Alternatives to Computer Modern Mathematics
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Typography One Typeface Classification Why Classify?
Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing. -
Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles
Bitstream Fonts in May 2005 at http://www.myfonts.com/fonts/bitstream totaling 350 font families with a total of 1357 font styles The former Bitstream typeface libraries consisted mainly of forgeries of Linotype fonts and of ITC fonts. See the list below on the pages 24–29 about the old Bitstream Typeface Library of 1992. The 2005 Bitstream typeface library contains the same forgeries of Linotype fonts as formerly and also the same ITC fonts, but it also includes a lot of new mediocre „rubbish fonts“ (e.g. „Alphabet Soup“, „Arkeo“, „Big Limbo“), but also a few new quality fonts (e.g. „Drescher Grotesk“, „Prima Serif“ etc.). On the other hand, a few old fonts (e.g. „Caxton“) were removed. See the list below on pages 1–23. The typeface collection of CorelDraw comprises almost the entire former old Bitstream typeface library (see the list below on pages 24–29) with the following exceptions: 1. A few (ca. 3) forgeries of Linotype fonts are missing in the CorelDraw font collections, e.g. the fonts „Baskerville No. 2“ (= Linotype Baskerville No. 2), „Italian Garamond“ (= Linotype Garamond Simoncini), and „Revival 555“ (= Linotype Horley Old Style). 2. A lot (ca. 11) of ITC fonts are not contained in the CorelDraw font collections, e.g. „ITC Berkeley Oldstyle“, „ITC Century“, „ITC Clearface“, „ITC Isbell“, „ITC Italia“, „ITC Modern No. 216“, „ITC Ronda“, „ITC Serif Gothic“, „ITC Tom’s Roman“, „ITC Zapf Book“, and „ITC Zapf International“. Ulrich Stiehl, Heidelberg 3-May 2005 Aachen – 2 styles Ad Lib™ – 1 styles Aerospace Pi – 1 styles Aldine -
Afgbaskerville (The Type Face)
gfaBaskerville (the type face) xagfi {the type} {the man} abcdefghijklmn opqrstuvwxyz ABCDEFGHI JKLMNOPQR STUVWXYZ Having been an early admirer of the beauty of letters, I vertical stress relatively low contrast “became insensibly desirous of contributing to the perfection Baskerville is a transitional type of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true { old style type modern type proportion. oblique stress vertical stress —John Baskerville, preface to Milton, 1758 relatively low contrast high contrast (Anatomy of a Typeface) ” {looks} use of orthogonal lines use of orthogonal + curvy lines FHTt BDp use of curvy lines use of diagonal lines cOQ vwXZ In order to truely appreciate the quialities of Baskerville, one must understand the The Baskerville type is known for the crisp edges, high contrast and generous process of its creation. Being a printer, John Baskerville paid close attention to the proportions. Baskerville is categorized as a transitional typeface in between classical technology, creating his own intense black ink. He boiled fine linseed oil to a certain typefaces and the high contrast modern faces. density, dissolved rosin, and let it subside for months before using it. He also studied and invested in presses, resulting in the development of high standards for presses altogether. {anatomy} crossbar serif ear head serif ascender counter apex A a x g Q b q O spur x-height descender swash {characteristics} {1}g Q {2} A {3} {4}J {5}C {6}E {7}ea {1} tail on lower case g does not close {2} swash-like tail of Q {4} J well below baseline {3} high crossbar and pointed apex of A {5} top and bottom serifs on C {6} long lower arm of E {7} small counter of italic e compared to italic a {comparison} Bembo Baskerville Bembo Baskerville d The head serif of Baskerville is generally more horizontal than that of Bembo. -
Knuthweb.Pdf
Literate Programming Donald E. Knuth Computer Science Department, Stanford University, Stanford, CA 94305, USA The author and his associates have been experimenting for the past several years with a program- ming language and documentation system called WEB. This paper presents WEB by example, and discusses why the new system appears to be an improvement over previous ones. I would ordinarily have assigned to student research A. INTRODUCTION assistants; and why? Because it seems to me that at last I’m able to write programs as they should be written. The past ten years have witnessed substantial improve- My programs are not only explained better than ever ments in programming methodology. This advance, before; they also are better programs, because the new carried out under the banner of “structured program- methodology encourages me to do a better job. For ming,” has led to programs that are more reliable and these reasons I am compelled to write this paper, in easier to comprehend; yet the results are not entirely hopes that my experiences will prove to be relevant to satisfactory. My purpose in the present paper is to others. propose another motto that may be appropriate for the I must confess that there may also be a bit of mal- next decade, as we attempt to make further progress ice in my choice of a title. During the 1970s I was in the state of the art. I believe that the time is ripe coerced like everybody else into adopting the ideas of for significantly better documentation of programs, and structured programming, because I couldn’t bear to be that we can best achieve this by considering programs found guilty of writing unstructured programs. -
Sponsored Programs New Developments and Important Reminders
Sponsored Programs New Developments and Important Reminders Rebecca Trahan Office of Sponsored Programs January 16, 2019 1 NSF Updates NIH Updates Federal Update OSP Updates Q & A 2 1 3 4 2 NSF 19-1 effective 1/28/2019 Effective for proposals submitted or due on or after 1/28/2019. Slides and video from NSF PAPPG Webinar on 11/27/2018: https://nsfgrantsconferences.com/pappg- webinar-19/. 5 Proposal Submission via Research.gov . Research.gov is an alternative to NSF FastLane and Grants.gov proposal submission. Can be used for full, research non-collaborative proposals. On-screen instructions in Research.gov must be followed when different than PAPPG. Project Description – Proposed Subawards . The description of the work to be performed by the proposed subrecipient must be included in the project description. 6 3 Proposals with international subrecipients or consultants . NSF rarely provides funding support to foreign organizations. In cases where the proposer considers the foreign organization’s involvement to be essential to the project (e.g., through subawards or consultant arrangements), the proposer must explain why local support is not feasible and why the foreign organization can carry out the activity more effectively. In addition, the proposed activity must demonstrate how one or more of the following conditions have been met: . The foreign organization contributes a unique organization, facilities, geographic location and/or access to unique data resources not generally available to U.S. investigators (or which would require significant effort or time to duplicate) or other resources that are essential to the success of the proposed project; and/or . -
Vision Performance Institute
Vision Performance Institute Technical Report Individual character legibility James E. Sheedy, OD, PhD Yu-Chi Tai, PhD John Hayes, PhD The purpose of this study was to investigate the factors that influence the legibility of individual characters. Previous work in our lab [2], including the first study in this sequence, has studied the relative legibility of fonts with different anti- aliasing techniques or other presentation medias, such as paper. These studies have tested the relative legibility of a set of characters configured with the tested conditions. However the relative legibility of individual characters within the character set has not been studied. While many factors seem to affect the legibility of a character (e.g., character typeface, character size, image contrast, character rendering, the type of presentation media, the amount of text presented, viewing distance, etc.), it is not clear what makes a character more legible when presenting in one way than in another. In addition, the importance of those different factors to the legibility of one character may not be held when the same set of factors was presented in another character. Some characters may be more legible in one typeface and others more legible in another typeface. What are the character features that affect legibility? For example, some characters have wider openings (e.g., the opening of “c” in Calibri is wider than the character “c” in Helvetica); some letter g’s have double bowls while some have single (e.g., “g” in Batang vs. “g” in Verdana); some have longer ascenders or descenders (e.g., “b” in Constantia vs. -
Typeset MMIX Programs with TEX Udo Wermuth Abstract a TEX Macro
TUGboat, Volume 35 (2014), No. 3 297 Typeset MMIX programs with TEX Example: In section 9 the lines \See also sec- tion 10." and \This code is used in section 24." are given. Udo Wermuth No such line appears in section 10 as it only ex- tends the replacement code of section 9. (Note that Abstract section 10 has in its headline the number 9.) In section 24 the reference to section 9 stands for all of ATEX macro package is presented as a literate pro- the eight code lines stated in sections 9 and 10. gram. It can be included in programs written in the If a section is not used in any other section then languages MMIX or MMIXAL without affecting the it is a root and during the extraction of the code a assembler. Such an instrumented file can be pro- file is created that has the name of the root. This file cessed by TEX to get nicely formatted output. Only collects all the code in the sequence of the referenced a new first line and a new last line must be entered. sections from the code part. The collection process And for each end-of-line comment a flag is set to for all root sections is called tangle. A second pro- indicate that the comment is written in TEX. cess is called weave. It outputs the documentation and the code parts as a TEX document. How to read the following program Example: The following program has only one The text that starts in the next chapter is a literate root that is defined in section 4 with the headline program [2, 1] written in a style similar to noweb [7]. -
Miktex Manual Revision 2.0 (Miktex 2.0) December 2000
MiKTEX Manual Revision 2.0 (MiKTEX 2.0) December 2000 Christian Schenk <[email protected]> Copyright c 2000 Christian Schenk Permission is granted to make and distribute verbatim copies of this manual provided the copyright notice and this permission notice are preserved on all copies. Permission is granted to copy and distribute modified versions of this manual under the con- ditions for verbatim copying, provided that the entire resulting derived work is distributed under the terms of a permission notice identical to this one. Permission is granted to copy and distribute translations of this manual into another lan- guage, under the above conditions for modified versions, except that this permission notice may be stated in a translation approved by the Free Software Foundation. Chapter 1: What is MiKTEX? 1 1 What is MiKTEX? 1.1 MiKTEX Features MiKTEX is a TEX distribution for Windows (95/98/NT/2000). Its main features include: • Native Windows implementation with support for long file names. • On-the-fly generation of missing fonts. • TDS (TEX directory structure) compliant. • Open Source. • Advanced TEX compiler features: -TEX can insert source file information (aka source specials) into the DVI file. This feature improves Editor/Previewer interaction. -TEX is able to read compressed (gzipped) input files. - The input encoding can be changed via TCX tables. • Previewer features: - Supports graphics (PostScript, BMP, WMF, TPIC, . .) - Supports colored text (through color specials) - Supports PostScript fonts - Supports TrueType fonts - Understands HyperTEX(html:) specials - Understands source (src:) specials - Customizable magnifying glasses • MiKTEX is network friendly: - integrates into a heterogeneous TEX environment - supports UNC file names - supports multiple TEXMF directory trees - uses a file name database for efficient file access - Setup Wizard can be run unattended The MiKTEX distribution consists of the following components: • TEX: The traditional TEX compiler. -
Programming Technologies for the Development of Web-Based Platform for Digital Psychological Tools
(IJACSA) International Journal of Advanced Computer Science and Applications, Vol. 9, No. 8, 2018 Programming Technologies for the Development of Web-Based Platform for Digital Psychological Tools Evgeny Nikulchev1, Dmitry Ilin2 Pavel Kolyasnikov3 Ilya Zakharov5, Sergey Malykh6 4 MIREA – Russian Technological Vladimir Belov Psychological Institute of Russian University & Russian Academy Russian Academy Science Academy of Education Science, Moscow, Russia Moscow, Russia Moscow, Russia Abstract—The choice of the tools and programming In addition, large accumulated data sets can become the technologies for information systems creation is relevant. For basis for machine learning mechanisms and other approaches every projected system, it is necessary to define a number of using artificial intelligence. Accumulation of data from criteria for development environment, used libraries and population studies into a single system can allow a technologies. The paper describes the choice of technological breakthrough in the development of systems for automated solutions using the example of the developed web-based platform intellectual analysis of behavior data. of the Russian Academy of Education. This platform is used to provide information support for the activities of psychologists in The issue of selecting methodological tools for online and their research (including population and longitudinal offline research includes several items. researches). There are following system features: large scale and significant amount of developing time that needs implementation First, any selection presupposes the existence of generally and ensuring the guaranteed computing reliability of a wide well-defined criteria, on the basis of which a decision can be range of digital tools used in psychological research; ensuring made to include or not to include techniques in the final functioning in different environments when conducting mass toolkit. -
Download Futura Font Word
1 / 5 Download Futura Font Word Futuristic Fonts Download Free futuristic fonts at UrbanFonts.com Our site carries ... '80s generator gives your words a neon retro tribute Oct 07, 2016 · Well, if you ... Futuristic Logos Futura Fonts generator tool will let you convert simple and .... Download Futura fonts from UrbanFonts.com for PC and Mac. Futura EF Fonts Free ... Futura Lt Font. How to Install Futura Font in Adobe, Ms Word, Mac or Pc?. 11 Free Chrome Graphics Generators Welcome to MyFonts, the #1 place to download great @font-face webfonts and desktop fonts: classics (Baskerville, Futura, .... Mar 12, 2020 — Want to use beautiful custom fonts in your WordPress theme? ... First thing you need to do is download the font that you like in a web format.. Download Futura PT font (22 styles). Futura PT FuturaPTBold.otf 126 Kb | Futura PT Bold Italic FuturaPTBoldOblique.otf 125 Kb | Futura PT FuturaPTBook.otf ... Download Futura PT Font click here: https://windows10freeapps.com/futura-pt-font-free-download .... Free Font for Designers! High quality design resources for free. And helps introduce first time customers to your products with free fonts downloads and allow .... I'll use Futura PT Heavy which I downloaded from Adobe Typekit, but any font will work: ... This Font used for copy and paste and also for word generator.. Sep 23, 2011 — This is the page of Futura font. You can download it for free and without registration here. This entry was published on Friday, September 23rd .... ... the text it generates may look similar to text generated using the HTML or tags or the CSS attributes font-weight: bold or font-style: italic , it isn't. -
P Font-Change Q UV 3
p font•change q UV Version 2015.2 Macros to Change Text & Math fonts in TEX 45 Beautiful Variants 3 Amit Raj Dhawan [email protected] September 2, 2015 This work had been released under Creative Commons Attribution-Share Alike 3.0 Unported License on July 19, 2010. You are free to Share (to copy, distribute and transmit the work) and to Remix (to adapt the work) provided you follow the Attribution and Share Alike guidelines of the licence. For the full licence text, please visit: http://creativecommons.org/licenses/by-sa/3.0/legalcode. 4 When I reach the destination, more than I realize that I have realized the goal, I am occupied with the reminiscences of the journey. It strikes to me again and again, ‘‘Isn’t the journey to the goal the real attainment of the goal?’’ In this way even if I miss goal, I still have attained goal. Contents Introduction .................................................................................. 1 Usage .................................................................................. 1 Example ............................................................................... 3 AMS Symbols .......................................................................... 3 Available Weights ...................................................................... 5 Warning ............................................................................... 5 Charter ....................................................................................... 6 Utopia ....................................................................................... -
Zapfcoll Minikatalog.Indd
Largest compilation of typefaces from the designers Gudrun and Hermann Zapf. Most of the fonts include the Euro symbol. Licensed for 5 CPUs. 143 high quality typefaces in PS and/or TT format for Mac and PC. Colombine™ a Alcuin™ a Optima™ a Marconi™ a Zapf Chancery® a Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf International® a AMS Euler™ a Marcon™ a Medici Script™ a Shakespeare™ a Zapf International® a Melior™ a Aldus™ a Melior™ a a Melior™ Noris™ a Optima™ a Vario™ a Aldus™ a Aurelia™ a Zapf International® a Carmina™ a Shakespeare™ a Palatino™ a Aurelia™ a Melior™ a Zapf book® a Kompakt™ a Alcuin™ a Carmina™ a Sistina™ a Vario™ a Zapf Renaissance Antiqua® a Optima™ a AMS Euler™ a Colombine™ a Alcuin™ a Optima™ a Marconi™ a Shakespeare™ a Zapf Chancery® Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf international® a AMS Euler™ a Marconi™ a Medici Script™ a Shakespeare™ a Zapf international® a Aldus™ a Melior™ a Zapf Chancery® a Kompakt™ a Noris™ a Zapf International® a Car na™ a Zapf book® a Palatino™ a Optima™ Alcuin™ a Carmina™ a Sistina™ a Melior™ a Zapf Renaissance Antiqua® a Medici Script™ a Aldus™ a AMS Euler™ a Colombine™ a Vario™ a Alcuin™ a Marconi™ a Marconi™ a Carmina™ a Melior™ a Edison™ a Shakespeare™ a Zapf book® aZapf international® a Optima™ a Zapf International® a Carmina™ a Zapf Chancery® Noris™ a Optima™ a Zapf international® a Carmina™ a Sistina™ a Shakespeare™ a Palatino™ a a Kompakt™ a Aurelia™ a Melior™ a Zapf Renaissance Antiqua® Antiqua® a Optima™ a AMS Euler™ a Introduction Gudrun & Hermann Zapf Collection The Gudrun and Hermann Zapf Collection is a special edition for Macintosh and PC and the largest compilation of typefaces from the designers Gudrun and Hermann Zapf.