The Selnolig Package: Selective Suppression of Typographic Ligatures*
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The Origin of the Peculiarities of the Vietnamese Alphabet André-Georges Haudricourt
The origin of the peculiarities of the Vietnamese alphabet André-Georges Haudricourt To cite this version: André-Georges Haudricourt. The origin of the peculiarities of the Vietnamese alphabet. Mon-Khmer Studies, 2010, 39, pp.89-104. halshs-00918824v2 HAL Id: halshs-00918824 https://halshs.archives-ouvertes.fr/halshs-00918824v2 Submitted on 17 Dec 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Published in Mon-Khmer Studies 39. 89–104 (2010). The origin of the peculiarities of the Vietnamese alphabet by André-Georges Haudricourt Translated by Alexis Michaud, LACITO-CNRS, France Originally published as: L’origine des particularités de l’alphabet vietnamien, Dân Việt Nam 3:61-68, 1949. Translator’s foreword André-Georges Haudricourt’s contribution to Southeast Asian studies is internationally acknowledged, witness the Haudricourt Festschrift (Suriya, Thomas and Suwilai 1985). However, many of Haudricourt’s works are not yet available to the English-reading public. A volume of the most important papers by André-Georges Haudricourt, translated by an international team of specialists, is currently in preparation. Its aim is to share with the English- speaking academic community Haudricourt’s seminal publications, many of which address issues in Southeast Asian languages, linguistics and social anthropology. -
Guidelines for Scholarships Theta Pi Chapter of Sigma Theta Tau Illinois
Guidelines for Scholarships Theta Pi Chapter of Sigma Theta Tau Illinois Wesleyan University Research/Awards Subcommittee The Research/Awards Subcommittee of the Leadership Succession Committee consists of three appointed chapter members and others as appointed who have experience in nursing education and/or research. The Research/Awards Subcommittee reviews applications, recommends individuals for scholarships, and monitors fund usage by recipients. A five-year record is kept of all recipients of scholarships, including recipients’ names and addresses, amounts of awards, and criteria used for selection of recipients. The Board of Directors approves the recommendations of the Research/Awards Subcommittee based upon availability of funds for scholarships. The treasurer distributes scholarship money to the recipients. Purpose of the Scholarship The purpose of the scholarship is to support outstanding nursing students who have the potential to advance nursing knowledge in the area of nursing science and practice. The fund provides money for one or more scholarships. Eligibility 1. Applicant is enrolled in a baccalaureate program in nursing, a higher degree program in nursing, or a doctoral program. 2. Preference will be given to applicants who are members of Theta Pi Chapter of STTI. Criteria for Selection 1. Quality of written goals 2. Contribution or potential contribution to nursing and public benefit 3. Availability of funds in the scholarship fund budget and number of applications received 4. Grade point average Amount of Award The amount of the award may vary from year to year, depending upon the funds requested, the number of requests, and the money available in the chapter scholarship fund. The scholarship may be used for any legitimate expense associated with academic study specified under eligibility. -
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. -
Format Guide
FORMAT GUIDE OVERVIEW 139 GENERAL GUIDELINES 134 ELECTRONIC RÉSUMÉ GUIDELINES 140 STANDARDS OF MAILABILITY 140 FAIR USE GUIDELINES FOR EDUCATIONAL USE 141 AGENDA 142 ITINERARY 143 LABEL/ENVELOPE 144 BUSINESS LETTER 144 PERSONAL LETTER 145 LETTER WITH ADVANCED FEATURES 146 LETTER & MEMO SECOND PAGE 146 EMAIL 147 MEMORANDUM 148 NEWS RELEASE 149 MINUTES 150 OUTLINE 151 REPORT 152 REPORT CONTINUED 153 ENDNOTE PAGE 153 CITATIONS 154 REFERENCE PAGE 155 TABLES 156 ELECTRONIC RÉSUMÉ 157 TABLE OF CONTENTS 158 Revised 2014 Copyright FBLA-PBL 2014. All Rights Reserved. Designed by: FBLA-PBL, Inc CHAPTER MANAGEMENT HANDBOOK | 137 138 | FBLA-PBL.ORG OVERVIEW In today’s business world, communication is consistently expressed through writing. Successful businesses require a consistent message throughout the organization. A foundation of this strategy is the use of a format guide, which enables a corporation to maintain a uniform image through all its communications. Use this guide to prepare for Computer Applications and Word Processing skill events. GENERAL GUIDELINES Font Size: 11 or 12 Font Style: Times New Roman, Arial, Calibri, or Cambria Spacing: 1 space after punctuation ending a sentence (stay consistent within the document) 1 space after a semicolon 1 space after a comma 1 space after a colon (stay consistent within the document) 1 space between state abbreviation and zip code Letters: Block Style with Open Punctuation Top Margin: 2 inches Side and Bottom Margins: 1 inch Bulleted Lists: Single space individual items; double space between items -
Dutchess County Public Transit Route L
Route L: Main Street Shuttle Please see map on page 44 / Favor ver el mapa en la página 44 LUNES–SABADO 9 NORTH / NORTE MONDAY–SATURDAY / Ave Violet Ave EASTBOUND: Poughkeepsie to Stop & Shop or Adams Fairacre Farms / HACIA EL ESTE: Poughkeepsie a Stop & Shop or Adams Fairacre Farms Poughkeepsie Train Station DCPT Routes: A,B,C,D,E,H,J,K,L,P,PRL Map not to scale Amtrak, MTA Metro-North Mapa no a escala Dutchess County Transit Hub Interfaith DCPT Routes: A,B,C,D,E,H,J,K,L,M,P,PRL Adams Fairacre Farms & Route 44 (Arrives) POUGHKEEPSIE Washington St & Mansion St (Interfaith Towers) POUGHKEEPSIE Poughkeepsie StationTrain POUGHKEEPSIE Main St & Worrall Ave POUGHKEEPSIE Colledgeview Ave & Fairmont Ave (Vassar College) POUGHKEEPSIE Route 44 & Burnett Blvd POUGHKEEPSIE Stop Shop & (Arrives) POUGHKEEPSIE Towers County Dutchess Hub Transit (Departs) POUGHKEEPSIE Stop # 1 2 3 4 5 6 7 8 Mill St 1 286 3 306 308 131 313 311 2 SEE DOWNTOWN POUGHKEEPSIE INSET ON PAGE 12 Market 6:45 6:48 6:52 7:03 7:08 7:11 — 7:15 7:15 7:18 7:22 7:33 7:38 7:41 7:44 — 3 Main St 7:45 7:48 7:52 8:03 8:08 8:11 — 8:15 1 Adams 8:15 8:18 8:22 8:33 8:38 8:41 8:44 — Fairacre 8:45 8:48 8:52 9:03 9:08 9:11 — 9:15 Ea Stop & st- Farms AM 9:15 9:18 9:22 9:33 9:38 9:41 9:44 — We s Shop 9:45 9:48 9:52 10:03 10:08 10:11 — 10:15 Mid-Hudson t A rter Bridge ial 8 10:15 10:18 10:22 10:33 10:38 10:41 10:44 — Main St Arlington 10:45 10:48 10:52 11:03 11:08 11:11 — 11:15 7 11:15 11:18 11:22 11:33 11:38 11:41 11:44 — Innis Ave 11:45 11:48 11:52 12:03 12:08 12:11 — 12:15 D E a s t- W 44 12:15 12:18 -
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. -
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. -
Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim
Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim To cite this version: Dae Hwan Kim, Jin Hyung Kim. Ligature Modeling for Recognition of Characters Written in 3D Space. Tenth International Workshop on Frontiers in Handwriting Recognition, Université de Rennes 1, Oct 2006, La Baule (France). inria-00105116 HAL Id: inria-00105116 https://hal.inria.fr/inria-00105116 Submitted on 10 Oct 2006 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim Jin Hyung Kim Artificial Intelligence and Artificial Intelligence and Pattern Recognition Lab. Pattern Recognition Lab. KAIST, Daejeon, KAIST, Daejeon, South Korea South Korea [email protected] [email protected] Abstract defined shape of character while it showed high recognition performance. Moreover when a user writes In this work, we propose a 3D space handwriting multiple stroke character such as ‘4’, the user has to recognition system by combining 2D space handwriting write a new shape which is predefined in a uni-stroke models and 3D space ligature models based on that the and which he/she has never seen. -
ISO Basic Latin Alphabet
ISO basic Latin alphabet The ISO basic Latin alphabet is a Latin-script alphabet and consists of two sets of 26 letters, codified in[1] various national and international standards and used widely in international communication. The two sets contain the following 26 letters each:[1][2] ISO basic Latin alphabet Uppercase Latin A B C D E F G H I J K L M N O P Q R S T U V W X Y Z alphabet Lowercase Latin a b c d e f g h i j k l m n o p q r s t u v w x y z alphabet Contents History Terminology Name for Unicode block that contains all letters Names for the two subsets Names for the letters Timeline for encoding standards Timeline for widely used computer codes supporting the alphabet Representation Usage Alphabets containing the same set of letters Column numbering See also References History By the 1960s it became apparent to thecomputer and telecommunications industries in the First World that a non-proprietary method of encoding characters was needed. The International Organization for Standardization (ISO) encapsulated the Latin script in their (ISO/IEC 646) 7-bit character-encoding standard. To achieve widespread acceptance, this encapsulation was based on popular usage. The standard was based on the already published American Standard Code for Information Interchange, better known as ASCII, which included in the character set the 26 × 2 letters of the English alphabet. Later standards issued by the ISO, for example ISO/IEC 8859 (8-bit character encoding) and ISO/IEC 10646 (Unicode Latin), have continued to define the 26 × 2 letters of the English alphabet as the basic Latin script with extensions to handle other letters in other languages.[1] Terminology Name for Unicode block that contains all letters The Unicode block that contains the alphabet is called "C0 Controls and Basic Latin". -
Opentype Installation Basics for Context
The PracTEX Journal TPJ 2005 No 02, 2005-04-15 Rev. 2005-04-16 OpenType installation basics for ConTEXt Adam T. Lindsay To make a sweeping generalization, ConTEXt tends to attract people who are in- terested in customizing their own documents. While LATEX’s use is dominated by pre-cooked document layouts, using templates for academic publishing, ConTEXt seems to attract those people looking for just a little bit more flexibility. It is not surprising, then, that many ConTEXt users – both professional and personal users – tire of dealing with the default Computer Modern font family, and look to install their own fonts in order to imbue their documents with their own personality. Font purchasing has been a tricky business. Fonts have traditionally been avail- able in two different formats (PostScript and TrueType) for each of two different platforms (different encapsulating file formats for PC and Mac). Periodically, mod- ern updates to those font formats have appeared, promising new features with that new technology (e.g., Multiple Masters, GX), only to have withered and died in the marketplace. So designers and others who buy fonts may tire of the frac- tured market of multiple font formats, but they should understandably be a little leery of new font formats. It is within this environment that the OpenType font format was conceived. It attempts to unify TrueType and PostScript imaging models, and unifies the file formats so that there is one file designed to work on any platform. It unifies across many encodings by utilizing Unicode as the native font encoding. It unifies across expert encodings, small caps fonts, and other fonts with alternative glyphs by in- troducing OpenType features, which allow fairly sophisticated glyph replacement procedures. -
Choosing Fonts – Quick Tips
Choosing Fonts – Quick Tips 1. Choose complementary fonts – choose a font that matches the mood of your design. For business cards, it is probably best to choose a classic font. *Note: These fonts are not available in Canva, but are in the Microsoft Office Suite. For some good Canva options, go to this link – https://www.canva.com/learn/canva-for-work-brand-fonts/ Examples: Serif Fonts: Sans Serif Fonts: Times New Roman Helvetica Cambria Arial Georgia Verdana Courier New Calibri Century Schoolbook 2. Establish a visual hierarchy – Use fonts to separate different types of information and guide the reader - Use different fonts, sizes, weights (boldness), and even color - Example: Heading (Helvetica, SZ 22, Bold) Sub-heading (Helvetica, SZ 16, Italics) Body Text (Garamond, SZ 12, Regular) Captions (Garamond, SZ 10, Regular 3. Mix Serifs and Sans Serifs – This is one of the best ways to add visual interest to type. See in the above example how I combined Helvetica, a sans serif font, with Garamond, a serif font. 4. Create Contrast, Not Conflict: Fonts that are too dissimilar may not pair well together. Contrast is good, but fonts need a connecting element. Conflict Contrast 5. Use Fonts from the Same Family: These fonts were created to work together. For example, the fonts in the Arial or Courier families. 6. Limit Your Number of Fonts: No more than 2 or 3 is a good rule – for business cards, choose 2. 7. Trust Your Eye: These are not concrete rules – you will know if a design element works or not! . -
Opentype Postscript Fonts with Unusual Units-Per-Em Values
Luigi Scarso VOORJAAR 2010 73 OpenType PostScript fonts with unusual units-per-em values Abstract Symbola is an example of OpenType font with TrueType OpenType fonts with Postscript outline are usually defined outlines which has been designed to match the style of in a dimensionless workspace of 1000×1000 units per em Computer Modern font. (upm). Adobe Reader exhibits a strange behaviour with pdf documents that embed an OpenType PostScript font with A brief note about bitmap fonts: among others, Adobe unusual upm: this paper describes a solution implemented has published a “Glyph Bitmap Distribution Format by LuaTEX that resolves this problem. (BDF)” [2] and with fontforge it’s easy to convert a bdf font into an opentype one without outlines. A fairly Keywords complete bdf font is http://unifoundry.com/unifont-5.1 LuaTeX, ConTeXt Mark IV, OpenType, FontMatrix. .20080820.bdf.gz: this Vle can be converted to an Open- type format unifontmedium.otf with fontforge and it Introduction can inspected with showttf, a C program from [3]. Here is an example of glyph U+26A5 MALE AND FEMALE Opentype is a font format that encompasses three kinds SIGN: of widely used fonts: 1. outline fonts with cubic Bézier curves, sometimes Glyph 9887 ( uni26A5) starts at 492 length=17 referred to CFF fonts or PostScript fonts; height=12 width=8 sbX=4 sbY=10 advance=16 2. outline fonts with quadratic Bézier curve, sometimes Bit aligned referred to TrueType fonts; .....*** 3. bitmap fonts. ......** .....*.* Nowadays in digital typography an outline font is almost ..***... the only choice and no longer there is a relevant diUer- .*...*.