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Dynamic Optical Scaling and Variable-Sized Characters
ELECTRONIC PUBLISHING, VOL. 7(4), 231±250 (DECEMBER 1994) Dynamic optical scaling and variable-sized characters JACQUES ANDREIRÂ ENEÁ VATTON Irisa/Inria±Rennes Cnrs/Inria±RhÃones-Alpes Campus Universitaire de Beaulieu 2 rue de Vignate F±35042 Rennes cedex, France F±38610 GiÁeres, France SUMMARY First, a survey on optical scaling is carried out, both from the traditional point of view and from that of today's digital typography. Then the special case of large characters, such as braces or integral signs, is considered. It is shown that such variable-sized symbols should be computed at print time in order to approach the quality of metal typesetting. Finally, an implementation of such dynamic fonts, still in progress in the Grif editor, is described. KEY WORDS Optical scaling Variable sized characters Large symbols Dynamic font Parametrized font Grif 1 INTRODUCTION The expression `optical scaling' refers to a concept known by type designers for centuries, even if this expression is relatively new and not very suitable:1 metal characters differ from one body to another one not only in size, but in shape too. Figure 1 (bottom) shows various Garamond `e' at different point size but photographically magni®ed to the same size. It is obvious that the `e' is, relatively, fatter at 8 point size than at 36 point size. On the other hand, the counter (the white inner part) is, relatively, larger at 8 point size than at 36 point size. The main reasons are : with small characters, thinner strokes would be unreadable, and smaller counters would result in inkspreading (the white part would be ®lled in with ink and would get black); on the other hand, if the strokes of large characters were as fat as small ones, characters would look bolder. -
A Sociolinguistics of Typography Why Graphic Design Matters to Linguistics
A Sociolinguistics of Typography Why Graphic Design Matters to Linguistics Univ.-Prof. Dr. Jürgen Spitzmüller Universität Wien ¨ Institut für Sprachwissenschaft Charles University Prague ¨ ó/ww/ö.wR Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Typography: Deínition A Sociolinguistics of Typography Jürgen Spitzmüller Etymology: Greek τύπος (týpos = ‘letter, sign’) Outline ˆ γράφειν (gráphein = ‘to scratch, to write’) Concepts & Terms Original (strict) meaning: Production of a printed work by Functions -
Web Typography │ 2 Table of Content
Imprint Published in January 2011 Smashing Media GmbH, Freiburg, Germany Cover Design: Ricardo Gimenes Editing: Manuela Müller Proofreading: Brian Goessling Concept: Sven Lennartz, Vitaly Friedman Founded in September 2006, Smashing Magazine delivers useful and innovative information to Web designers and developers. Smashing Magazine is a well-respected international online publication for professional Web designers and developers. Our main goal is to support the Web design community with useful and valuable articles and resources, written and created by experienced designers and developers. ISBN: 978-3-943075-07-6 Version: March 29, 2011 Smashing eBook #6│Getting the Hang of Web Typography │ 2 Table of Content Preface The Ails Of Typographic Anti-Aliasing 10 Principles For Readable Web Typography 5 Principles and Ideas of Setting Type on the Web Lessons From Swiss Style Graphic Design 8 Simple Ways to Improve Typography in Your Designs Typographic Design Patterns and Best Practices The Typography Dress Code: Principles of Choosing and Using Typefaces Best Practices of Combining Typefaces Guide to CSS Font Stacks: Techniques and Resources New Typographic Possibilities with CSS 3 Good Old @Font-Face Rule Revisted The Current Web Font Formats Review of Popular Web Font Embedding Services How to Embed Web Fonts from your Server Web Typography – Work-arounds, Tips and Tricks 10 Useful Typography Tools Glossary The Authors Smashing eBook #6│Getting the Hang of Web Typography │ 3 Preface Script is one of the oldest cultural assets. The first attempts at written expressions date back more than 5,000 years ago. From the Sumerians cuneiform writing to the invention of the Gutenberg printing press in Medieval Germany up to today՚s modern desktop publishing it՚s been a long way that has left its impact on the current use and practice of typography. -
Chiswick Text Family Specimen
Chiswick Text The explosion in lettering in Britain in the 1700s was driven by an expanding society and economy at the beginning of the industrial revolution. Chiswick is a letter that is borne of this time, as suited to the country pastoral as it was to the nascent urban industrial landscape. PUBLISHED 2017 Even at small sizes, such as on a watch face or the caption of an engraving, vernacular style letterforms bear a DESIGNED BY PAUL BARNES remarkable similarity to the letters applied at the largest 10 STYLES sizes, such as on a shopfront. Chiswick Text is intended 5 WEIGHTS W/ ITALICS for use up to 14 point, and brings a remarkably warm FEATURES PROPORTIONAL OLDSTYLE FIGURES character to text. Comfortable for long-form reading, PROPORTIONAL LINING FIGURES FRACTIONS (PREBUILT AND ARBITRARY) its personality is equally well-suited to short bursts of SUPERSCRIPT/SUBSCRIPT text on menus and invitations. Chiswick Text has been SMALL CAPS (ROMAN & ITALIC) SWASH CAPITALS & LETTERS adapted from the display versions, toning down the style DISCRETIONARY LIGATURES without becoming characterless. With multiple figure styles and small capitals, it will satisfy the needs of even the most rigorous microtypography. Commercial commercialtype.com Chiswick Text 2 of 25 Chiswick Text Extralight Chiswick Text Extralight Italic Chiswick Text Light Chiswick Text Light Italic Chiswick Text Regular Chiswick Text Regular Italic Chiswick Text Semibold Chiswick Text Semibold Italic Chiswick Text Bold Chiswick Text Bold Italic Commercial commercialtype.com Chiswick Text 3 of 25 RECOMMENDED MINIMUM & MAXIMUM SIZES TEXT, 8 – 18 PT The old english easT india Company was established in mid-1600 through Royal Charter by Queen Elizabeth. -
What's New Since Tex?
What's new since TEX? Based on Frank Mittelbach Guidelines for Future TEX Extensions | Revisited TUGboat 34:1, 2013 Raphael Finkel CS Department, UK November 20, 2013 What's new since TEX? All versions of TEX Raphael Finkel (CS Department, UK) What's new since TEX? November 20, 2013 2 / 13 TEX/LATEX 3.0 (1989): 8-bit fonts, minimal adjustments. Currently at version 3.1415926. pTEX: Japanese (Kanji: 16-bit fonts) and vertical typesetting ML-TEX: ncharsubdef lets characters with diacritics to be treated as a single character, solving bad hyphenation. No longer needed given newer fonts containing most accented characters. NT S (2000): re-implementation of TEX in Java. But not as modular or extensible as hoped. -TEX (1994): extensions now supported by all other engines: tracing facilities, mixed-direction typesetting, more registers, generalized norphanpenalty, spacing of last line in paragraph. Ω/Λ: Unicode input instead of 8-bit input. What's new since TEX? Original TEX and early successors TEX 82: 7-bit fonts, English-based hyphenation Raphael Finkel (CS Department, UK) What's new since TEX? November 20, 2013 3 / 13 pTEX: Japanese (Kanji: 16-bit fonts) and vertical typesetting ML-TEX: ncharsubdef lets characters with diacritics to be treated as a single character, solving bad hyphenation. No longer needed given newer fonts containing most accented characters. NT S (2000): re-implementation of TEX in Java. But not as modular or extensible as hoped. -TEX (1994): extensions now supported by all other engines: tracing facilities, mixed-direction typesetting, more registers, generalized norphanpenalty, spacing of last line in paragraph. -
TEX: a Branch in Desktop Publishing Evolution, Part 2
HISTORY OF DESKTOP PUBLISHING: BUILDING THE INDUSTRY THEME ARTICLE: HISTORY OF DESKTOP PUBLISHING: BUILDING THE INDUSTRY TEX: A Branch in Desktop Publishing Evolution, Part 2 Donald Knuth began the development of TEX in 1977 and had an initial version running in 1978, with the Barbara Beeton American Mathematical Society aim of typesetting mathematical documents with the Karl Berry highest quality, and with archival reproducibility far TEX Users Group into the future. Its usage spread, and today the TEX David Walden system remains in use by a vibrant user community. However, the world of TEX has always been somewhat out of sync with the commercial desktop publishing systems that began to come out in the mid-1980s and are now ubiquitous in the worlds of publishing and printing. Part 1 of this history (Annals vol. 40, no. 3) was about the creation of TEX at Stanford and how it began to spread. This part is about (a) the expansion of TEX-based and TEX-related technology, and development of a worldwide community of TEX users and developers following the lead of Knuth’s original collaboration model, and (b) the impact TEX has had on the broader world. In Part 1 we were primarily talking about TEX as developed by Knuth. In Part 2 we sometimes speak of (LA)TEX, meaning TEX or LATEX but mostly LATEX. We also often say TEX when we mean TEX and everything that has been built on top of and around TEX; we hope the distinction between the TEX program itself and these extended meanings is clear from the context. -
Typesetting Modern & Contemporary Poetry with LATEX
Thierry Bouche unexpected applications Typesetting modern & contemporary poetry with LATEX abstract TEX: a typesetting engine limited to scientific publishing? Where would be the fun? I I learned TEX because I was a working mathematician. But ‘science’ never was my main interest field. At one point, I realized that TEX could do much more than the average desktop publishing software, when it comes to fine horizontal microtypography (vertical justification, grid fitting. being a quite weak point). My first experiment was with in- telligent ligatures in virtual fonts, that allow to automate Renaissance use of the long s vs. the final s, or swash initials, through the word-boundary pseudo-charachter. I was also amazed how the border’s ornaments were easily programmed using LATEX’s picture environment (figure 1): \newlength\ornamentlength \settowidth\ornamentlength{\fontsize{16pt}{16pt}\ornaments qwwwwwwwwwwwwwwwwe}% \begin{picture}(0,0) \put(-3.5,-7.5){% \parbox{\ornamentlength}{\fontsize{16pt}{16pt}\ornaments qwwwwwwwwwwwwwwwwe\\[-3.5pt] U\hfill u\\[-1pt] ............ U\hfill u\\[-1pt] QWWWWWWWWWWWWWWWWE}% }% \end{picture}% Puis ta prose Romaine égale le doux style \\ De mon limé Saluste. Et quand des doctes S\oe urs\\ Sur ton papier lissé tu verses les douceurs,\\ Tu me fais souuenir du graue-doux Virgile, figure 1: a contemporary version of a 1610 poem ☞ 12 MAPS Typesetting modern & contemporary poetry with TEX unexpected applications qwwwwwwwwwwwwwwwwe U u U u UJ u odsvds o U u j U u UPuis ta proſe Romaine égale le doux tyle u UDe mon limé Salute. Et quand des doces Sœurs u USur ton papier lißé tu verſes les douceurs, u Tu me fais ſouuenir du graue-doux Virgile, U u En faueur de ces dons ce petit don ie t’offre, UPetit pour mon trauail : mais grand pour l’argument. -
Libreoffice Paris 2011 Conference Presentation Template
Towards Desktop Publishing László Németh FSF.hu Foundation, Hungary 1 LibreOffice Paris 2011 Conference – Towards Desktop Publishing In memoriam Keith Stribley (1976–2011) OpenOffice.org/LibreOffice developer 2 LibreOffice Paris 2011 Conference – Towards Desktop Publishing Why Desktop Publishing? Competitive feature MS Office 2010: a few optional OpenType features Niche in open source DTP Huge, mostly text documents Generated & structured documents (ODF) Answer for real problems i18n Unique in open source DTP (eg. Scribus is a page layout program without orphan/widow control). Attractive feature for professionals Better, than bad typography (WordArt/Fontwork) 3 LibreOffice Paris 2011 Conference – Towards Desktop Publishing Why Graphite? Smart font technology of LibreOffice (since OOo 3.2) Open standard with open source reference library (unlike Apple AAT) Answers for major and minor language related/typographical problems Graphite smart font logic in the font files, described in GDL language and compiled by the Graphite compiler (OpenType is not so general and more vendor specific) Languages (free SIL Graphite fonts): Burmese, Coptic, Ethiopic, Greek, Khmer etc. 4 LibreOffice Paris 2011 Conference – Towards Desktop Publishing Towards DTP Advanced fonts for DTP Fix Graphite integration Standardization DTP GUI PDF output for printing OpenType support Other LibreOffice developments Test examples Etc. (extended LibreOffice help) 5 LibreOffice Paris 2011 Conference – Towards Desktop Publishing Linux Libertine and Biolinum Developed by Philipp -
Remarks on Common Mistakes
Remarks on common mistakes Martin Helsø 22nd January 2020 This document presents the proper treatment of mistakes that are common among LATEX novices. It should be noted that the last tips from Section 8 and out are very nitpicky, and not following them is not a crisis, albeit not best practise. 1 Paragraphs A very common issue is the presence of vague paragraphs. They look like this. The previous line ends before the margin, but the next line is neither indented nor preceded by additional vertical space. This effect is probably achieved using \\. There should never be a need to end normal text with \\. It is highly recommended that you keep the default settings for indentation, but if you absolutely want to start paragraphs without indentation, we describe here how to achieve it properly. The indentation at the beginning of a paragraph is governed by the length \parindent. Similarly, the space between two paragraphs is set by \parskip. The following removes the indentation, but adds more space between paragraphs: \ setlength {\ parindent }{0 pt } \ setlength {\ parskip }{1.5 ex plus 0.5 ex minus 0.2 ex } Apart from in the document class memoir, the two lines above can be replaced with the package parskip. In memoir, the latter line can be replaced by \nonzeroparskip. A new paragraph is initialised by the use of two line breaks in the source code. A single line break in the source code is interpreted as a space: This is the first paragraph. This is the second paragraph. This is the first paragraph. This is also the first paragraph. -
Adventuring in Dictionaries
Adventuring in Dictionaries Adventuring in Dictionaries: New Studies in the History of Lexicography Edited by John Considine Adventuring in Dictionaries: New Studies in the History of Lexicography, Edited by John Considine This book first published 2010 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2010 by John Considine and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-2576-X, ISBN (13): 978-1-4438-2576-4 TABLE OF CONTENTS Introduction ................................................................................................ ix The History of Lexicography John Considine Chapter One................................................................................................. 1 “For the Better Understanding of the Order of This Dictionarie, Peruse the Preface to the Reader”: Topics in the Outside Matter of French and English Dictionaries (1580–1673) Heberto Fernandez and Monique C. Cormier Chapter Two .............................................................................................. 14 Cawdrey’s Table Alphabeticall (1604) Reconsidered: Its Driving Force for Early English Lexicography Kusujiro Miyoshi Chapter -
Lyx: the Other Way of Writing
LYX, The Other Way of Writing 2018 Edition One of the best tools to work with the most powerful document editor Ricardo G. Berlasso https://frommindtotype.wordpress.com/ LATEX and derivatives such as XƎTEX have the great advantage of their power and the big problem, at least in their “pure” form, of their difficult “learning curve.” LYX solves the difficulty of using LATEX without compromising its power, providing a robust and easy-to-use program that will satisfy both, new and veteran users. In this book we explore the power of LYX, LATEX, XƎTEX and OpenType, showing how far we can go. LYX, The Other Way of Writing Speak documentclass And Enter Ricardo Berlasso 2018 Edition © 2018 Ricardo Gabriel Berlasso This book is distributed under a Creative Commons license Attribution-ShareAlike 4.0 International (CC BY-SA 4.0) (http://creativecommons.org/licenses/by-sa/4.0/) Attribution: Youmust give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. ShareAlike: If you remix, transform, or build upon the material, you must distribute your contribu- tions under the same license as the original. No additional restrictions: You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits. Any mark mentioned in this book belongs to its owner. The latest version of this book can be found at: https://frommindtotype.wordpress.com/lyx-book/ Contents Introduction 1 To whom is this book addressed? ............... -
Lexicograpy Wordwide: Theoretical, Descriptive and Applied Perspectives
Lexicograpy Wordwide: theoretical, descriptive and applied perspectives Félix San Vicente (ed.) Perfiles para la historia y crítica de la lexicografía bilingüe del español Polimetrica International Scientifical Publisher Índice La metalexicografía del español: revisión y perspectivas - Ignacio Ahumada ................................................................................................... 7 Las marcas de uso en los modernos diccionarios bilingües español-italiano - Carmen Castillo Peña ............................................................................ 39 Percepción del castellano de América en la lexicografía bilingüe español- italiano más reciente - Hugo E. Lombardini ............................................ 59 Tradición e innovación en la lexicografía bilingüe italoespañola: a propósito de la relación entre diccionario y gramática - Félix San Vicente .................................................................................................................. 89 Tradición clásica y sabiduría popular en el Dictionario de Alonso Sánchez de la Ballesta (Salamanca, 1587): un ejemplo de labor lexicográfica española en los Siglos de Oro - Eva María González González ............ 115 El Tesoro de las dos Lenguas: fuente lexicográfica del Diccionario Castellano de Esteban de Terreros - Eduardo José Jacinto García ........ 135 Preposiciones y adverbios locativos: identidad y contraste en los diccionarios bilingües español-italiano/italiano-español - Felisa Bermejo ...............................................................................................................