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The Origins of the Underline As Visual Representation of the Hyperlink on the Web: a Case Study in Skeuomorphism
The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Romano, John J. 2016. The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797379 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism John J Romano A Thesis in the Field of Visual Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 Abstract This thesis investigates the process by which the underline came to be used as the default signifier of hyperlinks on the World Wide Web. Created in 1990 by Tim Berners- Lee, the web quickly became the most used hypertext system in the world, and most browsers default to indicating hyperlinks with an underline. To answer the question of why the underline was chosen over competing demarcation techniques, the thesis applies the methods of history of technology and sociology of technology. Before the invention of the web, the underline–also known as the vinculum–was used in many contexts in writing systems; collecting entities together to form a whole and ascribing additional meaning to the content. -
Supreme Court of the State of New York Appellate Division: Second Judicial Department
Supreme Court of the State of New York Appellate Division: Second Judicial Department A GLOSSARY OF TERMS FOR FORMATTING COMPUTER-GENERATED BRIEFS, WITH EXAMPLES The rules concerning the formatting of briefs are contained in CPLR 5529 and in § 1250.8 of the Practice Rules of the Appellate Division. Those rules cover technical matters and therefore use certain technical terms which may be unfamiliar to attorneys and litigants. The following glossary is offered as an aid to the understanding of the rules. Typeface: A typeface is a complete set of characters of a particular and consistent design for the composition of text, and is also called a font. Typefaces often come in sets which usually include a bold and an italic version in addition to the basic design. Proportionally Spaced Typeface: Proportionally spaced type is designed so that the amount of horizontal space each letter occupies on a line of text is proportional to the design of each letter, the letter i, for example, being narrower than the letter w. More text of the same type size fits on a horizontal line of proportionally spaced type than a horizontal line of the same length of monospaced type. This sentence is set in Times New Roman, which is a proportionally spaced typeface. Monospaced Typeface: In a monospaced typeface, each letter occupies the same amount of space on a horizontal line of text. This sentence is set in Courier, which is a monospaced typeface. Point Size: A point is a unit of measurement used by printers equal to approximately 1/72 of an inch. -
Unicode Nearly Plain-Text Encoding of Mathematics Murray Sargent III Office Authoring Services, Microsoft Corporation 4-Apr-06
Unicode Nearly Plain Text Encoding of Mathematics Unicode Nearly Plain-Text Encoding of Mathematics Murray Sargent III Office Authoring Services, Microsoft Corporation 4-Apr-06 1. Introduction ............................................................................................................ 2 2. Encoding Simple Math Expressions ...................................................................... 3 2.1 Fractions .......................................................................................................... 4 2.2 Subscripts and Superscripts........................................................................... 6 2.3 Use of the Blank (Space) Character ............................................................... 7 3. Encoding Other Math Expressions ........................................................................ 8 3.1 Delimiters ........................................................................................................ 8 3.2 Literal Operators ........................................................................................... 10 3.3 Prescripts and Above/Below Scripts........................................................... 11 3.4 n-ary Operators ............................................................................................. 11 3.5 Mathematical Functions ............................................................................... 12 3.6 Square Roots and Radicals ........................................................................... 13 3.7 Enclosures..................................................................................................... -
Copyrighted Material
INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets, -
Amenity Center
AMENITY CENTER Conference Center Café / Tenant Lounge Fitness Center & Bike Room 1 National Press Building Conference Center 529 14th Street N.W. Washington, DC 20045 The National Press Building Conference Center offers a 20,000 SF assembly space for use by its tenants. The facility is located within the National Press Building on the 2nd floor at 529 14th Street, N.W., Washington, DC 20045. The conference center features: • Tenant Lounge • The Sidebar Café • Pantries • Concierge • Three Boardrooms • Two Training Rooms Tenant Lounge Embrace the sleek, modern, and convenient 2,300 SF lounge exclusive to the National Press Building tenants, featuring vibrant colors and finishes. This private tenant lounge serves as the perfect gathering point before, in- between, and after conferences. The lounge features (4) 1080p 70” LED High Definition TV screens that are accompanied by dining tables and chairs, charging docks and work stations. The design also accommodates cozy seating areas and private alcoves. The Sidebar Café The Sidebar Café has partnered with Starbucks® to provide specialty coffee, espresso bar beverages, smoothies, sandwiches, salads, baked items, yogurt and fruit. Take your items to go or dine inside 3,850 square feet of freshly renovated space. Pantry The full functioning pantry accommodates all your catering needs. Concierge Capitol Concierge Inc. provides full concierge services for all tenants, such as catering, ticket booking, dry cleaning, tailoring, and automotive detailing. The concierge is located within the conference center’s reception area. Concierge Phone: (202) 662-7070 Concierge E-Mail: [email protected] Boardrooms Clean lines. Sleek finishes. Contemporary furnishings. The Conference Center’s accessible design influences synergy during engagements and beyond. -
Checklist for Formats and Conventions of Theses and Dissertations Mckay School of Education Brigham Young University Directions
Checklist for Formats and Conventions of Theses and Dissertations McKay School of Education Brigham Young University Directions. The process for getting your thesis or dissertation approved typically takes more time than you expect, so plan accordingly. The flowchart found at education.byu.edu/ research/dissertation_aids.html helps you to understand this process. You are responsible for checking your thesis/dissertation to be sure that formats and conventions follow your program/department requirements, BYU Graduate Studies guidelines, and the seventh edition of the Publication Manual of the American Psychological Association (APA). This checklist highlights some of the most critical formatting elements and common errors; refer to the following pages and the APA manual for more information. Complete this checklist, in conjunction with revisions from your committee and graduate coordinator. When the graduate coordinator has approved your Word version, they will submit it and your completed checklist to [email protected] in the dean’s office. Name Date Submitted BYU Format for Preliminary Pages and Organizational Components Line spacing Accurate spelling of committee members’ names and department name Chair identified; committee members listed Completeness of abstract Table of contents, list of tables, list of figures; correlation between table and manuscript (wording, page numbers); hanging indent, subheading indentation, number alignment Description of thesis structure (if needed); title of thesis italicized; appendices referred to in -
List of Common Errors Serves As a Guide for Making Corrections Before You Submit Your Thesis Or Dissertation
School of Graduate Studies Thesis and Dissertation (ETD) Error Checklist Common Errors Requiring Correction This list of common errors serves as a guide for making corrections before you submit your thesis or dissertation. From time to time, another common error appears, and we update the list. For detailed information on the correct grammatical detail or stylistic nuance, consult the manual of style that you have chosen to guide your work. According to our Handbook, the style choice must be the style guidelines of the major journal in your field. If you need help beyond that manual, try Google. While you must not reference Wikipedia, it is an excellent starting place for general information and the first look at almost everything. If it is complicated, try YouTube. Finally, Word has this amazing feature called “Help.” Exploit its powers. Use as Checklist (The Morgan Dissertation and Thesis Handbook includes detailed discussions of most of these): □ 1. Font type in paging cannot be different from font in text (it may be smaller). This is a popular error. The default for Word is always showing up in the headers, while you have carefully selected a font for your manuscript. □ 2. Incorrect page numbering: Abstract not counted; Title page is “i” but is not placed on the page; Chapter 1 begins with page 1. This takes a few steps in Word to sort, but hundreds of people have done it. The position of the number must be an inch from the margin. If in the corner, an inch from both margins is expected. □ 3. Margins incorrect. -
Type Design for Typewriters: Olivetti by María Ramos Silva
Type design for typewriters: Olivetti by María Ramos Silva Dissertation submitted in partial fulfilment of the requirements for the MA in Typeface Design Department of Typography & Graphic Communication University of Reading, United Kingdom September 2015 The word utopia is the most convenient way to sell off what one has not the will, ability, or courage to do. A dream seems like a dream until one begin to work on it. Only then it becomes a goal, which is something infinitely bigger.1 -- Adriano Olivetti. 1 Original text: ‘Il termine utopia è la maniera più comoda per liquidare quello che non si ha voglia, capacità, o coraggio di fare. Un sogno sembra un sogno fino a quando non si comincia da qualche parte, solo allora diventa un proposito, cio è qualcosa di infinitamente più grande.’ Source: fondazioneadrianolivetti.it. -- Abstract The history of the typewriter has been covered by writers and researchers. However, the interest shown in the origin of the machine has not revealed a further interest in one of the true reasons of its existence, the printed letters. The following pages try to bring some light on this part of the history of type design, typewriter typefaces. The research focused on a particular company, Olivetti, one of the most important typewriter manufacturers. The first two sections describe the context for the main topic. These introductory pages explain briefly the history of the typewriter and highlight the particular facts that led Olivetti on its way to success. The next section, ‘Typewriters and text composition’, creates a link between the historical background and the machine. -
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. -
Brother Electronic Typewriter! This Product Is Designed to Deliver Years of Reliable Operation
,-- - brothel~ ELECTRONIC TYPEWRITER USER'S GUIDE AMERICAN '---- - Thank you for choosing a Brother electronic typewriter! This product is designed to deliver years of reliable operation. Some of the outstanding features of this typewriter are illustrated in the letter below. The numbers in brackets refer to the page and bo x where you can find further information explaining a feature. For example, Margins (p.2 , Bo x 3) means that this feature is explained in box 3, on page 2. Ribbon replacement is explained on page 10. Margins (p.2, Box 3) -------t-----.------------------------,. Right Margin Flush (p.6, Box 18) - - -+----------------- 1 "'" "'i • '' Capital (p.4, Box 9) ------ --+--- • ' : Indent (p.6, Box 16) -------+-----.. ~ I I : ' 1 II '·'• I• 111.1 I t)• I ,.,: I I h I),, :1 . j ,• I•!. T iJ i '/ l 11! I! hdV~ tint>~ I Jl !- ,,_..~I 1),. 1 lli d ,-, I y , \·Jitii')J l.' •U ! JtS I I I h· ''d 111'1 IT!~ I J ko-· 11 1 JJ' s _ , '-.7 , inj c;•.; _ r ~,'"" r t J r • .m .._ Jlilfl 1 'hctnqt-_·s I wuu1 I 11 b '/ ,J I q I . I J n Underline (p.5, Box 14) ------t----1~ l..l..'--"1 l.ittt- Subscript (p.4, Box 10) -----..........._ H I' ~~ - Superscript (p.4, Box 10) -----+---~-""~"- Jl JITI ( • H,_l / ~. · Tabs~.5 , Box1~ -------+---------~-------__/ IiI 11•~/ ,.... ·t,_.t ·i! y th1nk t ~l?ndln·.j y·•u •Ur 1 i tr L 111 C.J~~t:' h .... Jij n< t , .:~11 v: m.. · I JlVt 1 ' ' u : Centering (p.6, Box 17) -----~f------- 1 ,,_ • _ · "e ·t,. -
5 the Rules of Typography
The Rules of Typography Typographic Terminology THE RULES OF TYPOGRAPHY Typographic Terminology TYPEFACE VS. FONT: Two Definitions Typeface Font THE FULL FAMILY vs. ONE WEIGHT A full family of fonts A member of a typeface family example: Helvetica Neue example: Helvetica Neue Bold THE DESIGN vs. THE DIGITAL FILE The intellectual property created A digital file of a typeface by a type designer THE RULES OF TYPOGRAPHY Typographic Terminology LEADING 16/20 16/29 “In a badly designed book, the letters “In a badly designed book, the letters Leading refers to the amount of space mill and stand like starving horses in a mill and stand like starving horses in a between lines of type using points as field. In a book designed by rote, they the measurement. The name was sit like stale bread and mutton on field. In a book designed by rote, they derived from the strips of lead that the page. In a well-made book, where sit like stale bread and mutton on were used during the typesetting designer, compositor and printer have process to create the space. Now we all done their jobs, no matter how the page. In a well-made book, where perform this digitally—also with many thousands of lines and pages, the designer, compositor and printer have consideration to the optimal setting letters are alive. They dance in their for any particular typeface. seats. Sometimes they rise and dance all done their jobs, no matter how When speaking about leading we in the margins and aisles.” many thousands of lines and pages, the first say the type size “on” the leading. -
Societal Responses to the State of Orphans and Vulnerable Children (OVC) in Kano
Societal Responses to the State of Orphans and Vulnerable Children (OVC) in Kano Metropolis- Nigeria A thesis presented to the faculty of the Center for International Studies of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Mustapha Hashim Kurfi June 2010 © 2010 Mustapha Hashim Kurfi. All Rights Reserved. 2 This thesis titled Societal Responses to the State of Orphans and vulnerable children (OVC) in Kano Metropolis- Nigeria by MUSTAPHA HASHIM KURFI has been approved for the Center for International Studies by Steve Howard Professor of African Studies Steve Howard Director, African Studies Daniel Weiner Executive Director, Center for International Studies 3 ABSTRACT KURFI, MUSTAPHA HASHIM, M.A., June 2010, African Studies Societal Responses to the State of Orphans and Vulnerable Children (OVC) in Kano Metropolis- Nigeria (131 pp.) Director of Thesis: Steve Howard This study uses qualitative methodology to examine the contributions of Non- Governmental Organizations in response to the conditions of Orphans and Vulnerable Children (OVC) in Kano metropolis. The study investigates what these organizations do, what methods, techniques, and strategies they employ to identify the causes of OVC’s conditions for intervention. The study acknowledges colonization, globalization, poverty, illiteracy, and individualism as contributing factors to OVC’s conditions. However, essentially, the study identifies gross misunderstanding between paternal and maternal relatives of children to be the main factor responsible for the OVC’s conditions. This social disorganization puts the children in difficult conditions including exposure to health, educational, moral, emotional, psychological, and social problems. The thesis concludes that through “collective efficacy” the studied organizations are a perfect means for solving-problem.