Typefaces for Symbols in Scientific Manuscripts

Total Page:16

File Type:pdf, Size:1020Kb

Typefaces for Symbols in Scientific Manuscripts TypefacesforSymbolsinScientificManuscripts MostwordprocessingsoftwarenowinuseatNISTiscapableofproducinglightface(thatis,regular)orboldfacelettersof theLatinorGreekalphabetsinbothroman(upright)anditalic(sloping)types.Theunderstandabilityoftypedandtypeset scientificandtechnicalpublicationsisfacilitatedifsymbolsareinthecorrecttypeface.Thefollowingrulesaretakenfrom InternationalOrganizationforStandardization(ISO)InternationalStandardISO31-0:1992toISO31-13:1992. Thetypefaceinwhichasymbolappearshelpstodefinewhatthesymbolrepresents.Forexample,irrespectiveofthetypeface usedinthesurroundingtext,“A”wouldbetypedortypesetin —italictypeforthescalarquantityarea: A; —romantypefortheunitampere: A; —italicboldfaceforthevectorquantityvectorpotential:A. Morespecifically,thethreemajorcategoriesofsymbolsfoundinscientificandtechnicalpublicationsshouldbetypedortypeset ineitheritalicorromantype,asfollows: —symbolsforquantitiesandvariables: italic; —symbolsforunits: roman; —symbolsfordescriptiveterms: roman. Theserulesimplythatasubscriptorsuperscriptonaquantitysymbolisinromantypeifitisdescriptive(forexample,ifitisa numberorrepresentsthenameofapersonoraparticle);butitisinitalictypeifitrepresentsaquantity,orisavariablesuchas xinEx oranindexsuchasiinoi xi thatrepresentsanumber.Anindexthatrepresentsanumberisalsocalleda“runningnumber.” Thefollowingfoursectionsgiveexamplesofthepropertypefacesforthesethreemajorcategories. Quantitiesandvariables—italic Symbolsforquantitiesareitalic,asaresymbolsforfunctionsingeneral,forexample,f(x): t=3s ttime,ssecond T=22K Ttemperature,Kkelvin r=11cm rradius,cmcentimeter l = 633 nm l wavelength, nm nanometer Constantsareusuallyphysicalquantitiesandthustheirsymbolsareitalic;however,ingeneral,symbolsusedassubscriptsand superscriptsareromanifdescriptive: NA Avogadroconstant,AAvogadro R molargasconstant uD Debyetemperature,DDebye Z atomicnumber e elementarycharge me mmass,eelectron Runningnumbersandsymbolsforvariablesinmathematicalequationsareitalic,asaresymbolsforparameterssuchasaandb thatmaybeconsideredconstantinagivencontext: m 2 2 2 y=O xi zi x =ay +bz i=1 Symbolsforvectorsareboldfaceitalic,symbolsfortensorsaresans-serifbolditalic,andsymbolsformatricesareboldfaceitalic: a a A?B=C (vectors) T (tensors) A = S 11 12D(matrices) a21 a22 Symbolsusedassubscriptsandsuperscriptsareitaliciftheyrepresentquantitiesorvariables: cp ppressure qm mmass sV Vsolidangle vz zzcoordinate Units—roman ThesymbolsforunitsandSIprefixesareroman: m meter g gram L liter cm centimeter mg microgram mL milliliter (over) Descriptive terms — roman Symbols representing purely descriptive terms (for example, the chemical elements) are roman, as are symbols representing mathematical constants that never change (for example, p) and symbols representing explicitly defined functions or well defined operators (for example, G(x )ordiv): Chemical elements: Ar argon B boron C carbon Mathematical constants, functions, and operators: e base of natural logarithms Sxi S sum of lnx loge natural logarithm of exp x exp exponential of sin x sin sine of lg x log10 common (decimal) logarithm of dx /dt d 1st derivative of loga x log a logarithm to the lb x log2 binary logarithm of base a of Symbols used as subscripts and superscripts are roman if descriptive: (ir) «0 ir irrational Ek k kinetic l Vm m molar, l liquid phase mB B Bohr Sample equations showing correct type q1 q2 F = 2 F = ma pV = nRT 4p«0 r 2 –5 wB = xB Vm,B* /SxAVm,A* Ea = RT d(ln k)/dTc1=l/[exp(c2 /lT) –1] 2 F E = mc p˜ B = lB lim(xB p /lB) =–grad V p→0 Q Greek alphabet in roman and italic type The following table shows the proper form, in both roman and italic type, of the upper-case and lower-case letters of the Greek alphabet. Greek alphabet in roman and italic type alpha A a A a beta B b B b gamma Gg Gg delta Dd Dd epsilon E «,e E «,e zeta Z z Z z eta H h H h theta Q, U(a) u, q(b) Q , U (a) u , q (b) iota I i Ii kappa K k , û(b) Kk,û(b) lambda Ll Ll mu M m M m nu N n N n xi Jj Jj omicron O o Oo pi Pp,Ã Pp,Ã rho P r, (b) P r, (b) sigma Ss Ss tau T t T t upsilon Yy Yy phi Fw,f Fw,f chi Xx Xx psi Cc Cc omega Vv Vv (a) The International Organization for Standardization (ISO) gives only the first of these two letters (see ISO International Standard ISO 31-0:1992). (b) ISO gives these two letters in the reverse order (see ISO International Standard ISO 31-0:1992)..
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.
    [Show full text]
  • 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.
    [Show full text]
  • Sig Process Book
    A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry.
    [Show full text]
  • 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 ����������������������� ��������������������������������������������������������������������������������� ���������������������������������������������������������������������������� ������������������������������������������������������������������������������
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Impact of the Historical Development of Typography on Modern Classification of Typefaces
    M. Tomiša et al. Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama ISSN 1330-3651 (Print), ISSN 1848-6339 (Online) UDC/UDK 655.26:003.2 THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES Mario Tomiša, Damir Vusić, Marin Milković Original scientific paper One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well-acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users. Keywords: character, font, graphic design, historical development of typography, typeface, typeface classification, typography Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama Izvorni znanstveni članak Jedna je od definicija tipografije da je ona umjetnost odabira odgovarajućeg pisma za određeni projekt i njegova organizacija s ciljem ostvarenja što učinkovitije komunikacije. Da bi korisnik mogao odabrati pravo pismo za svoje potrebe treba prije svega dobro poznavati optičke ili geometrijske značajke tipografije, tipografska pravila i povijesni razvoj tipografije.
    [Show full text]
  • 38—GEOLOGIC AGE SYMBOL FONT (Stratagemage) REF NO STRATIGRAPHIC AGE SUBDIVISION TYPE AGE SYMBOL KEYBOARD POSITION for Stratagemage FONT
    Federal Geographic Data Committee U.S. Geological Survey Open-File Report 99–430 Public Review Draft - Digital Cartographic Standard for Geologic Map Symbolization PostScript Implementation (filename: of99-430_38-01.eps) 38—GEOLOGIC AGE SYMBOL FONT (StratagemAge) REF NO STRATIGRAPHIC AGE SUBDIVISION TYPE AGE SYMBOL KEYBOARD POSITION FOR StratagemAge FONT 38.1 Archean Eon A Not applicable (use Helvetica instead) 38.2 Cambrian Period _ (underscore = shift-hyphen) 38.3 Carboniferous Period C Not applicable (use Helvetica instead) 38.4 Cenozoic Era { (left curly bracket = shift-left square bracket) 38.5 Cretaceous Period K Not applicable (use Helvetica instead) 38.6 Devonian Period D Not applicable (use Helvetica instead) 38.7 Early Archean (3,800(?)–3,400 Ma) Era U Not applicable (use Helvetica instead) 38.8 Early Early Proterozoic (2,500–2,100 Ma) Era R (capital R = shift-r) 38.9 Early Middle Proterozoic (1,600–1,400 Ma) Era G (capital G = shift-g) 38.10 Early Proterozoic Era X Not applicable (use Helvetica instead) 38.11 Eocene Epoch # (pound sign = shift-3) 38.12 Holocene Epoch H Not applicable (use Helvetica instead) 38.13 Jurassic Period J Not applicable (use Helvetica instead) 38.14 Late Archean (3,000–2,500 Ma) Era W Not applicable (use Helvetica instead) 38.15 Late Early Proterozoic (1,800–1,600 Ma) Era I (capital I = shift-i) 38.16 Late Middle Proterozoic (1,200–900 Ma) Era E (capital E = shift-e) 38.17 Late Proterozoic Era Z Not applicable (use Helvetica instead) 38.18 Mesozoic Era } (right curly bracket = shift-right square bracket) 38.19 Middle Archean (3,400–3,000 Ma) Era V Not applicable (use Helvetica instead) 38.20 Middle Early Proterozoic (2,100–1,800 Ma) Era L (capital L = shift-l) 38.21 Middle Middle Proterozoic (1,400–1,200 Ma) Era F (capital F = shift-f) 38.22 Middle Proterozoic Era Y Not applicable (use Helvetica instead) A–38–1 Federal Geographic Data Committee U.S.
    [Show full text]
  • Using International Characters in Bartender How to Read Data and Print Characters from Almost Every Language and Writing System in the World
    Using International Characters in BarTender How to Read Data and Print Characters from Almost Every Language and Writing System in the World Supports the following BarTender software versions: BarTender 2016, BarTender 2019 WHITE PAPER Contents Overview 3 BarTender's Unicode Support 3 Understanding International Character Support 4 Fonts 4 Scripts 4 Asian Characters 5 Writing Systems that Read Right to Left 5 Entering International Text Into Text Objects 7 Using the Insert Symbols or Special Characters Dialog 7 Using the Windows Character Map 7 Using the Keyboard 8 Reading International Characters from a Database 9 Encoding International Characters in Barcodes 10 Using Unicode Data 10 ECI Protocol 11 Formatting According to Locale 12 About Data Types 12 Example 12 Appendix A: Languages, Encodings and Scripts 13 Appendix B: Configuring Windows 14 Installing Windows Input Support for International Languages 14 Windows Support for Additional Display Languages 15 Related Documentation 16 Overview With the built-in international character support that BarTender provides, you can add international characters to your design and encode them into barcodes or RFID tags on your template. When you design items for a single locale, you can configure the format (or appearance) of information that may vary between regions, such as date and time, currency, numbering, and so on. By using BarTender, you can also globalize your design and print international materials by inserting text in multiple languages. For example, the following item illustrates how BarTender can be used with many locales with its built-in Unicode support. BarTender's Unicode Support Unicode is a universal character encoding standard that defines the basis for the processing, storage and interchange of text data in any language.
    [Show full text]
  • Typeface Classification Serif Or Sans Serif?
    Typography 1: Typeface Classification Typeface Classification Serif or Sans Serif? ABCDEFG ABCDEFG abcdefgo abcdefgo Adobe Jenson DIN Pro Book Typography 1: Typeface Classification Typeface Classification Typeface or font? ABCDEFG Font: Adobe Jenson Regular ABCDEFG Font: Adobe Jenson Italic TYPEFACE FAMILY ABCDEFG Font: Adobe Jenson Bold ABCDEFG Font: Adobe Jenson Bold Italic Typography 1: Typeface Classification Typeface Timeline Blackletter Humanist Old Style Transitional Modern Bauhaus Digital (aka Venetian) sans serif 1450 1460- 1716- 1700- 1780- 1920- 1980-present 1470 1728 1775 1880 1960 Typography 1: Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The model for the first movable types was Blackletter (also know as Block, Gothic, Fraktur or Old English), a heavy, dark, at times almost illegible — to modern eyes — script that was common during the Middle Ages. from I Love Typography http://ilovetypography.com/2007/11/06/type-terminology-humanist-2/ Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Types based on blackletter were soon superseded by something a little easier Humanist (also refered to Venetian).. ABCDEFG ABCDEFG > abcdefg abcdefg Adobe Jenson Fette Fraktur Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The Humanist types (sometimes referred to as Venetian) appeared during the 1460s and 1470s, and were modelled not on the dark gothic scripts like textura, but on the lighter, more open forms of the Italian humanist writers. The Humanist types were at the same time the first roman types. Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Characteristics 1.
    [Show full text]
  • 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.
    [Show full text]
  • The Complete Photo Guide to Hand Lettering and Calligraphy
    Practice Sheets Swirls and strokes Using a brush marker: Follow along each brush stroke, as marked by the arrows. Take note of the alternate thick and thin stroke variations as you work on your drills. Proof 1 2CT Proof 150 THE COMPLETE PHOTO GUIDE TO HAND LETTERING & CALLIGRAPHY CPGHC_4C_release_13230_C2.indd 150 13/3/18 3:22 PM CPGHC_4C_release_13230_C2.indd 150 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM Text GLP SMJ Page: 150 Using a pen: Follow and finish each line of handwriting strokes. 2CT Proof 1 Practice Sheets 151 CPGHC_4C_release_13230_C2.indd 151 13/3/18 3:22 PM Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport) CPGHC_4C_release_13230_C2.indd 151 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM GLP SMJ Page: 150 Text GLP SMJ Page: 151 Alphabet Writing Instructions: Trace along the corresponding alphabet styles Recommended Tools: pencil, fineliner pen Proof 1 2CT Proof 152 THE COMPLETE PHOTO GUIDE TO HAND LETTERING & CALLIGRAPHY CPGHC_4C_release_13230_C2.indd 152 13/3/18 3:22 PM CPGHC_4C_release_13230_C2.indd 152 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM Text GLP SMJ Page: 152 2CT Proof 1 Practice Sheets 153 CPGHC_4C_release_13230_C2.indd 153 13/3/18 3:22 PM Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport) CPGHC_4C_release_13230_C2.indd 153 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM GLP SMJ Page: 152 Text GLP SMJ Page: 153 Spencerian Calligraphy Proof 1 2CT
    [Show full text]