DOCSLIB.ORG

Coffeecup Software Web Typography Handbook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

CoffeeCup Software Web Typography Handbook Prepare to make ugly Website text a thing of the past with these simple, step-by-step directions on how to spice up your Web typography with the help of CoffeeCup sIFR Font Maker, Website Font, and Direct FTP. As an added bonus, we’ve included several helpful Web Page Design For Designers (http://www.wpdfd.com) articles covering everything from choosing Web-safe typefaces to using CSS to improve text readability to utilizing minifonts. 165 Courtland St. Suite A, Box 312 Atlanta, GA 30303 (678) 495-3480 • www.coffeecup.com Table of Contents How To… ........................................................................................ 4 Introduction.............................................................................................4 Convert Fonts For sIFR ..............................................................................4 Modify sIFR Formatted Fonts ......................................................................6 Add sIFR to Your Website......................................................................... 11 Become a Web Typography Expert............................................................... 15 Typography and Renaissance-Era Eroticism ............................................. 16 Introduction........................................................................................... 16 Typeface vs. Font .................................................................................... 17 Types of Type......................................................................................... 17 Serif......................................................................................................................... 18 Sans Serif................................................................................................................. 18 Monotype................................................................................................................ 18 Cursive.................................................................................................................... 19 Fantasy.................................................................................................................... 19 Picture..................................................................................................................... 19 Play it Web-Safe ..................................................................................... 19 Getting Choosy With CSS ......................................................................... 20 Be Responsible ....................................................................................... 21 Knowing About Web-Safe Fonts........................................................... 22 What Are Web-Safe Fonts?........................................................................ 22 Who Should Use Web-Safe Fonts? ............................................................... 22 Why Use Web-Safe Fonts?......................................................................... 22 When Should I Use Web-Safe Fonts?............................................................ 23 When Are Web-Safe Fonts Applicable?......................................................... 23 How Do I Use Web-Safe Fonts, and Which Ones Are Safe? ............................... 23 Serif Web-Safe Fonts................................................................................................ 24 Sans Serif Web-Safe Fonts........................................................................................ 24 Monospace Web-Safe Fonts ..................................................................................... 24 Cursive Web-Safe Fonts........................................................................................... 25 In Some Cases, Can I Use Other Fonts? ........................................................ 25 Provide Downloads For Your Users......................................................................... 25 Use Images.............................................................................................................. 26 Image Replacement Techniques ............................................................................... 27 Use sIFR ................................................................................................................. 28 So There You Have It! .............................................................................. 28 Don’t Be Afraid of Serif Fonts.............................................................. 29 Introduction........................................................................................... 29 Things to Keep in Mind ............................................................................ 20 Benefits of Using Serif Fonts .................................................................................... 31 Things to Watch Out For When Designing With Serif Fonts..................................... 31 Keeping The “Design” in Web Design.......................................................... 32 Simple CSS: Creating More Readable Text .............................................. 33 Introduction........................................................................................... 33 165 Courtland St. Suite A, Box 312 Atlanta, GA 30303 (678) 495-3480 • www.coffeecup.com A Sample Page........................................................................................ 33 Choosing Your Fonts ............................................................................... 35 line-height — Be Good to Your Visitors!.................................................. 39 Adjusting Letter Spacing ........................................................................... 41 Expanding on This CSS ............................................................................ 42 Everything You Wanted to Know About Web Type But Were Afraid to Ask .... 43 Introduction........................................................................................... 43 Serif......................................................................................................................... 43 Sans Serif................................................................................................................. 43 Monospace (Typewriter Style).................................................................................. 43 Cursive (Scripts and Informal).................................................................................. 43 Fantasy (Far Out or Fanciful Designs)...................................................................... 43 CSS and Fonts ........................................................................................ 44 Safe Choices .......................................................................................... 44 MSIE Core Fonts .................................................................................... 45 The Best Fonts to Use............................................................................... 46 Serif Fonts ............................................................................................................... 46 Sans Serif Fonts ....................................................................................................... 47 Monospace Fonts .................................................................................................... 48 Cursive Fonts .......................................................................................................... 49 Size Matters........................................................................................... 50 Very Small Fonts..................................................................................... 51 Minifonts ........................................................................................ 52 Specifying Small Type Sizes ................................................................. 53 CoffeeCup Software Web Typography Handbook...................................... 55 Introduction........................................................................................... 55 Trademarks............................................................................................ 55 Warning And Disclaimer........................................................................... 55 Published By .......................................................................................... 55 165 Courtland St. Suite A, Box 312 Atlanta, GA 30303 (678) 495-3480 • www.coffeecup.com How To… A great way to make your Website stand out is to use creative fonts in your headings and accents. In fact, the right font can say almost as much about your content as the text itself. However, Web designers tend to run into trouble when they try to use fonts on their Websites that aren’t installed on their users’ computers. When this happens, the text defaults to a Web-safe font, which has unpredictable — and often ugly — results. With CoffeeCup sIFR Font Maker and Website Font, you can bypass these snafus through the magic of scalable Inman Flash™ Replacement (sIFR). Converting your heading and accent text for sIFR means it will display correctly every time. This guide will start by showing you how to convert fonts on your computer for sIFR using CoffeeCup sIFR Font Maker. Then you’ll learn how to customize them with Website Font and use Direct FTP to add them to your Webpage. Convert Fonts For sIFR First, open sIFR Font Maker. You can do this normally or through Website Font
Recommended publications
  • Cloud Fonts in Microsoft Office

    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
  • June 2015 Broadside

    June 2015 Broadside

    T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff.
  • Andre Benard Annexes These.Pdf

    Andre Benard Annexes These.Pdf

    THÈSE DE DOCTORAT DE L’ÉCOLE NORMALE SUPÉRIEURE DE CACHAN Présentée par Monsieur Bernard André Pour obtenir le grade de DOCTEUR DE L’ÉCOLE NORMALE SUPÉRIEURE DE CACHAN Domaine : Sciences de l’éducation Sujet de la thèse : UTILISATION DES PROGICIELS IDENTIFICATION D’OBSTACLES ET STRATÉGIES DE FORMATION ANNEXES Nom du Laboratoire : UMR STEF/ENS CACHAN/INRP 61, avenue du Président Wilson, 94235 Cachan cedex (France) Sommaire Annexe 1 : analyse de la revue EPI Chapitre 2 section 2.1.3. p. 52 ................................. 5 re Annexe 2 : chapitre 2, 2.2.1. p. 80 Enquête auprès des étudiants de DEUG 1 année en Sciences et Techniques des Activités Physiques et Sportives de Paris 1 ....................... 28 Annexe 3 Histoire du traitement de texte chapitre 6, p. 194 .......................................... 57 Annexe 4 Chapitre 4 typographie et dactylographie (chapitre 4 p. 150)........................ 65 Annexe 5 Conseils typographiques aux dactylos de Charles Dellion (chapitre 4 p. 149) ........................................................................................................................................ 87 Annexe 6 Traitement automatique des traces dans les fichiers .................................... 117 Annexe 7 Polices de caractères sous Windows utilisables dans Word......................... 133 Annexe 8 Exemples de mises en forme posant des problèmes de visibilité et de lisibilité (voir chapitre 8) ............................................................................................................ 205 Annexe 1 : analyse de la revue EPI Chapitre 2 section 2.1.3. p. 52 Annexe 1 : analyse de la revue EPI Page d’accueil de l’Association EPI : http://www.epi.asso.fr/association/epi_presentation.htm L'association EPI Enseignement Public et Informatique L'association Enseignement Public et Informatique, association pionnière fondée en 1971, continue de militer pour l'évolution du service public d'enseignement et de formation à la promotion duquel elle reste attachée.
  • Booklet & CD Design & Typography: David Tayler Cover Art: Adriaen Coorte

    Booklet & CD Design & Typography: David Tayler Cover Art: Adriaen Coorte

    Voices of Music An Evening with Bach An Evening with Bach 1. Air on a G string (BWV 1069) Johann Sebastian Bach (1685–1750) 2. Schlummert ein (BWV 82) Susanne Rydén, soprano 3. Badinerie (BWV 1067) Dan Laurin, voice flute 4. Ich folge dir gleichfalls (St. John Passion BWV 245) Susanne Rydén, soprano; Louise Carslake, baroque flute 5. Giga (BWV 1004) Dan Laurin, recorder 6. Schafe können sicher weiden (BWV 208) Susanne Rydén, soprano 7. Prelude in C minor (BWV 871) Hanneke van Proosdij, harpsichord 8. Schlafe mein Liebster (BWV 213) Susanne Rydén, soprano 9. Prelude in G major (BWV 1007) David Tayler, theorbo 10. Es ist vollbracht (St. John Passion BWV 245) Jennifer Lane, alto; William Skeen, viola da gamba 11. Sarabanda (BWV 1004) Elizabeth Blumenstock, baroque violin 12. Kein Arzt ist außer dir zu finden (BWV 103) Jennifer Lane, alto; Hanneke van Proosdij, sixth flute 13. Prelude in E flat major (BWV 998) Hanneke van Proosdij, lautenwerk 14. Bist du bei mir (BWV 508) Susanne Rydén, soprano 15. Passacaglia Mein Freund ist mein J.C. Bach (1642–1703) Susanne Rydén, soprano; Elizabeth Blumenstock, baroque violin Notes The Great Collectors During the 1980s, both Classical & Early Music recordings underwent a profound change due to the advent of the Compact Disc as well as the arrival of larger stores specializing in music. One of the casualties of this change was the recital recording, in which an artist or ensemble would present an interesting arrangement of musical pieces that followed a certain theme or style—much like a live concert. Although recital recordings were of course made, and are perhaps making a comeback, most recordings featured a single composer and were sold in alphabetized bins: B for Bach; V for Vivaldi.
  • Web Typography │ 2 Table of Content

    Web Typography │ 2 Table of Content

    Imprint Published in January 2011 Smashing Media GmbH, Freiburg, Germany Cover Design: Ricardo Gimenes Editing: Manuela Müller Proofreading: Brian Goessling Concept: Sven Lennartz, Vitaly Friedman Founded in September 2006, Smashing Magazine delivers useful and innovative information to Web designers and developers. Smashing Magazine is a well-respected international online publication for professional Web designers and developers. Our main goal is to support the Web design community with useful and valuable articles and resources, written and created by experienced designers and developers. ISBN: 978-3-943075-07-6 Version: March 29, 2011 Smashing eBook #6│Getting the Hang of Web Typography │ 2 Table of Content Preface The Ails Of Typographic Anti-Aliasing 10 Principles For Readable Web Typography 5 Principles and Ideas of Setting Type on the Web Lessons From Swiss Style Graphic Design 8 Simple Ways to Improve Typography in Your Designs Typographic Design Patterns and Best Practices The Typography Dress Code: Principles of Choosing and Using Typefaces Best Practices of Combining Typefaces Guide to CSS Font Stacks: Techniques and Resources New Typographic Possibilities with CSS 3 Good Old @Font-Face Rule Revisted The Current Web Font Formats Review of Popular Web Font Embedding Services How to Embed Web Fonts from your Server Web Typography – Work-arounds, Tips and Tricks 10 Useful Typography Tools Glossary The Authors Smashing eBook #6│Getting the Hang of Web Typography │ 3 Preface Script is one of the oldest cultural assets. The first attempts at written expressions date back more than 5,000 years ago. From the Sumerians cuneiform writing to the invention of the Gutenberg printing press in Medieval Germany up to today՚s modern desktop publishing it՚s been a long way that has left its impact on the current use and practice of typography.
  • Table of Contents

    Table of Contents

    Table of Contents Preface .................................................................................................... xiii Part I: The Web Environment Chapter 1—Designing for a Variety of Browsers ...................... 3 Browsers ................................................................................................. 3 Design Strategies .................................................................................... 9 Writing Good HTML ............................................................................. 11 Knowing Your Audience ..................................................................... 12 Considering Your Site’s Purpose ......................................................... 13 Test! Test! Test! ..................................................................................... 13 Chapter 2—Designing for a Variety of Displays .................... 14 Dealing with Unknown Monitor Resolutions ..................................... 14 Fixed versus Flexible Web Page Design ............................................. 19 Accessibility .......................................................................................... 23 Alternative Displays .............................................................................. 26 Chapter 3—Web Design Principles for Print Designers ...................................................................... 28 Color on the Web ................................................................................. 28 Graphics on the Web ..........................................................................
  • Mathematics Clinic Handbook

    Mathematics Clinic Handbook

    Mathematics Clinic Mathematics Clinic Handbook 2019 Copyright © 2019 Department of Mathematics, Harvey Mudd College. This material is provided for the sole use of participants in Harvey Mudd College’s Mathematics Clinic program. Any other usage requires prior permission from the Department. 2019 Edition; Revision 1.0. (April 30, 2019) Calendar Note that dates and deadlines are subject to change. Date Description Page September 4 (Tue) Student Orientation Day (4:15 p.m.–5:30 p.m.; 5 Sprague 3) September 4 (Tue) Project Managers Meeting (5:30 p.m.–6:30 p.m. in Sprague 3) September 6–18 Marathon Push (Including Preparation of Your 8 Statement of Work) September 6 (Thu) Clinic/Sponsor Orientation Day (11:00 a.m.– 6 1:00 p.m.; Sprague 3 workrooms) Be prepared to ask your liaisons questions. September 7 (Fri) All Forms Due by 4:00 p.m. to Molly Reeves 5 (SCTL 2404) September Site Visits with Sponsor (Arranged by Teams and 9 Sponsors) September 11 (Tue) Professional Development: Teleconference and 10 Site Visit Etiquette (11:00–12:15 p.m.; Galileo McAlister; Combined with CS) September 18 (Tue) Statement of Work Peer Review (11:00–12:15 p.m.; 8 Sprague 3) Bring Advisor-Previewed Draft. September 18 (Tue) Project Managers Meeting (11:00–12:15 p.m.; Sprague 3) September 20 (Thu) Engineering Career Fair September 21 (Fri) Peer Reviews of Statement of Work Due to Team 8 September 24 (Mon) Advisor-Previewed Project Budget Due to Clinic 53 Director September 25 (Tue) Review Statement of Work According to Slides 10 on Project Management & Planning Sent
  • Más Allá De La Comic Sans. La Enseñanza De La Tipografía En La Era Digital

    Más Allá De La Comic Sans. La Enseñanza De La Tipografía En La Era Digital

    Edutec. Revista Electrónica de Tecnología Educativa Núm. 20/ Enero 2006 Más allá de la Comic Sans. La enseñanza de la tipografía en la era digital. Jesús del Olmo Barbero Universidad Carlos III de Madrid. [email protected] José Alonso Seco Universidad Carlos III de Madrid. jaseco@ hum.uc3m.es Resumen: El monopolio de Microsoft, el escaso número de fuentes que incorpora al sistema operativo Windows y la falta de una formación tipográfica básica se revelan como causas de la escasa o nula cultura tipográfica que ahora se percibe. La toma de conciencia de este fenómeno por parte de los profesores y la oferta de una formación ortográfica y tipográfica se conciben como fórmulas para recuperar el “lenguaje” tipográfico y conseguir que los textos se ajusten a una estética acorde con la cultura visual. Abstract: The monopoly of Microsoft, the small numbers of fonts that the Windows operative system incorpotates and the lack of the basic typographic training seem to be the reasons of the scarce or null typographic culture that we can see nowadays. The teachers’awareness of the phenomenon and the offer of orthographic and typographic training as taken as formulae to win back the typographic language ans so manage that the texts agree esthetically with the visual culture. Palabras claves: Tipografía, ortotipografía, Comic Sans, cultura visual, mensaje escrito. Key Words: Typography, orthotypography, Comic Sans, visual culture, written message. 1. INTRODUCCIÓN. Una presentación desaliñada de los textos, que tiene su origen en el desconocimiento de las más elementales normas de edición, inunda los impresos que manejamos cotidianamente. A los abundantes correos electrónicos que utilizan tipografías coloreadas de dudoso gusto y legibilidad, se suman los bonitos diseños que de forma abrumadora aparecen dominados por el tipo Comic Sans.
  • System Profile

    System Profile

    Steve Sample’s Power Mac G5 6/16/08 9:13 AM Hardware: Hardware Overview: Model Name: Power Mac G5 Model Identifier: PowerMac11,2 Processor Name: PowerPC G5 (1.1) Processor Speed: 2.3 GHz Number Of CPUs: 2 L2 Cache (per CPU): 1 MB Memory: 12 GB Bus Speed: 1.15 GHz Boot ROM Version: 5.2.7f1 Serial Number: G86032WBUUZ Network: Built-in Ethernet 1: Type: Ethernet Hardware: Ethernet BSD Device Name: en0 IPv4 Addresses: 192.168.1.3 IPv4: Addresses: 192.168.1.3 Configuration Method: DHCP Interface Name: en0 NetworkSignature: IPv4.Router=192.168.1.1;IPv4.RouterHardwareAddress=00:0f:b5:5b:8d:a4 Router: 192.168.1.1 Subnet Masks: 255.255.255.0 IPv6: Configuration Method: Automatic DNS: Server Addresses: 192.168.1.1 DHCP Server Responses: Domain Name Servers: 192.168.1.1 Lease Duration (seconds): 0 DHCP Message Type: 0x05 Routers: 192.168.1.1 Server Identifier: 192.168.1.1 Subnet Mask: 255.255.255.0 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: Yes Auto Discovery Enabled: No Ethernet: MAC Address: 00:14:51:67:fa:04 Media Options: Full Duplex, flow-control Media Subtype: 100baseTX Built-in Ethernet 2: Type: Ethernet Hardware: Ethernet BSD Device Name: en1 IPv4 Addresses: 169.254.39.164 IPv4: Addresses: 169.254.39.164 Configuration Method: DHCP Interface Name: en1 Subnet Masks: 255.255.0.0 IPv6: Configuration Method: Automatic AppleTalk: Configuration Method: Node Default Zone: * Interface Name: en1 Network ID: 65460 Node ID: 139 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode:
  • The Use of Technology in Teaching and Learning

    The Use of Technology in Teaching and Learning

    FEEDBACK Feedback regarding the editorial content of this book or any of its essays should be directed toward the individual authors or the book’s editors. They (authors and editors) are solely responsible for the substance of the text. Feedback regarding technical matters of formatting or accessibility of this text via the online environment of the Internet should be directed to the Internet Editor. If you have any complaints or difficulties in accessing these materials, be sure to provide as detailed a description of your problem(s) as you can; you should include information about the browser you are using and the type of computer you are using. COPYRIGHT AND OTHER LEGAL NOTICES The individual essays and chapters contained within this collection are Copyright © 2018 by their respective authors. This collection of essays and chapters as a compendium is Copyright © 2018 Society for the Teaching of Psychology. You may print multiple copies of these materials for your own personal use, including use in your classes and/or sharing with individual colleagues as long as the author’s name and institution, and a notice that the materials were obtained from the website of the Society for the Teaching of Psychology (STP) appear on the copied document. For research and archival purposes, public libraries and libraries at schools, colleges, universities and similar educational institutions may print and store in their research or lending collections multiple copies of this compendium as a whole without seeking further permission of STP (the editors would appreciate receiving a pro forma notice of any such library use).
  • Web Typography Characteristics O Type Is Displayed at Between 72 and 110 Dpi, Much Lower Than in Print

    Web Typography Characteristics O Type Is Displayed at Between 72 and 110 Dpi, Much Lower Than in Print

    GD 321A :: Week 07 1 of 7 25 February 2004 Web Typography Characteristics o Type is displayed at between 72 and 110 dpi, much lower than in print. o Pages are rendered on the fly, and presentation varies depending on a number of factors: Operating system (Mac, Windows, Linux) Web browser maker (Netscape, Mozilla, Internet Explorer, Safari, Opera) Web browser version (3.0, 4.0, 5.5, 6.0, etc.) User preferences (adjustments to the default typeface, size, colors, etc.) Fonts installed on the end-user’s system o Consider your typography as mere suggestions rather than strict requirements. o Browser Samples: Note the differences in the amount of content displayed and in the size of the fonts between the two operating systems. Internet Explorer 5.2 on Mac OS X 10.2 Internet Explorer 5.5 on Windows 95 Why is type on the web so bad? o Initial goal of the web was to share physics documents with researchers around the world. Academics focused on the structural logic and portability of the information, not the visual presentation. o Early HTML documents used container tags (<h1>, <h2>, <p>, etc.) to create a visual hierarchy, not to precisely control the appearance of a page. o Older browsers emphasized the ability to customize font settings—it was considered a feature at the time. Has it gotten better? o When designers began working on the web, more visual control was desired. o Netscape introduced the <font> tag in 1995 to allow for better control of text, including size, face and color. o Today, designers are learning and using Cascading Style Sheets (CSS).
  • 13A04806 LINUX PROGRAMMING and SCRIPTING UNIT 4 TCL/ TK SCRIPTING:Tcl Fundamentals, String and Pattern Matching, Tcl Data Struct

    13A04806 LINUX PROGRAMMING and SCRIPTING UNIT 4 TCL/ TK SCRIPTING:Tcl Fundamentals, String and Pattern Matching, Tcl Data Struct

    13A04806 LINUX PROGRAMMING AND SCRIPTING UNIT 4 TCL/ TK SCRIPTING:Tcl Fundamentals, String and Pattern Matching, Tcl Data Structures ,Control Flow Commands, Procedures and Scope , Evel, Working With UNIX, Reflection and Debugging, Script Libraries, Tk Fundamentals ,Tk by Examples, The Pack Geometry Manager, Binding Commands to X Events, Buttons and Menus, Simple Tk Widgets, Entry and Listbox Widgets Focus, Grabs and Dialogs 13A04806 LINUX PROGRAMMING AND SCRIPTING Tcl - Overview Tcl is shortened form of Tool Command Language. John Ousterhout of the University of California, Berkeley, designed it. It is a combination of a scripting language and its own interpreter that gets embedded to the application, we develop with it. Tcl was developed initially for Unix. It was then ported to Windows, DOS, OS/2, and Mac OSX. Tcl is much similar to other unix shell languages like Bourne Shell (Sh), the C Shell (csh), the Korn Shell (sh), and Perl. It aims at providing ability for programs to interact with other programs and also for acting as an embeddable interpreter. Even though, the original aim was to enable programs to interact, you can find full-fledged applications written in Tcl/Tk. Features of Tcl The features of Tcl are as follows − ∑ Reduced development time. ∑ Powerful and simple user interface kit with integration of TK. ∑ Write once, run anywhere. It runs on Windows, Mac OS X, and almost on every Unix platform. ∑ Quite easy to get started for experienced programmers; since, the language is so simple that they can learn Tcl in a few hours or days. ∑ You can easily extend existing applications with Tcl.