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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..................................................................................................... -
Supplementary Guide to UEB Reference Materials V.8.31.16
Supplementary Guide to UEB Reference Materials v.8.31.16 Unless otherwise indicated, page numbers refer to The Rules of Unified English Braille, 2013 For referenced BANA Guidances visit: www.brailleauthority.org * indicates definition of entry word A @ sign, 25 Caret, 24, 42 Abbreviations, 106, 152 Cent Sign ¢, 26 Accented letters, 42, 190 Chemistry, 89, 178, see BANA Guidance capitals, 80 Code switching, 199-210 in fully capped words, 89 how to use, 202-203 Acronyms, 106, 152 indicators Addition foreign language, 191-192, 195 non-technical materials, 31 IPA, 199, 207-208 technical materials, 169 music, 199, 208-209 Alphabetic wordsign, *7, 9, 15, 103-106, Nemeth code, 199, 209-210 164 non-UEB, 199, 203-208 Ampersand &, 21 Coinage, 26, 64 Anglicized words, 45, 158, 186, 189 Colored type, 11, 97 Apostrophe, 18, 69, 105, 107 Comma, 69 Arrows, 21, 174 numeric mode, 59 line mode, 219 Comparison, signs of, 169,31 Asterisk, 21 Compound words, bridging, 146 At sign @, 25 Computer material contractions in, 155 B email addresses, 155 Blank to be filled in, 73, 160 grade 1 indicators, 52 Boldface indicators, 91 Computer notation, 178 Brackets, opening and closing, 69, 78 Contracted (grade 2) braille, *7, 14 Braille grouping indicators, 23, 45, 172 usage cross-referenced, 14 Braille order, list of symbols, 275 Contractions summary, 9 Bullet, 24, 34, 37 Contractions, *7, 9, 103-168 abbreviations, 152 C acronyms, 152 Capitalization, 79-90 alphabetic wordsigns, *7, 9, 15, 103-106, grade 1, 55 164 indicators bridging, 146-152 choice of, 87 aspirated -
Optical Character Recognition - a Combined ANN/HMM Approach
Optical Character Recognition - A Combined ANN/HMM Approach Dissertation submitted to the Department of Computer Science Technical University of Kaiserslautern for the fulfillment of the requirements for the doctoral degree Doctor of Engineering (Dr.-Ing.) by Sheikh Faisal Rashid Dean: Prof. Dr. Klaus Schneider Thesis supervisors: Prof. Dr. Thomas Breuel, TU Kaiserslautern Prof. Dr. Andreas Dengel, TU Kaiserslautern Chair of supervisory committee: Prof. Dr. Karsten Berns, TU Kaiserslautern Kaiserslautern, 11 July, 2014 D 386 Abstract Optical character recognition (OCR) of machine printed text is ubiquitously considered as a solved problem. However, error free OCR of degraded (broken and merged) and noisy text is still challenging for modern OCR systems. OCR of degraded text with high accuracy is very important due to many applications in business, industry and large scale document digitization projects. This thesis presents a new OCR method for degraded text recognition by introducing a combined ANN/HMM OCR approach. The approach provides significantly better performance in comparison with state-of-the-art HMM based OCR methods and existing open source OCR systems. In addition, the thesis introduces novel applications of ANNs and HMMs for document image preprocessing and recognition of low resolution text. Furthermore, the thesis provides psychophysical experiments to determine the effect of letter permutation in visual word recognition of Latin and Cursive script languages. HMMs and ANNs are widely employed pattern recognition paradigms and have been used in numerous pattern classification problems. This work presents a simple and novel method for combining the HMMs and ANNs in application to segmentation free OCR of degraded text. HMMs and ANNs are powerful pattern recognition strategies and their combination is interesting to improve current state-of-the-art research in OCR. -
Cap Height Body X-Height Crossbar Terminal Counter Bowl Stroke Loop
Cap Height Body X-height -height is the distance between the -Cap height refers to the height of a -In typography, the body height baseline of a line of type and tops capital letter above the baseline for refers to the distance between the of the main body of lower case a particular typeface top of the tallest letterform to the letters (i.e. excluding ascenders or bottom of the lowest one. descenders). Crossbar Terminal Counter -In typography, the terminal is a In typography, the enclosed or par- The (usually) horizontal stroke type of curve. Many sources con- tially enclosed circular or curved across the middle of uppercase A sider a terminal to be just the end negative space (white space) of and H. It CONNECTS the ends and (straight or curved) of any stroke some letters such as d, o, and s is not cross over them. that doesn’t include a serif the counter. Bowl Stroke Loop -In typography, it is the curved part -Stroke of a letter are the lines that of a letter that encloses the circular make up the character. Strokes may A curving or doubling of a line so or curved parts (counter) of some be straight, as k,l,v,w,x,z or curved. as to form a closed or partly open letters such as d, b, o, D, and B is Other letter parts such as bars, curve within itself through which the bowl. arms, stems, and bowls are collec- another line can be passed or into tively referred to as the strokes that which a hook may be hooked make up a letterform Ascender Baseline Descnder In typography, the upward vertical Lowercases that extends or stem on some lowercase letters, such In typography, the baseline descends below the baselines as h and b, that extends above the is the imaginary line upon is the descender x-height is the ascender. -
Photoshop Typography: Elements of the Character Panel
PHOTOSHOP TYPOGRAPHY: ELEMENTS OF THE CHARACTER PANEL Learn how to utilize Photoshop typography to create stunning images by effectively pairing text and photos together. Many Photoshop users don’t have access to other programs that allow them to combine type with images, such as Adobe InDesign. Adobe knows that many people use Photoshop to create text-and-image documents, and has expanded the type tools available to Photoshop users. In light of this, I’ve started the “Photoshop Typography” series to help you make your type in Photoshop look professional. THE CHARACTER PANEL IN PHOTOSHOP Open Character panel by going to Type Menu → Panels → Type Panel. You can also type Cmd/Ctrl-T to open the window. All sorts of type choices and options become available to you through this window. It’s time to go exploring. I’ve numbered various areas to draw your attention. #1 – Select A Font Pick the font you want by clicking on the name of the font at the top left of the panel – the screenshot is currently showing Helvetica Neue. Click on the downward pointing arrow at the right of the box to see the whole menu of fonts currently available, or put your cursor at the front the field and type the first few letters of the font name you want. Photoshop will automatically display the font you type from the first few letters. By the way, if you have a font you want to install and use, you can install it at any time, and do not have to restart Photoshop to use the newly installed font. -
5 the Rules of Typography
The Rules of Typography Typographic Terminology THE RULES OF TYPOGRAPHY Typographic Terminology TYPEFACE VS. FONT: Two Definitions Typeface Font THE FULL FAMILY vs. ONE WEIGHT A full family of fonts A member of a typeface family example: Helvetica Neue example: Helvetica Neue Bold THE DESIGN vs. THE DIGITAL FILE The intellectual property created A digital file of a typeface by a type designer THE RULES OF TYPOGRAPHY Typographic Terminology LEADING 16/20 16/29 “In a badly designed book, the letters “In a badly designed book, the letters Leading refers to the amount of space mill and stand like starving horses in a mill and stand like starving horses in a between lines of type using points as field. In a book designed by rote, they the measurement. The name was sit like stale bread and mutton on field. In a book designed by rote, they derived from the strips of lead that the page. In a well-made book, where sit like stale bread and mutton on were used during the typesetting designer, compositor and printer have process to create the space. Now we all done their jobs, no matter how the page. In a well-made book, where perform this digitally—also with many thousands of lines and pages, the designer, compositor and printer have consideration to the optimal setting letters are alive. They dance in their for any particular typeface. seats. Sometimes they rise and dance all done their jobs, no matter how When speaking about leading we in the margins and aisles.” many thousands of lines and pages, the first say the type size “on” the leading. -
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. -
INTRODUCTORY CONCEPTS Desktop Publishing Terms Overview
INTRODUCTORY CONCEPTS Desktop Publishing Terms Overview GOAL: Produce a reference guide demonstrating desktop publishing (DTP) terms. Crosswalk Measurable Learner to Show-Me Instructional Activities Assessment Objectives Standards Define terms related to desktop CA1, 2.1 Accurately define at least 15 Use the Desktop Publishing Terms publishing. A1 alphabetized desktop publishing terms to assessment to evaluate the definitions Import text files and word CA1, 2.1 be used as a reference guide. Students provided of each term. Also evaluate processing documents into will select terms from a listing generated the ability to demonstrate the specified publications. C2 by the instructor or other provided terms; the use of appropriate desktop Set margins. B1 CA1, 2.1 source(s). The terms will be displayed publishing layout and design with text, Create columns. B2 CA1, 2.1 in an appropriate easy-to-read format graphics, columns, and gutters Set guttering. B3 CA1, 2.1 according to DTP concepts. Each effectively manipulated; the use of Create an effective focal point. CA1, 2.1 definition is to demonstrate the term appropriately selected graphics to B6 used, e.g., drop cap will begin with a represent definitions; proper font Utilize pasteboard. B7 CA1, 2.1 drop cap. Effective DTP layout and selection and sizing; and the use of the Import graphics from various CA3, 2.7 design are to be used in margins, focal number of terms and graphics specified. sources (e.g., software-specific point, columns and gutters, etc. A The ability to provide an error-free library, other applications, minimum of 5 related graphics are to be document will also be assessed. -
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. -
Word 2010 Basics I
Microsoft Word Fonts [email protected] Microsoft Word Fonts 1.0 hours Format Font ............................................................................................. 3 Font Dialog Box ........................................................................................ 4 Effects ................................................................................................ 4 Set as Default… .................................................................................. 4 Text Effects .............................................................................................. 5 Format Text Effects Pane ................................................................... 6 Typography .............................................................................................. 7 Advanced Font Features .......................................................................... 8 Drop Cap ................................................................................................. 8 Symbols .................................................................................................... 9 Class Exercise ......................................................................................... 10 Exercise 1: Simple Font Formatting ................................................. 10 Exercise 2: Advanced Options .......................................................... 12 Exercise 3: Text Effects, Symbols, Superscript, Subscript ................ 13 Exercise 4: More Formats ...............................................................