DOCSLIB.ORG

Desktop Publishing 1986.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Desktop Publishing 1986.Pdf Frederic E. Davis, John Barry, Michae Wiesenberg Desktop Publishing How digital type is formed in a desktop publishing output device: creating and filling an outline to make a letter. Three representations of a. Three stages of a digital letter design. Left: Original outline design of Lucida® lowercase a. Center: Solid letterform showing the relationship of black letter to white counterform. Right: Scan conversion of digital outline to a bit map for use on a laser printer or digital phototypesetter. Lucida is a registered trademark of Bigelow & Holmes, San Francisco. Desktop Publishing Frederic E. Davis Executive editor of A+ Magazine and a specialist in information technology John A. Barry Writer, editor, and etymologist Michael Wiesenberg Technical writing specialist and free-lance writer EVA LANGFELDT Contributing writer and editor DOW JONES-IRWIN Homewood, Illinois 60430 @ DOW JONES-IRWIN, 1986 All rights reserved. No part of this publication 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 written permission of the copyright holder. This publication is designed to provide accurate and authoritative information in regard to the subject matter covered. It is sold with the understanding that the copyright holder is not engaged in rendering legal, accounting, or other professional service. H legal advice or other expert assistance is required, the services of a competent professional person should be sought. From a Declaration of Principles jointly adopted by a Committee of the American Bar Association and a Committee of Publishers. ISBN 0-87094-766-4 Library of Congress Catalog Card No. 86-70718 Printed in the United States of America 234567890ML32109876 Introduction This book is for people who want to publish their own newsletters, reports, books-whatever-and save time and money in the process. Desktop Publishing examines one of the most promising and exciting new areas of computer technology: the use of personal computers to produce printed materials. If you already own a computer, you may want to use it as a publishing tool. Knowing that a personal computer can be the foundation of a publishing system may spur you to go out and buy one to put a publishing system on your desk. Desktop publishing. We hear and see the term a lot these days. What exactly is it? What does it mean? This book answers these questions and others. We define desktop publishing as the use of a personal computer, writing and graphics software, and page layout software to produce printed material. We suggest the ·best systems for certain applications, including business publishing, which we be­ lieve is currently the most promising arena for desktop publishing. Here is a brief road map to the book: Initially, we briefly discuss publishing-how it originated and evolved and the state of publishing today. Then we go into the main part of the book: applications for and tools of desktop publishing. Appllcations. Here, we explore the realm of desktop publishing. We explain what comprises a desktop publishing system, what you can use it for, and how. We provide an overview of the primary components of a system: • personal computer • word processing software • graphics software • page layout software and the secondary components: • communications software • database and information management software • spreadsheets and number processing software v We then go on to categorize publishing. We have identified three areas for which desktop publishing technology is best suited: • business publishing, the most fertile ground for the new tech­ nology • periodical publishing, including newsletters-an area we be­ lieve is ripe with opportunities • book publishing, an embryonic area of desktop publishing whose potential is only beginning to be explored Throughout our discussion of these three publishing categories, we have interspersed profiles of people and organizations that are putting desktop publishing to work for them. A fourth publishing category is personal publishing, and we offer some hints about personal desktop publishing in the "Money-Making Ideas" appendix. Having yo~ own publishing system automatically gives you access to page formatting software, a gallery of electronic art, a range of type sizes and styles, and many other resources. With all these tools at your disposal, you may be tempted to become an overnight publication designer. As we explain in chapter 3, however, effective design takes time, study, and effort, so we give you rules of thumb about good design and how to best achieve it. As in other chapters, we steer you toward other, more detailed sources of information on the subject. Since we believe that desktop publishing represents a fine oppor­ tunity for current and would-be newsletter publishers {the United States alone accounts for more than 100,000 newsletters), we have devoted an entire chapter to desktop newsletter publishing. Tools. The second major part of the book covers the tools of desk­ top publishing. Two computer systems-Apple's Macintosh and the IBM PC series of computers and "compatibles" -are the sys­ tems of desktop publishing, and we give extensive coverage to each system. We show you what products have emerged to fulfill the needs of desktop publishers and how to put them together to form the system that's best for you. We also examine, in less detail, desktop publishing systems based on high-performance-and high­ cost-workstations. vi Before we delve into laser printers and typesetting machines-the output devices that bring your creations into print-we discuss the page layout software and typesetting languages that give form to your creations. Finally, we examine scanners and digitizers, with which you can incorporate photographic and video images into your publications. Although we have made no attempt to provide a comprehensive source of products, we have endeavored to describe all the major products and product categories in the text and have included a re­ source guide in the back of the book that will help you locate many other products. Since companies announce new products continu­ ously and make upgrades to previous products, you should consult with manufacturers and dealers and read magazines before you make a purchase, just to ensure that you get the most up-to-date informa­ tion. Appendixes give you: • money-making ideas to help you recoup some of those costs • a resource guide listing products, companies, and services • a selected bibliography to point you to more information on desktop publishing • a glossary of terms found in the book, as well as general publishing terminology HOW TO USE THIS BOOK Because Desktop Publishing covers a lot of territory, we've ar­ ranged it in a modular format to make the information you need easy to find. The road map above shows you the various sections. This arrangement not only makes information you need easy to lo­ cate, but it also allows you to skim areas about which you're already knowledgeable, or that don't particularly relate to your needs. For example, say you publish a small newsletter about coin col­ lecting, and your current method of production involves typing its contents on an IBM Selectri~ typewriter, pasting the typescript onto art boards, and having the printing done at an instant print shop. You want to computerize your operations, but you're not sure what to do. In such a case, you'd probably want to concentrate on the tools and resources section, although the chapters on newsletters and design might give you some fresh ideas for your existing publication. vll If you already own a personal computer and decide you want to start a newsletter, the first place to look is the newsletter chapter. Next, you'll likely look at the tools section to discover what products are best for you. Say you're a manager in charge of acquiring computer systems for your company or setting up an in-house publishing system. Busi­ nesses have tended to select IBM PCs, although the Macintosh is making strides as a business computer system. You're likely to be in a situation that requires you to integrate PCs and Macintoshes into a cohesive system whose purpose is to produce publications of some sort. By reading the chapter on the Macintosh and that on the PC series, you '11 be ready to develop a functional system that exploits the best of both worlds. In short, we believe this book is your essential guide to the realm of desktop publishing. A WORD OF ADVICE ABOUT BUYING Something to keep in mind when selecting hardware and software for a desktop publishing system is to pay more attention to the difference between good enough and not good enough than to the difference between good enough and the best. Desktop publishing has established itself as a major area of personal computing and is supported by a wide variety of hardware and software. Before con­ sidering equipment purchases, it's a wise idea to determine what your needs are. Sometimes it's handy to write down a needs analysis list­ ing what your desktop publishing system must do, what you would like it to do, what is nice but not necessary, and so forth. Knowing clearly what your needs are will help you avoid making purchasing mistakes. Once you've decided what your needs are for your particular appli­ cation, you can then start to look at hardware and software products. You will probably find that some products are not good enough, oth­ ers are good enough, and yet others are considered the best. It is easy to be dazzled by the best and be tempted to purchase these products. Your application may not demand the best, however; it may only need something that is good enough, and you may end up spending a lot more money than you need to if you purchase some­ thing that offers advanced capabilities that you will seldom, if ever, use.
Load more

Recommended publications
  • Bit-Mapped Fonts
    PRINTING METHOD 24-pin, impact dot matrix PAPER FEED Convertible push/pull tractor for rear, front and MECHANISM bottom feed; automatic fanfold paper load; auto- PRINT DIRECTION Bidirectional with logic seeking in text and graphics modes matic single sheet, paper stacking; friction feed; top and front automatic single sheet load; Advanced PRINT SPEED High speed draft: 225 cps (10 cpi) Paper Handling: micro-adjustment for top-of- (Bit-mapped fonts) Draft: 315 cps (15 cpi) form and tear-off mode, paper parking for loading 252 cps (12 cpi) single sheet paper without removing continuous 210 cps (10 cpi) paper; optional: additional pull tractor, standard- Letter quality: 105 cps (15 cpi) capacity cut sheet feeder and high-capacity cut 84 cps (12 cpi) sheet and envelope feeder 70 cps (10 cpi) PAPER FEED SPEED 77.6 milliseconds per 1/6" line spacing; CHARACTER MATRIX 9 x 22 draft mode (10 cpi) 2.2” per second continuous feed (Bit-mapped fonts) 31 x 22 letter-quality mode (10 cpi) 22 x 16 letterquality mode (15 cpi) PAPER HANDLING 37 x 22 proportional Single sheets: Top loading: 5.8” to 16.5” CHARACTER SETS 96 ASCII characters; 15 international Front, loading: 7.2” to 14.3” character sets; 128 user-defined ® Continuous: 4.0” to 16.0” characters; extended IBM -style No. 6 envelopes: 6.5” x 3.625” graphics characters: legal charac- No. 10 envelopes: 9.5” x 4.125” ters; 5-code pages Labels: 2.5” x 5.9” SCALABLE FONTS Epson Roman 8 to 32 points Forms: Continuous multi-part, original plus three carbon- Epson Sans Serif 8 to 32 points less copies; maximum thickness 0.012 inches RESIDENT Epson Draft 10, 12.
    [Show full text]
  • Relief Printing Letterpress Machines
    DRAFT SYLLABUS FOR PRESS WORK - I Name of the Course: Diploma in Printing Technology Course Code: Semester: Third Duration: 16 Weeks Maximum Marks: 100 Teaching Scheme Examination Scheme Theory: 3 hrs/week Internal Examination: 20 Tutorial: 1 hr/week Assignment & Attendance: 10 Practical: 6 hrs/week End Semester Exam:70 Credit: 3 Aim: Getting the output through a printing machine is the most important operation for completing the print production. This subject known as Presswork - I is one of the key subject to make a clear and sound knowledge in some of the major print production systems and supplies. This will enable the students to make judgement about the aspect of printing, particularly the selection of a particular process to choose for a specific print production. Objective: The students will be able to (i) understand the basic and clear classification of all kinds of printing processes; (ii) understand the details divisions and subdivisions of letterpress printing machines, their applications and uses, characteristics and identifications of their products- merits and demerits of various letterpress machines; (iii) understand the principal mechanism of various letterpress and sheet-fed machines, their constructional differences in the printing unit and operational features; (iv) understanding the various feeding and delivery mechanism in printing machines; (v) appreciate the relational aspects of various materials used in presswork. Pre -Requisite: Elementary knowledge of Basic Printing & Production Contents: Group-A Hrs/unit Marks Unit 1 Relief Printing 10 10 1.1 Classifications of various relief printing machines, their applications and uses, characteristics of the products. 1.2 Details of divisions and subdivisions of letterpress printing machines, their applications and uses, characteristics and identifications of their products- merits and demerits of various letterpress machines General unit wise division of a printing machine.
    [Show full text]
  • Geography 360 Principles of Cartography
    Geography 360 Principles of Cartography April 26, 2006 Typography Outlines 1. Principles of typography • Anatomy of letterform • Classifying type family • Typographic variables 2. Using type for map design • Choosing type family • Choosing typographic variables • Guidelines for type placement 1. Principles of typography • What constitutes letterform? – with focus on serif and shading • Classifying type family – based on common characteristics of letterform • Typographic variables – Type style, size, case, spacing, … Some design aspects of letterform •Serif: finishing strokes added to the end of the main strokes of the letter • Shading: main slant of letterforms Source: Dent Figure 14.1 •Serif vs. San Serif • Diagonal shading vs. horizontal shading Aspects of letterform • Serif vs. Sans Serif – Serif: lettering styles that contain such finishing strokes – Sans Serif: lettering styles that do not contain such finishing strokes • Diagonal Shading vs. horizontal/vertical Shading – Where is the position of the maximum stress in curved letters? – See Dent Figure 14.3 What is type family? • Type family: a group of type designs that reflect common design characteristics and share a common base name (Fig. 11.18) Palatino Helvetica Bookman Gill Sans Classifying type family Alexander Lawson, 1971, Printing types: An Introduction Classifying type family Class Appearance Distinct Other characteristics name Black Letter Hand Decorative Text lettering Oldstyle Lacking Diagonal Roman geometric shading Modern Geometric Vertical/horizo ntal shading Sans Precise, No serif Gothic serif clean-cut Typographic variables • Type family can be further differentiated by typographic variables such as • Type style: italic, normal, bold (Fig. 11.18 B) • Type size: 24 point (Fig. 11. 18D) • Type case: UPPERCASE, lowercase, Title Case, Sentence case (Fig.
    [Show full text]
  • 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.
    [Show full text]
  • Agenda for the Regular Business Meeting of the Council of West Windsor Township 271 Clarksville Road to the Extent Known
    MEETING TO BE BROADCAST ON COMCAST CHANNEL 27 AND VERIZON CHANNELS 41 AND 42 AGENDA FOR THE REGULAR BUSINESS MEETING OF THE COUNCIL OF WEST WINDSOR TOWNSHIP 271 CLARKSVILLE ROAD TO THE EXTENT KNOWN June 26, 2017 7:00 p.m. 1. Call to Order 2. Statement of Adequate Notice – January 6, 2017 to the Trenton Times and the Princeton Packet. 3. Salute to the Flag 4. Ceremonial Matters and/or Topics for Priority Consideration Recognition of Chief Joe Pica for his Years of Service to West Windsor Township Filling of Council Vacancy Filling of the Environmental Commission Liaison Route 1 Concept Plan Presentation Presentation from Mercer County – Rt. 571 and Clarksville Intersection Improvements 5. Public Comment: (30 minutes comment period; 3-minute limit per person) (1) 6. Administration Comments 7. Council Member Comments 8. Chair/Clerk Comments 9. Public Hearings 2017-23 AN ORDINANCE AUTHORIZING THE ACQUISITION OF A TEMPORARY CONSTRUCTION EASEMENT FROM ELISABETH LINDA LOUISE MIHAN LOCATED AT BLOCK 5, LOT 39 – 43 Cranbury Road 2017-24 AN ORDINANCE AMENDING THE CODE OF THE TOWNSHIP OF WEST WINDSOR, CHAPTER 168, “TRAFFIC AND PARKING” ARTICLE VI, “PARKING AUTHORITY PROPERTY” AND ARTICLE VII, “SCHEDULES” 10. Consent Agenda A. Resolutions 2017-R170 Appointing Jill M. Swanson and Eileen Lang as Alternate Deputy Registrars 2017-R171 Appointing James Yates, Manager of Fire and Emergency Services as Emergency Management Coordinator and Incoming Chief Garofalo as Deputy Emergency Management Coordinator for the Term of Three Years 2017-R172 Authorizing the Insertion of the State of New Jersey Clean Communities Program in the 2017 Municipal Budget - $59,059.86 (2) 2017-R173 Authorizing the Insertion of the Alcoholic Rehabilitation & Enforcement Fund in the 2017 Municipal Budget - $4,503.79 B.
    [Show full text]
  • Variable First
    Variable first Baptiste Guesnon Designer & Design Technologist at Söderhavet A small text Text with hyphen- ation Gulliver, Gerard Unger, 1993 Screens are variable first Static units Relative units Pica, type points, %, viewport width, pixels, cm… viewport height Why should type be static… …while writing is organic? Century Expanded plomb from 72 pt to 4 pt and putted at a same scale Image by Nick Sherman Through our experience with traditional typesetting methods, we have come to expect that the individual letterforms of a particular typeface should always look the same. This notion is the result of a technical process, not the other way round. However, there is no technical reason for making a digital letter the same every time it is printed. Is Best Really Better, Erik van Blokland & Just van Rossum First published in Emigre magazine issue 18, 1990 Lettering ? Typography Potential of variations in shape a same letter [————— 500 years of type technology evolution —————] Metal / Ink / Paper / Punch & Counterpunch / Pantograph / Linotype & Monotype / etc. Opentype Gutenberg Postscript Photocompo. Variable Fonts Change is the rule in the computer, stability the exception. Jay David Bolter, Writing Space, 1991 Fedra outlines, Typotheque Metafont Postscript Truetype GX Opentype 1.8 (Variable Fonts) Multiple Master Ikarus Fonts HZ Program Webfont Opentype (.woff) Now 1970 1975 1980 1985 1990 1995 2000 2005 2010 Punk/Metafont Beowolf Digital Lettering Donald Knuth Letteror Letteror 1988 1995 2015 HZ-program Indesign glyph scaling glyph scaling Skia, Matthew Carter for Mac OS, 1993 How to make it work? The Stroke, Gerrit Noordzij, 1985 Metafont book, Donald Knuth Kalliculator, 2007, Frederik Berlaen Beowolf, Letteror, 1995 Parametric fonts ≠ Variable fonts Designing instances vs.
    [Show full text]
  • </Break>The Role of Format and Design in Readability
    Pleasing the reader by pleasing the eye—Part 1 The role of format and design in readability Gabriele Berghammer1, Anders Holmqvist2 Correspondence to: 1the text clinic, Vienna, Austria 2Holmqvist AD & Bild, Lund, Sweden Gabriele Berghammer [email protected]; www.the-text-clinic.com Abstract Whoever writes wants to be read. Yet, even if we punctuation marks, and visuals are arranged on a succeed in creating an informative, logically struc- piece of paper can be as much a part of the story tured, and adequately worded text tailored to our as the content itself. They can make or break a target audience, i.e., text we consider to have an message. adequate level of readability, our documents may At least that ’s what we thought. Seeing, however, still go unread—or read with antipathy. Next to lin- that many of today’s publications, particularly in the guistic factors, therefore, there is a wide range of areas of technical, informational, and instructional other aspects determining how well we understand prose, fall short of what we have come to perceive a text, including layout, typography, or cultural ade- as essential aspects of our crafts, we started to ask quacy. Documents people can use effectively and ourselves whether, in these fast-paced times of with ease have language, graphics, and design budget constraints, format and design had become combine into a harmonious whole. Good design an obsolete luxury reserved for belletristic literature helps arouse interest and singles a text out from or art. Not long ago, one of the authors (GB) read a many others that vie for our attention.
    [Show full text]
  • Encapsulated Postscript Application Guide for Mac And
    Encapsulated PostScript Encapsulated PostScript Application Guide for the Macintosh and PCs Peter Vollenweider Manager User Services Universi1y of Zurich A ·Carl Hanser .Verlag :II Prentice Hall First published in German 1989 by Carl Hanser Verlag under the title EPS-Handbuch: Encapsulated PostScript First published in English 1990 by Prentice Hall International (UK) Ltd 66 Wood Lane End, Hemel Hempstead Hertfordshire HP2 4RG A division of Simon & Schuster International Group ©Carl Hanser Verlag, Munich and Vienna 1989 ©Carl Hanser Verlag and Prentice Hall 1990 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise, witliout prior permission, in writing, from the publisher. For permission within the United States of America contact Prentice Hall, Inc., Englewood Cliffs, NJ 07632. The Sonata clef design on the cover shows the mixing of randomly placed Sonata font types, smoothed curves and patterns; courtesy of John F. Sherman, ND Design Program, University of Notre Dame, Indiana 46556, USA. Printed and bound in Great Britain by Dotesios Printers Ltd, Trowbridge, Wiltshire. Library of Congress Cataloging-in-Publication Data Vollenweider, Peter. (Encapsulated PostScript. English) Encapsulated PostScript : application guide for the Macintosh and PC's I Peter Vollenweider. p. em. Includes bibliographical references. ISBN 0-13-275843-1 1. PostScript (Computer program language) I. Title. QA76.73.P67V65 1990 005 .265-dc20 90-35469 CIP British Library Cataloguing-in-Publication Data Vollenweider, Peter Encapsulated PostScript : application guide for the Macintosh and PC's. 1. Microcomputer systems. Software packages I.
    [Show full text]
  • Introduction to Printing Technologies
    Edited with the trial version of Foxit Advanced PDF Editor To remove this notice, visit: www.foxitsoftware.com/shopping Introduction to Printing Technologies Study Material for Students : Introduction to Printing Technologies CAREER OPPORTUNITIES IN MEDIA WORLD Mass communication and Journalism is institutionalized and source specific. Itfunctions through well-organized professionals and has an ever increasing interlace. Mass media has a global availability and it has converted the whole world in to a global village. A qualified journalism professional can take up a job of educating, entertaining, informing, persuading, interpreting, and guiding. Working in print media offers the opportunities to be a news reporter, news presenter, an editor, a feature writer, a photojournalist, etc. Electronic media offers great opportunities of being a news reporter, news editor, newsreader, programme host, interviewer, cameraman,Edited with theproducer, trial version of Foxit Advanced PDF Editor director, etc. To remove this notice, visit: www.foxitsoftware.com/shopping Other titles of Mass Communication and Journalism professionals are script writer, production assistant, technical director, floor manager, lighting director, scenic director, coordinator, creative director, advertiser, media planner, media consultant, public relation officer, counselor, front office executive, event manager and others. 2 : Introduction to Printing Technologies INTRODUCTION The book introduces the students to fundamentals of printing. Today printing technology is a part of our everyday life. It is all around us. T h e history and origin of printing technology are also discussed in the book. Students of mass communication will also learn about t h e different types of printing and typography in this book. The book will also make a comparison between Traditional Printing Vs Modern Typography.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Glossary 1 Terms Used in Graphic Design and Printing
    Computer Presentation of Data 121 GLOSSARY 1 GLOSSARY 1 TERMS USED IN GRAPHIC DESIGN AND PRINTING Words in italics are separately defmed. alphabet length The space occupied by the 26 lowercase letters in a given typeface and size, when they are set in a single line without spaces. alphanumerics Letters and numbers, as opposed to other kinds of symbol. artwork Text or graphics presented in a form suitable for reproduction. In desktop publishing, the artwork is usu­ ally in the form of output from a laser printer. ascender Thepartofalowercase letter, such as 'd' or'h', that rises above the x-height. asymmetrical layout A page layout that has no central axis. Typically, both headings and text would be ranged left. back-edge In a bound document, the edge of the page nearest to the binding. baseline An imaginary horizontal line with which the bases of most lowercase letters (i.e. those without descenders) are aligned. baseline-to-baseline measurement The measurement (usually in points) from the baseline of one line of type to the baseline of the next. See also: linefeed. body size The term originates from metal type and it refers to the size of the 'body' on which each character is cast. The body size, usually measured in points, is the vertical di­ mension of the surfaces carrying the characters. With digital type there is no physical body, so the term has little relevance. See also: point size. brightness The subjective impression caused by the lumi­ nance of an object. cap. height See: capital-letter height. capital-letter height The height of the capital letters in a given typeface and size, measured from the baseline to the capita/line.
    [Show full text]