Minimalist Class Series, Whose Name Is Taken from German Word “Ein‑ Fach” (“Simple”), Combined with the First Three Letters of “Artikel” (“Article”)
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Domando Al Escritor, Edición 2018 En Formato
Domando al Escritor LibreOffice™ Writer para escritores Edición 2018 Ricardo Gabriel "erla##o ¡No puedes pasar! https://elpinguinotolkiano.wordpress.com/ LibreOffice™ Writer o$rece% tanto al a&cionado como al pro$esional de las letras% una serie de (erramientas )ers*tiles + potentes que $acilitan el trabajo del escritor% automatizando las tareas m*s /di$íciles1 + dejando al a'tor con la única res3 ponsabilidad de escribir4 Di$erentes estilos de p*5ina% re$erencias cruzadas + biblio3 5r*&cas% opciones tipo5r*&cas a)anzadas% complejos diseños de te7to% tablas% $8rmulas matem*ticas% 5r*&cas9 todo esto + m*s puede ser realizado en LibreOffice™ Writer4 :o todo es per$ecto% tendremos problemas ,'e resol)er% por lo que en este libro tambi;n )er*s las limitaciones del pro5rama + c8mo superarlas4 El te7to (a sido or5anizado en la $orma de un /curso1 que% partiendo de lo m*s b*sico lle5a pro5resi)amente a mos3 trar todo lo ,'e este pro5rama tiene para o$recernos4 La presente edici8n se centra en la )ersi8n <4=% e7plicando sus numerosas no)edades e indicando ,'; nos traer* <4>4 ?arios capítulos ser*n dedicados a o$recer 'na introduc3 ci8n a otras componentes como Dra@% Aat( + B(art4 Domando al Escritor LibreOffice™ Writer para escritores Edición 2018 Ricardo Gabrie! " rla#so Cor,'e el pincel de $ormato no puede pasar D >E=F Ricardo Gabriel Berlasso Esta obra se distrib'+e ba-o licencia Breati)e Bommons Gtribuci8n3BompartirHgual I4E Hnternacional JBB "K3LG I4EM Jhttp://creativecommons.org/licenses/by-sa/4.0/M Atribución: Osted debe darle crédito -
FONT GUIDE Workbook to Help You Find the Right One for Your Brand
FONT GUIDE Workbook to help you find the right one for your brand. www.ottocreative.com.au Choosing the right font for your brand YOUR BRAND VALUES: How different font styles can be used to make up your brand: Logo Typeface: Is usually a bit more special and packed with your brands personality. This font should be used sparingly and kept for special occasions. Headings font: Logo Font This font will reflect the same brand values as your logo font - eg in this example both fonts are feminine and elegant. Headings Unlike your logo typeface, this font should be easier to read and look good a number of different sizes and thicknesses. Body copy Body font: The main rule here is that this font MUST be easy to read, both digitally and for print. If there is already alot going on in your logo and heading font, keep this style simple. Typefaces, common associations & popular font styles San Serif: Clean, Modern, Neutral Try these: Roboto, Open Sans, Lato, Montserrat, Raleway Serif: Classic, Traditional, reliable Try these: Playfair Display, Lora, Source Serif Pro, Prata, Gentium Basic Slab Serif: Youthful, modern, approachable Try these: Roboto Slab, Merriweather, Slabo 27px, Bitter, Arvo Script: Feminine, Romantic, Elegant Try these: Dancing Script, Pacifico, Satisfy, Courgette, Great Vibes Monotype:Simple, Technical, Futuristic Try these: Source Code Pro, Nanum Gothic Coding, Fira Mono, Cutive Mono Handwritten: Authentic, casual, creative Try these: Indie Flower, Shadows into light, Amatic SC, Caveat, Kalam Display: Playful, fun, personality galore Try these: Lobster, Abril Fatface, Luckiest Guy, Bangers, Monoton NOTE: Be careful when using handwritten and display fonts, as they can be hard to read. -
264 Tugboat, Volume 37 (2016), No. 3 Typographers' Inn Peter Flynn
264 TUGboat, Volume 37 (2016), No. 3 A Typographers’ Inn X LE TEX Peter Flynn Back at the ranch, we have been experimenting with X LE ATEX in our workflow, spurred on by two recent Dashing it off requests to use a specific set of OpenType fonts for A I recently put up a new version of Formatting Infor- some GNU/Linux documentation. X LE TEX offers A mation (http://latex.silmaril.ie), and in the two major improvements on pdfLTEX: the use of section on punctuation I described the difference be- OpenType and TrueType fonts, and the handling of tween hyphens, en rules, em rules, and minus signs. UTF-8 multibyte characters. In particular I explained how to type a spaced Font packages. You can’t easily use the font pack- dash — like that, using ‘dash~---Ђlike’ to put a A ages you use with pdfLTEX because the default font tie before the dash and a normal space afterwards, encoding is EU1 in the fontspec package which is key so that if the dash occurred near a line-break, it to using OTF/TTF fonts, rather than the T1 or OT1 would never end up at the start of a line, only at A conventionally used in pdfLTEX. But late last year the end. I somehow managed to imply that a spaced Herbert Voß kindly posted a list of the OTF/TTF dash was preferable to an unspaced one (probably fonts distributed with TEX Live which have packages because it’s my personal preference, but certainly A of their own for use with X LE TEX [6]. -
As Seen in the Translation Industry
Chinese Language & Culture As seen in the translation industry Introduction Prior to one of the most important celebrations in Asia - the Lunar New Year, we decided to share our next piece of extraordinary information with you. We have chosen a country quite famous for itself with rich traditions, interesting history and at the same time very different from the modern western world. In our small e-book, we’ve combined something famous, something small, and a bit of professional advice. We are glad to introduce to you our Chinese Language & Culture week. Welcome to our world! Gergana Toleva (Global Marketing Manager) Paper cutting The art of paper cutting is one of the most intricate arts with paper we’ve ever seen. It is oftentimes called chuāng huā ( ), window flowers or window paper- cuts as it was窗花 used to decorate windows and doors, so the light can shine through the cutout and create wondrous effects. They are usually made of red paper and symbolize luck and happiness. About Chinese Fonts When it comes to Chinese language, we don’t need to quote Traditional Chinese was used prior to 1954. Traditional numbers and statistics to convince someone that it’s one Chinese is still used widely in Chinatowns outside of China, of the most widely used languages in the world. Everyone as well as in Hong-Kong, Taiwan and Macau, where it’s the knows that. It’s a beautiful and fascinating language, and it official written language. In Mainland China, it’s used only in looks so different than most western languages that we’re extremely formal cases. -
Package 'Showtextdb'
Package ‘showtextdb’ June 4, 2020 Type Package Title Font Files for the 'showtext' Package Version 3.0 Date 2020-05-31 Author Yixuan Qiu and authors/contributors of the included fonts. See file AUTHORS for details. Maintainer Yixuan Qiu <[email protected]> Description Providing font files that can be used by the 'showtext' package. Imports sysfonts (>= 0.7), utils Suggests curl License Apache License (>= 2.0) Copyright see file COPYRIGHTS RoxygenNote 7.1.0 NeedsCompilation no Repository CRAN Date/Publication 2020-06-04 08:10:02 UTC R topics documented: font_install . .2 google_fonts . .3 load_showtext_fonts . .4 source_han . .4 Index 6 1 2 font_install font_install Install Fonts to the ’showtextdb’ Package Description font_install() saves the specified font to the ‘fonts’ directory of the showtextdb package, so that it can be used by the showtext package. This function requires the curl package. font_installed() lists fonts that have been installed to showtextdb. NOTE: Since the fonts are installed locally to the package directory, they will be removed every time the showtextdb package is upgraded or re-installed. Usage font_install(font_desc, quiet = FALSE, ...) font_installed() Arguments font_desc A list that provides necessary information of the font for installation. See the Details section. quiet Whether to show the progress of downloading and installation. ... Other parameters passed to curl::curl_download(). Details font_desc is a list that should contain at least the following components: showtext_name The family name of the font that will be used in showtext. font_ext Extension name of the font files, e.g., ttf for TrueType, and otf for OpenType. regular_url URL of the font file for "regular" font face. -
Beaulivre Write YOUR BOOKS in a COLORFUL WAY
ProȷΣLib beaulivre WRiTE YOUR BOOKS iN A COLORFUL WAY Corresponding to: beaulivre 2021/08/11 JINWEN XU August 2021, Beijing This page is intentionally left blank PREFACE beaulivre is a member of the colorist class series. Its name is taken from French words “beau” (for “beautiful”) and “livre” (for “book”). The entire collection includes colorart and lebhart for typesetting articles and colorbook and beaulivre for typesetting books. My original intention in designing this series was to write drafts and notes that look colorful yet not dazzling. beaulivre has multi‑language support, including Chinese (simplified and traditional), English, French, German, Italian, Japanese, Portuguese (European and Brazilian), Russian and Spanish. These languages can be switched seamlessly in a single document. Due to the usage of custom fonts, lebhart requires X LE ATEX or LuaLATEX to compile. This documentation is typeset using beaulivre (with the option allowbf). You can think of it as a short introduction and demonstration. TiP Multi‑language support, theorem‑like environments, draft marks and some other features are pro‑ vided by the ProȷΣLib toolkit. Here we only briefly discuss how to use it with this document class. For more detailed information, you can refer to the documentation of ProȷΣLib. iii This page is intentionally left blank CONTENTS PREFACE. iii I INSTRUCTION BEFORE YOU START . 3 1 Usage and examples . 5 1.1 How to load it . 5 1.2 Example ‑ A complete document . 5 1.2.1 Initialization . 6 1.2.2 Set the language . 6 1.2.3 Draft marks . 6 1.2.4 Theorem‑like environments . 6 2 On the default fonts . -
GNU Guix Reference Manual Using the GNU Guix Functional Package Manager
GNU Guix Reference Manual Using the GNU Guix Functional Package Manager The GNU Guix Developers Edition 34cf1f4 29 September 2021 Copyright c 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021 Ludovic Court`es Copyright c 2013, 2014, 2016 Andreas Enge Copyright c 2013 Nikita Karetnikov Copyright c 2014, 2015, 2016 Alex Kost Copyright c 2015, 2016 Mathieu Lirzin Copyright c 2014 Pierre-Antoine Rault Copyright c 2015 Taylan Ulrich Bayırlı/Kammer Copyright c 2015, 2016, 2017, 2019, 2020, 2021 Leo Famulari Copyright c 2015, 2016, 2017, 2018, 2019, 2020 Ricardo Wurmus Copyright c 2016 Ben Woodcroft Copyright c 2016, 2017, 2018, 2021 Chris Marusich Copyright c 2016, 2017, 2018, 2019, 2020, 2021 Efraim Flashner Copyright c 2016 John Darrington Copyright c 2016, 2017 Nikita Gillmann Copyright c 2016, 2017, 2018, 2019, 2020 Jan Nieuwenhuizen Copyright c 2016, 2017, 2018, 2019, 2020, 2021 Julien Lepiller Copyright c 2016 Alex ter Weele Copyright c 2016, 2017, 2018, 2019, 2020, 2021 Christopher Baines Copyright c 2017, 2018, 2019 Cl´ement Lassieur Copyright c 2017, 2018, 2020, 2021 Mathieu Othacehe Copyright c 2017 Federico Beffa Copyright c 2017, 2018 Carlo Zancanaro Copyright c 2017 Thomas Danckaert Copyright c 2017 humanitiesNerd Copyright c 2017, 2021 Christine Lemmer-Webber Copyright c 2017, 2018, 2019, 2020, 2021 Marius Bakke Copyright c 2017, 2019, 2020 Hartmut Goebel Copyright c 2017, 2019, 2020, 2021 Maxim Cournoyer Copyright c 2017, 2018, 2019, 2020, 2021 Tobias Geerinckx-Rice Copyright c 2017 George Clemmer Copyright c 2017 Andy Wingo Copyright c 2017, 2018, 2019, 2020 Arun Isaac Copyright c 2017 nee Copyright c 2018 Rutger Helling Copyright c 2018, 2021 Oleg Pykhalov Copyright c 2018 Mike Gerwitz Copyright c 2018 Pierre-Antoine Rouby Copyright c 2018, 2019 G´abor Boskovits Copyright c 2018, 2019, 2020 Florian Pelz Copyright c 2018 Laura Lazzati Copyright c 2018 Alex Vong Copyright c 2019 Josh Holland Copyright c 2019, 2020 Diego Nicola Barbato Copyright c 2019 Ivan Petkov Copyright c 2019 Jakob L. -
Release Notes for Fedora 21
Fedora 21 Release Notes Release Notes for Fedora 21 Edited by The Fedora Docs Team Copyright © 2014 Fedora Project Contributors. The text of and illustrations in this document are licensed by Red Hat under a Creative Commons Attribution–Share Alike 3.0 Unported license ("CC-BY-SA"). An explanation of CC-BY-SA is available at http://creativecommons.org/licenses/by-sa/3.0/. The original authors of this document, and Red Hat, designate the Fedora Project as the "Attribution Party" for purposes of CC-BY-SA. In accordance with CC-BY-SA, if you distribute this document or an adaptation of it, you must provide the URL for the original version. Red Hat, as the licensor of this document, waives the right to enforce, and agrees not to assert, Section 4d of CC-BY-SA to the fullest extent permitted by applicable law. Red Hat, Red Hat Enterprise Linux, the Shadowman logo, JBoss, MetaMatrix, Fedora, the Infinity Logo, and RHCE are trademarks of Red Hat, Inc., registered in the United States and other countries. For guidelines on the permitted uses of the Fedora trademarks, refer to https:// fedoraproject.org/wiki/Legal:Trademark_guidelines. Linux® is the registered trademark of Linus Torvalds in the United States and other countries. Java® is a registered trademark of Oracle and/or its affiliates. XFS® is a trademark of Silicon Graphics International Corp. or its subsidiaries in the United States and/or other countries. MySQL® is a registered trademark of MySQL AB in the United States, the European Union and other countries. All other trademarks are the property of their respective owners. -
TUGBOAT Volume 34, Number 1 / 2013
TUGBOAT Volume 34, Number 1 / 2013 General Delivery 3 Ab epistulis / Steve Peter 4 Editorial comments / Barbara Beeton This is the year for TEX bug reports; Don Knuth in the news (again); A new TEX calendar; Compulsive Bodoni / the Parmigiano Typographic System; Printing technology, old and new; Interactive and collaborative on-line LATEX; Mapping math and scientific symbols to their meanings Resources 6 CTAN: Relaunch of the Web portal / Gerd Neugebauer Fonts 10 Fonts! Fonts! Fonts! / Bob Tennent Typography 14 Typographers’ Inn / Peter Flynn Graphics 17 Entry-level MetaPost: On the grid / Mari Voipio 21 Recreating historical patterns with MetaPost / Mari Voipio 26 The xpicture package / Robert Fuster A L TEX 34 Side-by-side figures in LATEX / Thomas Thurnherr 37 Glisterings: Repetition; Verbatims; Small pages; Prefixing section heads / Peter Wilson 40 The esami package for examinations / Grazia Messineo and Salvatore Vassallo Dreamboat 47 E-TEX: Guidelines for future TEX extensions — revisited / Frank Mittelbach Software & Tools 64 LuaJITTEX / Luigi Scarso ConTEXt 72 ConTEXt: Just-in-time LuaTEX / Hans Hagen 79 ConTEXt basics for users: Images / Aditya Mahajan Macros 83 New CSplain of 2012 / Petr Olˇs´ak 88 OPmac: Macros for plain TEX / Petr Olˇs´ak Hints & Tricks 96 The treasure chest / Karl Berry 97 Production notes / Karl Berry Book Reviews 98 Book review: The Computer Science of TEX and LATEX / Boris Veytsman Abstracts 99 Die TEXnische Kom¨odie: Contents of issues 4/2012–1/2013 100 Eutypon: Contents of issue 28–29 (October 2012) News 101 Calendar 102 TUG 2013 announcement Advertisements 103 TEX consulting and production services TUG Business 2 TUGboat editorial information 2 TUG institutional members 105 TUG membership form 106 TUG financial statements for 2012 / Karl Berry 107 TUG 2013 election Fiction 108 Colophon / Daniel Quinn TEX Users Group Board of Directors TUGboat (ISSN 0896-3207) is published by the TEX Donald Knuth, Grand Wizard of TEX-arcana † Users Group. -
Beyond Trivial Counterfactual Generations with Diverse Valuable Explanations
Under review as a conference paper at ICLR 2021 BEYOND TRIVIAL COUNTERFACTUAL GENERATIONS WITH DIVERSE VALUABLE EXPLANATIONS Anonymous authors Paper under double-blind review ABSTRACT Explainability of machine learning models has gained considerable attention within our research community given the importance of deploying more reliable machine-learning systems. Explanability can also be helpful for model debugging. In computer vision applications, most methods explain models by displaying the regions in the input image that they focus on for their prediction, but it is dif- ficult to improve models based on these explanations since they do not indicate why the model fail. Counterfactual methods, on the other hand, indicate how to perturb the input to change the model prediction, providing details about the model’s decision-making. Unfortunately, current counterfactual methods make ambiguous interpretations as they combine multiple biases of the model and the data in a single counterfactual interpretation of the model’s decision. Moreover, these methods tend to generate trivial counterfactuals about the model’s decision, as they often suggest to exaggerate or remove the presence of the attribute be- ing classified. Trivial counterfactuals are usually not valuable, since the informa- tion they provide is often already known to the system’s designer. In this work, we propose a counterfactual method that learns a perturbation in a disentangled latent space that is constrained using a diversity-enforcing loss to uncover mul- tiple valuable explanations about the model’s prediction. Further, we introduce a mechanism to prevent the model from producing trivial explanations. Experi- ments on CelebA and Synbols demonstrate that our model improves the success rate of producing high-quality valuable explanations when compared to previous state-of-the-art methods. -
Source Han Sans and Noto Sans CJK Version 2.001 Were Released on 2019-04-09
The History of Japan’s Era Name Square Ligatures Dr Ken Lunde | Chief Type Architect-At-Large | Chez Lunde Japan’s Modern Era Names & Their Square Ligatures Era Name Ideographs Square Ligature Starting Date Meiji 1868-10-23 明治 ㍾ Taishō 1912-07-30 大正 ㍽ Shōwa 1926-12-25 昭和 ㍼ Heisei 1989-01-08 平成 ㍻ Reiwa 2019-05-01 令和 ㋿2 IUC43—Santa Clara, California, USA, Northwestern Hemisphere, Terra, Sol, Orion-Cygnus Arm, Milky Way, Local Group, Laniakea Supercluster 令和元年 10 月 18 日 Era Name Law— —1979 元号法 3 IUC43—Santa Clara, California, USA, Northwestern Hemisphere, Terra, Sol, Orion-Cygnus Arm, Milky Way, Local Group, Laniakea Supercluster 令和元年 10 月 18 日 Era Name Law— —1979 元号法 ㋐ 国民の理想としてふさわしいようなよい意味を持つものであること。 It must be something that has a positive meaning and suitable as a national ideal. ① 4 IUC43—Santa Clara, California, USA, Northwestern Hemisphere, Terra, Sol, Orion-Cygnus Arm, Milky Way, Local Group, Laniakea Supercluster 令和元年 10 月 18 日 Era Name Law— —1979 元号法 ㋐ 国民の理想としてふさわしいようなよい意味を持つものであること。 It must be something that has a positive meaning and suitable as a national ideal. ① ㋑ 漢字2字であること。 It must be two kanji. ② 5 IUC43—Santa Clara, California, USA, Northwestern Hemisphere, Terra, Sol, Orion-Cygnus Arm, Milky Way, Local Group, Laniakea Supercluster 令和元年 10 月 18 日 Era Name Law— —1979 元号法 ㋐ 国民の理想としてふさわしいようなよい意味を持つものであること。 It must be something that has a positive meaning and suitable as a national ideal. ① ㋑ 漢字2字であること。 It must be two kanji. ② ㋒ 書きやすいこと。 It must be easy to write. ③ 6 IUC43—Santa Clara, California, USA, Northwestern Hemisphere, Terra, Sol, Orion-Cygnus Arm, Milky Way, Local Group, Laniakea Supercluster 令和元年 10 月 18 日 Era Name Law— —1979 元号法 ㋐ 国民の理想としてふさわしいようなよい意味を持つものであること。 It must be something that has a positive meaning and suitable as a national ideal. -
Bishop Fox Cybersecurity Style Guide
BISHOP FOX CYBERSECURITY STYLE GUIDE VERSION 1.1 JUNE 27, 2018 This work is licensed under a Creative Commons Attribution-ShareAlike 2.0 Generic License. Bishop Fox Contact Information: +1 (480) 621-8967 [email protected] 8240 S. Kyrene Road Suite A-113 Tempe, AZ 85284 Contributing Technical Editors: Brianne Hughes, Erin Kozak, Lindsay Lelivelt, Catherine Lu, Amanda Owens, Sarah Owens We want to thank all of our Bishop Fox consultants, especially Dan Petro, for reviewing and improving the guide’s technical content. Bishop Fox™ 2018/06/27 2 TABLE OF CONTENTS Welcome! ................................................................................................................................. 4 Advice on Technical Formatting ........................................................................................................ 5 What to Expect in the Guide .............................................................................................................. 6 The Cybersecurity Style Guide .............................................................................................. 7 A-Z .......................................................................................................................................................... 7 Appendix A: Decision-making Notes .................................................................................. 96 How We Choose Our Terms ............................................................................................................96 How to Codify Your Own Terms ......................................................................................................97