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Introduction to Scrivener
Introduction to Scrivener UCLA Library Research Workshop Series Summer 2020 Anthony Caldwell Scrivener | ˈskriv(ə)nər | noun historical a clerk, scribe, or notary. Scrivener Typewriter. Ring-binder. Scrapbook. Why Scrivener? Big and or Complex Writing Projects Image Source: https://evernote.com/blog/how-to-organize-big-writing-projects/ Microsoft Word Apache OpenOffice LibreOffice Nisus Writer Mellel WordPerfect Why not use a word processor? and save the parts in a folder? Image Source: https://www.howtogeek.com then assemble the parts? Image Source: https://www.youtube.com/channel/UCq6zo_LsQ_cifGa6gjqfrzQ Enter Scrivener Scrivener Tutorial Links Scrivener Basics The Binder https://www.literatureandlatte.com/learn-and-support/video-tutorials/organising-1-the-binder-the-heart-of-your-project?os=macOS The Editor https://www.literatureandlatte.com/learn-and-support/video-tutorials/writing-1-writing-in-scrivener?os=macOS Writing Document Templates https://www.literatureandlatte.com/learn-and-support/video-tutorials/working-with-document-templates?os=macOS Importing Research https://www.literatureandlatte.com/learn-and-support/video-tutorials/importing-research?os=macOS Comments and Footnotes https://www.literatureandlatte.com/learn-and-support/video-tutorials/adding-comments-and-footnotes?os=macOS Adding Images https://www.literatureandlatte.com/learn-and-support/video-tutorials/adding-images-to-text?os=macOS Keywords https://www.literatureandlatte.com/learn-and-support/video-tutorials/organising-8-tagging-documents-with-keywords?os=macOS -
8 December 2004 (Revised 10 January 2005) Topic: Unicode Technical Meeting #101, 15 -18 November 2004, Cupertino, California
To: LSA and UC Berkeley Communities From: Deborah Anderson, UCB representative and LSA liaison Date: 8 December 2004 (revised 10 January 2005) Topic: Unicode Technical Meeting #101, 15 -18 November 2004, Cupertino, California As the UC Berkeley representative and LSA liaison, I am most interested in the proposals for new characters and scripts that were discussed at the UTC, so these topics are the focus of this report. For the full minutes, readers should consult the "Unicode Technical Committee Minutes" web page (http://www.unicode.org/consortum/utc-minutes.html), where the minutes from this meeting will be posted several weeks hence. I. Proposals for New Scripts and Additional Characters A summary of the proposals and the UTC's decisions are listed below. As the proposals discussed below are made public, I will post the URLs on the SEI web page (www.linguistics.berkeley.edu/sei). A. Linguistics Characters Lorna Priest of SIL International submitted three proposals for additional linguistics characters. Most of the characters proposed are used in the orthographies of languages from Africa, Asia, Mexico, Central and South America. (For details on the proposed characters, with a description of their use and an image, see the appendix to this document.) Two characters from these proposals were not approved by the UTC because there are already characters encoded that are very similar. The evidence did not adequately demonstrate that the proposed characters are used distinctively. The two problematical proposed characters were: the modifier straight letter apostrophe (used for a glottal stop, similar to ' APOSTROPHE U+0027) and the Latin small "at" sign (used for Arabic loanwords in an orthography for the Koalib language from the Sudan, similar to @ COMMERCIAL AT U+0040). -
The Unicode Standard, Version 6.1 This File Contains an Excerpt from the Character Code Tables and List of Character Names for the Unicode Standard, Version 6.1
Latin Extended-D Range: A720–A7FF The Unicode Standard, Version 6.1 This file contains an excerpt from the character code tables and list of character names for The Unicode Standard, Version 6.1. Characters in this chart that are new for The Unicode Standard, Version 6.1 are shown in conjunction with any existing characters. For ease of reference, the new characters have been highlighted in the chart grid and in the names list. This file will not be updated with errata, or when additional characters are assigned to the Unicode Standard. See http://www.unicode.org/errata/ for an up-to-date list of errata. See http://www.unicode.org/charts/ for access to a complete list of the latest character code charts. See http://www.unicode.org/charts/PDF/Unicode-6.1/ for charts showing only the characters added in Unicode 6.1. See http://www.unicode.org/Public/6.1.0/charts/ for a complete archived file of character code charts for Unicode 6.1. Disclaimer These charts are provided as the online reference to the character contents of the Unicode Standard, Version 6.1 but do not provide all the information needed to fully support individual scripts using the Unicode Standard. For a complete understanding of the use of the characters contained in this file, please consult the appropriate sections of The Unicode Standard, Version 6.1, online at http://www.unicode.org/versions/Unicode6.1.0/, as well as Unicode Standard Annexes #9, #11, #14, #15, #24, #29, #31, #34, #38, #41, #42, and #44, the other Unicode Technical Reports and Standards, and the Unicode Character Database, which are available online. -
A Work-Pattern Centric Approach to Building a Personal Knowledge Advantage Machine
Graduate Theses, Dissertations, and Problem Reports 2012 A Work-Pattern Centric Approach to Building a Personal Knowledge Advantage Machine Daniel Sloan West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Sloan, Daniel, "A Work-Pattern Centric Approach to Building a Personal Knowledge Advantage Machine" (2012). Graduate Theses, Dissertations, and Problem Reports. 4919. https://researchrepository.wvu.edu/etd/4919 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. A Work-Pattern Centric Approach to Building a Personal Knowledge Advantage Machine Daniel Sloan Thesis submitted to the College of Engineering and Mineral Resources at West Virginia University in partial fulfillment of the requirements for the degree of Master of Science in Computer Science Yenumula V. Reddy, Ph.D., Chair Bojan Cukic, Ph.D. Cynthia D. Tanner, MS. Lane Department of Computer Science and Electrical Engineering Morgantown, West Virginia 2012 Keywords: Work-patterns, file usage, semantic desktop, machine learning Copyright c 2012 Daniel Sloan Abstract A Work-Pattern Centric Approach to Building a Personal Knowledge Advantage Machine Daniel Sloan A work pattern, also known as a usage pattern, can be broadly defined as the methods by which a user typically utilizes a particular system. -
Phonetic Characters, Fonts, and Editors Data and Other Documents Here
Phonetic characters, fonts, and editors Data and other documents here are composed using Times New Roman version 5.01, which includes the major unicode phonetic symbols. If you have problems displaying those characters (some appear as boxes), that probably means that you do not have a current version of TNR. A current version of TNR should be part of your operating system at least since Windows Vista, but an upgrade can be purchased. There are free unicode fonts with phonetic characters which can substitute for this version of TNR. The procedure is to download and install the font, then within your editor (such as Word), select the whole document and change the font to whichever font you just installed. The best choices are (in descending order of design preference): Titus Cyberbit Basic (http://titus.fkidg1.uni-frankfurt.de/unicode/tituut.asp) Doulos SIL (http://scripts.sil.org/cms/scripts/page.php?item_id=DoulosSIL_download#FontsDownload) Charis SIL (http://scripts.sil.org/cms/scripts/page.php?item_id=CharisSIL_download#FontsDownload) Gentium (http://scripts.sil.org/cms/scripts/page.php?item_id=Gentium_basic) Cardo (http://scholarsfonts.net/cardofnt.html) Sporadic problems have been reported using Open Office, in cases where text is cut and pasted from another document and the text contains overstrike diacritics (e.g. [æ ̃]), that some of the text is “double-printed”. This apparently can be overcome by pasting into a new (OO) document, saving, closing, re-opening, and then copying to the intended document. You will have to experiment; if it happens, at least you’ll know that you’re not alone.. -
Katowice 2015
Więcej o książce CENA 28 ZŁ ISSN 0208-6336 (+ VAT) ISBN 978-83-8012-387-8 KATOWICE 2015 NR 3469 KATOWICE 2015 Redaktor serii: Językoznawstwo Polonistyczne Bożena Witosz Recenzentka Piotra Łobacz Wstęp Międzynarodowy alfabet fonetyczny (dalej: IPA) jest powszechnie znanym systemem transkrypcji stosowanym w różnych dziedzinach badań nad mową, lecz bardzo rzadko używanym w obrębie językoznawstwa polskiego, nie tylko w badaniach nad językiem polskim, ale także nad innymi językami słowiań skimi. Co więcej, nie dysponujemy, poza jednym wyjątkiem (Żurawski, red., 2011), polskim opracowaniem zawierającym obecnie obowiązujące symbole alfabetu międzynarodowego. Zestawy symboli opublikowane w pracach Wiktora Jassema (zob. bibliografia), w Słowniku wymowy polskiej PWN (SWP, 1977) oraz Encyklopedii językoznawstwa ogólnego (EJO, 1999), a także w wielu podręcznikach zdezaktualizowały się po 1989 roku. Zresztą nawet w opra cowaniu Język polski. Nauka o języku (Żurawski, red., 2011) nie znajdziemy wszystkich symboli IPA ani bardzo potrzebnych wskazówek dotyczących tego alfabetu (sposobu stawiania symboli oraz opisu ich budowy graficznej). Zadanie omówienia IPA jest bardzo skomplikowane, ponieważ nie wystarczy podać wartości samych symboli (a jest ich bardzo dużo, bo ponad 2501), ale trzeba także wyjaśnić sposób ich użycia (szczególnie ważne jest to w przy padku diakrytów), ich budowę (to z kolei jest istotne w przypadku nietypo wych liter typu <ʒ ɟ>), znaczenie angielskich terminów fonetycznych stoso wanych w opisie symboli IPA (nie ma tutaj pełnej jednoznaczności względem terminów polskich), sposoby konstruowania symboli fonetycznych w edyto rach tekstu (od czcionek komputerowych, tzw. fontów, zawierających sym bole IPA począwszy, na sposobach pozycjonowania znaków diakrytycznych skończywszy). Tak zaprojektowana monografia byłaby jednak niepraktyczna: zawierałaby ogromną ilość informacji, z których przeciętny użytkownik alfa betu fonetycznego nie skorzystałby, a już na pewno nie studiowałby ich po to tylko, by wstawić do swojego tekstu kilka symboli fonetycznych. -
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. -
Jtc1/Sc2/Wg2 N2945
JTC1/SC2/WG2 N2945 ISO/IEC JTC 1/SC 2/WG 2 PROPOSAL SUMMARY FORM TO ACCOMPANY SUBMISSIONS FOR ADDITIONS TO THE REPERTOIRE OF ISO/IEC 106461 Please fill all the sections A, B and C below. Please read Principles and Procedures Document (P & P) from http://www.dkuug.dk/JTC1/SC2/WG2/docs/principles.html for guidelines and details before filling this form. Please ensure you are using the latest Form from http://www.dkuug.dk/JTC1/SC2/WG2/docs/summaryform.html. See also http://www.dkuug.dk/JTC1/SC2/WG2/docs/roadmaps.html for latest Roadmaps. A. Administrative 1. Title: Proposal to Encode Additional Latin Phonetic and Orthographic Characters 2. Requester's name: Lorna A. Priest, Peter G. Constable 3. Requester type (Member body/Liaison/Individual contribution): Individual contribution 4. Submission date: 31 March 2005 (revised 9 August 2005) 5. Requester's reference (if applicable): L2/05-097R 6. Choose one of the following: This is a complete proposal: Yes or, More information will be provided later: No B. Technical – General 1. Choose one of the following: a. This proposal is for a new script (set of characters): No Proposed name of script: b. The proposal is for addition of character(s) to an existing block: Yes Name of the existing block: Modifier letters, Latin Extended 2. Number of characters in proposal: 12 3. Proposed category (select one from below - see section 2.2 of P&P document): A-Contemporary x B.1-Specialized (small collection) B.2-Specialized (large collection) C-Major extinct D-Attested extinct E-Minor extinct F-Archaic Hieroglyphic or Ideographic G-Obscure or questionable usage symbols 4. -
List of Word Processors (Page 1 of 2) Bob Hawes Copied This List From
List of Word Processors (Page 1 of 2) Bob Hawes copied this list from http://en.wikipedia.org/wiki/List_of_word_processors. He added six additional programs, and relocated the Freeware section so that it directly follows the FOSS section. This way, most of the software on page 1 is free, and most of the software on page 2 is not. Bob then used page 1 as the basis for his April 15, 2011 presentation Free Word Processors. (Note that most of these links go to Wikipedia web pages, but those marked with [WEB] go to non-Wikipedia websites). Free/open source software (FOSS): • AbiWord • Bean • Caligra Words • Document.Editor [WEB] • EZ Word • Feng Office Community Edition • GNU TeXmacs • Groff • JWPce (A Japanese word processor designed for English speakers reading or writing Japanese). • Kword • LibreOffice Writer (A fork of OpenOffice.org) • LyX • NeoOffice [WEB] • Notepad++ (NOT from Microsoft) [WEB] • OpenOffice.org Writer • Ted • TextEdit (Bundled with Mac OS X) • vi and Vim (text editor) Proprietary Software (Freeware): • Atlantis Nova • Baraha (Free Indian Language Software) • IBM Lotus Symphony • Jarte • Kingsoft Office Personal Edition • Madhyam • Qjot • TED Notepad • Softmaker/Textmaker [WEB] • PolyEdit Lite [WEB] • Rough Draft [WEB] Proprietary Software (Commercial): • Apple iWork (Mac) • Apple Pages (Mac) • Applix Word (Linux) • Atlantis Word Processor (Windows) • Altsoft Xml2PDF (Windows) List of Word Processors (Page 2 of 2) • Final Draft (Screenplay/Teleplay word processor) • FrameMaker • Gobe Productive Word Processor • Han/Gul -
5892 Cisco Category: Standards Track August 2010 ISSN: 2070-1721
Internet Engineering Task Force (IETF) P. Faltstrom, Ed. Request for Comments: 5892 Cisco Category: Standards Track August 2010 ISSN: 2070-1721 The Unicode Code Points and Internationalized Domain Names for Applications (IDNA) Abstract This document specifies rules for deciding whether a code point, considered in isolation or in context, is a candidate for inclusion in an Internationalized Domain Name (IDN). It is part of the specification of Internationalizing Domain Names in Applications 2008 (IDNA2008). Status of This Memo This is an Internet Standards Track document. This document is a product of the Internet Engineering Task Force (IETF). It represents the consensus of the IETF community. It has received public review and has been approved for publication by the Internet Engineering Steering Group (IESG). Further information on Internet Standards is available in Section 2 of RFC 5741. Information about the current status of this document, any errata, and how to provide feedback on it may be obtained at http://www.rfc-editor.org/info/rfc5892. Copyright Notice Copyright (c) 2010 IETF Trust and the persons identified as the document authors. All rights reserved. This document is subject to BCP 78 and the IETF Trust's Legal Provisions Relating to IETF Documents (http://trustee.ietf.org/license-info) in effect on the date of publication of this document. Please review these documents carefully, as they describe your rights and restrictions with respect to this document. Code Components extracted from this document must include Simplified BSD License text as described in Section 4.e of the Trust Legal Provisions and are provided without warranty as described in the Simplified BSD License. -
The Fontspec Package Font Selection for XƎLATEX and Lualatex
The fontspec package Font selection for XƎLATEX and LuaLATEX Will Robertson and Khaled Hosny [email protected] 2013/05/12 v2.3b Contents 7.5 Different features for dif- ferent font sizes . 14 1 History 3 8 Font independent options 15 2 Introduction 3 8.1 Colour . 15 2.1 About this manual . 3 8.2 Scale . 16 2.2 Acknowledgements . 3 8.3 Interword space . 17 8.4 Post-punctuation space . 17 3 Package loading and options 4 8.5 The hyphenation character 18 3.1 Maths fonts adjustments . 4 8.6 Optical font sizes . 18 3.2 Configuration . 5 3.3 Warnings .......... 5 II OpenType 19 I General font selection 5 9 Introduction 19 9.1 How to select font features 19 4 Font selection 5 4.1 By font name . 5 10 Complete listing of OpenType 4.2 By file name . 6 font features 20 10.1 Ligatures . 20 5 Default font families 7 10.2 Letters . 20 6 New commands to select font 10.3 Numbers . 21 families 7 10.4 Contextuals . 22 6.1 More control over font 10.5 Vertical Position . 22 shape selection . 8 10.6 Fractions . 24 6.2 Math(s) fonts . 10 10.7 Stylistic Set variations . 25 6.3 Miscellaneous font select- 10.8 Character Variants . 25 ing details . 11 10.9 Alternates . 25 10.10 Style . 27 7 Selecting font features 11 10.11 Diacritics . 29 7.1 Default settings . 11 10.12 Kerning . 29 7.2 Changing the currently se- 10.13 Font transformations . 30 lected features . -
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.