DOCSLIB.ORG

Horizontal Test Times New Roman Vs Freeserif

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Horizontal Test Times New Roman Vs Freeserif TESTS OF FONT METRICS FOR FONT SUBSTITUTION About The original is to be found as an annex to http://www.OOoNinja.com/2008/02/metrical-equivalent- fonts-and-font.html by Andrew Z. on February 1, 2008. This document edited on March 14, 2014 by Dominique Meeùs in LibreOffice 3.5.7.2 350m1 (Build:2) and converted to PDF from LibreOffice. All tests are done at 12 pt font size. Times New Roman vs close shapes: horizontal test The quick brown fox jumps over the lazy dog and it doesn’t hurt me. 123456789, Times New Roman The quick brown fox jumps over the lazy dog and it doesn’t hurt me. 123456789, FreeSerif The quick brown fox jumps over the lazy dog and it doesn’t hurt me. 1 !"#$%&'( Linux Libertine The quick brown fox jumps over the lazy dog and it doesn't hurt me. 123456789, Nimbus Roman No9 L The quick brown fox jumps over the lazy dog and it doesn’ t hurt me. 123456789, TeXGyreTermes Times New Roman vs FreeSerif: horizontal test The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 Times New Roman vs FreeSerif: vertical test The quick brown fox jumps over the lazy dog. I can The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 Lorem eat glass and it doesn’t hurt me. 123456789 Lorem ipsum dolor sit amet, consectetuer adipiscing elit. ipsum dolor sit amet, consectetuer adipiscing elit. Donec vitae nunc sed nibh venenatis varius. Proin Donec vitae nunc sed nibh venenatis varius. Proin congue nisl id velit. Nulla mattis turpis. congue nisl id velit. Nulla mattis turpis. Times New Roman vs FreeSerif: vertical test (FreeSerif with line spacing 94 %) The quick brown fox jumps over the lazy dog. I can The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 Lorem eat glass and it doesn’t hurt me. 123456789 Lorem ipsum dolor sit amet, consectetuer adipiscing elit. ipsum dolor sit amet, consectetuer adipiscing elit. Donec vitae nunc sed nibh venenatis varius. Proin Donec vitae nunc sed nibh venenatis varius. Proin congue nisl id velit. Nulla mattis turpis. congue nisl id velit. Nulla mattis turpis. Times New Roman vs Gentium: horizontal test The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 Times New Roman vs Gentium: vertical test The quick brown fox jumps over the lazy dog. I can The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 Lorem eat glass and it doesn’t hurt me. 123456789 Lorem ipsum dolor sit amet, consectetuer adipiscing elit. ipsum dolor sit amet, consectetuer adipiscing elit. Donec vitae nunc sed nibh venenatis varius. Proin Donec vitae nunc sed nibh venenatis varius. Proin congue nisl id velit. Nulla mattis turpis. congue nisl id velit. Nulla mattis turpis. Times New Roman vs GentiumAlt: horizontal test The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 Times New Roman vs GentiumAlt: vertical test The quick brown fox jumps over the lazy dog. I can The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 Lorem eat glass and it doesn’t hurt me. 123456789 Lorem ipsum dolor sit amet, consectetuer adipiscing elit. ipsum dolor sit amet, consectetuer adipiscing elit. Donec vitae nunc sed nibh venenatis varius. Proin Donec vitae nunc sed nibh venenatis varius. Proin congue nisl id velit. Nulla mattis turpis. congue nisl id velit. Nulla mattis turpis. Times New Roman vs Liberation Serif: horizontal test The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 Times New Roman vs Liberation Serif: vertical test The quick brown fox jumps over the lazy dog. I can The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 Lorem eat glass and it doesn’t hurt me. 123456789 Lorem ipsum dolor sit amet, consectetuer adipiscing elit. ipsum dolor sit amet, consectetuer adipiscing elit. Donec vitae nunc sed nibh venenatis varius. Proin Donec vitae nunc sed nibh venenatis varius. Proin congue nisl id velit. Nulla mattis turpis. congue nisl id velit. Nulla mattis turpis. Times New Roman vs Nimbus Roman No9 L: horizontal test The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 The quick brown fox jumps over the lazy dog. I can eat glass and it doesn't hurt me. 123456789 Times New Roman vs Nimbus Roman No9 L: vertical test The quick brown fox jumps over the lazy dog. I can The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 Lorem eat glass and it doesn't hurt me. 123456789 Lorem ipsum dolor sit amet, consectetuer adipiscing elit. ipsum dolor sit amet, consectetuer adipiscing elit. Donec vitae nunc sed nibh venenatis varius. Proin Donec vitae nunc sed nibh venenatis varius. Proin congue nisl id velit. Nulla mattis turpis. congue nisl id velit. Nulla mattis turpis Times New Roman vs TeXGyreTermes: horizontal test The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’ t hurt me. 123456789 Times New Roman vs TeXGyreTermes: vertical test The quick brown fox jumps over the lazy dog. I can The quick brown fox jumps over the lazy dog. I can eat glass and it doesn’t hurt me. 123456789 Lorem ipsum dolor sit amet, consectetuer adipiscing elit. eat glass and it doesn’ t hurt me. 123456789 Lorem Donec vitae nunc sed nibh venenatis varius. Proin ipsum dolor sit amet, consectetuer adipiscing elit. congue nisl id velit. Nulla mattis turpis. Donec vitae nunc sed nibh venenatis varius. Proin congue nisl id velit. Nulla mattis turpis. Times New Roman vs TeXGyrePagella The difference is so obvious, only one test is necessary. The quick brown fox jumps over the lazy dog. I can The quick brown fox jumps over the lazy dog. I eat glass and it doesn’t hurt me. 123456789 Lorem can eat glass and it doesn’ t hurt me. 123456789 ipsum dolor sit amet, consectetuer adipiscing elit. Donec vitae nunc sed nibh venenatis varius. Proin Lorem ipsum dolor sit amet, consectetuer congue nisl id velit. Nulla mattis turpis. adipiscing elit. Donec vitae nunc sed nibh venenatis varius. Proin congue nisl id velit. Nulla mattis turpis. Times New Roman vs TeXGyreSchola The difference is so obvious, only one test is necessary. The quick brown fox jumps over the lazy dog. I can The quick brown fox jumps over the lazy dog. eat glass and it doesn’t hurt me. 123456789 Lorem I can eat glass and it doesn’ t hurt me. ipsum dolor sit amet, consectetuer adipiscing elit. Donec vitae nunc sed nibh venenatis varius. Proin 123456789 Lorem ipsum dolor sit amet, congue nisl id velit. Nulla mattis turpis. consectetuer adipiscing elit. Donec vitae nunc sed nibh venenatis varius. Proin congue nisl id velit. Nulla mattis turpis. Times New Roman vs TeXGyreBonum The difference is so obvious, only one test is necessary. The quick brown fox jumps over the lazy dog. I can The quick brown fox jumps over the lazy eat glass and it doesn’t hurt me. 123456789 Lorem dog. I can eat glass and it doesn’ t hurt ipsum dolor sit amet, consectetuer adipiscing elit. me. 123456789 Lorem ipsum dolor sit Donec vitae nunc sed nibh venenatis varius. Proin congue nisl id velit. Nulla mattis turpis. amet, consectetuer adipiscing elit. Donec vitae nunc sed nibh venenatis varius. Proin congue nisl id velit. Nulla mattis turpis. Times New Roman vs Georgia The difference is quite obvious, only one test is necessary. The quick brown fox jumps over the lazy dog. I can The quick brown fox jumps over the lazy dog. I eat glass and it doesn’t hurt me. 123456789 Lorem can eat glass and it doesn’t hurt me. 123456789 ipsum dolor sit amet, consectetuer adipiscing elit. Lorem ipsum dolor sit amet, consectetuer Donec vitae nunc sed nibh venenatis varius. Proin adipiscing elit. Donec vitae nunc sed nibh congue nisl id velit. Nulla mattis turpis. venenatis varius. Proin congue nisl id velit. Nulla mattis turpis. Times New Roman vs Bitstream Charter The difference is quite obvious, only one test is necessary. The quick brown fox jumps over the lazy dog. I can The quick brown fox jumps over the lazy dog. I eat glass and it doesn’t hurt me. 123456789 Lorem can eat glass and it doesn't hurt me. ipsum dolor sit amet, consectetuer adipiscing elit. 123456789 Lorem ipsum dolor sit amet, Donec vitae nunc sed nibh venenatis varius. Proin consectetuer adipiscing elit.
Load more

Recommended publications
  • FONT GUIDE Workbook to Help You Find the Right One for Your Brand
    FONT GUIDE Workbook to help you find the right one for your brand. www.ottocreative.com.au Choosing the right font for your brand YOUR BRAND VALUES: How different font styles can be used to make up your brand: Logo Typeface: Is usually a bit more special and packed with your brands personality. This font should be used sparingly and kept for special occasions. Headings font: Logo Font This font will reflect the same brand values as your logo font - eg in this example both fonts are feminine and elegant. Headings Unlike your logo typeface, this font should be easier to read and look good a number of different sizes and thicknesses. Body copy Body font: The main rule here is that this font MUST be easy to read, both digitally and for print. If there is already alot going on in your logo and heading font, keep this style simple. Typefaces, common associations & popular font styles San Serif: Clean, Modern, Neutral Try these: Roboto, Open Sans, Lato, Montserrat, Raleway Serif: Classic, Traditional, reliable Try these: Playfair Display, Lora, Source Serif Pro, Prata, Gentium Basic Slab Serif: Youthful, modern, approachable Try these: Roboto Slab, Merriweather, Slabo 27px, Bitter, Arvo Script: Feminine, Romantic, Elegant Try these: Dancing Script, Pacifico, Satisfy, Courgette, Great Vibes Monotype:Simple, Technical, Futuristic Try these: Source Code Pro, Nanum Gothic Coding, Fira Mono, Cutive Mono Handwritten: Authentic, casual, creative Try these: Indie Flower, Shadows into light, Amatic SC, Caveat, Kalam Display: Playful, fun, personality galore Try these: Lobster, Abril Fatface, Luckiest Guy, Bangers, Monoton NOTE: Be careful when using handwritten and display fonts, as they can be hard to read.
    [Show full text]
  • Cyberarts 2021 Since Its Inception in 1987, the Prix Ars Electronica Has Been Honoring Creativity and Inno- Vativeness in the Use of Digital Media
    Documentation of the Prix Ars Electronica 2021 Lavishly illustrated and containing texts by the prize-winning artists and statements by the juries that singled them out for recognition, this catalog showcases the works honored by the Prix Ars Electronica 2021. The Prix Ars Electronica is the world’s most time-honored media arts competition. Winners are awarded the coveted Golden Nica statuette. Ever CyberArts 2021 since its inception in 1987, the Prix Ars Electronica has been honoring creativity and inno- vativeness in the use of digital media. This year, experts from all over the world evaluated Prix Ars Electronica S+T+ARTS 3,158 submissions from 86 countries in four categories: Computer Animation, Artificial Intelligence & Life Art, Digital Musics & Sound Art, and the u19–create your world com - Prize ’21 petition for young people. The volume also provides insights into the achievements of the winners of the Isao Tomita Special Prize and the Ars Electronica Award for Digital Humanity. ars.electronica.art/prix STARTS Prize ’21 STARTS (= Science + Technology + Arts) is an initiative of the European Commission to foster alliances of technology and artistic practice. As part of this initiative, the STARTS Prize awards the most pioneering collaborations and results in the field of creativity 21 ’ and innovation at the intersection of science and technology with the arts. The STARTS Prize ‘21 of the European Commission was launched by Ars Electronica, BOZAR, Waag, INOVA+, T6 Ecosystems, French Tech Grande Provence, and the Frankfurt Book Fair. This Prize catalog presents the winners of the European Commission’s two Grand Prizes, which honor Innovation in Technology, Industry and Society stimulated by the Arts, and more of the STARTS Prize ‘21 highlights.
    [Show full text]
  • P Font-Change Q UV 3
    p font•change q UV Version 2015.2 Macros to Change Text & Math fonts in TEX 45 Beautiful Variants 3 Amit Raj Dhawan [email protected] September 2, 2015 This work had been released under Creative Commons Attribution-Share Alike 3.0 Unported License on July 19, 2010. You are free to Share (to copy, distribute and transmit the work) and to Remix (to adapt the work) provided you follow the Attribution and Share Alike guidelines of the licence. For the full licence text, please visit: http://creativecommons.org/licenses/by-sa/3.0/legalcode. 4 When I reach the destination, more than I realize that I have realized the goal, I am occupied with the reminiscences of the journey. It strikes to me again and again, ‘‘Isn’t the journey to the goal the real attainment of the goal?’’ In this way even if I miss goal, I still have attained goal. Contents Introduction .................................................................................. 1 Usage .................................................................................. 1 Example ............................................................................... 3 AMS Symbols .......................................................................... 3 Available Weights ...................................................................... 5 Warning ............................................................................... 5 Charter ....................................................................................... 6 Utopia .......................................................................................
    [Show full text]
  • Iso/Iec Jtc1 Sc2 Wg2 N3984
    ISO/IEC JTC1 SC2 WG2 N3984 Notes on the naming of some characters proposed in the FCD of ISO/IEC 10646:2012 (3rd ed.) (JTC1/SC2/WG2 N3945, JTC1/SC2 N4168) Karl Pentzlin — 2011-02-02 This paper addresses the naming of the following characters proposed for inclusion: U+2E33 RAISED DOT U+2E34 RAISED COMMA (both proposed in JTC1/SC2/WG2 N3912) U+A78F LATIN LETTER GLOTTAL DOT (proposed in JTC1/SC2/WG2 N3567 as LATIN LETTER MIDDLE DOT) shown by the following excerpts from N3945: 1. Dots, Points, and "middle" and "raised" characters encoded in Unicode 6.0 (without script-specific ones and fullwidth/small forms; of similar characters within a block, a single character is selected as representative): Dots and Points: U+002E FULL STOP U+00B7 MIDDLE DOT U+02D9 DOT ABOVE U+0387 GREEK ANO TELEIA U+2024 ONE DOT LEADER U+2027 HYPHENATION POINT U+22C5 DOT OPERATOR U+2E31 WORD SEPARATOR MIDDLE DOT U+02D9 has the property Sk (Symbol, modifier), U+22C5 has Sm (Symbol, math), while all others have Po (Punctuation, other). U+A78F is proposed to have Lo (Letter, other). "Middle" and "raised" characters: U+02F4 MODIFIER LETTER MIDDLE GRAVE ACCENT U+2E0C LEFT RAISED OMISSION BRACKET (representing several similar characters in the same block) U+02F8 MODIFIER LETTER RAISED COLON U+A71B MODIFIER LETTER RAISED UP ARROW The following table will show these characters using some different widespread fonts. Font 002E 00B7 02D9 0387 2024 2027 22C5 2E31 02F4 2E0C 02F8 A71B Andron Mega Corpus x.E x·E x˙E α·Ε x․E x‧E x⋅E --- x˴E x⸌E x˸E --- Arial x.E x·E x˙E α·Ε x․E x‧E
    [Show full text]
  • Applications and Innovations in Typeface Design for North American Indigenous Languages Julia Schillo, Mark Turin
    Applications and innovations in typeface design for North American Indigenous languages Julia Schillo, Mark Turin To cite this version: Julia Schillo, Mark Turin. Applications and innovations in typeface design for North American Indige- nous languages. Book 2.0, Intellect Ltd, 2020, 10 (1), pp.71-98. 10.1386/btwo_00021_1. halshs- 03083476 HAL Id: halshs-03083476 https://halshs.archives-ouvertes.fr/halshs-03083476 Submitted on 22 Jan 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. BTWO 10 (1) pp. 71–98 Intellect Limited 2020 Book 2.0 Volume 10 Number 1 btwo © 2020 Intellect Ltd Article. English language. https://doi.org/10.1386/btwo_00021_1 Received 15 September 2019; Accepted 7 February 2020 Book 2.0 Intellect https://doi.org/10.1386/btwo_00021_1 10 JULIA SCHILLO AND MARK TURIN University of British Columbia 1 71 Applications and 98 innovations in typeface © 2020 Intellect Ltd design for North American 2020 Indigenous languages ARTICLES ABSTRACT KEYWORDS In this contribution, we draw attention to prevailing issues that many speakers orthography of Indigenous North American languages face when typing their languages, and typeface design identify examples of typefaces that have been developed and harnessed by histor- Indigenous ically marginalized language communities.
    [Show full text]
  • Using Opentype Features in Libreofiie
    Using OpenType Features in LibreOfiie David J. Perry Ver. 1.2 updated August 4, 2017 Note: Part I provides background for those who have litle or no experience using OpenType. If you are already familiar with OpenType features and just want to learn how to access the in Libre# O$ce% you can go directly to Part II. tou might also need to read Part Ii if you have worked with OT features through a graphical interface rather than by using four-character codes. N.B.: names o keys on the key#oard are s"o$n in smal% capitals (enter, tab, etc.(. I. About OpenType A. Introduction )penType (ab#reviated O* herea+er( is a font te&"no%ogy t"at enab%es t"e appearance o &"aracters to be c"anged without altering the under%ying te,t. W"y wou%d one want su&" a thing? /n some languages, c"aracters may need to be res"aped depending on conte,t. In Arabi&, for instance, le0ers have diferent s"apes depending on w"ether t"ey come at the beginning o a $ord, in t"e midd%e, or at the end. Te user types a le0er and t"e appropriate s"ape is dis3 p%ayed. In languages li!e Arabi&, the operating system automati&al%y app%ies the needed O* eatures wit"out intervention by the user. Windo$s and Linu, use O* to support su&" com3 p%e, s&ripts (5ac O6 X uses a diferent te&"no%ogy for this(. /n languages t"at do not re8uire res"aping, O* provides ac&ess to many re9nements tradition3 al%y used in hig"38ua%ity typograp"y.
    [Show full text]
  • Libertine's Xetex-Documentation
    Manual for L L with XƎTEX Advantages of XeTex over classic LaTex, examples of configuration Deutse Version ebenfalls erhältli. P H P Libertine Open Fonts Projekt http://linuxlibertine.sf.net Berlin, den 21. MÄarz 2009 Inhaltsverzeichnis 1 Advantages of XeTex 3 2 Commands 3 3 Choosing OpenType-features 4 3.1 Leers: ..................................... 4 3.2 Numbers/Figures: ............................... 4 3.3 Ligatures: .................................... 4 4 Links 4 5 Appendix 5 2 1 Advantages of XeTex ² Full Unicode-support. You can enter all Unicode-Glyphs directly into the source code. ² Simple usability of TrueType- and OTF-Fonts ² Full OpenType-support: { automatic substitution of standard activated OpenType-features, i.e. ligatures su as ff, fi, , , fl,ffi, ffl,, , … { shiing from Stylistic Sets, i.e. old style figures, proportional figures, ÄÖÜ as trema-leers, substitution of german ß with ss { true GPOS-kerning 2 Commands e XeTex-interpreter is being invocated via xelatex instead of latex or pdflatex, example: xelatex Document.tex e output is a PDF-file, ergo analog to our example as Dokument.pdf Because the interpreter needs to know wi fonts to use and because XeTex needs some special paages, the document heading looks a lile bit different from usual. Following commands should be entered into the heading: \usepackage{xunicode} \usepackage{fontspec} \usepackage{xltxtra} In contrast, the definition of the input encoding (inputenc) is obsolete, because XeTex consi- ders UTF-8. Some examples found in the internet begin with following META-information: %!TEX TS-program = xetex %!TEX encoding = UTF-8 Unicode though this doesn’t seem to be obligatory. ere are different possibilities to tell XeTex, whi fonts to use locally or globally.
    [Show full text]
  • Microsoft Core Fonts Package Post-Installation to Obtain a Proper Type Library
    AP�������F��� ��� O���S�����T������� �� �� �������� ���� �� �� ��� ������ ��� ���������� �� ���� �� the development of libre ecosystems. Typography has always been a stubborn holdout in this regard, and to this day there remain few free high-quality comprehensive text typefaces. Free type is mainly concentrated in a handful of flagship “superfonts” that contain a staggering catalog of glyphs, but lack greatly in the quality of design and typographic styles and features seen in professional type. To my knowledge, there are currently just two great open source text families—Gentium, which is still incomplete, and Linux Libertine, in addition to a few corporate gifts such as Adobe Source Serif and Bitstream Charter. To help fill the gap, I present my own original type design and ask for the Wikimedia projects’ help in finishing and releasing my font to provide a quality free font choice. What is this font? ��� ���� � �� ��������� (��� ���� ��� ��� ��������� ������� 0 1 2 3 4 5 6 7 8 9 this paragraph in) is meant to be an original serif typeface that an editor might want to set a textbook in. It does not yet have an official name. Many existing open source typefaces are clones of 0 1 2 3 4 5 6 7 8 9 popular old public domain typefaces (like Asana, S���, EB Garamond, or Free Serif, which are clones of Palatino, Times, Garamond, and Times again, respectively). Others like Liberation Serif, Déjà Vu, and Droid Serif have a distinctive “computer type” style that makes them convenient for pixel display and easy to HQWinâaba construct and adapt but poor in most other regards. I tried to create something different.
    [Show full text]
  • Typesetting Phonology Papers
    April 16, 2015 Michael Becker, [email protected] Typesetting phonology papers 1 Choosing your font Most modern fonts conform to Unicode specifications, which means that they can be used for a very wide variety of alphabets, including IPA. Most fonts, however, only cover some of Unicode, so it’s important to choose a font that has good IPA coverage. Here are some fonts with fairly good IPA coverage (look out for quirks and missing characters in some of them, though). ey are all free, and work on OS X, Windows, and Linux. ere is rarely any reason to use more than one font in any given paper, so just choose one font and go with it. Bold Italics Bold italics S C Linux Libertine yes yes yes yes Junicode yes yes yes yes Times New Roman yes yes yes yes¹ DejaVu Serif yes yes yes no Cardo yes yes no yes Charis SIL yes yes yes yes Doulos SIL no no no yes Gentium no yes no no Bold and italics are good for the usual reasons. Small Caps are needed for the names of constraints in constraint-based theories. Note that Microso Word will fake missing features from fonts that lack them; the result is usually less than aesthetically pleasing. ¹Times New Roman doesn’t actually have small caps, but if you are using XƎLATEX, there is a trick. First, download TeX Gyre Termes, which looks a lot like Times New Roman, and has small caps, but doesn’t have good IPA support. en pair the two fonts: \setromanfont[SmallCapsFont={TeX Gyre Termes},SmallCapsFeatures={Leers=SmallCaps}]{Times New Roman}.
    [Show full text]
  • Chapter 3 • Text 77
    CHAPTER THREE distribute TEXT or post, LEARNING OBJECTIVES After reading this chapter, you will be able to: copy, ¾ Distinguish between different categories of fonts not ¾ Identify the proper application of those differentDo categories ¾- Appreciate font “personalities” ¾ Make informed choices about type size ¾ Calculate appropriate line spacing ¾ Maximize the few bits of text in a graph Proof ¾ Know what text to remove from a graph Draft Copyright ©2018 by SAGE Publications, Inc. This work may not be reproduced or distributed in any form or by any means without express written permission of the publisher. Chapter 3 • Text 77 s I give one last look at a report for work, my usual process is probably similar to yours. I Guiding Ideas A spend an afternoon fussing with the layout and putting a polish on the report before sending Text fonts are used for narrative text it off to my boss for one last review. I did just that with a report page similar to the one shown here in Headings and callouts are emphasized Figure 3.1. Long reading is in 9- to 11-point size I am using this page as my example because it is probably where I spent the most time. It was Line spacing is 11 to 13 pointsdistribute important to me (and now I am really letting on No more than three fonts are used how far I am willing to go) that this table con- Body text has stylistic uniformity tained rows of equal height. This required some or nudging, squishing, and testing until the table Bullets are slightly less thick than text was just right.
    [Show full text]
  • DVD-Ofimática 2014-07
    (continuación 2) Calizo 0.2.5 - CamStudio 2.7.316 - CamStudio Codec 1.5 - CDex 1.70 - CDisplayEx 1.9.09 - cdrTools FrontEnd 1.5.2 - Classic Shell 3.6.8 - Clavier+ 10.6.7 - Clementine 1.2.1 - Cobian Backup 8.4.0.202 - Comical 0.8 - ComiX 0.2.1.24 - CoolReader 3.0.56.42 - CubicExplorer 0.95.1 - Daphne 2.03 - Data Crow 3.12.5 - DejaVu Fonts 2.34 - DeltaCopy 1.4 - DVD-Ofimática Deluge 1.3.6 - DeSmuME 0.9.10 - Dia 0.97.2.2 - Diashapes 0.2.2 - digiKam 4.1.0 - Disk Imager 1.4 - DiskCryptor 1.1.836 - Ditto 3.19.24.0 - DjVuLibre 3.5.25.4 - DocFetcher 1.1.11 - DoISO 2.0.0.6 - DOSBox 0.74 - DosZip Commander 3.21 - Double Commander 0.5.10 beta - DrawPile 2014-07 0.9.1 - DVD Flick 1.3.0.7 - DVDStyler 2.7.2 - Eagle Mode 0.85.0 - EasyTAG 2.2.3 - Ekiga 4.0.1 2013.08.20 - Electric Sheep 2.7.b35 - eLibrary 2.5.13 - emesene 2.12.9 2012.09.13 - eMule 0.50.a - Eraser 6.0.10 - eSpeak 1.48.04 - Eudora OSE 1.0 - eViacam 1.7.2 - Exodus 0.10.0.0 - Explore2fs 1.08 beta9 - Ext2Fsd 0.52 - FBReader 0.12.10 - ffDiaporama 2.1 - FileBot 4.1 - FileVerifier++ 0.6.3 DVD-Ofimática es una recopilación de programas libres para Windows - FileZilla 3.8.1 - Firefox 30.0 - FLAC 1.2.1.b - FocusWriter 1.5.1 - Folder Size 2.6 - fre:ac 1.0.21.a dirigidos a la ofimática en general (ofimática, sonido, gráficos y vídeo, - Free Download Manager 3.9.4.1472 - Free Manga Downloader 0.8.2.325 - Free1x2 0.70.2 - Internet y utilidades).
    [Show full text]
  • Sketch Block Bold Accord Heavy SF Bold Accord SF Bold Aclonica Adamsky SF AFL Font Pespaye Nonmetric Aharoni Vet Airmole Shaded
    Sketch Block Bold Accord Heavy SF Bold Accord SF Bold Aclonica Adamsky SF AFL Font pespaye nonmetric Aharoni Vet Airmole Shaded Airmole Stripe Airstream Alegreya Alegreya Black Alegreya Black Italic Alegreya Bold Alegreya Bold Italic Alegreya Italic Alegreya Sans Alegreya Sans Black Alegreya Sans Black Italic Alegreya Sans Bold Alegreya Sans Bold Italic Alegreya Sans ExtraBold Alegreya Sans ExtraBold Italic Alegreya Sans Italic Alegreya Sans Light Alegreya Sans Light Italic Alegreya Sans Medium Alegreya Sans Medium Italic Alegreya Sans SC Alegreya Sans SC Black Alegreya Sans SC Black Italic Alegreya Sans SC Bold Alegreya Sans SC Bold Italic Alegreya Sans SC ExtraBold Alegreya Sans SC ExtraBold Italic Alegreya Sans SC Italic Alegreya Sans SC Light Alegreya Sans SC Light Italic Alegreya Sans SC Medium Alegreya Sans SC Medium Italic Alegreya Sans SC Thin Alegreya Sans SC Thin Italic Alegreya Sans Thin Alegreya Sans Thin Italic AltamonteNF AMC_SketchyOutlines AMC_SketchySolid Ancestory SF Andika New Basic Andika New Basic Bold Andika New Basic Bold Italic Andika New Basic Italic Angsana New Angsana New Angsana New Cursief Angsana New Vet Angsana New Vet Cursief Annie BTN Another Typewriter Aparajita Aparajita Bold Aparajita Bold Italic Aparajita Italic Appendix Normal Apple Boy BTN Arabic Typesetting Arabolical Archive Arial Arial Black Bold Arial Black Standaard Arial Cursief Arial Narrow Arial Narrow Vet Arial Unicode MS Arial Vet Arial Vet Cursief Aristocrat SF Averia-Bold Averia-BoldItalic Averia-Gruesa Averia-Italic Averia-Light Averia-LightItalic
    [Show full text]