5 Rustic Capitals ( capitalis rustica ) 8 Uncial script ( uncialis ) 10 Old Roman cursive ( antiqua cursiva romana ) 13 New Roman cursive ( nova cursiva romana ) 16 Half-uncial or Semi-uncial (semiuncialis ) 19 Post-Roman scripts or national hands 22 Germanic script ( scriptura germanica ) 23 Merovingian minuscule ( merovingia , luxoviensis minuscula ) 24 Visigothic minuscule ( visigothica ) 27 Lombardic and Beneventan scripts ( beneventana ) 30 Insular scripts 33 Insular Half-uncial or Insular majuscule ( insularis majuscula ) 33 Insular minuscule or pointed hand ( insularis minuscula ) 38 Caroline minuscule ( carolingia minuscula ) 45 Gothic script ( gothica prescissa , quadrata , rotunda , cursiva , bastarda ) 51 Humanist writing ( humanistica antiqua ) 77 Epilogue 80 Bibliography and resources in the internet 81 Price of the paleographic set of fonts 82 Paleographic fonts for Latin script 2 Juan-José Marcos: [email protected] INTRODUCTION The following pages will give you short descriptions and visual examples of Latin lettering which can be imitated through my package of "Paleographic fonts", closely based on historical models, and specifically designed to reproduce digitally the main Latin handwritings used from the 3 rd to the 15 th century. -
From Scribes to Types Peter Van Der Weij.Indd
FROM SCRIBES TO TYPES THE INSPIRATIONS AND INFLUENCES FOR THE FIRST MOVABLE TYPES Research by: PETER VAN DER WEIJ Tutored by: ALBERT CORBETO Course: MÁSTER DE TIPOGRAFÍA AVANZADA (EINA Center de Disseny i Art de Barcelona) ABSTRACT This research is about exploring the period before and after the invention of the printing press. The journey that the first scripts made to be turned into movable type. The research consists of investigating and mapping the scripts that were chosen. The thesis has an analyti- cal view on each journey. Historical background, æsthetical influences, models, characteristics and comparison are criteria that have been investigated for each of these scripts. This research shed light on the aspects of the transition from script to moveable type and proves that the cul- tural and historical context, aesthetically choices play as important role as technical reasons for movable type to come to life. Knowing that as a type designer will help me to first under- stand and second revitalize the unexplored ideas in old scripts and typefaces. KEYWORDS: Printing press, Movable type, Scripts, History, Type design, Europe, Analytical, Adjustments, Transition. ii TABLE OF CONTENT INTRODUCTION 1 METHODOLOGY 3 THE GUTENBERG B42 5 THE FIRST PRINTED TYPE IN ITALY 8 THE FIRST ROMAN 12 ROMAN CAPITALS 12 PERFECTING THE SCRIPT 15 THE ITALIAN ROTUNDA 17 CAXTON TYPE 2 20 ITALIC 1 23 CONCLUSION 26 BIBLIOGRAPHY 27 INTRODUCTION This is a research about the first movable types in Europe and how they came to be. When I started my research about the transitional period from handwriting to printed books in Europe the focus was more on the technical challenges that the movable type makers ran into in order to create the first types.