Appendix H: Fonts
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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. -
Handshake Brand Guidelines 2021 1 Spring 2021
Brand GuidelinesHANDSHAKE BRAND GUIDELINES 2021 SPRING 20211 Manifesto Our brand manifesto is our call to action for students. It describes what we do, what we stand for, and what we can help students accomplish. For the ready, set, and not quite there yet. For the “I know” and the “I have no idea.” For the seekers, finders, doers, and explorers. Look ahead at what’s possible. At what’s next. If you want it, you can make it happen. No matter what you’re looking for, or where you are in your career journey—we’re here to help. Take the first step. Then the next. Towards to job you want. Find Your Next. HANDSHAKE BRAND GUIDELINES 2021 2 Logo The Handshake logo is the official signature of the Handshake brand — it is confident, simple and trustworthy. Our logo is our most important assets, serving as the chief expression of the brand. HANDSHAKE BRAND GUIDELINES 2021 3 Logo The Handshake logo is the anchor of our brand horizontal lockup of the brand wordmark and our system , and maintaining the mark’s integrity iconic symbol. Modern and timeless, the mark across all touchpoints is critical for establishing balances trustworthiness and professionalism with a successful corporate identity. The logo is a an authentic human touch. PRIMARY MARK ▶ HANDSHAKE BRAND GUIDELINES 2021 4 Logo To preserve the integrity of the brand, the or the signature Handshake red. The red logo is Handshake logo must only be displayed in a limited only permitted on use of a white or very light gray palette of color options. -
15 the Effect of Font Type on Screen Readability by People with Dyslexia
The Effect of Font Type on Screen Readability by People with Dyslexia LUZ RELLO and RICARDO BAEZA-YATES, Web Research Group, DTIC, Universitat Pompeu Fabra, Barcelona, Spain Around 10% of the people have dyslexia, a neurological disability that impairs a person’s ability to read and write. There is evidence that the presentation of the text has a significant effect on a text’s accessibility for people with dyslexia. However, to the best of our knowledge, there are no experiments that objectively 15 measure the impact of the typeface (font) on screen reading performance. In this article, we present the first experiment that uses eye-tracking to measure the effect of typeface on reading speed. Using a mixed between-within subject design, 97 subjects (48 with dyslexia) read 12 texts with 12 different fonts. Font types have an impact on readability for people with and without dyslexia. For the tested fonts, sans serif , monospaced, and roman font styles significantly improved the reading performance over serif , proportional, and italic fonts. On the basis of our results, we recommend a set of more accessible fonts for people with and without dyslexia. Categories and Subject Descriptors: H.5.2 [Information Interfaces and Presentation]: User Interfaces— Screen design, style guides; K.4.2 [Computers and Society]: Social Issues—Assistive technologies for per- sons with disabilities General Terms: Design, Experimentation, Human Factors Additional Key Words and Phrases: Dyslexia, learning disability, best practices, web accessibility, typeface, font, readability, legibility, eye-tracking ACM Reference Format: Luz Rello and Ricardo Baeza-Yates. 2016. The effect of font type on screen readability by people with Dyslexia. -
Prepared for Leslie Cabarga's "Learn Fontlab Fast" Book* PC Truetype
Prepared for Leslie Cabarga's "Learn FontLab Fast" book* PC TrueType / OpenType TT (Also known as: Data-fork TrueType, Windows TrueType, TrueType-flavored OpenType, TTF) Pros: Works on Windows, Linux and Mac OS X. May contain up to 65,535 characters, supports Unicode and can contain OpenType layout features, making the format suitable for multilingual fonts, non-latin fonts and advanced typographic features (such as automatic ligatures, small caps). TrueType hinting allows precise control in small screen sizes, can also contain bitmaps. Can include embedding rights information defining whether or not the font may be attached to electronic documents. Cons: Does not work on Mac OS 8/9; not completely cross-platform. May cause output problems on ten-year-old PostScript output and printing devices. The designer usually needs to convert the outlines from beziers which may introduce slight changes in the shape. When converted back to beziers (e.g. in Illustrator), the resulting curves have superfluous points. Manual TrueType hinting is laborious to create. The multilingual and advanced typography features only work with new OpenType-savvy applications, otherwise just the basic character set is available. For font families, requires two versions of the family name within each font: the first may contain any number of styles; the second "mini-family" may contain only four styles. OpenType PS (Also known as: OpenType-CFF, PostScript-flavored OpenType, OTF) Pros: Works on Windows, Linux, Mac OS 8.6, 9, and OS X. Uses the bezier curve system preferred by designers and used in drawing apps such as Illustrator and Freehand so letterforms can be drawn precisely and outlines need not be converted. -
Introducing Opentype Ab
UBS AG ab Postfach CH-8098 Zürich Tel. +41-44-234 11 11 Brand Management Visual Identity Stephanie Teige FG09 G5R4-Z8S Tel. +41-1-234 59 09 Introducing OpenType Fax +41-1-234 36 41 [email protected] July 2005 www.ubs.com OpenType is a new font format developed collaboratively by Adobe and Microsoft. OpenType enhances the TrueType and PostScript technologies and extends their capabilities. Most fonts today are released in the OpenType format, now considered the industry standard. The resulting new generation of UBSHeadline and Frutiger fonts offers improved typographic and layout features. 1. What is OpenType? Frutiger is not always Frutiger Due to the wide variety of Frutiger styles available world- A single font format wide, be sure to install and use only the client-specific UBS OpenType provides a single universally acceptable font licensed version of this font. Do not use any other versions format that can be used on any major operating system of Frutiger to create UBS media. and in any application. Using the client-specific UBS Frutiger guarantees access to Macintosh Windows UBS-relevant cuts. It also prevents changes to kerning and line-break in comparison to random Frutiger styles. UBSHeadline, Frutiger UBSHeadline, Frutiger (PostScript) (TrueType) Linotype Frutiger UBS Frutiger Frutiger LT 45 Light Frutiger 45 Light Macintosh and Frutiger LT 46 Light Italic Frutiger 45 Light Italic Windows Frutiger LT 55 Roman Frutiger 55 Roman Frutiger LT 56 Italic Frutiger 55 Roman Italic UBSHeadline, Frutiger Frutiger LT 65 Bold Frutiger 45 Light Bold (OpenType) Frutiger LT 75 Black Frutiger 55 Roman Bold Frutiger LT 47 Light Condensed Frutiger 47 Light CN Unicode OpenType supports Unicode, which allows much larger Comparison of common Linotype Frutiger versus UBS client- character sets – more than 65,000 glyphs per font in many specific Frutiger. -
Presentation
Born Broken: Fonts And Information Loss In Legacy Documents Geoffrey Brown and Kam Woods Indiana University School of Informatics and Computing Key Questions How pervasive are font substitution problems ? What information is available to identify fonts ? How well can we match the fonts required by a document collection ? How can we assist archivists in identifying serious font issues ? Page 8 MCTM Bulletin February 2005 K: I knew what you meant. I was just kidding. I’ll do XüLLbl (W):InputQ:FnOff :"""Y =! Y",Y#:PlotsOff the dishes tonight at dinner. YüL‚(W):Goto:0!Xscl:0!Yscl:Plot1(Scatt T er,L#,L$,&) PlotsOn 1:ZoomStat:StorePic Pic1 Lbl Q:FnOff :""üY :PlotsOff Jennifer felt better so offered the following challenge to Pause :Goto T Kevin. Lbl:0üXscl:0üYscl:Plot1(Scatt S:ClrHome:2!dim(L%er,L):dim(L ,L‚,Ñ)# )!N J: What type of general statement can you make DispPlotsOn "NO. 1:ZoomStat:StorePic OF Pic1 regarding the various polygons and, better yet, what PausePTS.":Output(1,13,N):Pause :Goto T can you say about a figure that looks like this? LblFor(I,1,N):ClrHome S:ClrHome:2üdim(Lƒ):dim(L )üN Disp "NO. "PT. OF NO.","":Output(1,9,I) PTS.":Output(1,13,N):Pause L#(I)!L%(1):L$(I)!L%(2) For(I,1,N):ClrHome Disp L%:Pause :End:Goto T LblDisp "PT.0:Menu(" NO.","":Output(1,9,I) MODELS R""," LINEAR (2)",1,"L(I)üLƒ(1):L‚(I)üLƒ(2) QUADRATIC",2," CUBIC/QUARTIC",3,"Disp Lƒ:Pause :End:Goto LOGARITHMIC",4," T LblEXPONENTIAL",5," 0:Menu(" MODELS POWER",6," RÜ"," LINEAR MAIN (2)",1," MENU",T) QUADRATIC",2," CUBIC/QUARTIC",3," Lbl 1:"aX+b"!Y# Kevin was impressed. -
Advanced Printer Driver Ver.4.13
Advanced Printer Driver for South Asia Ver.4 TM Printer Manual APD Overview Descriptions of the APD features. Using the APD Descriptions of simple printings and useful functions. Reference Descriptions of property seings of the printer driver. TM Flash Logo Setup Utility Ver.3 Descriptions of how to set and use the TM Flash Logo Setup Utility Ver3. Restrictions Descriptions of restrictions on use of the APD. Printer Specification Descriptions of the specifications of TM-T81. M00024103-2 Rev. D Cautions • No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Seiko Epson Corporation. • The contents of this document are subject to change without notice. Please contact us for the latest information. • While every precaution has taken in the preparation of this document, Seiko Epson Corporation assumes no responsibility for errors or omissions. • Neither is any liability assumed for damages resulting from the use of the information contained herein. • Neither Seiko Epson Corporation nor its affiliates shall be liable to the purchaser of this product or third parties for damages, losses, costs, or expenses incurred by the purchaser or third parties as a result of: accident, misuse, or abuse of this product or unauthorized modifications, repairs, or alterations to this product, or (excluding the U.S.) failure to strictly comply with Seiko Epson Corporation’s operating and maintenance instructions. • Seiko Epson Corporation shall not be liable against any damages or problems arising from the use of any options or any consumable products other than those designated as Original EPSON Products or EPSON Approved Products by Seiko Epson Corporation. -
Font HOWTO Font HOWTO
Font HOWTO Font HOWTO Table of Contents Font HOWTO......................................................................................................................................................1 Donovan Rebbechi, elflord@panix.com..................................................................................................1 1.Introduction...........................................................................................................................................1 2.Fonts 101 −− A Quick Introduction to Fonts........................................................................................1 3.Fonts 102 −− Typography.....................................................................................................................1 4.Making Fonts Available To X..............................................................................................................1 5.Making Fonts Available To Ghostscript...............................................................................................1 6.True Type to Type1 Conversion...........................................................................................................2 7.WYSIWYG Publishing and Fonts........................................................................................................2 8.TeX / LaTeX.........................................................................................................................................2 9.Getting Fonts For Linux.......................................................................................................................2 -
How to Build a Newton Font on Macos X
How To build a Newton Font on MacOS X by Paul Guyot <[email protected]> 16th April 2004 1 Introduction This How-To explains how to port a MacOS font to NewtonOS on MacOS X. Porting fonts rely on old Apple font tools and therefore on Classic. We (the DCL Group) are currently investigating a method to port fonts without relying on these tools, but some features of these old tools we need are apparently not available in MacOS X Font Tools. Important Note : Fonts are copyrightable and usually copyrighted. Please make sure that porting a font is compatible with the license you were granted on it. This tutorial supposes that you have basic knowledge of MacOS X, that you know what the Terminal is, but it does not require that you have a long experience with the tools involved. We may use terms that would require a definition or a clarification. Most unusual terms used here are defined in the Newton Glossary1. Do not hesitate to send me corrections or ask me for clarifications if required. This tutorial will guide through porting Gill Sans. The font book application shows this font: 1http://www.splorp.com/newton/glossary/ 1 Newton Fonts How-To 2 This font actually exists in 6 forms: • Gill Sans Regular • Gill Sans Bold • Gill Sans Italic • Gill Sans Bold Italic • Gill Sans Light • Gill Sans Light Italic This font can be ported as two Newton font packages (Gill Sans and Gill Sans Light). The Gill Sans package will include regular (or plain), bold, italic and bold-italic forms and the Gill Sans Light package will include regular and italic forms. -
A Scaled Courier Font Herbert Schulz [email protected] December 24, 2011
A Scaled Courier Font Herbert Schulz [email protected] December 24, 2011 Abstract The couriers package provides a scalable interface to the Courier Font for use as the Typewriter Font with other type faces. It offers an interface just like that provided in the helvet package for the Helvetica Font used as the Sans Serif Font but with a different default magnification. 1 Introduction The fourier package uses the available Adobe Utopia fonts scaled down a bit for the Serif Font as well as maths. To my eyes the default Sans Serif and Typewriter Fonts, EC or CMSuper since Fourier-GUTenberg uses T1 encoding, don’t match well with scaled Utopia. I’ve settled on using Helvetica scaled at 0.875 for the Sans Serif Font but Courier at normal size appears too large. As with the helvet package this package provides a Scalable Courier which I use at 0.95 to match Fourier-GUTenberg; it is physically a bit too small but seems to look good at that scale to my eyes: as usual this is a bit on the personal side and YMMV. 2 Usage Like the helvet package couriers takes a single optional argument, scaled. When used as \usepackage{couriers} it gives you Courier scaled at its normal size as the default Typewriter Font. If you use the package with \usepackage[scaled]{couriers} you get Courier scaled at 0.95 (i.e., a document set a 10pt will give Courier set a 9.5pt). You can get arbitrary scaling by using the package with \usepackage[scaled=sfactor]{couriers} where sfactor is an arbitrary scale factor. -
Classifying Type Thunder Graphics Training • Type Workshop Typeface Groups
Classifying Type Thunder Graphics Training • Type Workshop Typeface Groups Cla sifying Type Typeface Groups The typefaces you choose can make or break a layout or design because they set the tone of the message.Choosing The the more right you font know for the about job is type, an important the better design your decision.type choices There will are be. so many different fonts available for the computer that it would be almost impossible to learn the names of every one. However, manys typefaces share similar qualities. Typographers classify fonts into groups to help Typographers classify type into groups to help remember the different kinds. Often, a font from within oneremember group can the be different substituted kinds. for Often, one nota font available from within to achieve one group the samecan be effect. substituted Different for anothertypographers usewhen different not available groupings. to achieve The classifi the samecation effect. system Different used by typographers Thunder Graphics use different includes groups. seven The major groups.classification system used byStevenson includes seven major groups. Use the Right arrow key to move to the next page. • Use the Left arrow key to move back a page. Use the key combination, Command (⌘) + Q to quit the presentation. Thunder Graphics Training • Type Workshop Typeface Groups ����������������������� ��������������������������������������������������������������������������������� ���������������������������������������������������������������������������� ������������������������������������������������������������������������������ -
Logo Guidelines ® Introduction
Logo Guidelines ® Introduction The strength of the Akron Brass Company’s corporate and brand identity / image throughout the world depends, in part, upon the proper use of all Akron trademarks and corporate logo including our logos, products, brand names, taglines, advertising, brochures and presentations. Because the Akron Brass Company brand cannot be compromised, we’ve created this guide to provide all the pertinent specifications you need to maintain its integrity. This document constitutes a user friendly identification system that can be used by Akron’s corporate partner, distributors, OEM’s, customers and advertising agencies to refer to Akron and its products. This is a living document and may be updated from time to time. Third parties may refer to Akron and its products by their associated Akron Trademarks, as long as such references are (A) truthful, fair and not misleading and (B) the use adheres to the guidelines set forth herein, which may be modified from time to time at Akron’s sole discretion. Always use trademarks and brand names in the way they were intended for use. Do not use them for goods and services for which they were not originally intended. Contact the Marketing Department for artwork requests or any other inquiries on logo brand guidelines. ® General Use The Akron signature is the graphic representation of our company. The Akron signature combines the two most important visual elements of our brand, the Akron logotype and the Akron symbol (the flaming “A” and the underline). The following diagram illustrates the recognizable graphic features that make the Akron signature unique.