Publishing Glossary
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Guidelines for Authors and Editors
Guidelines for Authors and Editors For manuscripts and online resources These guidelines offer an introduction to the SAGE Publishing Editorial Production processes for both your manuscript and online resources. You will find an overview about file formatting, styles, artwork, references, copyright and permissions procedures, as well as information about the key phases of the production process: copyediting, design, typesetting, proofreading and indexing, and new editions. Please read through the guide and use it for reference as you develop and prepare your manuscript for final submission. Preparing and submitting your work General guidelines • Please keep to the word extent agreed included in their work. Please provide with your Commissioning Editor. proof of these cleared permissions when • Supply your manuscript as a Microsoft submitting. Word file. Contact your Commissioning • If you have specific technical questions, Editor if you are using software other than please contact your Commissioning Editor. Microsoft Word. • Use double spacing, 12pt. House style • All text should be unjustified. Do not indent SAGE does not have a rigid house style. the paragraphs but set them out in blocked We focus on consistency and accuracy. It style. Use double space to indicate a new is important that you use the same style paragraph. throughout your book. We will retain UK/US spelling, punctuation and reference style as • Do not use formatting – it will be stripped submitted (edited volumes will retain the styles out. as submitted for each chapter). • Do not use program facilities such as EndNotes. Terminology • All photographs, images, etc. should be • SAGE is committed to diversity, equity and sent as high res (300dpi) jpg, tiff or eps inclusion and to ensuring this is represented files (please see Artwork section for more in our publications. -
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. -
No. 25 a Secret Index—
a secret index— division leap no. 25 a secret index— Booksellers, publishers and researchers of the history of print culture. Collections purchased. Books found. Appraisals performed. Libraries built. divisionleap.com no. 25 83. 35. 59. 39. 39. 27. 30. 25. 21. 65. 48. 72. 6. contents a. Walter Benjamin—German Expressionism—Raubdrucke 17 b. Reproduction—Computing—Classification—Architecture 23 c. The Body—Tattooing—Incarceration—Crime—Sexuality 33 d. Social Movements—1968—Feminism—The SI & After 47 e. Music 57 f. Literature—Poetry—Periodicals 63 g. Film—Chris Marker 77 h. Art 85 i. Punk Zines 91 Additional images of all items available at divisionleap.com or by request. a. Walter Benjamin—German Expressionism—Raubdrucke 17 2. 1. 18 a. The Birth of Walter Benjamin’s Theory Heuber so messianically feels is near … ” of the Messianic McCole, analyzing this same letter, notes that this appears to be Benjamin’s first use of the term 1. [Victor Hueber] Die Organisierung der “Messianic” in his writings [McCole, p. 61]. The Intelligenz. Ein Aufruf. Zweite, erweiterte Auflage. idea would haunt Benjamin’s subsequent works Als Manuskript gedruckt. on history, and reach its conclusion in the second [Prague]: Druck H. Mercy, [1910]. 8vo, thesis in On the Concept of History, written just 107 pp, stab-stapled and glue bound into violet before his march into the mountains. “The past printed wraps. Front and back panels of wraps carries with it a secret index, by which it is referred detached but present, with the paper covering to its resurrection. There is an agreement and an the spine mostly perished. -
First Line of Title
HEAVENLY HANDWRITING, TEUTONIC TYPE: FAITH AND SCRIPT IN GERMAN PENNSYLVANIA, CA. 1683 – 1855 by Alexander Lawrence Ames A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in American Material Culture Spring 2014 © 2014 Alexander Lawrence Ames All Rights Reserved HEAVENLY HANDWRITING, TEUTONIC TYPE: FAITH AND SCRIPT IN GERMAN PENNSYLVANIA, CA. 1683 – 1855 by Alexander Lawrence Ames Approved: __________________________________________________________ Consuela Metzger, M.L.I.S. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ J. Ritchie Garrison, Ph.D. Director of the Winterthur Program in American Material Culture Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education ACKNOWLEDGMENTS Whom does one thank first for assistance toward completion of an academic project only brought to fruition by the support of dozens of scholars, professionals, colleagues, family members, and friends? I must first express gratitude to my relations, especially my mother Dr. Candice M. Ames and my brother Andrew J. Ames and his family, without whose support I surely never could have undertaken the journey from Minnesota to the Winterthur Program in American Material Culture nearly two years ago. At Winterthur, I found mentors who extended every effort to encourage my academic growth. Rosemary Krill, Brock Jobe, J. Ritchie Garrison, and Greg Landrey did much to help me explore new fields. I owe a particular debt to Winterthur’s art conservators. In one, Consuela Metzger, I found a thesis advisor willing to devote countless hours to guiding my intellectual exploration. -
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. -
Proofreading Tips
Author: Dr. Sara Beam, RSU Writing Center Coordinator Proofreading Tips Definition: Proofreading is the very last step in the writing process. In the publishing world, proofreading takes place after a document, such as an advertisement or article, has been created and edited. The document goes to press, but before it is printed, “proofs” are created. The last check of the document before a full run is printed is therefore called “PROOFreading.” At this point, you are sick of the paper because you have (ideally) been working on it for days if not weeks. But you need to visit it with fresh eyes one last time or two. Here are some ways to take a new perspective (literally) on your work: 1. Pay attention to MS Word’s spellchecker and grammar checker. Though it does not catch everything, it’s often very helpful. 2. Read the paper aloud or have a friend read it aloud to you. 3. Read or listen to the paper several times, each time focusing on one particular issue, such as spelling, subject-verb agreement, capitalization, punctuation, consistent formatting, etc. 4. Check for typos by reading the paper one paragraph at a time, one sentence at a time, one word at a time BACKWARDS. 5. Create a checklist based on your teacher’s assignment sheet, and check the paper to make sure you’ve met all requirements. 6. Take a break. Take a nap. Sleep on it. Time away from the project will help clear your head. In fact, that’s one of the reasons teachers encourage you to begin papers weeks ahead of time. -
GOING in STYLE (#3): on TYPOGRAPHY, PART 2 Typography Is “The Visual Component of the Written Word.” (Matthew Butterick, Ty
GOING IN STYLE (#3): ON TYPOGRAPHY, PART 2 Typography is “the visual component of the written word.” (Matthew Butterick, Typography for Lawyers: Essential Tools for Polished & Persuasive Documents (2nd ed. 2015) p. 20.) As discussed in the previous issue of this series, typography is a subtle but significant aspect of every brief we file, with the capacity to improve persuasiveness by making reading easier and demonstrating professionalism through attention to detail. While there are few hard rules in brief typography, there are many areas that call for practitioners’ consideration and consistency. The previous issue addressed two aspects of typography — type composition and text formatting. Here we will take up a third — page layout. PAGE LAYOUT Page layout is the way text looks on the page, including the amount of white space. The California Rules of Court impose a single page layout requirement: rule 8.204(b)(6)1 requires margins of 1.5" on left and right sides, 1" top and bottom. Other than that, brief writers have decisions to make. ● Line spacing Line spacing, the vertical distance between lines of text, must be a minimum 1.5 lines. (Rule 8.204(b)(5).) Although experts generally say something slightly less than 1.5-spaced lines is best for reading, it depends on how long the lines are. (See Ruth Anne Robbins, Painting with print: Incorporating concepts of typographic and layout design into the text of legal writing documents (2004) 2 J. Assoc. of Legal Writing Directors 108, 123–124.) In an appellate brief with 1.5" margins on an 8.5 x 11" page,1.5-spaced lines, which is what the 1 Citations to rules refer to the California Rules of Court. -
Autumn 2020 2020-11-07 View This Catalogue (.Pdf)
Susanne Schulz-Falster RARE BOOKS A AUTUMN A A 2020 A A A A A A A A A A A A A A 4 Harrison’s Lane Woodstock OX20 1SS A A www.schulz-falster.com A +44 (0)1993811100 A [email protected] A Susanne Schulz-Falster RARE BOOKS ECONOMICS Green Vellum Publishing Pirated Editions [AMSTERDAM.] D'Erve der Wed. C. Stichters Almanach, voor 't jaar 1792. BAUDRY. Libraire pour les Langues with: 1)Naamwyzer waar in vertoond Etrangeres. Receipt & Catalogue. Paris, worden de namen en woonplaatsen van Baudry, 1829. £400 [...] regeerders der stad Amstelredam, 2)Het edel mogende collegie ter Handbill (260 x 205mm), printed on recto and verso in two columns, to the left ‘extrait des catalogues’, admiraliteit, 3)Hollands en Utrechts with manuscript invoice on recto a detailing 16 titles hoogheemraadschap van den Zeeburg en supplied. Diemerdyk, 4)Naamen en woonplaatsen van de heeren professoren, 5)Naam- An interesting and informative receipt for register van al de predikanten, 6)Lyste van books supplied by the publisher/bookseller de capiteinen, luitenants en officieren, Baudry to fellow bookseller Pichon & Didier. 7)Naamregister van alle de kooplieden, Louis-Claude Baudry (1793-1853) opened his 8)Naamen en woonplaatsen van de heeren first bookshop in Paris in 1815. He specialised assuradeurs, 9)Lyste der naamen en in foreign language books under the name woonplaatsen van de makelaars, ‘Librairie pour les Langues Etrangères’, which 10)Naamen en woonplaatsen van de later, probably by 1831, turned into the solliciteurs, 11)Verbetert specie-boek. Librairie Européenne, also known as Baudry’s Amsterdam, Josiah Schouten, 1792. -
Copy Editing and Proofreading Symbols
Copy Editing and Proofreading Symbols Symbol Meaning Example Delete Remove the end fitting. Close up The tolerances are with in the range. Delete and Close up Deltete and close up the gap. not Insert The box is inserted correctly. # # Space Theprocedure is incorrect. Transpose Remove the fitting end. / or lc Lower case The Engineer and manager agreed. Capitalize A representative of nasa was present. Capitalize first letter and GARRETT PRODUCTS are great. lower case remainder stet stet Let stand Remove the battery cables. ¶ New paragraph The box is full. The meeting will be on Thursday. no ¶ Remove paragraph break The meeting will be on Thursday. no All members must attend. Move to a new position All members attended who were new. Move left Remove the faulty part. Flush left Move left. Flush right Move right. Move right Remove the faulty part. Center Table 4-1 Raise 162 Lower 162 Superscript 162 Subscript 162 . Period Rewrite the procedure. Then complete the tasks. ‘ ‘ Apostrophe or single quote The companys policies were rewritten. ; Semicolon He left however, he returned later. ; Symbol Meaning Example Colon There were three items nuts, bolts, and screws. : : , Comma Apply pressure to the first second and third bolts. , , -| Hyphen A valuable byproduct was created. sp Spell out The info was incorrect. sp Abbreviate The part was twelve feet long. || or = Align Personnel Facilities Equipment __________ Underscore The part was listed under Electrical. Run in with previous line He rewrote the pages and went home. Em dash It was the beginning so I thought. En dash The value is 120 408. -
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. -
WRITING YOUR FAMILY HISTORY a Guideline for Your Project
WRITING YOUR FAMILY HISTORY A Guideline for Your Project Old Buncombe County Genealogical Society P.O. Box 2122, Asheville, NC 28802 •828-253-1894 •www.obcgs.com If you are interested in genealogy and have conducted even the shortest of searches for a relative, you might have thought about how to organize the results into a useful format. One could write a report, an article for a journal or even set up a notebook to share with others, but a book might seem daunting. Many genealogists dream about writing a book on their family research, but do not know where to start. In 2012, OBCGS organized a working group to explore the steps needed to write a family history book. The group was able to organize their findings and put them all in one place to share with our members. The result is this guideline, a summary of the steps necessary to get your research ready for printing. I. THE ORGANIZING PROCESS – success is easier when you do some planning up front. a. Choose the Format – cookbook, photo album, genealogy narrative, etc. b. Choose the Scope – one family line descending from a distant ancestor; the grandparent’s story; the military service of a Revolutionary War soldier in the family including his family genealogy; etc. c. Choose a Plot or Theme – one way to make the book more interesting to a broader audience is to use a plot or theme throughout. Suggestions might be their immigration story; life after slavery; survival during the Great Depression; etc. d. Research the Time and Place – this provides more narrative for the reader and rounds out the family members’ experience so the reader understands what they went through to raise their family and survive.