Typesetting & Publishing Glossary
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The Hanging Package∗
The hanging package∗ Author: Peter Wilson, Herries Press Maintainer: Will Robertson will dot robertson at latex-project dot org 2009/09/02 Abstract The hanging package provides facilities for defining hanging paragraphs and hanging punctuation. Contents 1 Introduction 1 2 The hanging package 2 2.1 Hanging paragraphs . 2 2.2 Hanging punctuation . 2 3 The package code 3 3.1 Hanging paragraphs . 4 3.2 Hanging punctuation . 4 1 Introduction Some authors may wish to use hanging paragraphs in their documents. Normally only the first line of a paragraph is indented. A hanging paragraph is a paragraph like this one where lines other than the first have indentation. Other au- thors might wish to use hanging punctuation. In this style of typesetting punctuation marks that come at either the start or end of a line are typeset outside the normal text block. The hanging package provides facilities for both hanging paragraphs and hang- ing punctuation. This manual is typeset according to the conventions of the LATEX doc- strip utility which enables the automatic extraction of the LATEX macro source files [GMS94]. ∗This file (hanging.dtx) has version number v1.2b, last revised 2009/09/02. 1 Section 2 describes the usage of the package. Commented source code for the package is in Section 3. 2 The hanging package 2.1 Hanging paragraphs The hanging package provides a command for producing a single hanging para- graph and an environment for typesetting a series of hanging paragraphs. \hangpara The command \hangpara{hindenti}{hafternumi} placed at the start of a para- graph will cause it to be typeset as a hanging paragraph. -
Relief Printing Letterpress Machines
DRAFT SYLLABUS FOR PRESS WORK - I Name of the Course: Diploma in Printing Technology Course Code: Semester: Third Duration: 16 Weeks Maximum Marks: 100 Teaching Scheme Examination Scheme Theory: 3 hrs/week Internal Examination: 20 Tutorial: 1 hr/week Assignment & Attendance: 10 Practical: 6 hrs/week End Semester Exam:70 Credit: 3 Aim: Getting the output through a printing machine is the most important operation for completing the print production. This subject known as Presswork - I is one of the key subject to make a clear and sound knowledge in some of the major print production systems and supplies. This will enable the students to make judgement about the aspect of printing, particularly the selection of a particular process to choose for a specific print production. Objective: The students will be able to (i) understand the basic and clear classification of all kinds of printing processes; (ii) understand the details divisions and subdivisions of letterpress printing machines, their applications and uses, characteristics and identifications of their products- merits and demerits of various letterpress machines; (iii) understand the principal mechanism of various letterpress and sheet-fed machines, their constructional differences in the printing unit and operational features; (iv) understanding the various feeding and delivery mechanism in printing machines; (v) appreciate the relational aspects of various materials used in presswork. Pre -Requisite: Elementary knowledge of Basic Printing & Production Contents: Group-A Hrs/unit Marks Unit 1 Relief Printing 10 10 1.1 Classifications of various relief printing machines, their applications and uses, characteristics of the products. 1.2 Details of divisions and subdivisions of letterpress printing machines, their applications and uses, characteristics and identifications of their products- merits and demerits of various letterpress machines General unit wise division of a printing machine. -
</Break>The Role of Format and Design in Readability
Pleasing the reader by pleasing the eye—Part 1 The role of format and design in readability Gabriele Berghammer1, Anders Holmqvist2 Correspondence to: 1the text clinic, Vienna, Austria 2Holmqvist AD & Bild, Lund, Sweden Gabriele Berghammer [email protected]; www.the-text-clinic.com Abstract Whoever writes wants to be read. Yet, even if we punctuation marks, and visuals are arranged on a succeed in creating an informative, logically struc- piece of paper can be as much a part of the story tured, and adequately worded text tailored to our as the content itself. They can make or break a target audience, i.e., text we consider to have an message. adequate level of readability, our documents may At least that ’s what we thought. Seeing, however, still go unread—or read with antipathy. Next to lin- that many of today’s publications, particularly in the guistic factors, therefore, there is a wide range of areas of technical, informational, and instructional other aspects determining how well we understand prose, fall short of what we have come to perceive a text, including layout, typography, or cultural ade- as essential aspects of our crafts, we started to ask quacy. Documents people can use effectively and ourselves whether, in these fast-paced times of with ease have language, graphics, and design budget constraints, format and design had become combine into a harmonious whole. Good design an obsolete luxury reserved for belletristic literature helps arouse interest and singles a text out from or art. Not long ago, one of the authors (GB) read a many others that vie for our attention. -
Indesign CC 2015 and Earlier
Adobe InDesign Help Legal notices Legal notices For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html. Last updated 11/4/2019 iii Contents Chapter 1: Introduction to InDesign What's new in InDesign . .1 InDesign manual (PDF) . .7 InDesign system requirements . .7 What's New in InDesign . 10 Chapter 2: Workspace and workflow GPU Performance . 18 Properties panel . 20 Import PDF comments . 24 Sync Settings using Adobe Creative Cloud . 27 Default keyboard shortcuts . 31 Set preferences . 45 Create new documents | InDesign CC 2015 and earlier . 47 Touch workspace . 50 Convert QuarkXPress and PageMaker documents . 53 Work with files and templates . 57 Understand a basic managed-file workflow . 63 Toolbox . 69 Share content . 75 Customize menus and keyboard shortcuts . 81 Recovery and undo . 84 PageMaker menu commands . 85 Assignment packages . 91 Adjust your workflow . 94 Work with managed files . 97 View the workspace . 102 Save documents . 106 Chapter 3: Layout and design Create a table of contents . 112 Layout adjustment . 118 Create book files . 121 Add basic page numbering . 127 Generate QR codes . 128 Create text and text frames . 131 About pages and spreads . 137 Create new documents (Chinese, Japanese, and Korean only) . 140 Create an index . 144 Create documents . 156 Text variables . 159 Create type on a path . .. -
The Eye Has It: Optical Alignment and Hanging Punctuation Sometimes Little Things Can Make a Big Difference
InType: Alignment By Nigel French The Eye Has It: Optical Alignment and Hanging Punctuation Sometimes little things can make a big difference. When it comes to typography this is especially true. One of the simplest enhancements you can make to your type— especially if you’re working with justified type—is to use Optical Margin Alignment. What is Optical Margin Alignment? But today, with InDesign’s Optical Have you ever noticed how punctuation Margin Alignment, we can easily ensure at the margin of a text frame can make the that punctuation, as well as the edges of left or right sides of a column appear mis- letters, hangs outside the text frame or aligned? When a line begins with punctua- column margins so that the column edge T tion, like an opening quotation mark, or remains flush (Figure 1). ends with a comma, period, or hyphen, you This makes Optical Margin Alignment get a visual hole. Once, this was regarded as especially beneficial when working with the price of progress. We could do so much justified text, but even with left-aligned more with our page layout programs—did text, the first character of the line will “hang” Figure 1: The text is the same; the margin alignment is not. it matter that we had to forgo a few niceties? outside the text frame. INDESIGN MAGAZINE 43 August | September 2011 CONTENTS PREVIOUS NEXT FULL SCREEN 30 InType: Alignment T Optical margin alignment isn’t to eve- tool, choose Story from the ryone’s taste. Some consider the look of Type menu, check the box optically aligned text too fussy, preferring and you’re good to go. -
Introduction to Printing Technologies
Edited with the trial version of Foxit Advanced PDF Editor To remove this notice, visit: www.foxitsoftware.com/shopping Introduction to Printing Technologies Study Material for Students : Introduction to Printing Technologies CAREER OPPORTUNITIES IN MEDIA WORLD Mass communication and Journalism is institutionalized and source specific. Itfunctions through well-organized professionals and has an ever increasing interlace. Mass media has a global availability and it has converted the whole world in to a global village. A qualified journalism professional can take up a job of educating, entertaining, informing, persuading, interpreting, and guiding. Working in print media offers the opportunities to be a news reporter, news presenter, an editor, a feature writer, a photojournalist, etc. Electronic media offers great opportunities of being a news reporter, news editor, newsreader, programme host, interviewer, cameraman,Edited with theproducer, trial version of Foxit Advanced PDF Editor director, etc. To remove this notice, visit: www.foxitsoftware.com/shopping Other titles of Mass Communication and Journalism professionals are script writer, production assistant, technical director, floor manager, lighting director, scenic director, coordinator, creative director, advertiser, media planner, media consultant, public relation officer, counselor, front office executive, event manager and others. 2 : Introduction to Printing Technologies INTRODUCTION The book introduces the students to fundamentals of printing. Today printing technology is a part of our everyday life. It is all around us. T h e history and origin of printing technology are also discussed in the book. Students of mass communication will also learn about t h e different types of printing and typography in this book. The book will also make a comparison between Traditional Printing Vs Modern Typography. -
Miramo®: Reference Guide (9.2)
Miramo® Automated Publishing Reference Guide VERSION 9.2 Copyright © 2000 - 2012 Datazone Ltd. All rights reserved. Miramo® and mmChart are trademarks of Datazone Ltd. All other trademarks are the property of their respective owners. Readers of this documentation should note that its contents are intended for guidance only, and do not con- stitute formal offers or undertakings. ‘License Agreement’ This software, called Miramo, is licensed for use by the user subject to the terms of a License Agreement between the user and Datazone Ltd. Use of this software outside the terms of this license agreement is strictly prohibited. Unless agreed otherwise, this License Agreement grants a non-exclusive, non-transfer- able license to use the software programs and related documentation in this package (collectively referred to as Miramo) on licensed computers only. Any attempted sublicense, assignment, rental, sale or other transfer of the software or the rights or obligations of the License Agreement without prior written consent of Datazone shall be void. In the case of a Miramo Development License, it shall be used to develop appli- cations only and no attempt shall be made to remove the associated watermark included in output docu- ments by any automated method. The documentation accompanying this software must not be copied or re-distributed to any third-party in either printed, photocopied, scanned or electronic form. The software and documentation are copyrighted. Unless otherwise agreed in writing, copies of the soft- ware may be made only for backup and archival purposes. Unauthorized copying, reverse engineering, decompiling, disassembling, and creating derivative works based on the software are prohibited. -
A Guide to Quarkcopydesk 8.5 CONTENTS
A Guide to QuarkCopyDesk 8.5 CONTENTS Contents About this guide...............................................................................9 What we're assuming about you............................................................................9 Where to go for help..............................................................................................9 Conventions..........................................................................................................10 Technology note...................................................................................................10 The user interface...........................................................................11 Menus...................................................................................................................11 QuarkCopyDesk menu (Mac OS only)...........................................................................11 File menu.......................................................................................................................12 Edit menu......................................................................................................................12 Style menu.....................................................................................................................13 Component menu.........................................................................................................15 View menu.....................................................................................................................15 -
236 Tugboat, Volume 9 (1988), No. 3 Some Typesetting Conventions
236 TUGboat, Volume 9 (1988), No. 3 Some Typesetting Conventions suitability to contents Graeme McKinstry, Not all these factors are equal in their effect on readability University of Otago, nor are all the factors within your control but it is possible New Zealand. to use some of the above factors to make your documents more readable. One of the major advantages of T@ is that it makes it possible for authors to typeset their own work. However, Typeface and size of type this new found power has not been automatically asso- There are two broad classes of fonts: serif ("serifs" are ciated with a knowledge of typesetting and typographic the finishing strokes at the end of letters) and sans-serif design and so some very unreadable documents have en- (without serifs, e.g., fonts such as Helvetica). Of the sued. This is further exacerbated by authors believing two, serif fonts (such as Computer Modem, and Times- they do know something about typesetting ("Doesn't ev- Roman) are easier to read for large quantities of text, eryone?") and ignoring all attempts to lead them in the "because it has been shown that we read our own lan- right direction, e.g., LV@. guage not letter by letter but by recognizing the shapes Although TEX users are less prone to fall into this of words . " [31. The serifs tend to help in this "shape trap as compared to your average WYSIWYG user there are recognition". For example try to decipher the following still some fundamental typographic lessons to be learned. two lines (they don't form words): These principles are so fundamental that even a com- puting consultant, such as myself, is able to learn, and possibly even more importantly, understand why we have them. -
Book Typography 101 at the End of This Session, Participants Should Be Able To: 1
3/21/2016 Objectives Book Typography 101 At the end of this session, participants should be able to: 1. Evaluate typeset pages for adherence Dick Margulis to traditional standards of good composition 2. Make sensible design recommendations to clients based on readability of text and clarity of communication © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services What is typography? Typography encompasses • The design and layout of the printed or virtual page • The selection of fonts • The specification of typesetting variables • The actual composition of text © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services What is typography? What is typography? The goal of good typography is to allow Typography that intrudes its own cleverness the unencumbered communication and interferes with the dialogue of the author’s meaning to the reader. between author and reader is almost always inappropriate. Assigned reading: “The Crystal Goblet,” by Beatrice Ward http://www.arts.ucsb.edu/faculty/reese/classes/artistsbooks/Beatrice%20Warde,%20The%20Crystal%20Goblet.pdf (or just google it) © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services 1 3/21/2016 How we read The basics • Saccades • Page size and margins The quick brown fox jumps over the lazy dog. Mary had a little lamb, a little bread, a little jam. • Line length and leading • Boules • Justification My very educated mother just served us nine. • Typeface My very educated mother just served us nine. -
Development of Computer Typesetting
Early steps in computer typesetting in the 1960s Jonathan Seybold, September 2018 1961–1964 Michael Barnett’s “Experiments in Typesetting” In 1961, Michael Barnett, an associate professor at MIT wrote a computer program that could produce punched paper tape output to drive a phototypesetting machine. He used this to produce the “Tail” from Alice in Wonderland, and a phototypeset press release. These were the first documents that were phototypeset from output generated by a computer. In 1962 Barnett received a research grant to continue this experiments. This lead to development of the PC6 system, which was used to produce a variety of reports, pamphlets and other publications in late 1963 and early 1964.1 Hardware: IBM 709/90 computer and a Photon 560 phototypesetter. Software: Written in Fortran, with a few routines written in FAP (Fortran Assembler). Written for a specific Photon 560 set-up. Typefonts were identified by disk position and row number. The TYPRINT program for text output composed text to fit a predefined page width and depth. Lines were broken after the last complete word that would fit on that line. There was no attempt at hyphenation. Pages were arbitrarily broken after the last line that would fit on the page. Special commands could be embedded in the text to tie text elements together. When it encountered these, the program would simply make the page as long as necessary to accommodate all of the text in the “no break” area. Given the scientific academic setting, the most notable feature of TYPRINT was a program written by J.M. -
Typographic Terms Alphabet the Characters of a Given Language, Arranged in a Traditional Order; 26 Characters in English
Typographic Terms alphabet The characters of a given language, arranged in a traditional order; 26 characters in English. ascender The part of a lowercase letter that rises above the main body of the letter (as in b, d, h). The part that extends above the x-height of a font. bad break Refers to widows or orphans in text copy, or a break that does not make sense of the phrasing of a line of copy, causing awkward reading. baseline The imaginary line upon which text rests. Descenders extend below the baseline. Also known as the "reading line." The line along which the bases of all capital letters (and most lowercase letters) are positioned. bleed An area of text or graphics that extends beyond the edge of the page. Commercial printers usually trim the paper after printing to create bleeds. body type The specific typeface that is used in the main text break The place where type is divided; may be the end of a line or paragraph, or as it reads best in display type. bullet A typeset character (a large dot or symbol) used to itemize lists or direct attention to the beginning of a line. (See dingbat.) cap height The height of the uppercase letters within a font. (See also cap line.) caps and small caps The typesetting option in which the lowercase letters are set as small capital letters; usually 75% the height of the size of the innercase. Typographic Terms character A symbol in writing. A letter, punctuation mark or figure. character count An estimation of the number of characters in a selection of type.