The Microtype Package Subliminal Refinements Towards Typographical Perfection
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WORDS MADE FLESH Code, Culture, Imagination Florian Cramer
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer Me dia De s ign Re s e arch Pie t Z w art Ins titute ins titute for pos tgraduate s tudie s and re s e arch W ille m de Kooning Acade m y H oge s ch ool Rotte rdam 3 ABSTRACT: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and exper- imental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that en- compasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persis- tence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh. Media Design Research Piet Zwart Institute institute for postgraduate studies and research Willem de Kooning Academy Hogeschool Rotterdam http://www.pzwart.wdka.hro.nl The author wishes to thank Piet Zwart Institute Media Design Research for the fellowship on which this book was written. Editor: Matthew Fuller, additional corrections: T. Peal Typeset by Florian Cramer with LaTeX using the amsbook document class and the Bitstream Charter typeface. Front illustration: Permutation table for the pronounciation of God’s name, from Abraham Abulafia’s Or HaSeichel (The Light of the Intellect), 13th century c 2005 Florian Cramer, Piet Zwart Institute Permission is granted to copy, distribute and/or modify this document under the terms of any of the following licenses: (1) the GNU General Public License as published by the Free Software Foun- dation; either version 2 of the License, or any later version. -
The Hanging Package∗
The hanging package∗ Author: Peter Wilson, Herries Press Maintainer: Will Robertson will dot robertson at latex-project dot org 2009/09/02 Abstract The hanging package provides facilities for defining hanging paragraphs and hanging punctuation. Contents 1 Introduction 1 2 The hanging package 2 2.1 Hanging paragraphs . 2 2.2 Hanging punctuation . 2 3 The package code 3 3.1 Hanging paragraphs . 4 3.2 Hanging punctuation . 4 1 Introduction Some authors may wish to use hanging paragraphs in their documents. Normally only the first line of a paragraph is indented. A hanging paragraph is a paragraph like this one where lines other than the first have indentation. Other au- thors might wish to use hanging punctuation. In this style of typesetting punctuation marks that come at either the start or end of a line are typeset outside the normal text block. The hanging package provides facilities for both hanging paragraphs and hang- ing punctuation. This manual is typeset according to the conventions of the LATEX doc- strip utility which enables the automatic extraction of the LATEX macro source files [GMS94]. ∗This file (hanging.dtx) has version number v1.2b, last revised 2009/09/02. 1 Section 2 describes the usage of the package. Commented source code for the package is in Section 3. 2 The hanging package 2.1 Hanging paragraphs The hanging package provides a command for producing a single hanging para- graph and an environment for typesetting a series of hanging paragraphs. \hangpara The command \hangpara{hindenti}{hafternumi} placed at the start of a para- graph will cause it to be typeset as a hanging paragraph. -
Typography One Typeface Classification Why Classify?
Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing. -
Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles
Bitstream Fonts in May 2005 at http://www.myfonts.com/fonts/bitstream totaling 350 font families with a total of 1357 font styles The former Bitstream typeface libraries consisted mainly of forgeries of Linotype fonts and of ITC fonts. See the list below on the pages 24–29 about the old Bitstream Typeface Library of 1992. The 2005 Bitstream typeface library contains the same forgeries of Linotype fonts as formerly and also the same ITC fonts, but it also includes a lot of new mediocre „rubbish fonts“ (e.g. „Alphabet Soup“, „Arkeo“, „Big Limbo“), but also a few new quality fonts (e.g. „Drescher Grotesk“, „Prima Serif“ etc.). On the other hand, a few old fonts (e.g. „Caxton“) were removed. See the list below on pages 1–23. The typeface collection of CorelDraw comprises almost the entire former old Bitstream typeface library (see the list below on pages 24–29) with the following exceptions: 1. A few (ca. 3) forgeries of Linotype fonts are missing in the CorelDraw font collections, e.g. the fonts „Baskerville No. 2“ (= Linotype Baskerville No. 2), „Italian Garamond“ (= Linotype Garamond Simoncini), and „Revival 555“ (= Linotype Horley Old Style). 2. A lot (ca. 11) of ITC fonts are not contained in the CorelDraw font collections, e.g. „ITC Berkeley Oldstyle“, „ITC Century“, „ITC Clearface“, „ITC Isbell“, „ITC Italia“, „ITC Modern No. 216“, „ITC Ronda“, „ITC Serif Gothic“, „ITC Tom’s Roman“, „ITC Zapf Book“, and „ITC Zapf International“. Ulrich Stiehl, Heidelberg 3-May 2005 Aachen – 2 styles Ad Lib™ – 1 styles Aerospace Pi – 1 styles Aldine -
CSS Font Stacks by Classification
CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed. -
The Eye Has It: Optical Alignment and Hanging Punctuation Sometimes Little Things Can Make a Big Difference
InType: Alignment By Nigel French The Eye Has It: Optical Alignment and Hanging Punctuation Sometimes little things can make a big difference. When it comes to typography this is especially true. One of the simplest enhancements you can make to your type— especially if you’re working with justified type—is to use Optical Margin Alignment. What is Optical Margin Alignment? But today, with InDesign’s Optical Have you ever noticed how punctuation Margin Alignment, we can easily ensure at the margin of a text frame can make the that punctuation, as well as the edges of left or right sides of a column appear mis- letters, hangs outside the text frame or aligned? When a line begins with punctua- column margins so that the column edge T tion, like an opening quotation mark, or remains flush (Figure 1). ends with a comma, period, or hyphen, you This makes Optical Margin Alignment get a visual hole. Once, this was regarded as especially beneficial when working with the price of progress. We could do so much justified text, but even with left-aligned more with our page layout programs—did text, the first character of the line will “hang” Figure 1: The text is the same; the margin alignment is not. it matter that we had to forgo a few niceties? outside the text frame. INDESIGN MAGAZINE 43 August | September 2011 CONTENTS PREVIOUS NEXT FULL SCREEN 30 InType: Alignment T Optical margin alignment isn’t to eve- tool, choose Story from the ryone’s taste. Some consider the look of Type menu, check the box optically aligned text too fussy, preferring and you’re good to go. -
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www. -
Cyinpenc.Pdf
1 The Cyrillic codepages There are several widely used Cyrillic codepages. Currently, we define here the following codepages: • cp 866 is the standard MS-DOS Russian codepage. There are also several codepages in use, which are very similar to cp 866. These are: so-called \Cyrillic Alternative codepage" (or Alternative Variant of cp 866), Modified Alternative Variant, New Alternative Variant, and experimental Tatarian codepage. The differences take place in the range 0xf2{0xfe. All these `Alternative' codepages are also supported. • cp 855 is the standard MS-DOS Cyrillic codepage. • cp 1251 is the standard MS Windows Cyrillic codepage. • pt 154 is a Windows Cyrillic Asian codepage developed in ParaType. It is a variant of Windows Cyrillic codepage. • koi8-r is a standard codepage widely used in UNIX-like systems for Russian language support. It is specified in RFC 1489. The situation with koi8-r is somewhat similar to the one with cp 866: there are also several similar codepages in use, which coincide with koi8-r for all Russian letters, but add some other Cyrillic letters. These codepages include: koi8-u (it is a variant of the koi8-r codepage with some Ukrainian letters added), koi8-ru (it is described in a draft RFC document specifying the widely used character set for mail and news exchange in the Ukrainian internet community as well as for presenting WWW information resources in the Ukrainian language), and ISO-IR-111 ECMA Cyrillic Code Page. All these codepages are supported also. • ISO 8859-5 Cyrillic codepage (also called ISO-IR-144). • Apple Macintosh Cyrillic (Microsoft cp 10007) codepage. -
Katowice 2015
Więcej o książce CENA 28 ZŁ ISSN 0208-6336 (+ VAT) ISBN 978-83-8012-387-8 KATOWICE 2015 NR 3469 KATOWICE 2015 Redaktor serii: Językoznawstwo Polonistyczne Bożena Witosz Recenzentka Piotra Łobacz Wstęp Międzynarodowy alfabet fonetyczny (dalej: IPA) jest powszechnie znanym systemem transkrypcji stosowanym w różnych dziedzinach badań nad mową, lecz bardzo rzadko używanym w obrębie językoznawstwa polskiego, nie tylko w badaniach nad językiem polskim, ale także nad innymi językami słowiań skimi. Co więcej, nie dysponujemy, poza jednym wyjątkiem (Żurawski, red., 2011), polskim opracowaniem zawierającym obecnie obowiązujące symbole alfabetu międzynarodowego. Zestawy symboli opublikowane w pracach Wiktora Jassema (zob. bibliografia), w Słowniku wymowy polskiej PWN (SWP, 1977) oraz Encyklopedii językoznawstwa ogólnego (EJO, 1999), a także w wielu podręcznikach zdezaktualizowały się po 1989 roku. Zresztą nawet w opra cowaniu Język polski. Nauka o języku (Żurawski, red., 2011) nie znajdziemy wszystkich symboli IPA ani bardzo potrzebnych wskazówek dotyczących tego alfabetu (sposobu stawiania symboli oraz opisu ich budowy graficznej). Zadanie omówienia IPA jest bardzo skomplikowane, ponieważ nie wystarczy podać wartości samych symboli (a jest ich bardzo dużo, bo ponad 2501), ale trzeba także wyjaśnić sposób ich użycia (szczególnie ważne jest to w przy padku diakrytów), ich budowę (to z kolei jest istotne w przypadku nietypo wych liter typu <ʒ ɟ>), znaczenie angielskich terminów fonetycznych stoso wanych w opisie symboli IPA (nie ma tutaj pełnej jednoznaczności względem terminów polskich), sposoby konstruowania symboli fonetycznych w edyto rach tekstu (od czcionek komputerowych, tzw. fontów, zawierających sym bole IPA począwszy, na sposobach pozycjonowania znaków diakrytycznych skończywszy). Tak zaprojektowana monografia byłaby jednak niepraktyczna: zawierałaby ogromną ilość informacji, z których przeciętny użytkownik alfa betu fonetycznego nie skorzystałby, a już na pewno nie studiowałby ich po to tylko, by wstawić do swojego tekstu kilka symboli fonetycznych. -
Chapter 13, Using Fonts with X
13 Using Fonts With X Most X clients let you specify the font used to display text in the window, in menus and labels, or in other text fields. For example, you can choose the font used for the text in fvwm menus or in xterm windows. This chapter gives you the information you need to be able to do that. It describes what you need to know to select display fonts for use with X client applications. Some of the topics the chapter covers are: The basic characteristics of a font. The font-naming conventions and the logical font description. The use of wildcards and aliases for simplifying font specification The font search path. The use of a font server for accessing fonts resident on other systems on the network. The utilities available for managing fonts. The use of international fonts and character sets. The use of TrueType fonts. Font technology suffers from a tension between what printers want and what display monitors want. For example, printers have enough intelligence built in these days to know how best to handle outline fonts. Sending a printer a bitmap font bypasses this intelligence and generally produces a lower quality printed page. With a monitor, on the other hand, anything more than bitmapped information is wasted. Also, printers produce more attractive print with variable-width fonts. While this is true for monitors as well, the utility of monospaced fonts usually overrides the aesthetic of variable width for most contexts in which we’re looking at text on a monitor. This chapter is primarily concerned with the use of fonts on the screen. -
The Comprehensive LATEX Symbol List
The Comprehensive LATEX Symbol List Scott Pakin <[email protected]>∗ 22 September 2005 Abstract This document lists 3300 symbols and the corresponding LATEX commands that produce them. Some of these symbols are guaranteed to be available in every LATEX 2ε system; others require fonts and packages that may not accompany a given distribution and that therefore need to be installed. All of the fonts and packages used to prepare this document—as well as this document itself—are freely available from the Comprehensive TEX Archive Network (http://www.ctan.org/). Contents 1 Introduction 7 1.1 Document Usage . 7 1.2 Frequently Requested Symbols . 7 2 Body-text symbols 8 Table 1: LATEX 2ε Escapable “Special” Characters . 8 Table 2: Predefined LATEX 2ε Text-mode Commands . 8 Table 3: LATEX 2ε Commands Defined to Work in Both Math and Text Mode . 8 Table 4: AMS Commands Defined to Work in Both Math and Text Mode . 9 Table 5: Non-ASCII Letters (Excluding Accented Letters) . 9 Table 6: Letters Used to Typeset African Languages . 9 Table 7: Letters Used to Typeset Vietnamese . 9 Table 8: Punctuation Marks Not Found in OT1 . 9 Table 9: pifont Decorative Punctuation Marks . 10 Table 10: tipa Phonetic Symbols . 10 Table 11: tipx Phonetic Symbols . 11 Table 13: wsuipa Phonetic Symbols . 12 Table 14: wasysym Phonetic Symbols . 12 Table 15: phonetic Phonetic Symbols . 12 Table 16: t4phonet Phonetic Symbols . 13 Table 17: semtrans Transliteration Symbols . 13 Table 18: Text-mode Accents . 13 Table 19: tipa Text-mode Accents . 14 Table 20: extraipa Text-mode Accents . -
264 Tugboat, Volume 37 (2016), No. 3 Typographers' Inn Peter Flynn
264 TUGboat, Volume 37 (2016), No. 3 A Typographers’ Inn X LE TEX Peter Flynn Back at the ranch, we have been experimenting with X LE ATEX in our workflow, spurred on by two recent Dashing it off requests to use a specific set of OpenType fonts for A I recently put up a new version of Formatting Infor- some GNU/Linux documentation. X LE TEX offers A mation (http://latex.silmaril.ie), and in the two major improvements on pdfLTEX: the use of section on punctuation I described the difference be- OpenType and TrueType fonts, and the handling of tween hyphens, en rules, em rules, and minus signs. UTF-8 multibyte characters. In particular I explained how to type a spaced Font packages. You can’t easily use the font pack- dash — like that, using ‘dash~---Ђlike’ to put a A ages you use with pdfLTEX because the default font tie before the dash and a normal space afterwards, encoding is EU1 in the fontspec package which is key so that if the dash occurred near a line-break, it to using OTF/TTF fonts, rather than the T1 or OT1 would never end up at the start of a line, only at A conventionally used in pdfLTEX. But late last year the end. I somehow managed to imply that a spaced Herbert Voß kindly posted a list of the OTF/TTF dash was preferable to an unspaced one (probably fonts distributed with TEX Live which have packages because it’s my personal preference, but certainly A of their own for use with X LE TEX [6].