6Layouts and Fonts
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Open Source License Report on the Product
OPEN SOURCE LICENSE REPORT ON THE PRODUCT The software included in this product contains copyrighted software that is licensed under the GPLv2, GPLv3, gSOAP Public License, jQuery, PHP License 3.01, FTL, BSD 3-Clause License, Public Domain, MIT License, OpenSSL Combined License, Apache 2.0 License, zlib/libpng License, , . You may obtain the complete corresponding source code from us for a period of three years after our last shipment of this product by sending email to: [email protected] If you want to obtain the complete corresponding source code with a physical medium such as CD-ROM, the cost of physically performing source distribution might be charged. For more details about Open Source Software, refer to eneo website at www.eneo-security.com, the product CD and manuals. GPLv2: u-Boot 2013.07, Linux Kernel 3.10.55, busybox 1.20.2, ethtool 3.10, e2fsprogs 1.41.14, mtd-utils 1.5.2, lzo 2.05, nfs-utils 1.2.7, cryptsetup 1.6.1, udhcpd 0.9.9 GPLv3: pwstrength 2.0.4 gSOAP Public License: gSOAP 2.8.10 jQuery License: JQuery 2.1.1, JQuery UI 1.10.4 PHP: PHP 5.4.4 FTL (FreeType License): freetype 2.4.10 BSD: libtirpc 0.2.3, rpcbind 0.2.0, lighttpd 1.4.32, hdparm 9,45, hostpad 2, wpa_supplicant 2, jsbn 1.4 Public Domain: sqlite 3.7.17 zlib: zlib 1.2.5 MIT:pwstrength 2.0.4, ezxml 0.8.6, bootstrap 3.3.4, jquery-fullscreen 1.1.5, jeditable 1.7.1, jQuery jqGrid 4.6.0, fullcalendar 2.2.0, datetimepicker 4.17.42, clockpicker 0.0.7, dataTables 1.0.2, dropzone 3.8.7, iCheck 1.0.2, ionRangeSlider 2.0.13, metisMenu 2.0.2, slimscroll 1.3.6, sweetalert 2015.11, Transitionize 0.0.2 , switchery 0.0.2, toastr 2.1.0, animate 3.5.0, font-awesome 4.3.0, Modernizr 2.7.1 pace 1.0.0 OpenSSL Combined: openssl 1.0.1h Apache license 2.0: datepicker 1.4.0, mDNSResponder 379.32.1 wish), that you receive source reflect on the original authors' GNU GENERAL PUBLIC code or can get it if you want it, reputations. -
Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
Basic Styles of Lettering for Monuments and Markers.Indd
BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble. -
CSS Font Stacks by Classification
CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed. -
Dynamic and Interactive R Graphics for the Web: the Gridsvg Package
JSS Journal of Statistical Software MMMMMM YYYY, Volume VV, Issue II. http://www.jstatsoft.org/ Dynamic and Interactive R Graphics for the Web: The gridSVG Package Paul Murrell Simon Potter The Unversity of Auckland The Unversity of Auckland Abstract This article describes the gridSVG package, which provides functions to convert grid- based R graphics to an SVG format. The package also provides a function to associate hyperlinks with components of a plot, a function to animate components of a plot, a function to associate any SVG attribute with a component of a plot, and a function to add JavaScript code to a plot. The last two of these provides a basis for adding interactivity to the SVG version of the plot. Together these tools provide a way to generate dynamic and interactive R graphics for use in web pages. Keywords: world-wide web, graphics, R, SVG. 1. Introduction Interactive and dynamic plots within web pages are becomingly increasingly popular, as part of a general trend towards making data sets more open and accessible on the web, for example, GapMinder (Rosling 2008) and ManyEyes (Viegas, Wattenberg, van Ham, Kriss, and McKeon 2007). The R language and environment for statistical computing and graphics (R Development Core Team 2011) has many facilities for producing plots, and it can produce graphics formats that are suitable for including in web pages, but the core graphics facilities in R are largely focused on static plots. This article describes an R extension package, gridSVG, that is designed to embellish and transform a standard, static R plot and turn it into a dynamic and interactive plot that can be embedded in a web page. -
The Unicode Cookbook for Linguists: Managing Writing Systems Using Orthography Profiles
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2017 The Unicode Cookbook for Linguists: Managing writing systems using orthography profiles Moran, Steven ; Cysouw, Michael DOI: https://doi.org/10.5281/zenodo.290662 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-135400 Monograph The following work is licensed under a Creative Commons: Attribution 4.0 International (CC BY 4.0) License. Originally published at: Moran, Steven; Cysouw, Michael (2017). The Unicode Cookbook for Linguists: Managing writing systems using orthography profiles. CERN Data Centre: Zenodo. DOI: https://doi.org/10.5281/zenodo.290662 The Unicode Cookbook for Linguists Managing writing systems using orthography profiles Steven Moran & Michael Cysouw Change dedication in localmetadata.tex Preface This text is meant as a practical guide for linguists, and programmers, whowork with data in multilingual computational environments. We introduce the basic concepts needed to understand how writing systems and character encodings function, and how they work together. The intersection of the Unicode Standard and the International Phonetic Al- phabet is often not met without frustration by users. Nevertheless, thetwo standards have provided language researchers with a consistent computational architecture needed to process, publish and analyze data from many different languages. We bring to light common, but not always transparent, pitfalls that researchers face when working with Unicode and IPA. Our research uses quantitative methods to compare languages and uncover and clarify their phylogenetic relations. However, the majority of lexical data available from the world’s languages is in author- or document-specific orthogra- phies. -
Resources Ton 'QX Repository (For Details, Contact Peter Ab- Bott, E-Mail Address Above)
TUGboat, Volume 10 (1989), No. 2 Janet users may obtain back issues from the As- Resources ton 'QX repository (for details, contact Peter Ab- bott, e-mail address above). DECnetISPAN users may obtain back issues from the European (con- Announcing (belatedly) -MAG tact Massimo Calvani, fisicaQastrpd.infn. it) or American (contact Ed Bell, 7388 : :bell) DECnet Don Hosek T)?J repositories. University of Illinois at Chicago Others with network access should send a mes- After being chided for not publicizing my electronic sage to archive-serverQsun.soe.clarkson.edu "magazine" enough, I have decided to make a formal with the first line being path followed by an address announcement of its availability to the 'J&X cornmu- from Clarkson to you, and then a line nity at large. get texmag texmag.v.nn What is =MAG? for each back issue desired where v is the volume number and nn the issue number. The line index WMAG is available free of charge to anyone reach- texmag will give a list of back issues available. able by electronic mail and is published approxi- A typical mail request may resemble: mately every two months. The subject material index t exmag generally falls somewhere between the somewhat get texmag texmag.l.08 chaotic (but still useful) correspondence of 'QXHAX and UKW, and the printed matter in TUGboat How do I submit articles to TEXMAG? and QXline. Some previous articles have included I was hoping you would ask. Articles are accepted an early version of Dominik Wujastyk's article on on all aspects of T)?J, M'QX, and METAFONT from fonts from TUB 9#2; an overview of the differ- specific information on interfacing graphics packages ent font files used by 'QX, METAFONT, and device with particular DVI drivers to general information drivers; macros for commutative diagrams and sim- on macro writing to product reviews to whatever ple chemical equations and many other topics. -
Font HOWTO Font HOWTO
Font HOWTO Font HOWTO Table of Contents Font HOWTO......................................................................................................................................................1 Donovan Rebbechi, elflord@panix.com..................................................................................................1 1.Introduction...........................................................................................................................................1 2.Fonts 101 −− A Quick Introduction to Fonts........................................................................................1 3.Fonts 102 −− Typography.....................................................................................................................1 4.Making Fonts Available To X..............................................................................................................1 5.Making Fonts Available To Ghostscript...............................................................................................1 6.True Type to Type1 Conversion...........................................................................................................2 7.WYSIWYG Publishing and Fonts........................................................................................................2 8.TeX / LaTeX.........................................................................................................................................2 9.Getting Fonts For Linux.......................................................................................................................2 -
Fira Code: Monospaced Font with Programming Ligatures
Personal Open source Business Explore Pricing Blog Support This repository Sign in Sign up tonsky / FiraCode Watch 282 Star 9,014 Fork 255 Code Issues 74 Pull requests 1 Projects 0 Wiki Pulse Graphs Monospaced font with programming ligatures 145 commits 1 branch 15 releases 32 contributors OFL-1.1 master New pull request Find file Clone or download lf- committed with tonsky Add mintty to the ligatures-unsupported list (#284) Latest commit d7dbc2d 16 days ago distr Version 1.203 (added `__`, closes #120) a month ago showcases Version 1.203 (added `__`, closes #120) a month ago .gitignore - Removed `!!!` `???` `;;;` `&&&` `|||` `=~` (closes #167) `~~~` `%%%` 3 months ago FiraCode.glyphs Version 1.203 (added `__`, closes #120) a month ago LICENSE version 0.6 a year ago README.md Add mintty to the ligatures-unsupported list (#284) 16 days ago gen_calt.clj Removed `/**` `**/` and disabled ligatures for `/*/` `*/*` sequences … 2 months ago release.sh removed Retina weight from webfonts 3 months ago README.md Fira Code: monospaced font with programming ligatures Problem Programmers use a lot of symbols, often encoded with several characters. For the human brain, sequences like -> , <= or := are single logical tokens, even if they take two or three characters on the screen. Your eye spends a non-zero amount of energy to scan, parse and join multiple characters into a single logical one. Ideally, all programming languages should be designed with full-fledged Unicode symbols for operators, but that’s not the case yet. Solution Download v1.203 · How to install · News & updates Fira Code is an extension of the Fira Mono font containing a set of ligatures for common programming multi-character combinations. -
Suitcase Fusion 8 Getting Started
Copyright © 2014–2018 Celartem, Inc., doing business as Extensis. This document and the software described in it are copyrighted with all rights reserved. This document or the software described may not be copied, in whole or part, without the written consent of Extensis, except in the normal use of the software, or to make a backup copy of the software. This exception does not allow copies to be made for others. Licensed under U.S. patents issued and pending. Celartem, Extensis, LizardTech, MrSID, NetPublish, Portfolio, Portfolio Flow, Portfolio NetPublish, Portfolio Server, Suitcase Fusion, Type Server, TurboSync, TeamSync, and Universal Type Server are registered trademarks of Celartem, Inc. The Celartem logo, Extensis logos, LizardTech logos, Extensis Portfolio, Font Sense, Font Vault, FontLink, QuickComp, QuickFind, QuickMatch, QuickType, Suitcase, Suitcase Attaché, Universal Type, Universal Type Client, and Universal Type Core are trademarks of Celartem, Inc. Adobe, Acrobat, After Effects, Creative Cloud, Creative Suite, Illustrator, InCopy, InDesign, Photoshop, PostScript, Typekit and XMP are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apache Tika, Apache Tomcat and Tomcat are trademarks of the Apache Software Foundation. Apple, Bonjour, the Bonjour logo, Finder, iBooks, iPhone, Mac, the Mac logo, Mac OS, OS X, Safari, and TrueType are trademarks of Apple Inc., registered in the U.S. and other countries. macOS is a trademark of Apple Inc. App Store is a service mark of Apple Inc. IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license. Elasticsearch is a trademark of Elasticsearch BV, registered in the U.S. -
Opentype Postscript Fonts with Unusual Units-Per-Em Values
Luigi Scarso VOORJAAR 2010 73 OpenType PostScript fonts with unusual units-per-em values Abstract Symbola is an example of OpenType font with TrueType OpenType fonts with Postscript outline are usually defined outlines which has been designed to match the style of in a dimensionless workspace of 1000×1000 units per em Computer Modern font. (upm). Adobe Reader exhibits a strange behaviour with pdf documents that embed an OpenType PostScript font with A brief note about bitmap fonts: among others, Adobe unusual upm: this paper describes a solution implemented has published a “Glyph Bitmap Distribution Format by LuaTEX that resolves this problem. (BDF)” [2] and with fontforge it’s easy to convert a bdf font into an opentype one without outlines. A fairly Keywords complete bdf font is http://unifoundry.com/unifont-5.1 LuaTeX, ConTeXt Mark IV, OpenType, FontMatrix. .20080820.bdf.gz: this Vle can be converted to an Open- type format unifontmedium.otf with fontforge and it Introduction can inspected with showttf, a C program from [3]. Here is an example of glyph U+26A5 MALE AND FEMALE Opentype is a font format that encompasses three kinds SIGN: of widely used fonts: 1. outline fonts with cubic Bézier curves, sometimes Glyph 9887 ( uni26A5) starts at 492 length=17 referred to CFF fonts or PostScript fonts; height=12 width=8 sbX=4 sbY=10 advance=16 2. outline fonts with quadratic Bézier curve, sometimes Bit aligned referred to TrueType fonts; .....*** 3. bitmap fonts. ......** .....*.* Nowadays in digital typography an outline font is almost ..***... the only choice and no longer there is a relevant diUer- .*...*. -
The File Cmfonts.Fdd for Use with Latex2ε
The file cmfonts.fdd for use with LATEX 2".∗ Frank Mittelbach Rainer Sch¨opf 2019/12/16 This file is maintained byA theLTEX Project team. Bug reports can be opened (category latex) at https://latex-project.org/bugs.html. 1 Introduction This file contains the external font information needed to load the Computer Modern fonts designed by Don Knuth and distributed with TEX. From this file all .fd files (font definition files) for the Computer Modern fonts, both with old encoding (OT1) and Cork encoding (T1) are generated. The Cork encoded fonts are known under the name ec fonts. 2 Customization If you plan to install the AMS font package or if you have it already installed, please note that within this package there are additional sizes of the Computer Modern symbol and math italic fonts. With the release of LATEX 2", these AMS `extracm' fonts have been included in the LATEX font set. Therefore, the math .fd files produced here assume the presence of these AMS extensions. For text fonts in T1 encoding, the directive new selects the new (version 1.2) DC fonts. For the text fonts in OT1 and U encoding, the optional docstrip directive ori selects a conservatively generated set of font definition files, which means that only the basic font sizes coming with an old LATEX 2.09 installation are included into the \DeclareFontShape commands. However, on many installations, people have added missing sizes by scaling up or down available Metafont sources. For example, the Computer Modern Roman italic font cmti is only available in the sizes 7, 8, 9, and 10pt.