DOCSLIB.ORG

Submit Login Macos Mojave Removes Subpixel Anti-Aliasing, Making

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Submit Login Macos Mojave Removes Subpixel Anti-Aliasing, Making Hacker News new | comments | show | ask | jobs | submit login MacOS Mojave removes subpixel anti-aliasing, making non-retina displays blurry (reddit.com) 215 points by laurentdc 6 hours ago | hide | past | web | favorite | 188 comments add comment ridiculous_fish 2 hours ago [-] ex-MacOS SWE here. Subpixel antialiasing is obnoxious to implement. It requires threading physical pixel geometry up through multiple graphics layers, geometry which is screen-dependent (think multi-monitor). It multiplies your glyph caches: glyph * subpixel offset. It requires knowing your foreground and background colors at render time, which is an unnatural requirement when you want to do GPU-accelerated compositing. There's tons of ways to fall off of the subpixel antialiased quality path, and there's weird graphical artifacts when switching from static to animated text, or the other way. What a pain! Nevertheless there's no denying that subpixel-AA text looks better on 1x displays. Everyone notices when it's not working, and macOS will look worse without it (on 1x displays). reply omarforgotpwd 0 minutes ago [-] "Listen guys the code for this is a mess. Can you just buy the new Macbook?" (love my latest gen Macbook Pro, but this is the classic problem with Apple's approach to product design) reply captainmuon 1 hour ago [-] Personally, I think that is moving in the wrong direction. This is the reason text looks bad on transformed HTML elements in browsers, or when you click a button on Windows and it tilts slightly. Text rendering should be aware of the (sub)pixels, even post-transform. While we're at it, this can apply to vector art, too. If we ever want to have a hope of computers looking like, e.g. this Microsoft fluent design mockup [1], which is clearly window-based, but the windows are tilted slightly and shaded giving it a physical appearance, we'd have to go in that direction. If we stay in the model where everything is a texture that gets composited, the only thing we can do is to use higher resolution / retina display. Also, one thing I've never seen discussed are virtual displays inside a VR world. The VR headset has plenty of pixels, but you can't simulate a full HD screen at a few feet distance, let alone a retina screen. [1] https://cdn0.tnwcdn.com/wp-content/blogs.dir/1/files/2017/05... reply akvadrako 1 minute ago [-] Obviously the right direction is replacing sub-pixels with pixels. Maybe you meant this is premature? reply SCdF 47 minutes ago [-] > Subpixel antialiasing is obnoxious to implement Totally, but > there's no denying that subpixel-AA text looks better on 1x displays. I get that it's hard, but at the end of the day what users are going to notice is, when they dock their laptop at work, their display is going to look like fuzzy crap. Maybe most people won't notice? It's hard to tell without seeing a side-by-side comparison. reply eloisant 34 minutes ago [-] I guess Apple just wants everyone to buy retina displays, and don't care about people using what they believe is "legacy" hardware. reply ksec 3 minutes ago [-] This wouldn't be a problem, if 1) They had Retina MacBook Air 2) They actually have a Monitor Line, that is Retina+ Display, Super great colour accuracy etc. For 1st point Apple doesn't seems to care, and 2nd point, Apple should at least have a list of Monitor that work best or up to their "Standards". Or on sale at Apple Store. These attention to details, in its ecosystem weren't as obvious when Steve were here. But recently they have started to show cracks everywhere. reply akvadrako 0 minutes ago [-] This is a good indication they will remove the Air from the lineup this fall and replace it with a lower-end MacBook. trumpeta 2 hours ago [-] I have a 2015 rMBP with nVidia 750m and recently I switched from Apple Cinema Display to a 4k screen. At any of the graphical modes between the full 2x retina and 1x the whole OS gets extremely sluggish to the point of unusable. Some people from Jetbrains have looked into it and concluded it was the font rendering in IDEA bringing down the entire system. Do you think this change can improve this? Because it certainly sounds like it. reply Arkanta 56 minutes ago [-] Sorry for the rant, but given the price of the JetBrains Toolbox, it infuriates me that they've been giving us HDPI users the middle finger for a couple of years now. First of all, switching to grayscale helps A LOT. mojave does this system wide, but the JVM (or IntelliJ, I don't really remember) has its own font rendering system, so you need to change that in IntelliJ directly. I was hurt terribly by this issue. My problems have been solved by three things: - IDEA update that reworks the statusbar undertermined progress bar, which maxed my cpu just for a dumb anymation - Going from an iGPU to dGPU mac (you seem to have one, so congrats, it would be way worse with only your iGPU) - Using an experimental JVM from this thread: https://youtrack.jetbrains.com/issue/IDEA-144261 That said, JetBrains messed up with their 2018.1 release again. I'm mostly using Android studio, which lags behind IntelliJ's versions. 3.1 merged the stupid progressbar fix, but I'm not looking forward when 3.2 hits stable, with 2018.1 merged in. Bottom line is that there are multiple factors in JetBrain's custom OpenGL UI inefficiencies combined with Oracle's JVM bugs/inefficiencies that takes down the whole system, but it's ultimately not only a font smoothing issue. JetBrains doesn't really care, or at least doesn't show that they care. They first said "we don't notice that", and then released some JVM patches in the comments of an issue. Of course, Oracle also shares part of the blame: none of this would have happened had they kept Apple's JVM Quartz support. reply davnn 2 hours ago [-] > Subpixel antialiasing is obnoxious to implement. Isn't it completely abstracted away from 99%+ of macOS development? reply jacobolus 2 hours ago [-] Yes, but if it dramatically increases complexity for all the lower levels of the rendering stack, it ends up creating extra work for those OS/framework developers, requiring separate versions of the code targeting different displays which must be maintained separately with different sets of bugs in each, preventing them from making large-scale architectural changes they want to make, restricting some types of significant optimizations, etc. reply sova 1 hour ago [-] Yeah but isn't it already a solved problem with 1x monitors? Who is implementing things multiple times for no reason? I'm glad in the future it will be easier for Apple because they just won't hire devs to do that part then, but does this imply that 1x monitors will simply look inferior no matter what is done with newer versions of OSX+? reply systoll 9 minutes ago [-] There's a broader change that is an improvement to the abstraction devs work with, which simplifies coding and results in more GPU acceleration. Essentially, this article: http://darknoon.com/2011/02/07/mac-ui-in-the-age-of-ios/ will be obsolete. If it's possible to realise those benefits while retaining subpixel antialiasing, it would entail a complete reimplementation. On the other side of things -- Light-on-dark subpixel antialiasing has always been a little wonky, and Apple disables it in most dark UIs. Without significant changes, dark mode would've been greyscale either way, reply rbanffy 1 hour ago [-] This complexity is why we can't have windows that spread between 1x and 2x monitors since the introduction of Retina displays. Ideally everything should be rendered (and cached) to the maximum resolution available (minimum trace widths considered) and then downsampled to the specific screens with subpixel data applied, but that's a lot of processing to do and battery life would suffer. reply brigade 38 minutes ago [-] Eh? Before Yosemite was released in 2014, one window could span between a 1x and 2x monitor. I forget if it was always rendered at 1x, or if it was rendered at 2x and scaled for the 1x, but yeah it looked like crap on one or the other. Actually I think it switched depending on which monitor had more of the window? But they only eliminated windows spanning across multiple monitors when they made spaces per-display. reply jacobolus 1 hour ago [-] It’s already a solved problem if you want to keep using the software you already wrote, and never do anything different. (Nobody is stopping people from running OS X 10.13 indefinitely on their 1x displays.) If you want to rearchitect your whole text / vector graphics rendering pipeline to take proper advantage of GPUs, then you are going to be much happier with your life if you don’t have to double your work to support legacy hardware. I would love to see Apple implement this kind of thing http://w3.impa.br/~diego/projects/GanEtAl14/ reply tobr 2 hours ago [-] This and the document @gnachman posted has me intrigued. Are you saying that subpixel AA is not just like a multichannel mask? I would expect the amount of R/G/B foreground and background color for a given pixel to be the same regardless of what those colors actually are? reply jgh 1 hour ago [-] (note I haven't worked on subpixel AA for font rendering, but have for something different) the amount of color you apply to each subpixel has different levels of intensity depending on how deeply into the pixel the shape goes, so you would need to blend with whatever is behind/in front of it.
Load more

Recommended publications
  • Increasing Image Resolution on Portable Displays by Subpixel Rendering – a Systematic Overview
    SIP (2012),vol.1,e1,page1of10©TheAuthors,2012. The online version of this article is published within an Open Access environment subject to the conditions of the Creative Commons Attribution-NonCommercial-ShareAlike license <http://creativecommons.org/licenses/by-nc-sa/3.0/>. The written permission of Cambridge University Press must be obtained for commercial re-use. doi:10.1017/ATSIP.2012.3 overview paper Increasing image resolution on portable displays by subpixel rendering – a systematic overview lu fang1,2,oscarc.au1,ketantang1 and xing wen1 Many of portable devices such as smart phones, portable multimedia players (PMP), and digital single-lens reflex (DSLR) cam- eras are capable of capturing high-resolution images (e.g. 10 mega-pixel in DSLR) or even video. The limited battery power supply in the portable devices often prevents these systems to use high-power large liquid crystal display (LCD). Instead, the portable devices often have a LCD screen with small physical size (e.g. 3cm× 2cmforSmartphoneorDSLR)andwithmuch lower pixel resolution (e.g. 0.15 mega-pixel for 480 × 320 display) than actual image/video resolution. Thus, the high-resolution image and video are down-sampled before being displayed. Unfortunately, the anti-aliasing filter often leads to rather severe blurring. Although the blurring may be minor when the viewing distance is large, it can be rather disturbing in portable appli- cations due to the short viewing distance. To cope with the blurring problem, one possible solution is to use an LCD screen with higher resolution. But such hardware solution tends to be expensive and often not welcomed by the consumer electronic compa- nies.Anotherpossiblesolutionistocontinuetousethelow-resolutionLCDscreen,butusesomesoftwaretechniquetoenhance the apparent image/video resolution.
    [Show full text]
  • Web Typography │ 2 Table of Content
    Imprint Published in January 2011 Smashing Media GmbH, Freiburg, Germany Cover Design: Ricardo Gimenes Editing: Manuela Müller Proofreading: Brian Goessling Concept: Sven Lennartz, Vitaly Friedman Founded in September 2006, Smashing Magazine delivers useful and innovative information to Web designers and developers. Smashing Magazine is a well-respected international online publication for professional Web designers and developers. Our main goal is to support the Web design community with useful and valuable articles and resources, written and created by experienced designers and developers. ISBN: 978-3-943075-07-6 Version: March 29, 2011 Smashing eBook #6│Getting the Hang of Web Typography │ 2 Table of Content Preface The Ails Of Typographic Anti-Aliasing 10 Principles For Readable Web Typography 5 Principles and Ideas of Setting Type on the Web Lessons From Swiss Style Graphic Design 8 Simple Ways to Improve Typography in Your Designs Typographic Design Patterns and Best Practices The Typography Dress Code: Principles of Choosing and Using Typefaces Best Practices of Combining Typefaces Guide to CSS Font Stacks: Techniques and Resources New Typographic Possibilities with CSS 3 Good Old @Font-Face Rule Revisted The Current Web Font Formats Review of Popular Web Font Embedding Services How to Embed Web Fonts from your Server Web Typography – Work-arounds, Tips and Tricks 10 Useful Typography Tools Glossary The Authors Smashing eBook #6│Getting the Hang of Web Typography │ 3 Preface Script is one of the oldest cultural assets. The first attempts at written expressions date back more than 5,000 years ago. From the Sumerians cuneiform writing to the invention of the Gutenberg printing press in Medieval Germany up to today՚s modern desktop publishing it՚s been a long way that has left its impact on the current use and practice of typography.
    [Show full text]
  • Higher Quality 2D Text Rendering
    Journal of Computer Graphics Techniques Vol. 2, No. 1, 2013 Higher Quality 2D Text Rendering http://jcgt.org Higher Quality 2D Text Rendering Nicolas P. Rougier INRIA No hinting Native hinting Auto hinting Vertical hinting Figure 1. When displaying text on low-resolution devices (DPI < 150), one typically has to decide if one wants to respect the pixel grid (e.g., Cleartype technology / Microsoft / native hinting) for crisp rendering or, to privilege glyph shapes (Quartz technology / Apple / no hinting) at the cost of blurring. There is, however, a third way that may combine the best of the two technologies (vertical hinting). Abstract Even though text is pervasive in most 3D applications, there is surprisingly no native sup- port for text rendering in OpenGL. To cope with this absence, Mark Kilgard introduced the use of texture fonts [Kilgard 1997]. This technique is well known and widely used and en- sures both good performances and a decent quality in most situations. However, the quality may degrade strongly in orthographic mode (screen space) due to pixelation effects at large sizes and to legibility problems at small sizes due to incorrect hinting and positioning of glyphs. In this paper, we consider font-texture rendering to develop methods to ensure the highest quality in orthographic mode. The method used allows for both the accurate render- ing and positioning of any glyph on the screen. While the method is compatible with complex shaping and/or layout (e.g., the Arabic alphabet), these specific cases are not studied in this article. 50 Journal of Computer Graphics Techniques Vol.
    [Show full text]
  • Prediction of Preferred Cleartype Filters Using the S-Cielab Metric
    PREDICTION OF PREFERRED CLEARTYPE FILTERS USING THE S-CIELAB METRIC Jiajing Xu1, Joyce Farrell1, Tanya Matskewich2, and Brian Wandell1 1 Department of Electrical Engineering, Stanford University 2 Advanced Reading Technology, Microsoft ABSTRACT simplifications are the basis of a real-time implementation The appearance of rendered text is a compromise between of ClearType. the designer’s intent and the display capabilities. The The rendered text is designed to appeal to the human ClearType rendering method is designed to enhance viewer. The visibility of the color artifacts and contrast of rendered text by exploiting the subpixel resolution available the text will depend on the display characteristics, the on color displays. ClearType represents the high-resolution filtering method, and properties of the human visual system. font outline at the full subpixel resolution of the display and In this paper we combine device simulation and perceptual then filters the image to enhance contrast and reduce color metrics (S-CIELAB) to predict the visibility of unwanted artifacts. The filter choice influences text appearance, and artifacts in ClearType text. We test the idea that these people have clear preferences between the renderings with artifacts are at the heart of users’ preferences by comparing different filters. In this paper, we predict these preferences the artifact visibility with perceptual preference data. using S-CIELAB, a spatial extension to the perceptual color metric CIELAB. We calculate the S-CIELAB difference between designed and rendered fonts for various filters. We compare the size of these differences with preference data obtained from individual subjects. Index Terms— ClearType, S-CIELAB 1. INTRODUCTION In most color displays, each pixel is composed of three (A) (B) (C) horizontally adjacent subpixels that emit the red, green, and Figure 1: (A) True-type character rendered at full pixel blue (RGB) primary lights.
    [Show full text]
  • Lecture 6: Output
    Lecture 6: Output Fall 2006 6.831 UI Design and Implementation 1 1 UI Hall of Fame or Shame? Fall 2006 6.831 UI Design and Implementation 2 This is Ghostview, a Unix program that displays Postscript files. Ghostview has no scrollbars; instead, it scrolls by direct manipulation of the page image – i.e., clicking and dragging on the page scrolls it around. But which way does it scroll? It turns out that dragging to the left moves the page image to the right – that is, it makes more of the page image come into view at the left side of the window. Does this make sense? It does, from a certain point of view -- if your mental model is a glass window that you’re dragging around on top of the page, then pressing on the glass and pushing it to the left should indeed make more of the page become visible on the left. But if your mental model of the window is as an empty frame, and you’re actually reaching through and pushing the page itself around, then pushing it to the left should make more of the page visible on the right. That’s the model used by Acrobat Reader, for example. So two different physical analogies are possible here. Principles of direct manipulation alone don’t help us decide. And Ghostview at least uses a consistent model –the light gray rectangle (underneath the Save Marked button) is a miniature representation of the position of the glass window over the page, and you push it around using the same dragging direction that you use on the page image itself.
    [Show full text]
  • Glyphs Handbook from July 2016 for the Application Version 2.3
    Handbook July 2016 Glyphs 2.3 Create – Produce – Release Font Editing for Everyone You are reading the Glyphs Handbook from July 2016 for the application version 2.3. Please download the latest version of this handbook at: glyphsapp.com/get-started © 2011–2016 glyphsapp.com Written by Rainer Erich Scheichelbauer and Georg Seifert. Thanks to Jeff Kellem, Rob Keller, Toshi Omagari and Claus Eggers Sørensen for their invaluable input. Contents 1 Glyphs 8 3.3.11 Resegmenting Outlines 24 1.1 A Tool for Creating 3.3.12 Controlling Path OpenType Fonts 8 Direction 25 1.2 Installation 8 3.3.13 Extremes and Inflections 26 1.3 Community 9 3.3.14 Duplicate Nodes 27 1.4 Updates 9 3.4 Anchors 27 1.5 Glyphs Mini 9 3.4.1 Compound and Positioning 1.6 Keyboard Shortcuts 9 Anchors 27 1.7 Crash Reports 10 3.4.2 Ligature Carets 27 3.4.3 Adding, Editing and 2 Preferences 11 Removing Anchors 28 2.1 Accessing Application 3.4.4 Mark to Base Positioning 29 Preferences 11 3.4.5 Mark to Mark 2.1.1 Updates 11 Positioning 29 2.1.2 User Settings 12 3.4.6 Cursive Attachment 2.1.3 Sample Strings 13 Anchors 30 2.1.4 Sharing 14 3.5 Guidelines 30 2.1.5 Add-ons 14 3.5.1 Magnetic Guidelines 30 3.5.2 Local and Global 3 Edit View 16 Guidelines 30 3.1 Editing Glyphs 16 3.5.3 Glyph-Specific Undo 3.2 Drawing Paths 16 History 31 3.2.1 Draw Tool 16 3.6 Glyph Display 32 3.2.2 Pencil Tool 17 3.6.1 Zooming 32 3.2.3 Primitives 17 3.6.2 Panning 33 3.3 Editing Paths 18 3.6.3 View Options 33 3.3.1 Selecting Nodes and 3.6.4 Glyph and Layer Colors 33 Paths 18 3.7 Background 34 3.3.2 Moving
    [Show full text]
  • Opensuse 11.4 Release Party, Hackerspace Brmlab KDE Plasma Workspaces 4.6
    openSUSE 11.4 Release Party, hackerspace brmlab KDE Plasma Workspaces 4.6 ● Fire ox integration ● LibreO ice integration ● oxygen%"tk theme for GTK applications ● KUp(ate)pplet → KPackageKit ● PulseA*(io (can be remove(- KDE Plasma Desktop 4.6 KDE Plasma Desktop 4.6 KDE Plasma Netbook 4.6 KDE Plasma Netbook 4.6 &.$ME 2.30 &.$ME 3 Preview ● &.$ME 3.0 release in April 2311 ● “pre,iew4 in openSUSE 11.4 &.$ME 3 Preview &.$ME 3 Preview &.$ME 3 Preview 5 ce 4.8 ● new X ce 4.8 release ● moved a2ay from HAL and own VFS ● replace( by &9$, &8FS, *(ev, :onsoleKit, PolicyKit ● Th*nar ● SF'P, S/B, F'P, WebD)8 support ● Free(esktop.org menus ● 5 con settings e(itor 5 ce 4.8 5 ce 4.8 #XDE 3.5 ● smaller *sability and stability ixes #XDE 3.5 #XDE 3.5 Firefox 4.0 ● ma=or redesign of UI ● tabs above ad(ress bar ● signi icant improvements o the rendering engine ● can *se "raphics car( for ren(erin" ● S*pport or new 2ebstan(ar(s like WebM an( 7'/#< ● 4.3 ;eta 10, inal ,ia *p(ate Firefox 4.0 $ther Browsers ● Chromi*m in Contrib repository ● Konqueror uses WebKit now ● others in repositories (Rekonq, Arora, Epiphany) ● $pera 11, A(obe Flash Player 10.2 in Non%$SS repo ● Moonlight 2.4 ● $penJDK Ja,a 6 plugin #ibreOffice 3.3.1 ● ork of OpenO ice – end of 2010 ● import & e(it o S8G files ● 1 million rows in Calc ● easier slide layout han(ling in Impress #ibreOffice 3.3.1 zypp + YaST C WebDaS' ● Bypp ● /*lti:*rl backen( – Bsync + Metalink ● YaS' ● #8/ base( layout (*ring installation ● 8& group *lly encrypte( ● WebYaS' zypp + YaST C WebDaS' zypp + YaST C WebDaS' Under the hood ● Kernel 2.6.3E ● better har(2are support +e.".
    [Show full text]
  • GO-Global for Windows 3.1.1 Requirements
    GO‐GLOBAL CLOUD Administrator Guide March 17, 2011 4.0.1 COPYRIGHT AND TRADEMARK NOTICE Copyright © 1997‐2011 GraphOn Corporation. All Rights Reserved. This document, as well as the software described in it, is a proprietary product of GraphOn, protected by the copyright laws of the United States and international copyright treaties. Any reproduction of this publication in whole or in part is strictly prohibited without the written consent of GraphOn. Except as otherwise expressly provided, GraphOn grants no express or implied right under any GraphOn patents, copyrights, trademarks or other intellectual property rights. Information in this document is subject to change without notice. GraphOn, the GraphOn logo, and GO‐Global and the GO logo are trademarks or registered trademarks of GraphOn Corporation in the US and other countries. Microsoft, Windows, Windows NT, Internet Explorer, and Terminal Server are trademarks of Microsoft Corporation in the United States and/or other countries. Linux is a registered trademark of Linus Torvalds. UNIX is a registered trademark of The Open Group. Red Hat is a trademark or registered trademark of Red Hat, Inc. in the United States and other countries. Adobe, Acrobat, AIR, Flash, and Reader are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Firefox is a registered trademark of the Mozilla Foundation. Mac, Mac OS, and Safari are trademarks of Apple Inc., registered in the U.S. and other countries. Portions copyright © 1998‐2000 The OpenSSL Project. All rights reserved. This product includes software developed by the OpenSSL Project for use in the OpenSSL Toolkit (www.openssl.org).
    [Show full text]
  • (12) United States Patent (10) Patent No.: US 8,456,496 B2 Credelle (45) Date of Patent: *Jun
    USOO8456496 B2 (12) United States Patent (10) Patent No.: US 8,456,496 B2 Credelle (45) Date of Patent: *Jun. 4, 2013 (54) COLOR FLAT PANEL DISPLAY SUB-PIXEL (56) References Cited ARRANGEMENTS AND LAYOUTS FOR SUB-PXEL RENDERING WITH SPLT BLUE U.S. PATENT DOCUMENTS SUB-PXELS 3,971,065. A 7/1976 Bayer 4,353,062 A 10/1982 Lorteije et al. (75) Inventor: Thomas Lloyd Credelle, Morgan Hill, 4,491,863 A 1, 1985 Kurahashi ..................... 348,799 4,593,978 A 6/1986 Mourey et al. CA (US) 4,632,514 A 12/1986 Ogawa et al. 4,642,619 A 2/1987 Togashi (73) Assignee: Samsung Display Co., Ltd. (KR) 4,651,148 A 3, 1987 Takeda et al. 4,751,535 A 6/1988 Myers (*) Notice: Subject to any disclaimer, the term of this 4,773,737 A 9, 1988 Yokono et al. patent is extended or adjusted under 35 4,786,964 A 11/1988 Plummer et al. U.S.C. 154(b) by 0 days. (Continued) This patent is Subject to a terminal dis FOREIGN PATENT DOCUMENTS claimer. DE 19746 329 A1 3, 1999 DE 199 23 527 11, 2000 Appl. No.: 13/418,143 (21) (Continued) (22) Filed: Mar 12, 2012 OTHER PUBLICATIONS (65) Prior Publication Data Adobe Systems, Inc., website, http://www.adobe.com/products/ac robat/cooltype.html. US 2012/O176428A1 Jul. 12, 2012 Related U.S. Application Data (Continued) (60) Continuation of application No. 12/189,462, filed on Primary Examiner — Amare Mengistu Aug. 11, 2008, now Pat. No.
    [Show full text]
  • Web Font Basics
    Web Font Basics The following fonts are installed on both Windows XP and Mac OS X Panther by Default • Arial • Times New Roman • Arial Italic • Times New Roman Italic • Arial Bold • Times New Roman Bold • Arial Bold Italic • Times New Roman Bold Italic • Arial Black • Trebuchet MS • Comic Sans MS • Trebuchet MS Italic • Comic Sans MS Bold • Trebuchet MS Bold • Courier New • Trebuchet MS Bold Italic • Courier New Italic • Verdana • Courier New Bold • Verdana Italic • Courier New Bold Italic • Verdana Bold • Georgia • Verdana Bold Italic • Georgia Italic • Webdings • Georgia Bold • Georgia Bold Italic Font Stack Make sure than fonts are similar in appearance so that design appearance won't be impacted. Generic Declarations serif sans-serif monospace cursive fantasy PC Times New Tahoma Courier New Comic Sans Impact Roman Arial Lucida Console Mistral Haettenschweiler Georgia Verdana Monaco Bradley Hand Papyrus Palatino Mac Times Helvetica Monaco Apple Chancery Impact Georgia Lucida Grand Courier Comic Sans Copperplate Baskerville Geneva Andale Mono Zapfino Papyrus Font-family: <ideal>, <alternative>, <common>, <generic> Font-family: Georgia, "Times New Roman", Times, serif; Note that when a font name is constructed from several words – like "Times New Roman" or "Tebuchet MS", it must be enclosed in quotes or it could be ignored. Developing a Font Stack http://www.codestyle.org/servlets/FontStack http://media.24ways.org/2007/17/fontmatrix.html Current Workarounds Use images instead of text 1. Search engines can't index 2. Inaccessible to screen readers 3. If user browsing with images turned off – only ALT tags (if used) would be visible. slFR (Scalable Inman Flash Replacement) 2004 1.
    [Show full text]
  • A Basic Course in Font Wrangling Session 23 – Saturday, September 12, 2009
    A Basic Course in Font Wrangling Session 23 – Saturday, September 12, 2009 Erich S. Lehman Premedia Facilities Coordinator School of Print Media Rochester Institute of Technology Presentation © 2009 Erich S. Lehman. 1 Everything you wanted to know . How to recognize fonts and font types Where fonts live in Mac OS X How OS X recognizes fonts How to handle OS X based font solutions, aka “resources you didn’t even know you had” Third-party font managers Font Licensing and Font Troubleshooting Handy resources for font issues. Presentation © 2009 Erich S. Lehman. 2 All about the fonts . Fonts and the OS that loves them. Presentation © 2009 Erich S. Lehman. 3 Let’s start with the basics. Types of fonts and how to identify them in OS X Unicode Where fonts live in OS X Presentation © 2009 Erich S. Lehman. 4 Types of Fonts Presentation © 2009 Erich S. Lehman. 5 Font Types: PostScript Also known as Type 1 or Type 3 Two parts required (third is optional*) Printer font (LWFN) Screen font - (FFIL) AFM (Adobe Font Metrics) file* – not always present. Work great with RIPs Presentation © 2009 Erich S. Lehman. 6 Font Types: TrueType Apple and Microsoft collaboration All data in one file Added “hinting” Have many extra features that aren’t utilized Presentation © 2009 Erich S. Lehman. 7 Font Types: Multiple Master A flavor of PS fonts; contains multiple character outlines Can be interpolated to create variations (think Gutenberg) Can vary sizes, weight, serifs, stance, etc. Causes problems – lots of problems Presentation © 2009 Erich S. Lehman. 8 Font Types: dfont Datafork TrueType font Apple proprietary All font suitcases can be stored in data fork Presentation © 2009 Erich S.
    [Show full text]
  • Cleartype Tuner Powertoy IE 7
    ClearType Tuner PowerToy IE 7 1 / 5 ClearType Tuner PowerToy IE 7 2 / 5 ... it possible to enable ClearType fonts in Windwos XP from a web interface (using Internet Explorer). Neat! There's a powertoy available also… 1. cleartype tuner powertoy 2. cleartype tuner powertoy windows xp download 3. microsoft cleartype tuner powertoy for xp ClearType is Microsoft's implementation of subpixel rendering technology in rendering text in a ... Internet Explorer 7 and later (on by default); Microsoft Office 2007 and 2010 (on by default); Windows Live Messenger ... A Microsoft ClearType tuner utility is available for free download for Windows versions lacking this facility.. In Microsoft Office 2007, Internet Explorer 7 and Windows Live Messenger ... ClearType Tuner PowerToy Download link for Windows XP, from Microsoft's site .... See maintaining your computer ClearTweak, 68–69 ClearType Tuner PowerToy, ... setting Internet Explorer policy, 427 spy, 422–423 Copernic Desktop Search, .... Alternatively, users can download the Windows PowerToy version of the tuner. The ClearType Tuner helps improve font display resolution so that ... cleartype tuner powertoy cleartype tuner powertoy, cleartype tuner powertoy windows 10, cleartype tuner powertoy windows xp download, microsoft cleartype tuner powertoy, microsoft cleartype tuner powertoy for xp Badoo Hack Deutsch – Badoo Hack Mac Os MacOSX On my XP desktop, I have enabled ClearType and all text is anti-aliased. However, most ... To get it done properly though, you should try the Microsoft ClearType Tuner PowerToy. ... (IE7 and later versions have ClearType enabled by default.).. I followed your instructions, and ClearType seems to be disabled for the most ... How to Open and Use ClearType Text Tuner in Windows 7 and Windows 8 ..
    [Show full text]