Typography GRS Writing Group – FRI 6 JUL 2018
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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 -
Publication Notes – 3Nt.Xyz
Publication Notes – 3nt.xyz Pete Matthews Jr – https://3nt.xyz – © June 19, 2021 Some of the material in this document originally appeared on the MIT/DL Bridge Club site, at http://web.mit.edu/mitdlbc/www/contrib.html. This article, at https://3nt.xyz/about/, is now the official home of this material. Look for updates here. Most of the MS Office documents about the game of bridge use the free Cards font. Starting in 2018, this font is also used in writing up deals with Bridge Composer. Many of the Portable Bridge Notation (PBN) files on this site were created or edited with BridgeComposer; some were created with Dealmaster Pro. The PDF files should be complete and need only Acrobat Reader. That is, all necessary font components are embedded in the files. Items are noted (I) when appropriate for Intermediate players, or (A) for Advanced or Advancing players. Titles of mainstream articles are bold, while more esoteric or less important titles are in italics. Media Codes To describe attributes of the intended media, PDF documents are noted with these Media Codes: Media Size Description Portrait orientation, 1-2 columns, US Letter, usually single column, best 8.5"W for printing and viewing on a moderate to large screen. Articles P x 11"H published before July 1, 2018 and most other bridge material is in this format. 11"W x Landscape orientation, 1-2 columns, US Letter. Only used fort the L 8.5"H occasional spreadsheet that is too wide for some other format. Portrait orientation, 1 column, US Junior (Half Letter). -
Powerpoint 2007
Office 2007 Microsoft Office Fluent User Interface ........................................................................................................................................................ 2 Key Components ......................................................................................................................................................................................... 2 The Office Button .................................................................................................................................................................................... 2 The Ribbon .............................................................................................................................................................................................. 3 Contextual Tabs ....................................................................................................................................................................................... 3 Galleries .................................................................................................................................................................................................. 3 Live Preview ........................................................................................................................................................................................... 3 Mini Toolbar .......................................................................................................................................................................................... -
Lushootseed Unicode Keyboard Help
Lushootseed Unicode Keyboard 1.1 Overview Design This Keyman keyboard is designed for Lushootseed, a language of the Pacific Northwest spoken in Washington state. The arrangement of Lushootseed letters on this keyboard closely follow the arrangement of keys in a standard English QWERTY keyboard. On Screen Keyboard This keyboard includes an On Screen Keyboard view for easy reference. The On Screen Keyboard works best when associated with a QWERTY US layout. Fonts This is a Unicode keyboard and works with any Unicode font which has support for Lushootseed characters. Common fonts which work with Lushootseed are: Arial Consolas Arial Unicode MS Courier New Calibri Tahoma Cambria Times New Roman This keyboard also includes the following fonts which work well with Lushootseed: Lushootseed Sulad Gentium Plus Lushootseed School Keyboard Layout Lushootseed Unicode: Unshifted ` 1 2 3 4 5 6 7 8 9 0 - = Backspace © 1 2 3 4 5 6 7 8 9 0 - = Tab q w e r t y u i o p [ ] \ q w ə š t y u i ʷ p [ ] \ Caps Lock a s d f g h j k l ; ' Enter a s d ʔ g h ǰ k l ɬ ' Shift z x c v b n m , . / Shift & x c č b n m , . / Ctrl Alt Alt Ctrl Lushootseed Unicode: Shifted ~ ! @ # $ % ^ & * ( ) _ + Backspace © ! @ # $ % ^ & * ( ) _ + Tab Q W E R T Y U I O P { } ¦ ; < ;ʷ = > kʷ ? { } ¦ Caps Lock A S D F G H J K L : " Enter qʷ dᶻ gʷ Aʷ A B C " Shift Z X C V B N M < > ? Shift &ʷ xʷ E F G H I < > ? Ctrl Alt Alt Ctrl Keyboard Details You can find most keys on the Lushootseed keyboard by thinking of a similar letter in English. -
Choosing Fonts – Quick Tips
Choosing Fonts – Quick Tips 1. Choose complementary fonts – choose a font that matches the mood of your design. For business cards, it is probably best to choose a classic font. *Note: These fonts are not available in Canva, but are in the Microsoft Office Suite. For some good Canva options, go to this link – https://www.canva.com/learn/canva-for-work-brand-fonts/ Examples: Serif Fonts: Sans Serif Fonts: Times New Roman Helvetica Cambria Arial Georgia Verdana Courier New Calibri Century Schoolbook 2. Establish a visual hierarchy – Use fonts to separate different types of information and guide the reader - Use different fonts, sizes, weights (boldness), and even color - Example: Heading (Helvetica, SZ 22, Bold) Sub-heading (Helvetica, SZ 16, Italics) Body Text (Garamond, SZ 12, Regular) Captions (Garamond, SZ 10, Regular 3. Mix Serifs and Sans Serifs – This is one of the best ways to add visual interest to type. See in the above example how I combined Helvetica, a sans serif font, with Garamond, a serif font. 4. Create Contrast, Not Conflict: Fonts that are too dissimilar may not pair well together. Contrast is good, but fonts need a connecting element. Conflict Contrast 5. Use Fonts from the Same Family: These fonts were created to work together. For example, the fonts in the Arial or Courier families. 6. Limit Your Number of Fonts: No more than 2 or 3 is a good rule – for business cards, choose 2. 7. Trust Your Eye: These are not concrete rules – you will know if a design element works or not! . -
Vision Performance Institute
Vision Performance Institute Technical Report Individual character legibility James E. Sheedy, OD, PhD Yu-Chi Tai, PhD John Hayes, PhD The purpose of this study was to investigate the factors that influence the legibility of individual characters. Previous work in our lab [2], including the first study in this sequence, has studied the relative legibility of fonts with different anti- aliasing techniques or other presentation medias, such as paper. These studies have tested the relative legibility of a set of characters configured with the tested conditions. However the relative legibility of individual characters within the character set has not been studied. While many factors seem to affect the legibility of a character (e.g., character typeface, character size, image contrast, character rendering, the type of presentation media, the amount of text presented, viewing distance, etc.), it is not clear what makes a character more legible when presenting in one way than in another. In addition, the importance of those different factors to the legibility of one character may not be held when the same set of factors was presented in another character. Some characters may be more legible in one typeface and others more legible in another typeface. What are the character features that affect legibility? For example, some characters have wider openings (e.g., the opening of “c” in Calibri is wider than the character “c” in Helvetica); some letter g’s have double bowls while some have single (e.g., “g” in Batang vs. “g” in Verdana); some have longer ascenders or descenders (e.g., “b” in Constantia vs. -
Arab Children's Reading Preference for Different Online Fonts
Arab Children’s Reading Preference for Different Online Fonts Asmaa Alsumait1, Asma Al-Osaimi2, and Hadlaa AlFedaghi2 1 Computer Engineering Dep., Kuwait University, Kuwait 2 Regional Center For Development of Educational Software, Kuwait [email protected], {alosaimi,hadlaa}@redsoft.org Abstract. E-learning education plays an important role in the educational proc- ess in the Arab region. There is more demand to provide Arab students with electronic resources for knowledge now than before. The readability of such electronic resources needs to be taken into consideration. Following design guidelines in the e-learning programs’ design process improves both the reading performance and satisfaction. However, English script design guidelines cannot be directly applied to Arabic script mainly because of difference in the letters occupation and writing direction. Thus, this paper aimed to build a set of design guidelines for Arabic e-learning programs designed for seven-to-nine years old children. An electronic story is designed to achieve this goal. It is used to gather children’s reading preferences, for example, font type/size combination, screen line length, and tutoring sound characters. Results indicated that Arab students preferred the use of Simplified Arabic with 14-point font size to ease and speed the reading process. Further, 2/3 screen line length helped children in reading faster. Finally, most of children preferred to listen to a female adult tutoring sound. Keywords: Child-Computer Interfaces, E-Learning, Font Type/Size, Human- Computer Interaction, Information Interfaces and Presentation, Line Length, Tutoring Sound. 1 Introduction Ministries of education in the Arab region are moving toward adopting e-learning methods in the educational process. -
Stop Stealing Sheep & Find out How Type Works
1 Stop Stealing Sheep This page intentionally left blank 3 Stop Stealing Sheep & find out how type works Third Edition Erik Spiekermann Stop Stealing Sheep trademarks & find out how type works Adobe, Photoshop, Illustrator, Third Edition PostScript, and CoolType are registered Erik Spiekermann trademarks of Adobe Systems Incorporated in the United States and/or This Adobe Press book is other countries. ClearType is a trade published by Peachpit, mark of Microsoft Corp. All other a division of Pearson Education. trademarks are the property of their respective owners. For the latest on Adobe Press books, go to www.adobepress.com. Many of the designations used by To report errors, please send a note to manufacturers and sellers to dis tinguish [email protected]. their products are claimed as trademarks. Where those designations appear in Copyright © 2014 by Erik Spiekermann this book, and Peachpit was aware of a trademark claim, the designations appear Acquisitions Editor: Nikki Echler McDonald as requested by the owner of the trade Production Editor: David Van Ness mark. All other product names and Proofer: Emily Wolman services identified throughout this book Indexer: James Minkin are used in editorial fashion only and Cover Design: Erik Spiekermann for the benefit of such companies with no intention of infringement of the notice of rights trademark. No such use, or the use of any All rights reserved. No part of this trade name, is intended to convey book may be reproduced or transmitted endorsement or other affiliation with in any form by any means, electronic, this book. mechanical, photocopying, recor ding, or otherwise, without the prior isbn 13: 9780321934284 written permission of the publisher. -
CECS 470 Lab Assignment 3: HTML and CSS Due Date: Wednesday, 2/13/2019
CECS 470 Lab Assignment 3: HTML and CSS Due date: Wednesday, 2/13/2019 40 points 1. [ 3 points] Use the embedded style, style the web page in the lab assignment 2 with the following styles: h1 - color: blue; background -color: yellow h1, h2, h3 - font family: "Trebuchet MS", "Lucida Grande", Tahoma, sans- serif body – font family: Georgia, Cambria, "Times New Roman", serif 2. [6 points] Use the separate CSS file, style the web page in the lab assignment 2 with the following styles: header, footer - color: white; background color: 213643; nav - background color: 728B96; h1, h2, h3 - font family: "Trebuchet MS", "Lucida Grande", Tahoma, sans-serif; body – font family: Georgia, Cambria, "Times New Roman", serif; Change the text Review to red Class first to color: 728B96; font style: italic; 1 3. [ 31 points] This problem updates your existing web page from the lab assignment 2 to add some visual stylistic improvements with CSS. Instructions Create an external style sheet called reset.css that removes all the browser formatting from the main HTML elements and reference inside the html file as follows: html, body, header, footer, main, nav, article, section, figure, figcaption, h1, h2, h3, ul, li, body, div, p, img { margin: 0; padding: 0; font-size: 100%; vertical-align: baseline; border: 0; } Create another external style sheet named lab3.css and link to it in your HTML file. Add styles to lab3.css so that it looks similar to that shown in Figure below. Do not modify the markup within the <body> element. 2 Be sure to group your style rules together in appropriate commented sections and to make your sizes scalable (i.e., try to avoid using pixels for font sizes, padding, or margins). -
Lucida Sans the Quick Brown Fox Jumps Over a Lazy Dog
Facing up to Fonts Richard Rutter “When the only font available is Times New Roman, the typographer must make the most of its virtues. The typography should be richly and superbly ordinary, so that attention is drawn to the quality of the composition, not the individual letterforms.” Elements of Typographic Style by Robert Bringhurst ≠ Times New Roman Times New Roman is a serif typeface commissioned by the British newspaper, The Times, in 1931, designed by Stanley Morison and Victor Lardent at the English branch of Monotype. It was commissioned after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. Arial Arial is a sans-serif typeface designed in 1982 by Robin Nicholas and Patricia Saunders for Monotype Typography. Though nearly identical to Linotype Helvetica in both proportion and weight, the design of Arial is in fact a variation of Monotype Grotesque, and was designed for IBM’s laserxerographic printer. Georgia Georgia is a transitional serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. It is designed for clarity on a computer monitor even at small sizes, partially due to a relatively large x-height. The typeface is named after a tabloid headline titled Alien heads found in Georgia. Verdana Verdana is a humanist sans-serif typeface designed by Matthew Carter for Microsoft Corporation, with hand-hinting done by Tom Rickner. Bearing similarities to humanist sans-serif typefaces such as Frutiger, Verdana was designed to be readable at small sizes on a computer screen. Trebuchet A humanist sans-serif typeface designed by Vincent Connare for the Microsoft Corporation in 1996. -
Contemporary Processes of Text Typeface Design
Title Contemporary processes of text typeface design Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/13455/ Dat e 2 0 1 8 Citation Harkins, Michael (2018) Contemporary processes of text typeface design. PhD thesis, University of the Arts London. Cr e a to rs Harkins, Michael Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Contemporary processes of text typeface design Michael Harkins Thesis submitted for the degree of Doctor of Philosophy Central Saint Martins University of the Arts London April 2018 This thesis is dedicated to the memory of my brother, Lee Anthony Harkins 22.01.17† and my father, Michael Harkins 11.04.17† Abstract Abstract Text typeface design can often be a lengthy and solitary endeavour on the part of the designer. An endeavour for which, there is little in terms of guidance to draw upon regarding the design processes involved. This is not only a contemporary problem but also an historical one. Examination of extant accounts that reference text typeface design aided the orientation of this research (Literature Review 2.0). This identified the lack of documented knowledge specific to the design processes involved. Identifying expert and non-expert/emic and etic (Pike 1967) perspectives within the existing literature helped account for such paucity. In relation to this, the main research question developed is: Can knowledge of text typeface design process be revealed, and if so can this be explicated theoretically? A qualitative, Grounded Theory Methodology (Glaser & Strauss 1967) was adopted (Methodology 3.0), appropriate where often a ‘topic of interest has been relatively ignored in the literature’ (Goulding 2002, p.55). -
Christoph Knoth PB Computed Type Design
COMPUTED TYPE DESIGN Christoph Knoth PB Computed Type Design A Abstract A lot of tasks in font design are interlinked and a change on one Is it possible to create a far more easy to use program to letter will maybe create hours of work on others. The idea of a design western characters by trying to analyze the strongness parametrical typeface could minimize those problems and would and weakness of other approaches? And does a programmatic allow to design an infinite number of typefaces at the same approach to type design help to create new and interesting time. curves and shapes for letterforms something that would not • I will try to understand why this way of designing a font have been imagined before? never got widely adopted. If it is possible to create a more easy to use program to design western characters. And finally if this approach to type design would help to create new and interesting curves and shapes for letterforms. C History To understand how type design works today one has to B Introduction understand the history of type design. That is why I have collected some early historical samples that show first approaches for a mathematical notation and a systematical Type design is a long and tedious process. Just to design modification and variation of fonts in a pre computer era. the basic letters takes days and it sometimes takes years for • Followed by a short chapter about the curve and another a full character set. The process has changed over time with chapter where I will try to shed some light on the changes that technology evolving giving the designer more and more the computer brought to the type design industry.