5 the Rules of Typography
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Unicode Nearly Plain-Text Encoding of Mathematics Murray Sargent III Office Authoring Services, Microsoft Corporation 4-Apr-06
Unicode Nearly Plain Text Encoding of Mathematics Unicode Nearly Plain-Text Encoding of Mathematics Murray Sargent III Office Authoring Services, Microsoft Corporation 4-Apr-06 1. Introduction ............................................................................................................ 2 2. Encoding Simple Math Expressions ...................................................................... 3 2.1 Fractions .......................................................................................................... 4 2.2 Subscripts and Superscripts........................................................................... 6 2.3 Use of the Blank (Space) Character ............................................................... 7 3. Encoding Other Math Expressions ........................................................................ 8 3.1 Delimiters ........................................................................................................ 8 3.2 Literal Operators ........................................................................................... 10 3.3 Prescripts and Above/Below Scripts........................................................... 11 3.4 n-ary Operators ............................................................................................. 11 3.5 Mathematical Functions ............................................................................... 12 3.6 Square Roots and Radicals ........................................................................... 13 3.7 Enclosures..................................................................................................... -
Making Connections: Typography, Layout and Language
From: AAAI Technical Report FS-99-04. Compilation copyright © 1999, AAAI (www.aaai.org). All rights reserved. Making connections: typography, layout and language Robert Waller Information Design Unit & Coventry University [email protected] Abstract paragraphs are an interpolation, and would more com- These working notes summarise a genre theory that accounts fortably appear in a panel or box if I were able to write in for document layout in a three part communication model that another genre Ð textbook perhaps. Limited to the linearity recognises not only the effort of the writer to set out a topic of prose, I should really spend time crafting my language, and the purposeful effort by a reader to access information, and working out a way to knit the anecdote more closely but also the professional and manufacturing processes that 3 intervene. I suggest that layout genres use conventions that at into my argument. some historical point are rooted in functionality (of document A year or two back I redesigned the medical journal The generation, manufacture or use) but which have become con- Lancet. Part of the brief was to make it clearer to readers ventionalised. It follows that genres will shift over time as that as well as acting as a primary research journal reasons to generate or access information change, and as text through its refereed papers and letter, The Lancet also technologies develop. Case studies are described that illus- trate key aspects of the model and offer insight into the way contains highly topical and readable medical journalism. designers think about layout. -
The Arydshln Package∗
The arydshln package∗ Hiroshi Nakashima (Kyoto University) 2019/02/21 Abstract This file gives LATEX's array and tabular environments the capability to draw horizontal/vertical dash-lines. Contents 1 Introduction 3 2 Usage 3 2.1 Loading Package . 3 2.2 Basic Usage . 4 2.3 Style Parameters . 4 2.4 Fine Tuning . 5 2.5 Finer Tuning . 5 2.6 Performance Tuning . 6 2.7 Compatibility with Other Packages . 7 3 Known Problems 9 4 Implementation 10 4.1 Problems and Solutions . 10 4.2 Another Old Problem . 13 4.3 Register Declaration . 14 4.4 Initialization . 17 4.5 Making Preamble . 22 4.6 Building Columns . 27 4.7 Multi-columns . 30 4.8 End of Rows . 32 4.9 Horizontal Lines . 33 4.10 End of Environment . 37 4.11 Drawing Vertical Lines . 38 ∗This file has version number v1.76, last revised 2019/02/21. 1 4.12 Drawing Dash-lines . 44 4.13 Shorthand Activation . 45 4.14 Compatibility with colortab ........................... 48 4.15 Compatibility with longtable ........................... 48 4.15.1 Initialization . 49 4.15.2 Ending Chunks . 51 4.15.3 Horizontal Lines and p-Boxes . 53 4.15.4 First Chunk . 55 4.15.5 Output Routine . 56 4.16 Compatibility with colortbl ........................... 60 4.16.1 Initialization, Cell Coloring and Finalization . 62 4.16.2 Horizontal Line Coloring . 63 4.16.3 Vertical Line Coloring . 65 4.16.4 Compatibility with longtable ...................... 68 2 1 Introduction In January 1993, Weimin Zhang kindly posted a style hvdashln written by the author, which draws horizontal/vertical dash-lines in LATEX's array and tabular environments, to the news group comp.text.tex. -
Copyrighted Material
INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets, -
Lecture 11 – Typography
Typography Steven R. Bagley Introduction • Looked at the beginning at representing text in a computer • And then how to describe the appearance of a page • Now going to start to looking at how to convert from text to into a PDL • Formatting algorithms Formatting • At its most basic formatting text is breaking it into words and fitting them into a space forming lines • But it turns out its a hard problem to solve • Because the text has to look nice • And computers don’t do nice… Formatting • Lots of parameters that affect formatting • All of which are interrelated, so changing one may require you to change another • And the effects are psychological affecting the readability of a block of text Formatting • Goal is to be able to quantify good layout • Computer can then select one layout over another • To do that we’re going to need to understand what makes good text layout • And so understand the lingo of typography • A lot of the terms are steeped in history… Mainly from hot-metal typesetting… Show face to face with progress ;) Measurements • Basic units of measurement in typography are the point and the pica • Derived from the inch • Point is 1/72 inch • Traditionally, has been slightly less but now rounded to 1/72 • Pica is a 1/12 inch (or 6pts) ~1/72.27 So 12 point text is 1pica high Measurements • These are absolute measurements • It’s also useful to have measurements that are relative to the current point size • Particularly used for horizontal spacing to remain proportional as the font gets bigger em and en • One such relative measurement is the em • Specified as being the same as the point size • Also have the en which is half the point size • Will also see references to M/3, M/4 and M/5 Character size • The size of text is referred to the point size (and not font size) • Describes the distance from baseline to baseline when text is set solid • That is when the bits of metal type are abutted together Letterforms have tone, timbre character, just as words and sentences do. -
Self-Publishing Guide to Doing It Right the First Time
FORMATTING MANUSCRIPT ARE YOU PUZZLED BY SELF PUBLISHING? A SELF-PUBLISHING GUIDE TO DOING IT RIGHT THE FIRST TIME. PRINTING EDITING PROMOTION TABLE OF CONTENTS How to use this Book Copyright example page Dedication example page Prologue 9 The Process Defined 10 Your First Steps 12 - The Manuscript 12 - Sourcing Printing Quotes 13 Design and Formatting 14 - The Basics: Page Overview 15 - The Basics: Page Overview - Defined 16 - The Basics: Typography 18 - The Basics: Font Size 20 - The Basics: Line Length 21 - The Basics: Line Spacing 22 - The Basics: Choose your Binding 23 - The Basics: Picking your Paper Stock 23 - The Basics: Formatting for Print 24 TABLE OF CONTENTS CON’T Tutorials 25 - Setting your Margins 25 - Setting your Page Size 26 - Setting Line Spacing 27 - Setting Chapters and Headings 28 - Creating a Table of Contents 29 - Saving a Print-Ready File 30 - Creating your Cover File 31 Registration & ISBN 33 The Printing Process 34 Glossary 35 Notes 36 The Table of Contents gives the reader a comprehensive overview of what topics or chapters that your manuscript PRO TIP has, as well as the page number each chapter begins with. These are most common in print - electronic documents FRONT MATTER have started to adapt this principle as well. - TABLE OF CONTENTS HOW TO USE THIS BOOK Congratulations! You have finished your manuscript and have decided to self-publish your book. We have taken our 28 years of expertise and developed an easy to use guide to take you through the world of self- publishing. This guide is a reliable, practical, and straightforward reference guide for you. -
Book Typography 101 at the End of This Session, Participants Should Be Able To: 1
3/21/2016 Objectives Book Typography 101 At the end of this session, participants should be able to: 1. Evaluate typeset pages for adherence Dick Margulis to traditional standards of good composition 2. Make sensible design recommendations to clients based on readability of text and clarity of communication © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services What is typography? Typography encompasses • The design and layout of the printed or virtual page • The selection of fonts • The specification of typesetting variables • The actual composition of text © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services What is typography? What is typography? The goal of good typography is to allow Typography that intrudes its own cleverness the unencumbered communication and interferes with the dialogue of the author’s meaning to the reader. between author and reader is almost always inappropriate. Assigned reading: “The Crystal Goblet,” by Beatrice Ward http://www.arts.ucsb.edu/faculty/reese/classes/artistsbooks/Beatrice%20Warde,%20The%20Crystal%20Goblet.pdf (or just google it) © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services 1 3/21/2016 How we read The basics • Saccades • Page size and margins The quick brown fox jumps over the lazy dog. Mary had a little lamb, a little bread, a little jam. • Line length and leading • Boules • Justification My very educated mother just served us nine. • Typeface My very educated mother just served us nine. -
Baseline Shift a Function Within Indesign That Allows a Character To
Type Terms #2 baseline shift (four dots): .... (Lupton, p. 211) Use A function within InDesign that your glyph palette or simply use the 22:342 allows a character to be raised or keystrokes option-;. Studio Problems in Typography lowered relative to the baseline. In Cutler-Lake InDesign, the Baseline Shift control is em dash (—) located on the type character control A longer dash that is equal to the Important concepts in Text chap- panel at the top of the screen, just to point size of the type. Can be used ter from Lupton textbook: spacing; the right of the tracking control. (“Aa,” to join two phrases together into linearity; the user; kerning; tracking; with an arrow underneath the lower- one sentence instead of using a spacing; alignment; marking para- cased “a.”) conjunction, or to insert information graphs; hierarchy. instead of using parentheses. Also body copy/body text used before the author’s name at the The main text of a book, story, or end of a quote. In a word-processed article, usually set in a consistent document (such as Microsoft Word), manner using a single font with the dashes can be indicated with two same line length, leading, and point hyphens (--). Em dashes are required, size. however, in typesetting. Use your glyph palette or simply use the book weight keystrokes shift-option-hyphen. A typeface weight specifically See Lupton p. 211. designed to be used as body text. Usually found somewhere between en dash (–) light and bold. The dash you need to use to indicate ranges of numbers. Such as April caption 4–6 or 2:30–8:30. -
Generating Postscript Names for Fonts Using Opentype Font Variations
bc Adobe Enterprise & Developer Support Adobe Technical Note #5902 Generating PostScript Names for Fonts Using OpenType Font Variations Version 1.0, September 14 2016 1 Introduction This document specifies how to generate PostScript names for OpenType variable font instances. Please see the OpenType specification chapter, OpenType Font Variations Overview for an overview of variable fonts and related terms, and the chapter fvar - Font Variations Table for the terms specific to this discussion. The ‘fvar’ table optionally allows for PostScript names for named instances of an OpenType variations fonts to be specified. However, the PostScript names for named instances may be omitted, and there is no mechanism to provide a PostScript name for instances at arbitrary points in the variable font design space. This document describes how to generate PostScript names for such cases. This is useful in several workflows. For the foreseeable future, arbitrary instances of a variable font must be exported as a non- variable font for legacy applications and for printing: a PostScript name is required for this. The primary goal of the document is to provide a standard method for providing human readable PostScript names, using the instance font design space coordinates and axis tags. A secondary goal is to allow the PostScript name for a variable font instance to be used as a font reference, such that the design space coordinates of the instance can be recovered from the PostScript name. However, a descriptive PostScript name is possible only for a limited number of design axes, and some fonts may exceed this. For such fonts, a last resort method is described which serves the purpose of generating a PostScript name, but without semantic content. -
5Lesson 5: Web Page Layout and Elements
5Lesson 5: Web Page Layout and Elements Objectives By the end of this lesson, you will be able to: 1.1.14: Apply branding to a Web site. 2.1.1: Define and use common Web page design and layout elements (e.g., color, space, font size and style, lines, logos, symbols, pictograms, images, stationary features). 2.1.2: Determine ways that design helps and hinders audience participation (includes target audience, stakeholder expectations, cultural issues). 2.1.3: Manipulate space and content to create a visually balanced page/site that presents a coherent, unified message (includes symmetry, asymmetry, radial balance). 2.1.4: Use color and contrast to introduce variety, stimulate users and emphasize messages. 2.1.5: Use design strategies to control a user's focus on a page. 2.1.6: Apply strategies and tools for visual consistency to Web pages and site (e.g., style guides, page templates, image placement, navigation aids). 2.1.7: Convey a site's message, culture and tone (professional, casual, formal, informal) using images, colors, fonts, content style. 2.1.8: Eliminate unnecessary elements that distract from a page's message. 2.1.9: Design for typographical issues in printable content. 2.1.10: Design for screen resolution issues in online content. 2.2.1: Identify Web site characteristics and strategies to enable them, including interactivity, navigation, database integration. 2.2.9: Identify audience and end-user capabilities (e.g., lowest common denominator in usability). 3.1.3: Use hexadecimal values to specify colors in X/HTML. 3.3.7: Evaluate image colors to determine effectiveness in various cultures. -
2.1 Typography
Working With Type FUN ROB MELTON BENSON POLYTECHNIC HIGH SCHOOL WITH PORTLAND, OREGON TYPE Points and picas If you are trying to measure something very short or very thin, then inches are not precise enough. Originally English printers devised picas to precisely measure the width of type and points to precise- ly measure the height of type. Now those terms are used interchangeably. There are 12 points in one pica, 6 picas in one inch — or 72 points in one inch. This is a 1-point line (or rule). 72 of these would be one inch thick. This is a 12-point rule. It is 1 pica thick. Six of these would be one inch thick. POINTS PICAS INCHES Thickness of rules I Lengths of rules Lengths of stories I Sizes of type (headlines, text, IWidths of text, photos, cutlines, IDepths of photos and ads cutlines, etc.) gutters, etc. (though some publications use IAll measurements smaller than picas for photo depths) a pica. Type sizes Type is measured in points. Body type is 7–12 point type, while display type starts at 14 point and goes to 127 point type. Traditionally, standard point sizes are 14, 18, 24, 30, 36, 42, 48, 54, 60 and 72. Using a personal computer, you can create headlines in one-point increments beginning at 4 point and going up to 650 point. Most page designers still begin with these standard sizes. The biggest headline you are likely to see is a 72 pt. head and it is generally reserved for big stories on broadsheet newspapers.