Typography and Readability
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The Etbb Package—Edward Tufte's Version of Bembo
The ETbb package—Edward Tufte’s version of Bembo Michael Sharpe Background The fonts in this package were derived ultimately from the collection of fonts commissioned by Edward Tufte for his own books, and released in 2015 as ET-Bembo under the MIT license. (The sources for that collection were fonts using the family name ET-book.) That collection was enhanced in 2019 under the name XETBook by Daniel Benjamin Miller, and it is his package which was the starting point for ETbb, where the bb denotes the Berry abbreviation for Bembo. The final section of this document makes a detailed comparison with the earlier fbb package, which is also Bembo-like, derived from Cardo. The most significant differences are that ETbb has a regular upright that is about 20% darker than the corre- sponding fbb, and its ascender height is noticeably less. These differences make ETbb have a less spindly appearance that is closer in spirit to the print produced by traditional metal versions of Bembo. Package properties The package makes a number of changes to the XETBook fonts: • The released version of ET-Bembo lacks kerning tables—a serious omission—rectified in ETbb. • The scale has been increased by 3.36% so that the x-height of the upright regular face is 431, very close to Computer Modern and Libertine. • The lining figures in some faces were reduced so as to be a bit less than the cap-heights. • The lining figures in XETBook were proportional rather than tabular. I’ve added new tabular lining and old-style figures. -
Making Connections: Typography, Layout and Language
From: AAAI Technical Report FS-99-04. Compilation copyright © 1999, AAAI (www.aaai.org). All rights reserved. Making connections: typography, layout and language Robert Waller Information Design Unit & Coventry University [email protected] Abstract paragraphs are an interpolation, and would more com- These working notes summarise a genre theory that accounts fortably appear in a panel or box if I were able to write in for document layout in a three part communication model that another genre Ð textbook perhaps. Limited to the linearity recognises not only the effort of the writer to set out a topic of prose, I should really spend time crafting my language, and the purposeful effort by a reader to access information, and working out a way to knit the anecdote more closely but also the professional and manufacturing processes that 3 intervene. I suggest that layout genres use conventions that at into my argument. some historical point are rooted in functionality (of document A year or two back I redesigned the medical journal The generation, manufacture or use) but which have become con- Lancet. Part of the brief was to make it clearer to readers ventionalised. It follows that genres will shift over time as that as well as acting as a primary research journal reasons to generate or access information change, and as text through its refereed papers and letter, The Lancet also technologies develop. Case studies are described that illus- trate key aspects of the model and offer insight into the way contains highly topical and readable medical journalism. designers think about layout. -
The Arydshln Package∗
The arydshln package∗ Hiroshi Nakashima (Kyoto University) 2019/02/21 Abstract This file gives LATEX's array and tabular environments the capability to draw horizontal/vertical dash-lines. Contents 1 Introduction 3 2 Usage 3 2.1 Loading Package . 3 2.2 Basic Usage . 4 2.3 Style Parameters . 4 2.4 Fine Tuning . 5 2.5 Finer Tuning . 5 2.6 Performance Tuning . 6 2.7 Compatibility with Other Packages . 7 3 Known Problems 9 4 Implementation 10 4.1 Problems and Solutions . 10 4.2 Another Old Problem . 13 4.3 Register Declaration . 14 4.4 Initialization . 17 4.5 Making Preamble . 22 4.6 Building Columns . 27 4.7 Multi-columns . 30 4.8 End of Rows . 32 4.9 Horizontal Lines . 33 4.10 End of Environment . 37 4.11 Drawing Vertical Lines . 38 ∗This file has version number v1.76, last revised 2019/02/21. 1 4.12 Drawing Dash-lines . 44 4.13 Shorthand Activation . 45 4.14 Compatibility with colortab ........................... 48 4.15 Compatibility with longtable ........................... 48 4.15.1 Initialization . 49 4.15.2 Ending Chunks . 51 4.15.3 Horizontal Lines and p-Boxes . 53 4.15.4 First Chunk . 55 4.15.5 Output Routine . 56 4.16 Compatibility with colortbl ........................... 60 4.16.1 Initialization, Cell Coloring and Finalization . 62 4.16.2 Horizontal Line Coloring . 63 4.16.3 Vertical Line Coloring . 65 4.16.4 Compatibility with longtable ...................... 68 2 1 Introduction In January 1993, Weimin Zhang kindly posted a style hvdashln written by the author, which draws horizontal/vertical dash-lines in LATEX's array and tabular environments, to the news group comp.text.tex. -
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, -
Visual Research Universal Communication Communication of Selling the Narrow Column Square Span Text in Color Change of Impact New Slaves
VISUAL RESEARCH UNIVERSAL COMMUNICATION COMMUNICATION OF SELLING THE NARROW COLUMN SQUARE SPAN TEXT IN COLOR CHANGE OF IMPACT NEW SLAVES ON TYPOGRAPHY by Herbert Bayer Typography is a service art, not a fine art, however pure and elemental the discipline may be. The graphic designer today seems to feel that the typographic means at his disposal have been exhausted. Accelerated by the speed of our time, a wish for new excitement is in the air. “New styles” are hopefully expected to appear. Nothing is more constructive than to look the facts in the face. What are they? The fact that nothing new has developed in recent decades? The boredom of the dead end without signs for a renewal? Or is it the realization that a forced change in search of a “new style” can only bring superficial gain? It seems appropriate at this point to recall the essence of statements made by progressive typographers of the 1920s: Previously used largely as a medium for making language visible, typographic material was discovered to have distinctive optical properties of its own, pointing toward specifically typographic expression. Typographers envisioned possibilities of deeper visual experiences from a new exploitation of the typographic material itself. Typography was for the first time seen not as an isolated discipline and technique, but in context with the ever-widening visual experiences that the picture symbol, photo, film, and television brought. They called for clarity, conciseness, precision; for more articulation, contrast, tension in the color and black and white values of the typographic page. They recognized that in all human endeavors a technology had adjusted to man’s demands; while no marked change or improvement had taken place in man’s most profound invention, printing-writing, since Gutenberg. -
Teaching Digital Typography1
ELECTRONIC PUBLISHING, VOL. 5(2), 79±89 (JUNE 1992) Teaching digital typography1 JACQUES ANDRE ROGER D. HERSCH Didot Project Didot Project Irisa/Inria±Rennes, Campus de Beaulieu Laboratoire des SystÁemes PÂeriphÂeriques F-35042 Rennes cedex, France Ecole Polytechnique FÂedÂerale de Lausanne CH-1015 Lausanne, Switzerland SUMMARY Digital typography is a very specialized ®eld that offers two widely different yet complementary aspects:art and computer science.This paper presentsProject Didot, which is all aboutteaching digital typography. While taking into account recent experience, the authors explore some subjects that should be included in a digital typography course and describe the various trades it would be aimed at. This paper concentrates on the computer science aspect and gives a basic bibliography. KEY WORDS Digital typography Curriculum Tuition 1 PROJECT DIDOT In 1990, the EEC launched its Comett II project, with its main aims being to place greater emphasis on advanced technology training and to ensure that cooperation between univer- sities and the industrial world is carried out at a European level. Project Didot2 was set in motion in this context, with the help of seven other partners.3 The aim of this three-year project is mainly to draw up a European curriculum for teaching digital typography,4 to implement the required software tools and to try out this curriculum in a teaching environment [4]. Among the experimental workshops organized for this purpose [5] was a two-day seminar which took place in Reading (UK) in February 1991 [6] as well as a one-week seminar organized in Lausanne (Switzerland) in September 1991 [7,8]. -
Arno Pro Release Notes
Arno Pro Release Notes Introduction Named after the Florentine river which runs through the heart of the Italian Renaissance, Arno draws on the warmth and readability of early humanist typefaces of the 15th and 16th centuries. While inspired by the past, Arno is distinctly contemporary in both appearance and function. Designed by Adobe Principal Designer Robert Slimbach, Arno is a meticulously-crafted face in the tradition of early Venetian and Aldine book types. Embodying themes Slimbach has explored in typefaces such as Minion and Brioso, Arno represents a distillation of his design ideals and a refinement of his craft. As a multi-featured OpenType family, with the most extensive Latin-based glyph complement Adobe has yet offered, Arno offers extensive pan-European language support, including Cyrillic and poly- tonic Greek. The family also offers such typographic niceties as five optical size ranges, extensive swash italic sets, and small capitals for all covered languages. OpenType® OpenType “.otf” fonts are compact single-file cross-platform fonts, which can have extended language support based on Unicode, and enhanced typographic layout features. For OpenType information, including the OpenType User Guide, the OpenType Readme (application compatibility notes), and OpenType Specimen Book PDFs, visit Adobe’s Web site at http://www.adobe.com/type/opentype. About optical sizes Typefaces with optical size variants have had their designs subtly adjusted for use at specific point size ranges. This capability reintroduces one of the features of hand-cut metal type, which uses a separate font for each point size and is often optically adjusted. This is an advantage over the current common practice of scaling a single digital type design to different point sizes, which may reduce legibility at smaller sizes or sacrifice subtlety at larger sizes. -
Smooth Writing with In-Line Formatting Louise S
NESUG 2007 Posters Smooth Writing with In-Line Formatting Louise S. Hadden, Abt Associates Inc., Cambridge, MA ABSTRACT PROC TEMPLATE and ODS provide SAS® programmers with the tools to create customized reports and tables that can be used multiple times, for multiple projects. For ad hoc reporting or the exploratory or design phase of creating custom reports and tables, SAS® provides us with an easy option: in-line formatting. There will be a greater range of in-line formatting available in SAS 9.2, but the technique is still useful today in SAS versions 8.2 and 9.1, in a variety of procedures and output destinations. Several examples of in-line formatting will be presented, including formatting titles, footnotes and specific cells, bolding specified lines, shading specified lines, and publishing with a custom font. INTRODUCTION In-line formatting within procedural output is generally limited to three procedures: PROC PRINT, PROC REPORT and PROC TABULATE. The exception to this rule is in-line formatting with the use of ODS ESCAPECHAR, which will be briefly discussed in this paper. Even without the use of ODSESCAPECHAR, the number of options with in- line formatting is still exciting and almost overwhelming. As I was preparing to write this paper, I found that I kept thinking of more ways to customize output than would be possible to explore at any given time. The scope of the paper therefore will be limited to a few examples outputting to two destination “families”, ODS PRINTER (RTF and PDF) and ODS HTML (HTML4). The examples presented are produced using SAS 9.1.3 (SP4) on a Microsoft XP operating system. -
Multimedia Foundations Glossary of Terms Chapter 5 – Page Layout
Multimedia Foundations Glossary of Terms Chapter 5 – Page Layout Body Copy The main text of a published document or advertisement. Border A visible outline or stroke denoting the outer frame of a design element such as a table cell, text box, or graphic. A border’s width and style can vary according to the aesthetic needs or preferences of the designer. Box Model Or CSS Box Model. A layout and design convention used in CSS for wrapping HTML text and images in a definable box consisting of: margins, borders, and padding. Cell The editable region of a data table or grid defined by the intersection of a row and column. Chunking The visual consolidation of related sentences or ideas into small blocks of information that can be quickly and easily digested (e.g. paragraphs, lists, callouts, text boxes, etc.). Column The vertically aligned cells in a data table or grid. Dynamic Page A multimedia page with content that changes (often) over time or with each individual viewing experience. F-Layout A layout design where the reader’s gaze is directed through the page in a pattern that resembles the letter F. Fixed Layout A multimedia layout where the width of the page (or wrapper) is constrained to a predetermined width and/or height. Floating Graphic The layout of a graphic on a page whereby the adjacent text wraps around it to the left and/or right. Fluid Layout Or liquid layout. A multimedia layout where the width of the page (or wrapper) is set to a percentage of the current user’s browser window size. -
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. -
Lecture 11 – Typography
Typography Steven R. Bagley Introduction • Looked at the beginning at representing text in a computer • And then how to describe the appearance of a page • Now going to start to looking at how to convert from text to into a PDL • Formatting algorithms Formatting • At its most basic formatting text is breaking it into words and fitting them into a space forming lines • But it turns out its a hard problem to solve • Because the text has to look nice • And computers don’t do nice… Formatting • Lots of parameters that affect formatting • All of which are interrelated, so changing one may require you to change another • And the effects are psychological affecting the readability of a block of text Formatting • Goal is to be able to quantify good layout • Computer can then select one layout over another • To do that we’re going to need to understand what makes good text layout • And so understand the lingo of typography • A lot of the terms are steeped in history… Mainly from hot-metal typesetting… Show face to face with progress ;) Measurements • Basic units of measurement in typography are the point and the pica • Derived from the inch • Point is 1/72 inch • Traditionally, has been slightly less but now rounded to 1/72 • Pica is a 1/12 inch (or 6pts) ~1/72.27 So 12 point text is 1pica high Measurements • These are absolute measurements • It’s also useful to have measurements that are relative to the current point size • Particularly used for horizontal spacing to remain proportional as the font gets bigger em and en • One such relative measurement is the em • Specified as being the same as the point size • Also have the en which is half the point size • Will also see references to M/3, M/4 and M/5 Character size • The size of text is referred to the point size (and not font size) • Describes the distance from baseline to baseline when text is set solid • That is when the bits of metal type are abutted together Letterforms have tone, timbre character, just as words and sentences do. -
A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With
Ty p o g raph i c Factettes A collection of mildly interesting facts about the little symbols we communicate with. Helvetica The horizontal bars of a letter are almost always thinner than the vertical bars. Minion The font size is approximately the measurement from the lowest appearance of any letter to the highest. Most of the time. Seventy-two points equals one inch. Fridge256 point Cochin most of 50the point Zaphino time Letters with rounded bottoms don’t sit on the baseline, but slightly below it. Visually, they would appear too high if they rested on the same base as the squared letters. liceAdobe Caslon Bold UNITED KINGDOM UNITED STATES LOLITA LOLITA In Ancient Rome, scribes would abbreviate et (the latin word for and) into one letter. We still use that abbreviation, called the ampersand. The et is still very visible in some italic ampersands. The word ampersand comes from and-per-se-and. Strange. Adobe Garamond Regular Adobe Garamond Italic Trump Mediaval Italic Helvetica Light hat two letters ss w it cam gue e f can rom u . I Yo t h d. as n b ha e rt en ho a s ro n u e n t d it r fo w r s h a u n w ) d r e e m d a s n o r f e y t e t a e r b s , a b s u d t e d e e n m t i a ( n l d o b s o m a y r S e - d t w A i e t h h t t , h d e n a a s d r v e e p n t m a o f e e h m t e a k i i l .