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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. -
Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
Publication Notes – 3Nt.Xyz
Publication Notes – 3nt.xyz Pete Matthews Jr – https://3nt.xyz – © June 19, 2021 Some of the material in this document originally appeared on the MIT/DL Bridge Club site, at http://web.mit.edu/mitdlbc/www/contrib.html. This article, at https://3nt.xyz/about/, is now the official home of this material. Look for updates here. Most of the MS Office documents about the game of bridge use the free Cards font. Starting in 2018, this font is also used in writing up deals with Bridge Composer. Many of the Portable Bridge Notation (PBN) files on this site were created or edited with BridgeComposer; some were created with Dealmaster Pro. The PDF files should be complete and need only Acrobat Reader. That is, all necessary font components are embedded in the files. Items are noted (I) when appropriate for Intermediate players, or (A) for Advanced or Advancing players. Titles of mainstream articles are bold, while more esoteric or less important titles are in italics. Media Codes To describe attributes of the intended media, PDF documents are noted with these Media Codes: Media Size Description Portrait orientation, 1-2 columns, US Letter, usually single column, best 8.5"W for printing and viewing on a moderate to large screen. Articles P x 11"H published before July 1, 2018 and most other bridge material is in this format. 11"W x Landscape orientation, 1-2 columns, US Letter. Only used fort the L 8.5"H occasional spreadsheet that is too wide for some other format. Portrait orientation, 1 column, US Junior (Half Letter). -
Basic Styles of Lettering for Monuments and Markers.Indd
BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble. -
Lushootseed Unicode Keyboard Help
Lushootseed Unicode Keyboard 1.1 Overview Design This Keyman keyboard is designed for Lushootseed, a language of the Pacific Northwest spoken in Washington state. The arrangement of Lushootseed letters on this keyboard closely follow the arrangement of keys in a standard English QWERTY keyboard. On Screen Keyboard This keyboard includes an On Screen Keyboard view for easy reference. The On Screen Keyboard works best when associated with a QWERTY US layout. Fonts This is a Unicode keyboard and works with any Unicode font which has support for Lushootseed characters. Common fonts which work with Lushootseed are: Arial Consolas Arial Unicode MS Courier New Calibri Tahoma Cambria Times New Roman This keyboard also includes the following fonts which work well with Lushootseed: Lushootseed Sulad Gentium Plus Lushootseed School Keyboard Layout Lushootseed Unicode: Unshifted ` 1 2 3 4 5 6 7 8 9 0 - = Backspace © 1 2 3 4 5 6 7 8 9 0 - = Tab q w e r t y u i o p [ ] \ q w ə š t y u i ʷ p [ ] \ Caps Lock a s d f g h j k l ; ' Enter a s d ʔ g h ǰ k l ɬ ' Shift z x c v b n m , . / Shift & x c č b n m , . / Ctrl Alt Alt Ctrl Lushootseed Unicode: Shifted ~ ! @ # $ % ^ & * ( ) _ + Backspace © ! @ # $ % ^ & * ( ) _ + Tab Q W E R T Y U I O P { } ¦ ; < ;ʷ = > kʷ ? { } ¦ Caps Lock A S D F G H J K L : " Enter qʷ dᶻ gʷ Aʷ A B C " Shift Z X C V B N M < > ? Shift &ʷ xʷ E F G H I < > ? Ctrl Alt Alt Ctrl Keyboard Details You can find most keys on the Lushootseed keyboard by thinking of a similar letter in English. -
Choosing Fonts – Quick Tips
Choosing Fonts – Quick Tips 1. Choose complementary fonts – choose a font that matches the mood of your design. For business cards, it is probably best to choose a classic font. *Note: These fonts are not available in Canva, but are in the Microsoft Office Suite. For some good Canva options, go to this link – https://www.canva.com/learn/canva-for-work-brand-fonts/ Examples: Serif Fonts: Sans Serif Fonts: Times New Roman Helvetica Cambria Arial Georgia Verdana Courier New Calibri Century Schoolbook 2. Establish a visual hierarchy – Use fonts to separate different types of information and guide the reader - Use different fonts, sizes, weights (boldness), and even color - Example: Heading (Helvetica, SZ 22, Bold) Sub-heading (Helvetica, SZ 16, Italics) Body Text (Garamond, SZ 12, Regular) Captions (Garamond, SZ 10, Regular 3. Mix Serifs and Sans Serifs – This is one of the best ways to add visual interest to type. See in the above example how I combined Helvetica, a sans serif font, with Garamond, a serif font. 4. Create Contrast, Not Conflict: Fonts that are too dissimilar may not pair well together. Contrast is good, but fonts need a connecting element. Conflict Contrast 5. Use Fonts from the Same Family: These fonts were created to work together. For example, the fonts in the Arial or Courier families. 6. Limit Your Number of Fonts: No more than 2 or 3 is a good rule – for business cards, choose 2. 7. Trust Your Eye: These are not concrete rules – you will know if a design element works or not! . -
Surviving the TEX Font Encoding Mess Understanding The
Surviving the TEX font encoding mess Understanding the world of TEX fonts and mastering the basics of fontinst Ulrik Vieth Taco Hoekwater · EuroT X ’99 Heidelberg E · FAMOUS QUOTE: English is useful because it is a mess. Since English is a mess, it maps well onto the problem space, which is also a mess, which we call reality. Similary, Perl was designed to be a mess, though in the nicests of all possible ways. | LARRY WALL COROLLARY: TEX fonts are mess, as they are a product of reality. Similary, fontinst is a mess, not necessarily by design, but because it has to cope with the mess we call reality. Contents I Overview of TEX font technology II Installation TEX fonts with fontinst III Overview of math fonts EuroT X ’99 Heidelberg 24. September 1999 3 E · · I Overview of TEX font technology What is a font? What is a virtual font? • Font file formats and conversion utilities • Font attributes and classifications • Font selection schemes • Font naming schemes • Font encodings • What’s in a standard font? What’s in an expert font? • Font installation considerations • Why the need for reencoding? • Which raw font encoding to use? • What’s needed to set up fonts for use with T X? • E EuroT X ’99 Heidelberg 24. September 1999 4 E · · What is a font? in technical terms: • – fonts have many different representations depending on the point of view – TEX typesetter: fonts metrics (TFM) and nothing else – DVI driver: virtual fonts (VF), bitmaps fonts(PK), outline fonts (PFA/PFB or TTF) – PostScript: Type 1 (outlines), Type 3 (anything), Type 42 fonts (embedded TTF) in general terms: • – fonts are collections of glyphs (characters, symbols) of a particular design – fonts are organized into families, series and individual shapes – glyphs may be accessed either by character code or by symbolic names – encoding of glyphs may be fixed or controllable by encoding vectors font information consists of: • – metric information (glyph metrics and global parameters) – some representation of glyph shapes (bitmaps or outlines) EuroT X ’99 Heidelberg 24. -
IEEE Entrepreneurship Identity Guidelines Sub-Brand of IEEE Entrepreneurship.Ieee.Org
TOC Overview Brand Elements Color Specifications Typography IEEE Wedge Element Imagery Video & Social Media Applications IEEE Entrepreneurship Identity Guidelines Sub-brand of IEEE entrepreneurship.ieee.org Resources & Contact ENTREPRENEURSHIP.IEEE.ORG 1 TOC Overview Brand Elements Color Specifications Typography IEEE Wedge Element Imagery Video & Social Media Applications Table of Contents IEEE ENTREPRENEURSHIP IDENTITY GUIDELINES . 1-23 OVERVIEW ........................................3-4 COLOR SPECIFICATIONS .............................12 VIDEO & SOCIAL MEDIA ..........................18-20 Brand Elements ...................................4 Video Guidelines .................................18 TYPOGRAPHY ...................................13-14 Lower 3rd Templates .............................19 BRAND ELEMENTS ...............................5–11 Primary & Secondary Typefaces ....................13 Social Media Guidelines ...........................20 Logo Variations ...................................5 Alternate Typefaces ...............................14 Logo Lock-Ups ....................................6 APPLICATIONS ...................................21-22 Color Variations ...................................7 IEEE WEDGE ELEMENT ..............................15 Print & Non-Screen ...............................21 Minimum Size & Clear Space .......................8 Digital & On-Screen ..............................22 IMAGERY .......................................16-17 Usage ........................................9-11 Introduction -
Resume Template 3
Resume Template FIRST & LAST NAME (in a bigger font size, possibly bold) Address closest to where you’re applying [email protected] | (000) 867-5309 EDUCATION(also in a slightly bigger, but smaller than your name, font size) Boston College Carroll School of Management Chestnut Hill, MA Bachelor of Science in Management, Concentration in Blablabla, Minor in blablabla May 2018 GPA: 3.257, Major GPA: 3.987 (do NOT round—this should reflect your degree audit exactly) (list if above a 3.0, you can also include your major gpa in addition to your cumulative if it is higher) Study Abroad School City, Country Studied courses in International stuff (be more specific but keep it succinct) Fall Semester 2016 Ritzy High School (Only include if this is relevant for alumni connections) May 2014 EXPERIENCE (aka PROFESSIONAL EXPERIENCE, WORK EXPERIENCE, RELEVANT EXPERIENCE) Organization City, State Position Month Year - Present 3-4 bullets describing your experience, be results-oriented and data-driven Think of each bullet as 2 part—WHAT you did, HOW it impacted the organization Use present tense for current positions, past tense for previous positions Be direct and use words such as coordinate, manage, direct, collaborate, drive, lead, create, develop Organization City, State Position Month Year - Present Talk up the experiences you have a lot to say about, for less relevant experiences, describe them in 1-2 bullets Use numbers wherever you can, if you received a promotion, mention it You can also put leadership experiences in this category, depending -
No. 3 Science and History Behind the Design of Lucida Charles Bigelow
204 TUGboat, Volume 39 (2018), No. 3 Science and history behind the design of Lucida Charles Bigelow & Kris Holmes 1 Introduction When desktop publishing was new and Lucida the first type family created expressly for medium and low-resolution digital rendering on computer screens and laser printers, we discussed the main design de- cisions we made in adapting typeface features to digital technology (Bigelow & Holmes, 1986). Since then, and especially since the turn of the 21st century, digital type technology has aided the study of reading and legibility by facilitating the Figure 1: Earliest known type specimen sheet (detail), development and display of typefaces for psycho- Erhard Ratdolt, 1486. Both paragraphs are set at logical and psychophysical investigations. When we approximately 9 pt, but the font in the upper one has a designed Lucida in the early 1980s, we consulted larger x-height and therefore looks bigger. (See text.) scientific studies of reading and vision, so in light of renewed interest in the field, it may be useful to say Despite such early optimism, 20th century type more about how they influenced our design thinking. designers and manufacturers continued to create The application of vision science to legibility type forms more by art and craft than by scientific analysis has long been an aspect of reading research. research. Definitions and measures of “legibility” Two of the earliest and most prominent reading often proved recalcitrant, and the printing and ty- researchers, Émile Javal in France and Edmund Burke pographic industries continued for the most part to Huey in the US, expressed optimism that scientific rely upon craft lore and traditional type aesthetics. -
Style Guide: Best Practices in Formatting
Style Guide: Best Practices in Formatting According to Colin Wheildon, author of Type & Layout: Are You Communicating or Just Making Pretty Shapes, it’s possible that 75% of your readers attempting to access your content (whether online, in print, or via email) will disregard what you’re saying based solely on the type of font you choose. That’s right—75%! That’s why it’s critically important to choose fonts that are clean and accessible and to choose a layout that is visual but not busy. Don’t try to pack too much into your layout, or else you may run the risk of your message being lost. First, let’s look at the differences between a “serif” and “sans serif” font. Serif fonts are more embellished, with small lines attached to the end of a stroke in a letter or symbol. Popular serif fonts include Times New Roman, Georgia, and Garamond. Many books, newspaper, and magazines use a serif font. In print mediums, serif fonts are often easier to read. Sans serif fonts don’t have the added embellishments. These fonts are often used in advertisements, and are generally easier to read. In print, sans serif fonts are often used as a headline, whereas serif fonts are used for the body text. Popular sans serif fonts include Helvetica, Arial, and Calibri. There are some simple best practices in formatting print, online, and email communications for your organization. These best practices will make your information easier to understand and more accessible to the average reader. When do I use a serif font like Times New Roman or Garamond? For print items, it’s suggested to utilize serif fonts for brochures, donation letters in the mail, etc. -
Unicode Is Coming 1
Geoffrey Hunt Watch Out! Unicode is Coming 1 Watch Out! Unicode is Coming Geoffrey Hunt* This paper describes Unicode, a worldwide standard that will remove most of the problems people have had in working with fonts and scripts1 for minority languages. The change is coming; it is unstoppable. You need to know what is going on. Woe to those who use customized fonts! Anybody who has used a computer for language work should be familiar with the problem of fonts. Initially computers could only handle English. This was then extended to other western- European languages and later to other major languages of the world. But there were no worldwide standards for thousands of minority languages and for some major languages written with complex scripts. This lack of standards was true for: • fonts that just did not have the needed characters, • fonts that needed more than approximately 220 characters, and • scripts (writing systems) that could not be conveniently represented by unchanging characters that were written from left to right. If you were dealing with a script that behaved like Roman or Cyrillic scripts, the first of these problems was the easiest to solve.1 All you had to do was to change some of the characters that weren't needed. Unfortunately, because there were no standards, different font designers did this in different ways, producing incompatible fonts for similar groups of languages. SIL has been a major contributor to such nonstandard fonts, simply because SIL has been working in so many minority languages. When fonts needed more than 220 characters, special approaches were developed for the three major Far-Eastern languages: Chinese, Japanese, and Korean.