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LATEX for Word Processor Users Version 1.0.10
LATEX for Word Processor Users version 1.0.10 Guido Gonzato, Ph.D. [email protected] January 8, 2015 Abstract Text processing with LATEX offers several advantages over word processing. How- ever, beginners may find it hard to figure out how to perform common tasks and obtain certain features. This manual attempts to ease the transition by drawing com- parisons between word processing and LATEX typesetting. The main word processor capabilities are listed, along with their equivalent LATEX commands. Many examples are provided. Contents 1 Introduction 1 1.1 Preliminaries............................................2 1.1.1 Editor-Supported Features................................2 1.1.2 Adding Packages......................................2 1.1.3 Adding the Info Page...................................4 1.2 The Golden Rules.........................................5 2 The File Menu 5 2.1 File/New ...............................................5 2.2 File/Save As. ...........................................6 2.3 File/Save As Template .......................................6 2.4 File/Import .............................................6 2.5 File/Page Setup ...........................................7 2.5.1 Page Setup/Headers and Footers ..............................8 2.6 File/Printer Setup ..........................................8 2.7 File/Print Preview ..........................................8 2.8 File/Print ..............................................8 2.9 File/Versions .............................................9 3 The Edit Menu -
Zapfcoll Minikatalog.Indd
Largest compilation of typefaces from the designers Gudrun and Hermann Zapf. Most of the fonts include the Euro symbol. Licensed for 5 CPUs. 143 high quality typefaces in PS and/or TT format for Mac and PC. Colombine™ a Alcuin™ a Optima™ a Marconi™ a Zapf Chancery® a Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf International® a AMS Euler™ a Marcon™ a Medici Script™ a Shakespeare™ a Zapf International® a Melior™ a Aldus™ a Melior™ a a Melior™ Noris™ a Optima™ a Vario™ a Aldus™ a Aurelia™ a Zapf International® a Carmina™ a Shakespeare™ a Palatino™ a Aurelia™ a Melior™ a Zapf book® a Kompakt™ a Alcuin™ a Carmina™ a Sistina™ a Vario™ a Zapf Renaissance Antiqua® a Optima™ a AMS Euler™ a Colombine™ a Alcuin™ a Optima™ a Marconi™ a Shakespeare™ a Zapf Chancery® Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf international® a AMS Euler™ a Marconi™ a Medici Script™ a Shakespeare™ a Zapf international® a Aldus™ a Melior™ a Zapf Chancery® a Kompakt™ a Noris™ a Zapf International® a Car na™ a Zapf book® a Palatino™ a Optima™ Alcuin™ a Carmina™ a Sistina™ a Melior™ a Zapf Renaissance Antiqua® a Medici Script™ a Aldus™ a AMS Euler™ a Colombine™ a Vario™ a Alcuin™ a Marconi™ a Marconi™ a Carmina™ a Melior™ a Edison™ a Shakespeare™ a Zapf book® aZapf international® a Optima™ a Zapf International® a Carmina™ a Zapf Chancery® Noris™ a Optima™ a Zapf international® a Carmina™ a Sistina™ a Shakespeare™ a Palatino™ a a Kompakt™ a Aurelia™ a Melior™ a Zapf Renaissance Antiqua® Antiqua® a Optima™ a AMS Euler™ a Introduction Gudrun & Hermann Zapf Collection The Gudrun and Hermann Zapf Collection is a special edition for Macintosh and PC and the largest compilation of typefaces from the designers Gudrun and Hermann Zapf. -
The LATEX Web Companion
The LATEX Web Companion Integrating TEX, HTML, and XML Michel Goossens CERN Geneva, Switzerland Sebastian Rahtz Elsevier Science Ltd., Oxford, United Kingdom with Eitan M. Gurari, Ross Moore, and Robert S. Sutor Ä yv ADDISON—WESLEY Boston • San Francisco • New York • Toronto • Montreal London • Munich • Paris • Madrid Capetown • Sydney • Tokyo • Singapore • Mexico City Contents List of Figures xi List of Tables xv Preface xvii 1 The Web, its documents, and D-ItX 1 1.1 The Web, a window an die Internet 3 1.1.1 The Hypertext Transport Protocol 4 1.1.2 Universal Resource Locators and Identifiers 5 1.1.3 The Hypertext Markup Language 6 1.2 BTEX in die Web environment 11 1.2.1 Overview of document formats and strategies 12 1.2.2 Staying with DVI 14 1.2.3 PDF for typographic quality 15 1.2.4 Down-translation to HTML 16 1.2.5 Java and browser plug-ins 20 1.2.6 Other L4TEX-related approaches to the Web 21 1.3 Is there an optimal approach? 23 1.4 Conclusion 24 2 Portable Document Format 25 2.1 What is PDF? 26 2.2 Generating PDF from TEX 27 2.2.1 Creating and manipulating PDF 28 vi Contents 2.2.2 Setting up fonts 29 2.2.3 Adding value to your PDF 33 2.3 Rich PDF with I4TEX: The hyperref package 35 2.3.1 Implicit behavior of hyperref 36 2.3.2 Configuring hyperref 38 2.3.3 Additional user macros for hyperlinks 45 2.3.4 Acrobat-specific commands 47 2.3.5 Special support for other packages 49 2.3.6 Creating PDF and HTML forms 50 2.3.7 Designing PDF documents for the screen 59 2.3.8 Catalog of package options 62 2.4 Generating -
Apuntes De LATEX
Apuntes de LATEX Capítulo 13: LATEX y HTML En este último capítulo describiremos brevemente algunos de los sistemas de conver- A sión disponibles para transformar documentos LTEX a formato HTML, centrándonos en dos posibilidades: • TtH • TEX4ht A aunque, existen muchas más (entre las que destacamos LTEX2HTML, ver www.latex2html.org); pueden encontrarse buscando en google “TEX converters HTML”, por ejemplo. 1. TtH TtH es un convertidor bastante sencillo, que, a la hora de manejar fórmulas, directa- mente trata de “traducirlas” a lenguaje HTML, con resultados en general no demasiado fieles al original. Mencionamos este convertidor dado que, por defecto, WinEdt propor- ciona una interfaz para para acceder a este programa. Sin embargo, hay que tener en cuenta que TtH no se distribuye por defecto con MiKTeX, por lo que debe instalarse para que la interfaz de WinEdt funcione. El programa puede descargarse de: http://hutchinson.belmont.ma.us/tth/ en forma de un archivo .zip, que debemos descomprimir; los archivos ejecutables deben entonces copiarse al directorio bin de la distribución de MikTeX (donde viven latex, dvips, etc... c:/texmf/miktex/bin). Asimismo, en la distribución puede encontrarse un archivo tth_manual.html con un manual del programa. 2. TEX4ht El programa TEX4ht funciona de una manera mucho más compleja, lo cual redunda en una mayor calidad del resultado final. A diferencia de TtH, éste traductor procesa A el código LTEX, sustituyendo en el documento HTML final todo tipo de código no reconocible por HTML (fórmulas, por ejemplo) por imágenes GIF ó JPG. Además, es capaz de reconocer paquetes, comandos definidos por el usuario, etc.. -
David Glen Smith
David Glen Smith Fonts of Influence My intentions are to merge a thick poster font with a thinner sans serif in order to produce a Charlesworth {Charlemagne} modern letter. I hope to shift a traditional-based SPHINX OF BLACK QUARTZ JUDGE MY VOW. character into a more fluid, rounded form. (THERE ARE NO LOWERCASE CHARACTERS) The curved letters would be influenced by leaf shapes: curves, barbs, angles all which appear Poster Bodini in nature with radical variation on a simple SPHINX OF BLACK QUARTZ JUDGE MY VOW form. Which will leave room for improvisation as the font progresses. the quick brown fox jumped over the lazy dog Likewise I want to incorporate an sense of hand Helvetica Neue drawn images to allow more creative energy and individualism. SPHINX OF BLACK QUARTZ JUDGE MY VOW the quick brown fox jumped over the lazy dog In the end I would like to use the new version for headers on a developing web site promoting tradional art in diverse manner. Gill Sans SPHINX OF BLACK QUARTZ JUDGE MY VOW the quick brown fox jumped over the lazy dog Font History • Gill Sans • Charlemagne Designer: Eric Gill of United Kingdom The Charlemagne font was designed by Carol Twombly and inspired Born: Brighton, 1882 Died: Uxbridge, 1940 by the 10th century Carolingian manuscripts. Charlemagne has a strong stress and extended serifs that give the capital letters of the Eric Gill studied under the renowned calligrapher, Edward John- font a distinctive charm which can be successfully exploited in adver- son, the designer of the London Underground sans serif typeface. -
When Is Typography Conceptual? Steen Ejlers, the Royal Danish Academy of Fine Arts, School of Architecture
2013 | Volume III, Issue 1 | Pages 1.1-1.10 When is typography conceptual? Steen Ejlers, The Royal Danish Academy of Fine Arts, School of Architecture A conceptual artwork is not necessarily constituted the sentences disappeared in an even vertical/ by exceptional practical skill, sublime execution or horizontal pattern of letters: beautiful and orderly - whatever might otherwise regularly characterize and difficult to access. “fine art”. Instead, the effort is seated in the Both of these strategies of making stone preparatory process of thought – or as Sol Lewitt inscriptions appear strange to our eyes but once put it: “The idea becomes a machine that apparently it must have worked out. And even so! makes art” (LeWitt 1967). The conceptual work of – the everyday frequency of stone inscriptions that art typically speaks primarily to the intellect and not had to be decoded by the ancient Greeks can hardly necessarily to an aesthetic/sensual experience. be likened to the text bombardment, let alone the But what about the notion of “conceptual reading process, that we live with today. Moreover, type”? Could this be, in a way that is analogous to the Greek inscriptions, like the Roman ones of “conceptual art”, typefaces that do not necessarily the same time, consisted solely of capital letters, function by virtue of their aesthetic or functional all of which could, characteristically enough, be qualities but are interesting alone owing to the deciphered when laterally reversed. However, when foregoing idea-development process? Or is a boustrophedon was brought into practice with the typeface which, in its essential idiom, conveys a Latin alphabet’s majuscule and minuscule letters, message or an idea, conceptually? In what follows, I a number of confusing situations could arise and will try to examine these issues by invoking a series of crucial moments in the history of typeface, from antiquity up to the twenty-first century. -
The History of the Johnston Typeface
The history of the Johnston typeface A talk on Edward Johnston’s Underground Lettering – a century of influence on signs and identity by Mike Ashworth Admission Tuesday 3rd April 2012 at 6.30pm Free to SDS members, and to non- members who have booked for the Nearly a century has passed since the commissioning in Seminar 2012: Dateline London. The 1916 by the London Underground group of the Johnston world is coming. Non-members £15. typeface. With this famous ‘sans’ lettering still in use by Entry Transport for London and indeed with it being used as the Entry to all Sign Design Society talks basis for much of the signage for the 2012 Olympics and and events is by ticket only. Space Paralympics, this illustrated talk will take a look back at the is limited, so allocation is on a first introduction of Johnston to the capital’s transport network come, first served basis. If you have and the role it has played in the evolution of the corporate any special requirements please let identity of the Underground and other London transport us know, well in advance. modes. Membership Mike Ashworth is Design & Heritage Manager at London By joining the Society you will receive Underground and is responsible for customer-facing design free entry to our very regular talks, of stations and trains. Previously a curator at the London discounted admission to events and Transport Museum, Mike has worked for the company many other benefits. Join today and for twenty years. come to this talk for free. Tickets Venue Please apply for tickets as soon as The Gallery, 75 Cowcross Street, Farringdon, London, you can and no later than Friday 30th EC1M 6EL March 2012. -
Standard PDF: Transformations Instructions Suitable for Printing And
Transforming LATEX documents: software and processes Emma Cliffe May 2012 Introduction This work was carried out as part of a HESTEM Mathematics Curriculum Inno- vation project. We have explored methods to produce flexible and accessible learning resources for mathematics with a focus on producing a guide for staff in HEI to enable them as individuals to create flexible resources efficiently and robustly. This document does not describe methods by which to produce inputs for these processes. Please view the other outputs from the project at http://www.bath. ac.uk/study/mash/maths-access. i CONTENTS ii Contents 1 Linux transformations 1 1.1 Requirements . 1 1.2 TeX4ht . 1 1.2.1 Installation . 2 1.2.2 Flowfix: project output, proof of concept . 2 1.2.3 Usage . 3 1.3 PlasTeX . 5 1.3.1 Installation . 5 1.3.2 Usage . 6 2 Windows transformations 7 2.1 LibreOffice . 7 2.1.1 Installation . 7 2.1.2 Usage . 7 2.2 MathType . 8 2.2.1 Installation . 9 2.2.2 Usage . 9 2.3 Word2TeX . 10 2.3.1 Installation . 10 2.3.2 Usage . 10 CONTENTS iii 3 Using formats 13 3.1 Standard PDF: screen and print . 13 3.2 Large print PDF: screen, print and E-book readers . 13 3.3 XHTML+MathML: IE, MathPlayer and Speech . 14 3.4 HTML + MathJax: multi-browser with reflow . 14 3.5 LATEX + BaKoMa: editable . 15 3.6 Word + MathType: flexible, editable . 16 3.6.1 Installation . 17 3.7 LATEX: Speech and Braille . 17 1 LINUX TRANSFORMATIONS 1 1 Linux environment for transformations • The Linux environment is currently required to transform LATEX documents. -
Braise, Web Et Mathématiques
Math´ematiqueset web Braise D´emonstration Braise, web et math´ematiques Fran¸coisDagorn IFSIC / Universit´ede Rennes 1 Novembre 2008 Fran¸cois Dagorn Braise, web et math´ematiques Math´ematiqueset web Probl`eme Braise Des traducteurs D´emonstration TeX4ht Probl`eme Les documents existent et sont r´edig´es en LATEX Pour publier sur le web, il faut produire des documents HTML XHTML + MathML XHTML + jsMath PDF ... Fran¸cois Dagorn Braise, web et math´ematiques Math´ematiqueset web Probl`eme Braise Des traducteurs D´emonstration TeX4ht Des traducteurs Des outils de conversion existent car LATEX est un langage structur´eassez proche d’un langage `abalise : Example \begin{itemize} <ul> \item bla bla ............ <li>bla bla ...........</li> \item bla bla ............ <li>bla bla ...........</li> \end{itemize} </ul> Fran¸cois Dagorn Braise, web et math´ematiques Math´ematiqueset web Probl`eme Braise Des traducteurs D´emonstration TeX4ht Deux types de traducteurs On trouve deux types de traducteurs : code sp´ecifique qui analyse le texte source et effectue des traductions cabl´ees (LaTeX2HTML, HEVEA, ...) ; instrumentalisation de LATEX pour le d´evier de son fonctionnement naturel (TeX4ht, lXir). Fran¸cois Dagorn Braise, web et math´ematiques Math´ematiqueset web Probl`eme Braise Des traducteurs D´emonstration TeX4ht TeX4ht Tex4ht est connu depuis 1998 : Eitan Gurari Ohio State University http://www.cse.ohio-state.edu/∼gurari/TeX4ht/mn.html Fran¸cois Dagorn Braise, web et math´ematiques Math´ematiqueset web Probl`eme Braise Des traducteurs D´emonstration -
Assessing Students' Needs for Assistive Technology (ASNAT)
Assessing Students’ Needs for Assistive Technology (ASNAT) A Resource Manual for School District Teams 5th Edition June 2009 Jill Gierach, Editor Wisconsin Assistive Technology Initiative CESA #2 448 East High Street Milton, WI 53563 www.wati.org Acknowledgments The Wisconsin Assistive Technology Initiative (WATI) has been around for the past 16 years. Throughout those years it has been through the support and tireless efforts of many WATI consultants that we have been able to create, pilot, implement, and revise the Assessing Students Needs for Assistive Technology (ASNAT) resource manual. This family of assistive technology consultants grows and grows. It includes people from around the state who selflessly donated time and talent to write, edit, or make suggestions for inclusions within this manual. Each person contributed to the overall product that is in your hands. A big thank you to the current WATI staff and Milwaukee Public School representatives which includes : Laura Comer, Judi Cumley, Patti Drescher, Cindy Nankee, Marcia Obukowicz, Diane Rozanski, Lillian Rider, Karen Stindt, Kim Swenson, Shelly Weingarten, and Mary Beth Werner. This is an amazing, talented group of professionals. Additional input and review was provided by Jaroslaw Wiazowski, Stacy Heckendorf, Sue Loesl, Kay Glodowski, Stacy Grandt, Chris Hudson, Lori Lindsly, and Sheryl Thormann. We also thank Paula Walser for her work on previous versions. We appreciate everyone’s willingness to share their expertise. There are so many others that we remember and to whom we owe a debt of gratitude; they have inspired us throughout the years. They include Gayle Bowser, Linda Burkhart, Joanne Cafiero, Diana Carl, Karen Kangas, Patti King‐DeBaun, Denise DeCoste, Dave Edyburn, Karen Erickson, Kelly Fonner, Don Johnson, Jane Korsten, Scott Marfilius, Carolyn Musselwhite, Lisa Rotelli, Judith Sweeney, Richard Wanderman, Joy Zabala, and so many more. -
Use One Typeface
01 Flush Left When in doubt, set your type flush left rag right. Why? In western culture, people read from top to bottom, left to right. By justifying type left, the eye is able to find the edge and read copy much more easily. Avoid indenting the first line of a paragraph for this reason. Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 02 Use One Typeface Using two typefaces successfully within a layout requires an understanding of the chosen faces in order to be confident that they are complementary. In general, avoid using two typefaces of the same classification. For example, do not use two sans serif, serif, slab serif or script faces together. The reason—contrast. Stay with one typeface until you have achieved mastery. Helvetica Neue Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 03 Skip A Weight Go from light to bold, or from medium to extra bold when changing font weights. The key to great design is contrast. Slight changes in weight change make it harder for the audience to notice the difference. Try mixing bold for the headline and light for the body copy for greater contrast. Light/Bold Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 04 Double Point Size A good rule of thumb when changing point sizes, is to double or half the point size you are using. -
Tex, Latex and HTML Tools for Windows PC's
TeX, LaTeX and HTML Tools for Windows PC’s Alan Bridle National Radio Astronomy Observatory Charlottesville Virginia 22903 April 18, 2001 HTML Version Available1 1http://www.cv.nrao.edu/˜abridle/toolmemo/toolmemo.html 1 Contents 1 Summary 2 2 TeX for the PC 2 2.1 MiKTeX . 2 2.1.1 Installation . 3 2.1.2 Use and documentation notes . 3 2.2 Other TeX packages for Windows . 3 3 LaTeX to HTML conversion 4 3.1 LaTeX2HTML . 4 3.2 Pros and cons of LaTeX2HTML . 5 3.3 LaTeX2HTML under Windows . 6 3.4 Using LaTeX2HTML . 6 3.5 Alternatives to LaTeX2HTML . 7 4 Editing aids 8 4.1 Windows TEX shell . 8 4.2 TextPad . 8 A NRAO installation kit 9 A.1 MiKTeX . 9 A.2 Windows TEX shell . 10 A.3 Perl ............................................. 10 A.4 netpbm ........................................... 10 A.5 Ghostscript . 10 A.6 LATEX2HTML ......................................... 11 A.6.1 Configuration and Testing . 11 A.6.2 Installation . 13 A.6.3 Initialization . 14 B NRAO customization of LATEX2HTML 15 B.1 Option to use l2h.ini as the initialization file . 15 B.2 Option to emit NRAO-standard web pages . 15 Index 18 1 1 Summary This document describes free tools that support mastering of technical documents in TEX or LATEX with output either to Postscript or PDF files, or to an HTML file cluster, on PC’s running Microsoft Windows. These tools can produce a range of output formats for different publication media from the same .tex source, at zero cost in software. Installation kits for all of the packages described here, including an option to emit web pages in the NRAO standard format automatically from LATEX source, are available in the NRAO NT domain from the Cvsnap1 server.