2019 Amendments to the Mass. Rules of Appellate Procedure (Effective March 1, 2019): What CAFL Appellate Lawyers Need to Know
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Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
15 the Effect of Font Type on Screen Readability by People with Dyslexia
The Effect of Font Type on Screen Readability by People with Dyslexia LUZ RELLO and RICARDO BAEZA-YATES, Web Research Group, DTIC, Universitat Pompeu Fabra, Barcelona, Spain Around 10% of the people have dyslexia, a neurological disability that impairs a person’s ability to read and write. There is evidence that the presentation of the text has a significant effect on a text’s accessibility for people with dyslexia. However, to the best of our knowledge, there are no experiments that objectively 15 measure the impact of the typeface (font) on screen reading performance. In this article, we present the first experiment that uses eye-tracking to measure the effect of typeface on reading speed. Using a mixed between-within subject design, 97 subjects (48 with dyslexia) read 12 texts with 12 different fonts. Font types have an impact on readability for people with and without dyslexia. For the tested fonts, sans serif , monospaced, and roman font styles significantly improved the reading performance over serif , proportional, and italic fonts. On the basis of our results, we recommend a set of more accessible fonts for people with and without dyslexia. Categories and Subject Descriptors: H.5.2 [Information Interfaces and Presentation]: User Interfaces— Screen design, style guides; K.4.2 [Computers and Society]: Social Issues—Assistive technologies for per- sons with disabilities General Terms: Design, Experimentation, Human Factors Additional Key Words and Phrases: Dyslexia, learning disability, best practices, web accessibility, typeface, font, readability, legibility, eye-tracking ACM Reference Format: Luz Rello and Ricardo Baeza-Yates. 2016. The effect of font type on screen readability by people with Dyslexia. -
I Hate Comic Sans!
I HATE COMIC SANS! It’s Overused It’s Badly used It’s not serious typography Used Incorrectly by Hospitals, Businesses, and Banks, etc. ? “A Computer on Every Desk, In every Home, Running Microsoft Software” the Microsoft Mission statement c. 1980 Computers were expensive Marketed mostly to businesses Expensive Dial up internet Off peak use only on AOL (after 6pm-6am) Screen savers were products Microsoft Scenes After Dark (flying toasters) CD-ROM ‘multimedia’ software MS Beethoven, Schubert, Stravinsky, Strauss MS Ultimate Frank Lloyd Wright MS Wine Guide, MS Dogs, MS Complete Gardening Microsoft Home (1993 Consumer Division) •Goal: To create software for Mums, Dads, and kids Product titles: •Microsoft Flight Simulator* •Microsoft Encarta* •Microsoft Scenes* •Microsoft Creative Writer Wall Street Journal: Aug 24, 1995 • Home computers in US home electronic stores for about $1000 •First affordable computers available • with Windows 95 installed • MSN Online network released to compete with America Online (AOL), Compuserve, Genie etc. • First Generation Internet Explorer released in the Plus Pack for Windows 95 ‘Utopia’ Project Lead: Melinda French (future Mrs. BillG) UI used a simple method of Launching Applications Similar to Hypercard stacks of the late 1980s For children and novice users Release: to coincide with Win95 and 1995 Christmas Season Rover talks in Times New Roman 1994 Microsoft Bob DC Comics: DC Comics The Dark Knight Returns Watchmen DC COMICS: WATCHMEN 1986-87 ILLUSTRATOR/LETTERER : DAVE GIBBONS • -
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. -
Presentation
Born Broken: Fonts And Information Loss In Legacy Documents Geoffrey Brown and Kam Woods Indiana University School of Informatics and Computing Key Questions How pervasive are font substitution problems ? What information is available to identify fonts ? How well can we match the fonts required by a document collection ? How can we assist archivists in identifying serious font issues ? Page 8 MCTM Bulletin February 2005 K: I knew what you meant. I was just kidding. I’ll do XüLLbl (W):InputQ:FnOff :"""Y =! Y",Y#:PlotsOff the dishes tonight at dinner. YüL‚(W):Goto:0!Xscl:0!Yscl:Plot1(Scatt T er,L#,L$,&) PlotsOn 1:ZoomStat:StorePic Pic1 Lbl Q:FnOff :""üY :PlotsOff Jennifer felt better so offered the following challenge to Pause :Goto T Kevin. Lbl:0üXscl:0üYscl:Plot1(Scatt S:ClrHome:2!dim(L%er,L):dim(L ,L‚,Ñ)# )!N J: What type of general statement can you make DispPlotsOn "NO. 1:ZoomStat:StorePic OF Pic1 regarding the various polygons and, better yet, what PausePTS.":Output(1,13,N):Pause :Goto T can you say about a figure that looks like this? LblFor(I,1,N):ClrHome S:ClrHome:2üdim(Lƒ):dim(L )üN Disp "NO. "PT. OF NO.","":Output(1,9,I) PTS.":Output(1,13,N):Pause L#(I)!L%(1):L$(I)!L%(2) For(I,1,N):ClrHome Disp L%:Pause :End:Goto T LblDisp "PT.0:Menu(" NO.","":Output(1,9,I) MODELS R""," LINEAR (2)",1,"L(I)üLƒ(1):L‚(I)üLƒ(2) QUADRATIC",2," CUBIC/QUARTIC",3,"Disp Lƒ:Pause :End:Goto LOGARITHMIC",4," T LblEXPONENTIAL",5," 0:Menu(" MODELS POWER",6," RÜ"," LINEAR MAIN (2)",1," MENU",T) QUADRATIC",2," CUBIC/QUARTIC",3," Lbl 1:"aX+b"!Y# Kevin was impressed. -
Background a Short Introduction to Font Characteristics
fonts: background A short introduction to font characteristics Maarten Gelderman Hardly anyone will dispute the statement that proporion- ally spaced fonts are more beautiful and legible than mono- abstract spaced designs. In a monospaced design the letter i takes as Almost anyone who develops an interest in fonts is bound to much space as a letter m or W. Consequently, some char- be overwelmed by the bewildering variety of letterforms acters look simply too compressed, whereas around oth- available. The number of fonts available from commercial ers too much white space is found. Monospaced fonts are suppliers like Adobe, URW, LinoType and others runs into the simply not suited for body text. Only in situations where it thousands. A recent catalog issued by FontShop [Truong et al., is important that all characters are of equal width, e.g., in 1998] alone lists over 25.000 different varieties.1 And listings of computer programs, where it may be important somehow, although the differences of the individual letters are that each individual character can be discerned and where hardly noticable, each font has its own character, its own the layout of the program may depend on using mono- personality. Even the atmosphere elucided by a text set from spaced fonts, can the usage of a monospaced font be de- Adobe Garamond is noticably different from the atmosphere of the same text set from Stempel Garamond. Although fended. In most other situations, they should simply be decisions about the usage of fonts, will always remain in the avoided. realm of esthetics, some knowledge about font characteristics may nevertheless help to create some order and to find out Romans, italics and slant A second typeface character- why certain design decisions just do not work. -
Suitcase Fusion 8 Getting Started
Copyright © 2014–2018 Celartem, Inc., doing business as Extensis. This document and the software described in it are copyrighted with all rights reserved. This document or the software described may not be copied, in whole or part, without the written consent of Extensis, except in the normal use of the software, or to make a backup copy of the software. This exception does not allow copies to be made for others. Licensed under U.S. patents issued and pending. Celartem, Extensis, LizardTech, MrSID, NetPublish, Portfolio, Portfolio Flow, Portfolio NetPublish, Portfolio Server, Suitcase Fusion, Type Server, TurboSync, TeamSync, and Universal Type Server are registered trademarks of Celartem, Inc. The Celartem logo, Extensis logos, LizardTech logos, Extensis Portfolio, Font Sense, Font Vault, FontLink, QuickComp, QuickFind, QuickMatch, QuickType, Suitcase, Suitcase Attaché, Universal Type, Universal Type Client, and Universal Type Core are trademarks of Celartem, Inc. Adobe, Acrobat, After Effects, Creative Cloud, Creative Suite, Illustrator, InCopy, InDesign, Photoshop, PostScript, Typekit and XMP are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apache Tika, Apache Tomcat and Tomcat are trademarks of the Apache Software Foundation. Apple, Bonjour, the Bonjour logo, Finder, iBooks, iPhone, Mac, the Mac logo, Mac OS, OS X, Safari, and TrueType are trademarks of Apple Inc., registered in the U.S. and other countries. macOS is a trademark of Apple Inc. App Store is a service mark of Apple Inc. IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license. Elasticsearch is a trademark of Elasticsearch BV, registered in the U.S. -
Using Fonts Installed in Local Texlive - Tex - Latex Stack Exchange
27-04-2015 Using fonts installed in local texlive - TeX - LaTeX Stack Exchange sign up log in tour help TeX LaTeX Stack Exchange is a question and answer site for users of TeX, LaTeX, ConTeXt, and related Take the 2minute tour × typesetting systems. It's 100% free, no registration required. Using fonts installed in local texlive I have installed texlive at ~/texlive . I have installed collectionfontsrecommended using tlmgr . Now, ~/texlive/2014/texmfdist/fonts/ has several folders: afm , cmap , enc , ... , vf . Here is the output of tlmgr info helvetic package: helvetic category: Package shortdesc: URW "Base 35" font pack for LaTeX. longdesc: A set of fonts for use as "dropin" replacements for Adobe's basic set, comprising: Century Schoolbook (substituting for Adobe's New Century Schoolbook); Dingbats (substituting for Adobe's Zapf Dingbats); Nimbus Mono L (substituting for Abobe's Courier); Nimbus Roman No9 L (substituting for Adobe's Times); Nimbus Sans L (substituting for Adobe's Helvetica); Standard Symbols L (substituting for Adobe's Symbol); URW Bookman; URW Chancery L Medium Italic (substituting for Adobe's Zapf Chancery); URW Gothic L Book (substituting for Adobe's Avant Garde); and URW Palladio L (substituting for Adobe's Palatino). installed: Yes revision: 31835 sizes: run: 2377k relocatable: No catdate: 20120606 22:57:48 +0200 catlicense: gpl collection: collectionfontsrecommended But when I try to compile: \documentclass{article} \usepackage{helvetic} \begin{document} Hello World! \end{document} It gives an error: ! LaTeX Error: File `helvetic.sty' not found. Type X to quit or <RETURN> to proceed, or enter new name. -
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. -
Free Download Arial Unicode Ms.Ttf
Free download arial unicode ms.ttf click here to download www.doorway.ru Arial Unicode MS font preview. www.doorway.ru Arial Unicode MS font preview. Download font - MB. At www.doorway.ru, find an amazing collection of thousands of FREE fonts for Windows and Mac. Arial Unicode MS ( downloads) Free For Personal Use. Download arial unicode ms font free at www.doorway.ru, database with web fonts, truetype and opentype fonts for Windows, Linux and. Typographic info for the Arial Unicode MS font family. Purchase & Download Microsoft fonts for personal, professional or business use on. Download the Arial Unicode MS free font. Mac, Linux; ✓ for programs: Microsoft Word, Photoshop, etc; ✓ free download. Arial Unicode www.doorway.ru, MB. Download Unavailable. Arial Create a Logo Using Arial Unicode MS You may need to extract www.doorway.ru files from www.doorway.ru archive file before installing the font. Description: Where can you get the Arial Unicode MS font? Resolution: www.doorway.ru file (the Arial Unicode MS font) needs to be in the PC's. Download Arial Unicode MS Regular For Free, View Sample Text, Rating And More On www.doorway.ru View and Download Arial Unicode MS Version CartoCSS port of Toner. Contribute to stamen/toner-carto development by creating an account on GitHub. toner-carto/fonts/www.doorway.ru Fetching contributors Cannot retrieve contributors at this time. Download History. executable file MB. View Raw. Arial Unicode MS Regular truetype font page. Coolest truetype fonts. Best free fonts download. View font details, character map, custom preview, downloads, file contents Arial Unicode by Agfa Monotype Corporation TTF, 22 MB, Font File, download . -
ANSI® Programmer's Reference Manual Line Matrix Series Printers
ANSI® Programmer’s Reference Manual Line Matrix Series Printers Printronix, LLC makes no representations or warranties of any kind regarding this material, including, but not limited to, implied warranties of merchantability and fitness for a particular purpose. Printronix, LLC shall not be held responsible for errors contained herein or any omissions from this material or for any damages, whether direct, indirect, incidental or consequential, in connection with the furnishing, distribution, performance or use of this material. The information in this manual is subject to change without notice. This document contains proprietary information protected by copyright. No part of this document may be reproduced, copied, translated or incorporated in any other material in any form or by any means, whether manual, graphic, electronic, mechanical or otherwise, without the prior written consent of Printronix, LLC Copyright © 1998, 2012 Printronix, LLC All rights reserved. Trademark Acknowledgements ANSI is a registered trademark of American National Standards Institute, Inc. Centronics is a registered trademark of Genicom Corporation. Dataproducts is a registered trademark of Dataproducts Corporation. Epson is a registered trademark of Seiko Epson Corporation. IBM and Proprinter are registered trademarks and PC-DOS is a trademark of International Business Machines Corporation. MS-DOS is a registered trademark of Microsoft Corporation. Printronix, IGP, PGL, LinePrinter Plus, and PSA are registered trademarks of Printronix, LLC. QMS is a registered -
No. 3 Science and History Behind the Design of Lucida Charles Bigelow
204 TUGboat, Volume 39 (2018), No. 3 Science and history behind the design of Lucida Charles Bigelow & Kris Holmes 1 Introduction When desktop publishing was new and Lucida the first type family created expressly for medium and low-resolution digital rendering on computer screens and laser printers, we discussed the main design de- cisions we made in adapting typeface features to digital technology (Bigelow & Holmes, 1986). Since then, and especially since the turn of the 21st century, digital type technology has aided the study of reading and legibility by facilitating the Figure 1: Earliest known type specimen sheet (detail), development and display of typefaces for psycho- Erhard Ratdolt, 1486. Both paragraphs are set at logical and psychophysical investigations. When we approximately 9 pt, but the font in the upper one has a designed Lucida in the early 1980s, we consulted larger x-height and therefore looks bigger. (See text.) scientific studies of reading and vision, so in light of renewed interest in the field, it may be useful to say Despite such early optimism, 20th century type more about how they influenced our design thinking. designers and manufacturers continued to create The application of vision science to legibility type forms more by art and craft than by scientific analysis has long been an aspect of reading research. research. Definitions and measures of “legibility” Two of the earliest and most prominent reading often proved recalcitrant, and the printing and ty- researchers, Émile Javal in France and Edmund Burke pographic industries continued for the most part to Huey in the US, expressed optimism that scientific rely upon craft lore and traditional type aesthetics.