DOCSLIB.ORG

Indyfont Manual

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Indyfont Manual iF IndyFont 1.1 Create Pure OpenType Fonts with InDesign CS4 / CS5 / CS6 / CC A Jongware & Indiscripts Tool USER MANUAL Overview iF 1 . Description GENERAL IDENTIFICATION Font name: My font Version: 001.000 IndyFont is a tool for Adobe InDesign® with which you can Figure style: Tabular Lining Copyright: (c) MyCompany Description: create your very own font in the familiar environment of Characters: Designer: Adrian Frutiger ○ 0030 zero [2] ● 0031 one [3] InDesign itself, and use this new font straight away in your own Designer URL: <Enter an URL here> ○ 0032 two [4] documents. ● 0033 three [5] For information on the license ● 0061 a swsh of this font, please contact its ● 0061 a.sc smcp License info: manufacturer. ● 0062 b titl ● 0062 b.sc With IndyFont you can create a new font from scratch, based on ● 0063 c sups ● 0063 c.sc subs License URL: <Enter an URL here> + 0066 f your very own character designs. The file it produces is a valid, onum + 0066 0069 f_i lnum + 0069 i cross-platform, OpenType font, which can be used in any soft- pnum TEMPLATE tnum ware that supports OpenType fonts. init Sample font: Arial Unicode MS fina isol Regular medi OOTE IndyFont is not a font editor in the traditional sense. You cannot edit Apply effects an existing font other than the fonts you create yourself. (However, as we shall see, you can do great things from existing fonts!) OTF Export Update Close IndyFont PRO 1.135 iF Licensed to: JohnSmith@myCompany.com 2 . System requirements The main dialog of IndyFont has a • Mac OS X 10.6 or later, 3 . TRY vs. PRO version very similar look- or Windows XP / Vista / 7 / 8 (x86 or x64 editions). and-feel in both • 800×600 pixel screen-resolution or greater. You can download a free tryout version of IndyFont at: Mac OS and Windows • Adobe InDesign CS4, CS5, CS5.5, CS6, or CC. http://www.indiscripts.com/blog/public/scripts/IndyFontTry.zip. environments. The following It offers most of the features of the PRO release, except it will languages are available only export a single character per font. (depending on your InDesign locale): IndyFont both supports OOTE We strongly encourage you to install and test the TRY version ▶ English (default) CC 9.x and CC 2014 before you purchase the PRO license of the product. Always ▶ French make sure that your system meets the requirements. ▶ German INDYFONT 1.1 MANUAL (UPDATE: NOVEMBER 2014) 1 Getting started iF 1 . Before you install 2 ) You see there two main folders: Application and User. Right- click the User folder and pick “Reveal in Finder.” IndyFont resides in a single file: IndyFontPro.jsx. When you down- load the file from your private link, however, it is originally 3 ) You should now see a Scripts Panel folder. Drag IndyFontPro.jsx zipped. into there. Congratulations, IndyFont is now installed! The first step is to unzip the .zip file so you can placeIndyFontPro.jsx at the desired location (see below). 3 . Installing in Windows As a precaution before you go on, save your working files and 1 ) In InDesign, open the Scripts panel as follows: restart InDesign in a clean session. • CS4: Window ▶ Automation ▶ Scripts. • CS5, CS5.5, CS6, and CC: Window ▶ Utilities ▶ Scripts. 2 . Installing in Mac OS X 2 ) You see there two main folders: Application and User. Right- click the User folder and pick “Reveal in Explorer.” 1 ) In InDesign, open the Scripts panel as follows: • CS4: Window ▶ Automation ▶ Scripts. 3 ) You should now see a Scripts Panel folder. Drag IndyFontPro.jsx • CS5, CS5.5, CS6, and CC: Window ▶ Utilities ▶ Scripts. into there. Congratulations, IndyFont is now installed! MAC OS X WINDOWS DRAG INTO DRAG INTO RIGHT-CLICK RIGHT-CLICK CLICK CLICK INDYFONT 1.1 MANUAL (UPDATE: NOVEMBER 2014) 2 GENERAL IDENTIFICATION Font name: My Font Version: 001.000 iF Copyright: Figure style: Tabular Lining Getting(c) MyCompany started Description: Characters: ○ 0030 zero [2] Designer: Adrian Frutiger ● 0031 one [3] GENERAL IDENTIFICATION ○ 0032 two [4] Designer URL: <Enter an URL here> ● 0033 three [5] 4 . Installing an updateFont name:+ 0066 f My Font 6 . RunningVersion: IndyFont from001.000 the Indiscripts menu + 0066 0069 f_i For information on the license Copyright: Figure style:+ 0069 i Tabular Lining (c)of this MyCompany font, please contact its If you are notified that an update of the product is available, To have IndyFontLicense info: available inmanufacturer. the InDesign’s menu bar, simply Description: simply download theCharacters: new package from your private link, then click the Indiscripts-menu button as shown in the screenshot, IndyFontPro.jsx unzip and install the file○ 0030 zero [2] over the previous one, below, thenDesigner: close the dialog box.Adrian Frutiger i.e. at the same location.TEMPLATE● 0031 one [3] License URL: <Enter an URL here> ○ 0032 two [4] Designer URL: <Enter an URL here> Sample● font: 0033 three [5] Arial Unicode MS You can now run IndyFont going into: The new version is instantly+ 0066 functional, f and your global settings Indiscripts ▶ IndyFont PRO + 0066 0069 f_iRegular For information on the license are all preserved. + 0069 i of this font, please contact its License info: manufacturer. OTF Export Update Close 5 . Running IndyFontTEMPLATE from the Scripts panel License URL: <Enter an URL here> Sample IndyFontfont: PRO Arial Unicode1.122 MS INDISCRIPTS MENU Once the installationiF is done,Licensed switch to: back JohnSmith@myCompany.com to InDesign. You can TURNED OFF run IndyFont from the Scripts panel asRegular follows: CLICK 1 ) In InDesign, display the Scripts panel via: Tired ofOTF continually Export Update Close • Window ▶ Automation ▶ Scripts (CS4), or digging into the • Window ▶ Utilities ▶ Scripts (CS5, CS5.5, CS6, or CC). Scripts panel? INDISCRIPTS MENU IndyFont PRO 1.122 Make IndyFont TURNED ON iF available in a 2 ) Look for IndyFontPro.jsx inLicensed the User to: folder, JohnSmith@myCompany.com dedicated menu! then double-click on it. INDYFONT 1.1 MANUAL (UPDATE: NOVEMBER 2014) 3 Getting started iF GENERAL IDENTIFICATION Font name: My font Version: 001.000 GENERAL IDENTIFICATION Figure style: Tabular Lining Copyright: (c) MyCompany Font name: My font Version: 001.000 Description: GENERAL Characters: /bullet IDENTIFICATIONCLICK 7 . Create your first font Figure style: Tabular Lining Copyright: (c) MyCompany Designer: < The list is empty > Adrian Frutiger Font name: My font Version: 001.000 Description: Characters: Designer URL: <Enter an URL here> After installing the script, you are ready to create your first font! Figure style: Tabular Lining Copyright: (c) MyCompany Designer: Adrian Frutiger +< The2022 list bullet is empty > For information on the license Description:swsh of this font, please contact its Characters: Designer URL: <Enter an URL here> smcp License info: manufacturer. Designer:titl Adrian Frutiger For information on the license 1 ) Run IndyFont, and the main dialog pops up. +< The2022 list bullet is empty > swsh of this font, please contact its sups Designer URL: <Enter an URL here> smcp manufacturer. subs License info: GENERAL IDENTIFICATION License URL: <Enter an URL here>titl onum For information on the license Font name: Version: 001.000 sups My font swsh lnum of this font, please contact its Figure style: Copyright: (c) MyCompany smcp License info: manufacturer. subs Tabular Lining pnum TEMPLATE License URL: <Enter an URL here> titl Description: tnum GLYPH LIST onum Characters: A..Z lnum Designer: Adrian Frutiger sups init Sample font: Arial Unicode MS < The list is empty > pnum 4 ) Click the icon. The bullet char- subs fina TEMPLATE Designer URL: <Enter an URL here> License URL: <Enter an URL here> tnum isol Regular For information on the license onum swsh of this font, please contact its acter is now declared in the Glyph lnum medi init Sample font: Arial Unicode MS manufacturer. smcp License info: Apply effects fina titl pnum TEMPLATE list (as shown in the screenshot). Regular sups tnum isol subs License URL: medi <Enter an URL here> init Sample font: Arial Unicode MS onum Apply effects lnum fina TheOTF glyph Export has been Create Close pnum TEMPLATE 5 ) Click the Create button, and a tem- Regular tnum isol successfully added. init Sample font: Arial Unicode MS medi fina plate document is created. This Apply effects OTF Export Create Close isol Regular The glyph hasIndyFont been PRO 1.135 medi document automatically opens on Apply effects successfullyiF Licensed added. to: JohnSmith@myCompany.com the first page. OTF ExportIndyFont PROCreate 1.135 Close OTF Export Create Close iF Licensed to: JohnSmith@myCompany.com IndyFont PRO 1.135 OOTE You can see the CLICK iF Licensed to: JohnSmith@myCompany.com IndyFont PRO 1.135 iF Licensedinformation to: JohnSmith@myCompany.com from the main dialog is repeated 2 ) The default font name is “My Font”, and you can leave that like in here: the font name, that for your first experiment, or change it to anything you like. and the default version Name: Tip In this example we will use the name “Tip”. number, copyright, Version: 001.000 Description: Testing a custom bullet designer and license Copyright: © Jongware Designer: Theunis de Jong 3 ) The only character in this font is going to be a custom bullet. strings. All of these could License: For information on the license of this font, please contact its manufacturer. Delete the default text A..Z and type /bullet in the Characters be changed later in the field. main dialog of IndyFont. INFORMATION PAGE INDYFONT 1.1 MANUAL (UPDATE: NOVEMBER 2014) 4 Getting started iF 6 ) The second page contains a huge sample character at 1000 points. This is the scale at which you must work! Character outlines are stored inside a font at this size, and only when drawing an actual character on the screen (or anywhere else), it is scaled to the appropriate size.
Load more

Recommended publications
  • Invisible-Punctuation.Pdf
    ... ' I •e •e •4 I •e •e •4 •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • ••••• • • •• • • • • • I •e •e •4 In/visible Punctuation • • • • •• • • • •• • • • •• • • • • • •• • • • • • •• • • • • • • •• • • • • • •• • • • • • ' •• • • • • • John Lennard •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • I •e •e •4 I •e •e •4 I •e •e •4 I •e •e •4 I •e •e •4 I ••• • • 4 I.e• • • 4 I ••• • • 4 I ••• • • 4 I ••• • • 4 I ••• • • 4 • • •' .•. • . • .•. •. • ' .. ' • • •' .•. • . • .•. • . • ' . ' . UNIVERSITY OF THE WEST INDIES- LENNARD, 121-138- VISIBLE LANGUAGE 45.1/ 2 I •e •e' • • • • © VISIBLE LANGUAGE, 2011 -RHODE ISLAND SCHOOL OF DESIGN- PROVIDENCE, RHODE ISLAND 02903 .. ' ABSTRACT The article offers two approaches to the question of 'invisible punctuation,' theoretical and critical. The first is a taxonomy of modes of punctuational invisibility, · identifying denial, repression, habituation, error and absence. Each is briefly discussed and some relations with technologies of reading are considered. The second considers the paragraphing, or lack of it, in Sir Philip Sidney's Apology for Poetry: one of the two early printed editions and at least one of the two MSS are mono­ paragraphic, a feature always silently eliminated by editors as a supposed carelessness. It is argued that this is improbable
    [Show full text]
  • Chapter Two Literature Review in This Study, the Researcher Shows
    11 Chapter Two Literature Review In this study, the researcher shows definition and theory in literature review. The researcher writes some definition of punctuation marks taken from some researchers. Then, the researcher also adds review of related study that contains some research results taken from some researchers. The last is conceptual framework. The researcher takes summary from the theory from some researchers before. English Punctuation According to Jones (1994, p.421) “punctuation, as we consider it, can be defined as the central part of the range of non-lexical orthography”. Allthough arguments could be made for including the sub-lexical marks (e.g. hyphens, apostrolphes ) and structural marlcs (e.g. bullets in itemisations), they are excluded since they tend to be lexicalised or rather difficult to represent, respectively. The other concept comes from Samson (2014, p.23). He said, “punctuation enables us to clarify statements and communicate better with readers.” It is similar with the opinion from Ritter (2001, p. 112) said that “Punctuation exists to clarify meaning in the written word and to facilitate reading. Too much can hamper understanding through an uneven, staccato text, while too little can lead to misreading. Within the framework of a few basic rules (fewer still in fiction), an 12 author's choice of punctuation is an ingredient of style as personal as his or her choice of words.” Writing Writing is an outward expression of what is going on in the writer’s mind (Hussain, Hanif, Asif, and Rehman, 2013). Furthermore, according to Hussain et al (2013), “writing is the visual medium through which graphical and grammatical system of a language is manifested” (p.832).
    [Show full text]
  • THE IMPORTANCE of BIBLICAL PUNCTUATION by John Temples
    BIBLICAL INSIGHTS #57: JOTS AND TITTLES: THE IMPORTANCE OF BIBLICAL PUNCTUATION By John Temples Jesus said in the Sermon on the Mount, “Do not think that I came to destroy the Law or the Prophets. I did not come to destroy but to fulfill. For assuredly, I say to you, till heaven and earth pass away, one jot or one tittle will by no means pass ​ ​ from the law till all is fulfilled” (Matthew 5:17-18). What on earth are jots and tittles? A jot (or yod) was the smallest letter in the ​ ​ Hebrew alphabet. It resembled an apostrophe (‘). A tittle was even smaller, and was a little “horn” or pen stroke on the end of a letter, rather like a serif on a letter in the English alphabet. The NIV does a good job of rendering the sense of Matthew 5:18--“I tell you the truth, until heaven and earth disappear, not the smallest letter, not the least stroke of a pen, will by any means disappear from the Law until everything is accomplished.” (It’s important to note that the law was ​ fulfilled in Jesus and His sacrifice; so once that sacrifice was completed, and the sin debt was paid by Christ’s blood, the law did pass away and was replaced by the New Testament.) So Jesus was saying that not even the smallest parts of the law of Moses would pass away until all the law’s requirements were fulfilled. We use similar expressions when we want to emphasize the importance of small details, such as “dotting our i’s and crossing our t’s.” ​ ​ ​ ​ Also, in English we have small but important marks of punctuation--commas, ​ ​ periods, colons, question marks, etc.
    [Show full text]
  • SM a R T M U S E U M O F a R T U N Iv E R S It Y O F C H IC a G O B U L L E T in 2 0 0 6 – 20
    http://smartmuseum.uchicago.edu Chicago, Illinois 60637 5550 South Greenwood Avenue SMART SMART M U S EUM OF A RT UN I VER SI TY OFCH ICAG O RT RT A OF EUM S U M SMART 2008 – 2006 N I ET BULL O ICAG H C OF TY SI VER I N U SMART MUSEUM OF ART UNIVERSITY OF CHICAGO BULLETIN 2006– 2008 SMART MUSEUM OF ART UNIVERSITY OF CHICAGO BULLETIN 2006–2008 MissiON STATEMENT / 1 SMART MUSEUM BOARD OF GOVERNORS / 3 REPORTS FROM THE CHAIRMAN AND DiRECTOR / 4 ACQUisiTIOns / 10 LOANS / 34 EXHIBITIOns / 44 EDUCATION PROGRAMS / 68 SOURCES OF SUPPORT / 88 SMART STAFF / 108 STATEMENT OF OPERATIOns / 112 MissiON STATEMENT As the ar t museum of the Universit y of Chicago, the David and Alfred Smar t Museum of Ar t promotes the understanding of the visual arts and their importance to cultural and intellectual history through direct experiences with original works of art and through an interdisciplinary approach to its collections, exhibitions, publications, and programs. These activities support life-long learning among a range of audiences including the University and the broader community. SMART MUSEUM BOARD OF GOVERNORS Robert Feitler, Chair Lorna C. Ferguson, Vice Chair Elizabeth Helsinger, Vice Chair Richard Gray, Chairman Emeritus Marilynn B. Alsdorf Isaac Goldman Larry Norman* Mrs. Edwin A. Bergman Jack Halpern Brien O’Brien Russell Bowman Neil Harris Brenda Shapiro* Gay-Young Cho Mary J. Harvey* Raymond Smart Susan O’Connor Davis Anthony Hirschel* Joel M. Snyder Robert G. Donnelley Randy L. Holgate John N. Stern Richard Elden William M. Landes Isabel C.
    [Show full text]
  • A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With
    Ty p o g raph i c Factettes A collection of mildly interesting facts about the little symbols we communicate with. Helvetica The horizontal bars of a letter are almost always thinner than the vertical bars. Minion The font size is approximately the measurement from the lowest appearance of any letter to the highest. Most of the time. Seventy-two points equals one inch. Fridge256 point Cochin most of 50the point Zaphino time Letters with rounded bottoms don’t sit on the baseline, but slightly below it. Visually, they would appear too high if they rested on the same base as the squared letters. liceAdobe Caslon Bold UNITED KINGDOM UNITED STATES LOLITA LOLITA In Ancient Rome, scribes would abbreviate et (the latin word for and) into one letter. We still use that abbreviation, called the ampersand. The et is still very visible in some italic ampersands. The word ampersand comes from and-per-se-and. Strange. Adobe Garamond Regular Adobe Garamond Italic Trump Mediaval Italic Helvetica Light hat two letters ss w it cam gue e f can rom u . I Yo t h d. as n b ha e rt en ho a s ro n u e n t d it r fo w r s h a u n w ) d r e e m d a s n o r f e y t e t a e r b s , a b s u d t e d e e n m t i a ( n l d o b s o m a y r S e - d t w A i e t h h t t , h d e n a a s d r v e e p n t m a o f e e h m t e a k i i l .
    [Show full text]
  • DOCUMENT RESUME ED 345 505 FL 019 874 Journal of the Irish Association for Applied Linguistics, Number 5 = TEANGA; Iris Chumann
    DOCUMENT RESUME ED 345 505 FL 019 874 TITLE Journal of the Irish Association for Applied Linguistics, Number 5 = TEANGA; Iris Chumann na Teangeolaiochta Feidhmi, Uimhir 5. INSTITUTION Irish Association for Applied :,inguistics, Dublin. REPORT NC ISSN-0332-205X PUB DATE 85 NOTE 119p. PUB TYPE Collected Works - Serials (022) JOURNAL CIT TEANGA: Journal of the Irish Association for Applied Linguistics; n5 1985 EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS Applied Linguistics; Bilingualism; Discourse Analysis; Elementary Education; English; Foreign Countries; *Immersion Programs; Interpersonal Comnunication; *Language Acquisition; *Language of Inszruction; Language Research; *Language Role; Language Tests; Mothers; *Multilingualism; Parent Child Relat_onship; Regional Dialects; Syntax; Test Use; Uncommonly Taught Languages IDENTIFIERS Canada; *English (Irish) ABSTRACT Articles in this issue of a journal on applied linguistics include: "Multilingualism as a Relaxed Affair: The Case of the Western Canadian Halfbreeds" (Patrick C. Douaud); "Testing a Group of Bilingual Children with the Bilingual Syntax Measure" (Christine Helot); "Two Years On: A Sample of Mother Child Interaction in a Second Language" (Maire Owens); "Schooling Through L2 -- Its Effect on Cognitive and Academic Development" (Gearoid 0 Ciarain); "The Potential for Irish-English Dual-Medium Instruction in the Primary School" (Liam Mac Mathuna); "Discourse Aralysis and Language Acquisition" (Michael F. McTear); "Pre-primary Education Through the Medium of Lesser Used Languages"
    [Show full text]
  • ED331151.Pdf
    DOCUMENT RESUME ED 331 151 EA 022 894 AUTHOR Brown, Rexford G. TITLE Schools of Thought: How the Politics of Literacy Shape Thinking in the Classroom. The Jossey-Bass Educat:ion Series. REPORT NO ISBN-1-55542-314-0 PUB DATE 91 NOTE 311p. AVAILABLE FROMJossey-Bass Publishers, 350 Sansome Street, San Francisco, CA, 94104 ($24.95 plus state sales tax where applicable). PU3 TYPE Guides - Non-Classroom Use (055) -- Books (010) EDRS PRICE MFL- Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Classroom Environment; *Educational Policy; Elementary Secondary Education; Foreign Countries; *Literacy; *Politics of Education; *Program Development; Rural American Indians; Rural Education; School Restructuring; State Action; *Thinking Skills; Urban Education IDENTIFIERS *Ontario (Toronto); Pittsburgh School District PA ABSTRACT The new literacy goes beyond the requirements for a high school diploma, including capacities once demanded only of a privileged, college-bound elite. This book concerns this new, higher literacy and whether current educational restructuring efforts are likely to foster such literacy in all students. The study used informal interviewing techniques and examined classrooms for evidence of nine general climate indicators conducive to a literac of thoughtfulness. The first chapters focus on rure America, especially the Deep South, where teachers are educating children to leave their communities. The third chapter describes education on an Indian reservation, where the colonial model is waning. Chapter 4 describes the conflicts and contradictions in a troubled, but typical urban school district unintentionally engaged in undermining literacy efforts. Chapter 5 broadens the notion of "policy environment" and describes the contributions of a governor, a legislature, a state school board, and a district judge.
    [Show full text]
  • Bush Artist Fellows
    Bush Artist 2004Fellows Bush Artist 2004Fellows 4 2004 Bush Artist Fellows CHOREOGRAPHY MULTIMEDIA PERFORMANCE ART STORYTELLING Danny Buraczeski Laurie Carlos Emily Johnson Gülgün Kayim Kari Margolis Danial Shapiro VISUAL ARTS: THREE DIMENSIONAL Amelia Biewald Gary Greff Amy Toscani VISUAL ARTS: TWO DIMENSIONAL Alexa Horochowski Faye Passow Jenny Schmid TRADITIONAL & FOLK ARTS Mary Louis Defender Wilson Gao Hong Douglas Trail-Johnson 2 Bush Artist Fellowships stablished in 1976, the purpose of the Bush Artist Fellows Program is to provide artists with signifi- E cant financial support that enables them to further their work and their contributions to their com- munities. An artist may use the fellowship in many ways: to engage in solitary work or reflection, for col- laborative or community projects, or for travel or research. No two fellowships are exactly alike. Eligible artists reside in Minnesota, North and South Dakota, and western Wisconsin. Artists may apply in any of these categories: VISUAL ARTS: TWO DIMENSIONAL VISUAL ARTS: THREE DIMENSIONAL LITERATURE Poetry, Fiction, Creative Nonfiction TRADITIONAL & FOLK ARTS SCRIPTWORKS Playwriting and Screenwriting MUSIC COMPOSITION FILM • VIDEO CHOREOGRAPHY • MULTIMEDIA PERFORMANCE ART/STORYTELLING Applications for all disciplines will be considered in alternating years. 3 2004 Panels PRELIMINARY PANEL Pepón Osorio Fred Nahwooksy CHOREOGRAPHY Visual artist Museum development and MULTIMEDIA Philadelphia, Pennsylvania arts consultant PERFORMANCE ART Eagle Point, Oregon STORYTELLING PRELIMINARY
    [Show full text]
  • GORGEOUS GRAMMAR for KS2 and PERFECT PUNCTUATION
    GORGEOUS GRAMMAR FOR KS2 And PERFECT PUNCTUATION VERBS 1 (year 3, 4, 5 and 6) 1 A verb is the most important word in any sentence. The verb is the doing word, the action word. It is the word which tells us what happens, what is happening, what will happen, what has happened, what happened, and so on. The English language is very rich in verbs. Try to choose verbs that really bring your sentences to life. Task 1 Think of some really exciting verbs to complete these sentences. Your teacher may award points for the most imaginative sentences. 1. Our cat .......... with the mouse for a while, then he suddenly .......... on it. 2. Archie .......... onto the dance floor and .......... at the nearest pretty girl. 3. “Someone has .......... the Kooh-i-Noor Diamond!” .......... Joe. 4. Tarzan was so hungry he .......... a whole wild pig by himself. 5. What a boy you are! You’re dad will definitely .......... you when we get home. Task 2 In these sentences replace the worn-out, over-used, dull, boring verbs with ones that are more exciting and evocative. (evocative means conjures up a picture). 1. Amy ran towards the finish line and burst through the tape. 2. Juliet said, “Romeo, Romeo, wherefore art thou Romeo?” 3. Ben went under the patio to look for the lost puppy. 4. Broccoli is something I really don’t like. 5. The librarian put the books on the shelf in alphabetical order. 2 All verbs have different tenses. We use them to refer to the past, the present or the future.
    [Show full text]
  • Diacritics and Ligatures
    BBN–ANG–183 Typography Lecture 8: Diacritics and ligatures Zoltán Kiss & Péter Szigetvári Dept of English Linguistics, Eötvös Loránd University kz & szp (delg) typo/diacritics&ligatures (8) 1/28 outline introduction diacritics one by one acute accent grave and double acute accent breve, caron circumflex, macron dieresis and umlaut dot, ring cedilla, comma, ogonek tilde, bar diacritics in Arabic scripts ligatures character ligatures stylistic ligatures suppression of stylistic ligatures sample exam questions kz & szp (delg) typo/diacritics&ligatures (8) 2/28 introduction diacritics ◮ do not occur in isolation, they are typically “carried” by a letter kz & szp (delg) typo/diacritics&ligatures (8) 3/28 introduction diacritics ◮ do not occur in isolation, they are typically “carried” by a letter ◮ two ways of producing letters with diacritics kz & szp (delg) typo/diacritics&ligatures (8) 3/28 introduction diacritics ◮ do not occur in isolation, they are typically “carried” by a letter ◮ two ways of producing letters with diacritics 1. the letter with the diacritic is one unique, precomposed character, i.e., one glyph (with a code of its own): e.g., ISO 8859, Unicode, etc. kz & szp (delg) typo/diacritics&ligatures (8) 3/28 introduction diacritics ◮ do not occur in isolation, they are typically “carried” by a letter ◮ two ways of producing letters with diacritics 1. the letter with the diacritic is one unique, precomposed character, i.e., one glyph (with a code of its own): e.g., ISO 8859, Unicode, etc. 2. composition: adding the diacritic to the letter kz & szp (delg) typo/diacritics&ligatures (8) 3/28 introduction diacritics ◮ do not occur in isolation, they are typically “carried” by a letter ◮ two ways of producing letters with diacritics 1.
    [Show full text]
  • Brand Standards Lansing Community College 411 N
    Brand Standards Lansing Community College 411 N. Grand Ave. Lansing, Mich. 48933 — Communications and Marketing Department Paula D. Cunningham Administration Building, Suite 205, 610 N. Capitol Ave. Lansing, Mich. 48933 marketing@lcc.edu 517-483-1178 Content LANSING COMMUNITY COLLEGE 01 BRAND STANDARDS 02 —————— 07 34 —————— 39 62 —————— 67 VISUAL Print Editorial IDENTITY Accessibility Approach Brand Overview Typeface and Font Inclusive Language What Drives Our Brand White Space Email Style LCC’s Identity Marks Tables Web Writing Body Copy, Headings Public Audiences/External and Subheadings Social Media PDFs on the Web 08 —————— 23 68 —————— 75 COLLEGE 40 —————— 47 MARKS Style Guide Institutional Logo COLORS Stars Logo Institutional Colors College Emblem Web Color Palette 76 —————— 79 Divisional Wordmarks Secondary Print Color Scheme Visual Aesthetics Incorrect Logo Uses lcc policy Sub-Logos 48 —————— 53 guideline Nondiscrimination Language 24 —————— 33 PHOTOGRAPHY Visual Presence Typography Subject Matters San-Serif Typeface Typography Standards 54 —————— 61 Design Terminology Visual Identity LANSING COMMUNITY COLLEGE BRAND STANDARDS 02 — 07 02 — 03 VISUAL IDENTITY + Brand Overview + What Drives Our Brand – Brand Ambassador + LCC’s Identity Marks – Institutional logo – Stars logo – College emblem Visual Identity LANSING COMMUNITY COLLEGE 03 BRAND STANDARDS The Brand Standards Guide introduces you to the college logo, what it means and how to use it properly in communication materials. Generated from the strategic plan, the institutional logo is a distinctive, meaningful and authentic way we communicate about LCC. This document presents simple tools you can use to ensure the logo is presented with strength and consistency. At LCC, our mission guides These guidelines were Each of us shapes our purpose.
    [Show full text]
  • Combined Cost Allocation Plan for FFY 2021
    Program Support Center DEPARTMENT OF HEALTH & HUMAN SERVICES Financial Management Portfolio Cost Allocation Services 90 7th Street, Suite 4-600 San Francisco, CA 94103-6705 PHONE: (415) 437-7820 FAX: (415) 437-7823 EMAIL: CAS-SF@psc.hhs.gov January 17, 2019 Kathy Smith, Liaison Accountant, Fiscal Administration North Dakota Department of Human Services State Capitol-Judicial Wing 600 E. Boulevard Ave Dept. 325 Bismarck, ND 58505-0250 Dear Ms. Smith: This letter provides approval of the North Dakota Department of Human Services Cost Allocation Plan (Plan) amendment transmitted to our office on April 6, 2018, and subsequently revised on September 27, 2018, and January 17, 2019. This amendment, which was submitted in accordance with 45 CFR 95, Subpart E, is effective January 1, 2018 and July 1, 2018. Acceptance of actual costs in accordance with the approved Plan is subject to the following conditions: 1) The information contained in the Plan and provided by the State in connection with our review of the Plan is complete and accurate in all material respects. 2) The actual costs claimed by the State are allowable under prevailing cost principles, program regulations and law. 3) The claims conform with the administrative and statutory limitations against which they are made. This approval relates only to the methods of identifying and allocating costs to programs, and nothing contained herein should be construed as approving activities not otherwise authorized by approved program plans or Federal legislation and regulations. Implementation of the approved Cost Allocation Plan may subsequently be reviewed by authorized Federal staff. The disclosure of inequities during such reviews may require changes to the Plan.
    [Show full text]