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The Etbb Package—Edward Tufte's Version of Bembo
The ETbb package—Edward Tufte’s version of Bembo Michael Sharpe Background The fonts in this package were derived ultimately from the collection of fonts commissioned by Edward Tufte for his own books, and released in 2015 as ET-Bembo under the MIT license. (The sources for that collection were fonts using the family name ET-book.) That collection was enhanced in 2019 under the name XETBook by Daniel Benjamin Miller, and it is his package which was the starting point for ETbb, where the bb denotes the Berry abbreviation for Bembo. The final section of this document makes a detailed comparison with the earlier fbb package, which is also Bembo-like, derived from Cardo. The most significant differences are that ETbb has a regular upright that is about 20% darker than the corre- sponding fbb, and its ascender height is noticeably less. These differences make ETbb have a less spindly appearance that is closer in spirit to the print produced by traditional metal versions of Bembo. Package properties The package makes a number of changes to the XETBook fonts: • The released version of ET-Bembo lacks kerning tables—a serious omission—rectified in ETbb. • The scale has been increased by 3.36% so that the x-height of the upright regular face is 431, very close to Computer Modern and Libertine. • The lining figures in some faces were reduced so as to be a bit less than the cap-heights. • The lining figures in XETBook were proportional rather than tabular. I’ve added new tabular lining and old-style figures. -
Margin Kerning and Font Expansion with Pdftex
Margin Kerning and Font Expansion with pdfTEX H`anTh´eTh`anh Introduction \f ends up at the right margin, it should be moved out to the margin by 700 thousandths of its width pdfT X has some micro-typographic extensions that E (i.e., 70 %). are not so widely used, for the lack of documentation It is conveninent to specify the protruding fac- and quite complicated setup. In this paper I would tor for individual characters in thousandths of char- like to describe their use in a step-by-step manner acter width. This is also the way how \rpcode so the reader can give a try afterwards. Two exten- was implemented in versions up to 0.14h. However, sions will be introduced: margin kerning and font this method cannot be used for characters with expansion. zero width (”faked” characters that can be used to Margin kerning is the technique to move the protrude other elements than normal characters), so characters slightly out to the margins of a text block in version 0.14h and later, the protruding amount in order to make the margins look straight. Without is specified in thousandths of an em of the font. margin kerning, certain characters when ending up A macro called \adjustprotcode (defined in file at the margins can cause the optical illusion that \protrude.tex) is used here to checks whether the the margins look rather ragged. Margin kerning used version is older than 0.14h and if so it will is similar to hanging punctuation, but it can also convert the settings for versions before 0.14h (i.e., in be applied to other characters as well. -
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. -
Openflight® Scene Description Database Specification
OpenFlight® Scene Description Database Specification Version 15.7.0 April, 2000 USE AND DISCLOSURE OF DATA ©MultiGen-Paradigm® Inc., 2000. All rights reserved. MultiGen Inc. is the owner of all intellectual property rights, including but not limited to, copyrights in and to this book and its contents. The reader of this book is licensed to use said contents and in- tellectual property in any lawful manner and for any lawful purpose; said license is non-exclusive and royalty-free. This book may not be reproduced or distributed in any form, in whole or part, without the express written permission of MultiGen-Par- adigm Inc. 550 S. Winchester Blvd., Suite 500, San Jose, CA 95128 Phone (408) 261-4100 Fax (408) 261-4103 Copyright © 2000 MultiGen-Paradigm® Inc. All Rights Reserved. OpenFlight Scene Description Database Specification,v15.7.0 (April, 2000) MultiGen-Paradigm Inc. (MultiGen-Paradigm) provides this material as is, without warranty of any kind, either expressed or implied, including, but not limited to, the implied warranties of merchantability and fitness for a par- ticular purpose. MultiGen-Paradigm may make improvements and changes to the product described in this manual at any time without notice. MultiGen-Paradigm assumes no responsibility for the use of the product or this manual except as expressly set forth in the applicable MultiGen-Paradigm agreement or agreements and subject to terms and con- ditions set forth therein and applicable MultiGen-Paradigm policies and procedures. This manual may contain technical inaccuracies or typographical errors. Periodic changes are made to the information contained herein: these changes will be incorporated in new editions of the manual. -
Data Format for the Interchange of Biometric and Forensic Information
ANSI/NIST-ITL 1-2011 Data Format for the Interchange of Biometric and Forensic Information Foreword ...……………………………………………………………………………..vii 1 Introduction...................................................................................................... 1 1.1 Previous versions of the Standard ............................................................ 1 1.2 Summary of Changes for this Version of the Standard ............................. 1 2 Scope, purpose, and conformance ................................................................. 2 2.1 Scope ........................................................................................................ 2 2.2 Purpose..................................................................................................... 3 2.3 Conformance............................................................................................. 3 3 Encodings of the Standard.............................................................................. 3 4 Transmitted data conventions ......................................................................... 4 4.1 Friction Ridge Representation................................................................... 4 4.2 Byte and bit ordering ................................................................................. 4 4.3 Grayscale data .......................................................................................... 4 4.4 Binary data ................................................................................................ 5 4.5 Color data................................................................................................. -
Arno Pro Release Notes
Arno Pro Release Notes Introduction Named after the Florentine river which runs through the heart of the Italian Renaissance, Arno draws on the warmth and readability of early humanist typefaces of the 15th and 16th centuries. While inspired by the past, Arno is distinctly contemporary in both appearance and function. Designed by Adobe Principal Designer Robert Slimbach, Arno is a meticulously-crafted face in the tradition of early Venetian and Aldine book types. Embodying themes Slimbach has explored in typefaces such as Minion and Brioso, Arno represents a distillation of his design ideals and a refinement of his craft. As a multi-featured OpenType family, with the most extensive Latin-based glyph complement Adobe has yet offered, Arno offers extensive pan-European language support, including Cyrillic and poly- tonic Greek. The family also offers such typographic niceties as five optical size ranges, extensive swash italic sets, and small capitals for all covered languages. OpenType® OpenType “.otf” fonts are compact single-file cross-platform fonts, which can have extended language support based on Unicode, and enhanced typographic layout features. For OpenType information, including the OpenType User Guide, the OpenType Readme (application compatibility notes), and OpenType Specimen Book PDFs, visit Adobe’s Web site at http://www.adobe.com/type/opentype. About optical sizes Typefaces with optical size variants have had their designs subtly adjusted for use at specific point size ranges. This capability reintroduces one of the features of hand-cut metal type, which uses a separate font for each point size and is often optically adjusted. This is an advantage over the current common practice of scaling a single digital type design to different point sizes, which may reduce legibility at smaller sizes or sacrifice subtlety at larger sizes. -
Type Design for Typewriters: Olivetti by María Ramos Silva
Type design for typewriters: Olivetti by María Ramos Silva Dissertation submitted in partial fulfilment of the requirements for the MA in Typeface Design Department of Typography & Graphic Communication University of Reading, United Kingdom September 2015 The word utopia is the most convenient way to sell off what one has not the will, ability, or courage to do. A dream seems like a dream until one begin to work on it. Only then it becomes a goal, which is something infinitely bigger.1 -- Adriano Olivetti. 1 Original text: ‘Il termine utopia è la maniera più comoda per liquidare quello che non si ha voglia, capacità, o coraggio di fare. Un sogno sembra un sogno fino a quando non si comincia da qualche parte, solo allora diventa un proposito, cio è qualcosa di infinitamente più grande.’ Source: fondazioneadrianolivetti.it. -- Abstract The history of the typewriter has been covered by writers and researchers. However, the interest shown in the origin of the machine has not revealed a further interest in one of the true reasons of its existence, the printed letters. The following pages try to bring some light on this part of the history of type design, typewriter typefaces. The research focused on a particular company, Olivetti, one of the most important typewriter manufacturers. The first two sections describe the context for the main topic. These introductory pages explain briefly the history of the typewriter and highlight the particular facts that led Olivetti on its way to success. The next section, ‘Typewriters and text composition’, creates a link between the historical background and the machine. -
The Emoji Factor: Humanizing the Emerging Law of Digital Speech
The Emoji Factor: Humanizing the Emerging Law of Digital Speech 1 Elizabeth A. Kirley and Marilyn M. McMahon Emoji are widely perceived as a whimsical, humorous or affectionate adjunct to online communications. We are discovering, however, that they are much more: they hold a complex socio-cultural history and perform a role in social media analogous to non-verbal behaviour in offline speech. This paper suggests emoji are the seminal workings of a nuanced, rebus-type language, one serving to inject emotion, creativity, ambiguity – in other words ‘humanity’ - into computer mediated communications. That perspective challenges doctrinal and procedural requirements of our legal systems, particularly as they relate to such requisites for establishing guilt or fault as intent, foreseeability, consensus, and liability when things go awry. This paper asks: are we prepared as a society to expand constitutional protections to the casual, unmediated ‘low value’ speech of emoji? It identifies four interpretative challenges posed by emoji for the judiciary or other conflict resolution specialists, characterizing them as technical, contextual, graphic, and personal. Through a qualitative review of a sampling of cases from American and European jurisdictions, we examine emoji in criminal, tort and contract law contexts and find they are progressively recognized, not as joke or ornament, but as the first step in non-verbal digital literacy with potential evidentiary legitimacy to humanize and give contour to interpersonal communications. The paper proposes a separate space in which to shape law reform using low speech theory to identify how we envision their legal status and constitutional protection. 1 Dr. Kirley is Barrister & Solicitor in Canada and Seniour Lecturer and Chair of Technology Law at Deakin University, MelBourne Australia; Dr. -
Mathematics Clinic Handbook
Mathematics Clinic Mathematics Clinic Handbook 2019 Copyright © 2019 Department of Mathematics, Harvey Mudd College. This material is provided for the sole use of participants in Harvey Mudd College’s Mathematics Clinic program. Any other usage requires prior permission from the Department. 2019 Edition; Revision 1.0. (April 30, 2019) Calendar Note that dates and deadlines are subject to change. Date Description Page September 4 (Tue) Student Orientation Day (4:15 p.m.–5:30 p.m.; 5 Sprague 3) September 4 (Tue) Project Managers Meeting (5:30 p.m.–6:30 p.m. in Sprague 3) September 6–18 Marathon Push (Including Preparation of Your 8 Statement of Work) September 6 (Thu) Clinic/Sponsor Orientation Day (11:00 a.m.– 6 1:00 p.m.; Sprague 3 workrooms) Be prepared to ask your liaisons questions. September 7 (Fri) All Forms Due by 4:00 p.m. to Molly Reeves 5 (SCTL 2404) September Site Visits with Sponsor (Arranged by Teams and 9 Sponsors) September 11 (Tue) Professional Development: Teleconference and 10 Site Visit Etiquette (11:00–12:15 p.m.; Galileo McAlister; Combined with CS) September 18 (Tue) Statement of Work Peer Review (11:00–12:15 p.m.; 8 Sprague 3) Bring Advisor-Previewed Draft. September 18 (Tue) Project Managers Meeting (11:00–12:15 p.m.; Sprague 3) September 20 (Thu) Engineering Career Fair September 21 (Fri) Peer Reviews of Statement of Work Due to Team 8 September 24 (Mon) Advisor-Previewed Project Budget Due to Clinic 53 Director September 25 (Tue) Review Statement of Work According to Slides 10 on Project Management & Planning Sent -
Management of Data Elements in Information Processing
PB-249-530 MANAGEMENT OF DATA ELEMENTS IN INFORMATION PROCESSING U.S. DEPARTMENT OF COMMERCE / National Bureau of Standards SECOND NATIONAL SYMPOSIUM NATIONAL BUREAU OF STANDARDS GAITHERSBURG, MARYLAND 1975 OCTOBER 23-24 Available by purchase from the National Technical Information Service, 5285 Port Royal Road, Springfield, Va. 221 Price: $9.25 hardcopy; $2.25 microfiche. National Technical Information Service U. S. DEPARTMENT OF COMMERCE PB-249-530 Management of Data Elements in Information Processing Proceedings of a Second Symposium Sponsored by the American National Standards Institute and by The National Bureau of Standards 1975 October 23-24 NBS, Gaithersburg, Maryland Hazel E. McEwen, Editor Institute for Computer Sciences and Technology National Bureau of Standards Washington, D.C. 20234 U.S. DEPARTMENT OF COMMERCE, Elliot L. Richardson, Secrefary NATIONAL BUREAU OF STANDARDS, Ernest Ambler, Acfing Direc/or Table of Contents Page Introduction to the Program of the Second National Symposium on The Management of Data Elements in Information Processing ix David V. Savidge, Program Chairman On-Line Tactical Data Inputting: Research in Operator Training and Performance 1 Irving Alderman, Ph.D. "Turning the Corner" on MIS, A Proposed Program of Data Standards in Post-Secondary Education 9 Donald R. Arnold, Ph.D. ASCII - The Data Alphabet That Will Endure 17 Robert W. Bemer Techniques in Developing Standard Procedures for Data Editing 23 George W. Covill An Adaptive File Management Systems 45 Dennis L. Dance and Udo W. Pooch (Given by Dance) A Focus on the Role of the Data Manager 57 Ruth M, Davis, Ph.D. A Proposed Standard Routine for Generating Proposed Standard Check Characters 61 Paul -Andre Desjardins Methodology for Development of Standard Data Elements within Multiple Public Agencies 69 L. -
Emoticon Style: Interpreting Differences in Emoticons Across Cultures
Emoticon Style: Interpreting Differences in Emoticons Across Cultures Jaram Park Vladimir Barash Clay Fink Meeyoung Cha Graduate School of Morningside Analytics Johns Hopkins University Graduate School of Culture Technology, KAIST [email protected] Applied Physics Laboratory Culture Technology, KAIST [email protected] clayton.fi[email protected] [email protected] Abstract emotion not captured by language elements alone (Lo 2008; Gajadhar and Green 2005). With the advent of mobile com- Emoticons are a key aspect of text-based communi- cation, and are the equivalent of nonverbal cues to munications, the use of emoticons has become an everyday the medium of online chat, forums, and social media practice for people throughout the world. Interestingly, the like Twitter. As emoticons become more widespread emoticons used by people vary by geography and culture. in computer mediated communication, a vocabulary Easterners, for example employ a vertical style like ^_^, of different symbols with subtle emotional distinctions while westerners employ a horizontal style like :-). This dif- emerges especially across different cultures. In this pa- ference may be due to cultural reasons since easterners are per, we investigate the semantic, cultural, and social as- known to interpret facial expressions from the eyes, while pects of emoticon usage on Twitter and show that emoti- westerners favor the mouth (Yuki, Maddux, and Masuda cons are not limited to conveying a specific emotion 2007; Mai et al. 2011; Jack et al. 2012). or used as jokes, but rather are socio-cultural norms, In this paper, we study emoticon usage on Twitter based whose meaning can vary depending on the identity of the speaker. -
System Profile
Steve Sample’s Power Mac G5 6/16/08 9:13 AM Hardware: Hardware Overview: Model Name: Power Mac G5 Model Identifier: PowerMac11,2 Processor Name: PowerPC G5 (1.1) Processor Speed: 2.3 GHz Number Of CPUs: 2 L2 Cache (per CPU): 1 MB Memory: 12 GB Bus Speed: 1.15 GHz Boot ROM Version: 5.2.7f1 Serial Number: G86032WBUUZ Network: Built-in Ethernet 1: Type: Ethernet Hardware: Ethernet BSD Device Name: en0 IPv4 Addresses: 192.168.1.3 IPv4: Addresses: 192.168.1.3 Configuration Method: DHCP Interface Name: en0 NetworkSignature: IPv4.Router=192.168.1.1;IPv4.RouterHardwareAddress=00:0f:b5:5b:8d:a4 Router: 192.168.1.1 Subnet Masks: 255.255.255.0 IPv6: Configuration Method: Automatic DNS: Server Addresses: 192.168.1.1 DHCP Server Responses: Domain Name Servers: 192.168.1.1 Lease Duration (seconds): 0 DHCP Message Type: 0x05 Routers: 192.168.1.1 Server Identifier: 192.168.1.1 Subnet Mask: 255.255.255.0 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: Yes Auto Discovery Enabled: No Ethernet: MAC Address: 00:14:51:67:fa:04 Media Options: Full Duplex, flow-control Media Subtype: 100baseTX Built-in Ethernet 2: Type: Ethernet Hardware: Ethernet BSD Device Name: en1 IPv4 Addresses: 169.254.39.164 IPv4: Addresses: 169.254.39.164 Configuration Method: DHCP Interface Name: en1 Subnet Masks: 255.255.0.0 IPv6: Configuration Method: Automatic AppleTalk: Configuration Method: Node Default Zone: * Interface Name: en1 Network ID: 65460 Node ID: 139 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: