User's Guide to AMS-TEX Version 2.0 Contents 1. Overview Ought to Know
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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. -
Declaration of Independence Font Style
Declaration Of Independence Font Style Heliocentric and implanted Jeremiah prize her duteousness cannonades while Tabor numerate some Davy tonally. How integrant is Juergen when natatory and denticulate Xenos balk some inmate? Outsize and unmeant Shimon spottings fundamentally and synthesise his loungers ghastfully and aguishly. Headings should be closer to the text they introduce than the text that preceeds them. Son foundry was divided among his heirs. HTML hyperlinks are automatically converted. Need help finding the right font for your brand? Prince currently defaults to the RGB color space. Characters are in this declaration independence calligraphy font was the lanston caslon. Mulberry comes as a group of six fonts that cover a whole array of different styles and ligatures. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. Now check your email to confirm your subscription. Research on font trustworthiness: Baskerville vs. Files included in attentions to hear from the depository of? Writers used both cursive styles: location, contents and context of the text determined which style to use. In general, although some of the shapes of individual characters are different, the biggest variation is in line spacing and character size. Some fonts give off assertiveness. The Declaration of Independence in its popular calligraphic form, with signatures. Should this be of importance, use the second approach instead. There are several bibles that are set with Lexicon as well. Garamond will undoubtedly fit the bill. However, it will be tricky to support nested styles this way. Who are your people, and how do you want to talk to them? QUILTSportraits of famous African Americans as a way to document and commemorate their achievements. -
19. Punctuation
punctuation 19. Punctuation Punctuation is important because it helps achieve clarity and readability . ’ Apostrophes Use • before the “s” in singular possessives: The prime minister’s suggestion was considered. • after the “s” in plural possessives: The ministers’ decision was unanimous. Do not use • in plural dates and abbreviations: 1930s, NGOs • in the possessive pronoun “its”: The government characterised its budget as prudent. See also: Capitalisation, pp. 66-68. : Colons Use • to lead into a list, an explanation or elaboration, an indented quotation • to mark the break between a title and subtitle: Social Sciences for a Digital World: Building Infrastructure for the Future (book) Trends in transport to 2050: A macroscopic view (chapter) Do not use • more than once in a given sentence • a space before colons and semicolons. 90 oecd style guide - third edition @oecd 2015 punctuation , Commas Use • to separate items in most lists (except as indicated under semicolons) • to set off a non-restrictive relative clause or other element that is not part of the main sentence: Mr Smith, the first chairperson of the committee, recommended a fully independent watchdog. • commas in pairs; be sure not to forget the second one • before a conjunction introducing an independent clause: It is one thing to know a gene’s chemical structure, but it is quite another to understand its actual function. • between adjectives if each modifies the noun alone and if you could insert the word “and”: The committee recommended swift, extensive changes. Do not use • after “i.e.” or “e.g.” • before parentheses • preceding and following en-dashes • before “and”, at the end of a sequence of items, unless one of the items includes another “and”: The doctor suggested an aspirin, half a grapefruit and a cup of broth. -
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. -
UEB Guidelines for Technical Material
Guidelines for Technical Material Unified English Braille Guidelines for Technical Material This version updated October 2008 ii Last updated October 2008 iii About this Document This document has been produced by the Maths Focus Group, a subgroup of the UEB Rules Committee within the International Council on English Braille (ICEB). At the ICEB General Assembly in April 2008 it was agreed that the document should be released for use internationally, and that feedback should be gathered with a view to a producing a new edition prior to the 2012 General Assembly. The purpose of this document is to give transcribers enough information and examples to produce Maths, Science and Computer notation in Unified English Braille. This document is available in the following file formats: pdf, doc or brf. These files can be sourced through the ICEB representatives on your local Braille Authorities. Please send feedback on this document to ICEB, again through the Braille Authority in your own country. Last updated October 2008 iv Guidelines for Technical Material 1 General Principles..............................................................................................1 1.1 Spacing .......................................................................................................1 1.2 Underlying rules for numbers and letters.....................................................2 1.3 Print Symbols ..............................................................................................3 1.4 Format.........................................................................................................3 -
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 -
Not-So-Frequently Asked Questions for LATEX
Not-So-Frequently Asked Questions for LATEX Miles 2010 This document addresses more esoteric issues in LATEX that have nonethe- less actually arisen with the author. We hope that somebody will find it useful! • Why is LATEX telling me that a command I use is undefined? Answer. Make sure that you're using the amsmath package. This is included in rsipacks.sty (so it will automatically be included in your RSI paper and minipaper). To include it in other documents, put \usepackage{amsmath} in your preamble, before \begin{document}. Just to be safe, throw in amssymb and amsthm as well (so that you have all the fonts and symbols you would expect, and so that you can define theorems environments). If the command is a standard one, be sure that you spelled it correctly. If it's a command you defined (or thought you did), make sure that you really defined it. • How do I get script letters, like L , H , F , and G ? Answer. You need the mathrsfs package, so put \usepackage{mathrsfs} in your preamble. Then you can use the font name mathscr to get the desired font in math mode. For example, \mathscr{L} yields L . • How do I typeset a series of displayed equations so that the equals signs line up? Answer. First, you need the amsmath package (see above). Once you have that, you use the align* environment, like this : \begin{align*} math &= more math \\ &= more math \\ 1 other math &\le different math \\ &= yet more math \end{align*} This will produce something like n i X X X f(i; j) = f(i; j) i=1 j=1 1≤j≤i≤n n n X X = f(i; j); j=1 i=j 1 + 1 + 1 = 2 + 1 = 3: You can replace the equals signs with whatever other appropriate sym- bol you like (≤, ≥, ≡, =∼, ⊂, etc.). -
AN INTRODUCTION to BRAILLE MATHEMATICS Using UEB and the Nemeth Code Provisional Online Edition 2017
AN INTRODUCTION TO BRAILLE MATHEMATICS Using UEB and the Nemeth Code Provisional Online Edition 2017 CONTENTS About the Provisional Online Edition Foreword to the 2017 Edition Prerequisites Study Tips . .. i Each time a new lesson is posted, this file will be replaced in order to include the new list. Lesson 1 1.1 Philosophy 1.2 Non-technical and Technical Texts 1.2.1 Non-technical Texts 1.2.2 Technical Texts INTRODUCTION TO NUMERALS AND THE NUMERIC INDICATOR 1.3 Representation of Arabic Numerals 1.3.1 English Braille Numerals 1.3.2 Nemeth Code Digits 1.4 Numeric Indicator 1.4.1 SPECIAL CASE—Segmented Numbers THE PRACTICE MATERIAL Practice 1A THE MATHEMATICAL COMMA AND DECIMAL POINT 1.5 Mathematical Comma 1.6 Mathematical Decimal Point 1.6.1 Spacing of the Decimal Point 1.6.2 The Decimal Point and the Numeric Indicator 1.7 FORMAT: General Principles Practice 1B INTRODUCTION TO SIGNS OF OPERATION 1.8 Signs of Operation 1.8.1 Spacing with Signs of Operation 1.8.2 Positive and Negative Numbers Practice 1C INTRODUCTION TO SIGNS OF COMPARISON 1.9 Signs of Comparison 1.9.1 Spacing with Signs of Comparison iii 5/5/2017 Practice 1D MONETARY, PERCENT, AND PRIME SIGNS 1.10 Monetary Signs 1.10.1 Spacing with Monetary Signs 1.11 Percent and Per Mille Signs 1.11.1 Spacing with Percent and Per Mille Signs 1.12 Prime Sign Practice 1E CONTINENTAL SYMBOLS 1.13 The Continental Comma 1.14 The Continental Decimal Point Answers to Practice Material Lesson 2 INTRODUCTION TO CODE SWITCHING 2.1 A Complete Transcription 2.2 Use of the Switch Indicators Practice -
Tibetan Romanization Table
Tibetan Comment [LRH1]: Transliteration revisions are highlighted below in light-gray or otherwise noted in a comment. ALA-LC romanization of Tibetan letters follows the principles of the Wylie transliteration system, as described by Turrell Wylie (1959). Diacritical marks are used for those letters representing Indic or other non-Tibetan languages, and parallel the use of these marks when transcribing their counterpart letters in Sanskrit. These are applied for the sake of consistency, and to reflect international publishing standards. Accordingly, romanize words of non-Tibetan origin systematically (following this table) in all cases, even though the word may derive from Sanskrit or another language. When Tibetan is written in another script (e.g., ʼPhags-pa) the corresponding letters in that script are also romanized according to this table. Consonants (see Notes 1-3) Vernacular Romanization Vernacular Romanization Vernacular Romanization ka da zha ཀ་ ད་ ཞ་ kha na za ཁ་ ན་ ཟ་ Comment [LH2]: While the current ALA-LC ga pa ’a table stipulates that an apostrophe should be used, ག་ པ་ འ་ this revision proposal recommends that the long- nga pha ya standing defacto LC practice of using an alif (U+02BC) be continued and explicitly stipulated in ང་ ཕ་ ཡ་ the Table. See accompanying Narrative for details. ca ba ra ཅ་ བ་ ར་ cha ma la ཆ་ མ་ ལ་ ja tsa sha ཇ་ ཙ་ ཤ་ nya tsha sa ཉ་ ཚ་ ས་ ta dza ha ཏ་ ཛ་ ཧ་ tha wa a ཐ་ ཝ་ ཨ་ Vowels and Diphthongs (see Notes 4 and 5) ཨི་ i ཨཱི་ ī རྀ་ r̥ ཨུ་ u ཨཱུ་ ū རཱྀ་ r̥̄ ཨེ་ e ཨཻ་ ai ལྀ་ ḷ ཨོ་ o ཨཽ་ au ལཱྀ ḹ ā ཨཱ་ Other Letters or Diacritical Marks Used in Words of Non-Tibetan Origin (see Notes 6 and 7) ṭa gha ḍha ཊ་ གྷ་ ཌྷ་ ṭha jha anusvāra ṃ Comment [LH3]: This letter combination does ཋ་ ཇྷ་ ◌ ཾ not occur in Tibetan texts, and has been deprecated from the Unicode Standard. -
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 Creation of Josquin's Reputation and Legacy
The Creation of Josquin’s Reputation and Legacy Chengxuan Li Quotation “Josquin’s influence on the music of the sixteenth century was so profound that it seems impossible to isolate a special ‘school of Josquin’. He has created the musical language of his age to an extent far exceeding that of any other composer. His music had the impact of an epochal event.” Helmuth Osthoff (1958) This quotation shows that how Josquin’s reputation is widely spread, even to the present day WHAT FACTORS CONTRIBUTE TO JOSQUIN’S FAME? v Humanism affects his music style a lot, which is consisted of individual expression and delight senses v Ave Maria is a prime example of how Josquin experimented with varied combinations of voices and textures to highlight different emotional aspects of the text v The invention of printing was a way to preserve and transmit music. That’s why his music could be published and well-known even NOW Josquin and Authentication David Mather Issues with Attributing Pieces to Josquin v Josquin is not only the most popular composer of his day, but is a talented singer; he travels all over Europe singing in the papal choir and studying composition v It becomes difficult to place Josquin securely in some periods; compositions from different locations leads to appearances of music attributed to Josquin in lone sources, questioning the credibility of the source and copyist v Josquin is not the only composer traveling during this period to study composition; music and notation is studied in church libraries, and composers would hear others’