DOCSLIB.ORG

Document Engineering Customised Solutions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Document Engineering Customised Solutions DOCUMENT ENGINEERING CUSTOMISED SOLUTIONS DIRECTORIES BLACKBOX TYPOGRAPHY ONLINE IN 3B2 ARABIC/CJK CATALOGUES FINANCIAL APPLICATIONS LEGAL PUBLISHING DATABASE APPLICATIONS SCIENTIFIC PUBLISHING TECHNICAL PUBLISHING MEDICAL PUBLISHING DOCUMENT PUBLISHING For current online documentation please goto documentation.3b2.com 3b2 provides sophisticated tools which can help you produce professional-looking text with a minimum of e¡ort. This chapter examines several of the ways in which you can use 3b2 to achieve excellent results. Once a document, or document template has been set up, 3b2 will provide excellent typography without the user having to change the settings again.The investment of time in learning about these features is well worthwhile : maximum e¡ect for minimum outlay,with the ability to add value to every letter without having to think about it. One feature of typesetting over the past few years has been how appearance has often been sacri¢ced to convenience or the limitations of a particular typesetter's equipment. Recently, this situation has been changing as programs become more powerful, and as designers become more demanding or simply look back a little further to the books, newspapers and magazines being produced thirty or forty years ago with ligatures and properly kerned headlines. Contents Contents What is a font? 281 Measuring type in 3B2 281 Changing font 282 Alternatives to changing type height 283 Copy¢tting text to a frame 283 Copy¢tting using auto size frames 285 Updating fonts in 3B2 286 Updating fonts inWindows copies of 3B2 286 Automatic font usage checking by 3B2 287 Font options for 3B2 288 Embedding fonts within documents 288 Deleting embedded fonts 290 Controlling inter-line spacing 291 Professional leading 291 Paragraph special top drop 291 Baseline or bottom breaks 292 Text grids 292 Enabling text snap in frames 293 Enabling text snap for paragraphs 293 Setting up horizontal grids 294 Widows, Orphans & Vertical justi¢cation 297 Avoiding widows and orphans 297 Enabling widows and orphans control for a frame 298 Widows and orphans control in text 298 Setting up vertical justi¢cation 299 Enabling vertical justi¢cation for a frame 301 Improving vertical justi¢cation in a frame 302 279 Typography Contents Some alternatives to vertical justi¢cation 302 Changing text spacing to achieve even page depths 303 Fixing the vertical height of a paragraph 303 Changing your text spacing 305 Default letter and word spacing 305 Fixed pitch typefaces 306 Justi¢ed text 306 Spacing in justi¢ed text 307 Specifying a`Justify limit' 308 Kerning 309 Kerning individual letters 309 Horizontal kern 310 Kerning tables 310 Creating a basic kerning table 311 Hanging punctuation 313 Kerning pair groups 313 Kerning at the start or end of a line 313 Saving a kerning table for further use 314 Adding a kerning table to a font 314 Ligatures 316 Typographic ligatures 316 User-de¢ned ligature tables 318 Non-typographic uses for ligature tables 318 Adding a ligature table to a font 319 Changing 3B2'sdefault ligature table 319 Some special e¡ects 320 Text colour 320 Outline text 320 Changing text width 321 Pseudo-italic: fake italic type 322 Pseudo-bold: fake bold type and small capitals 323 Inverse text 324 Lines 324 280 What is a font? 39 What is a font? 3b2 uses the most common de¢nition of a font: the combined typeface and text height of the text, e.g. Times 18pt. In the days of letterpress printing these two values had to be considered together, since it was only together that they could be considered a description of a physical object ^ a piece of lead type of speci¢c design and dimensions. 39.1 Measuring type in 3B2 àààààààààààààààààààààààààààààààààààà Before you begin specifying type sizes, you may want to change 3b2's default unit of measurement for text height and inter-line spacing. This can be changed independently of 3b2's units for ordinary horizontal and vertical measurements. Select [Document/ Preferences " Document...].The document tdpref preferences dialogue box will appear. Click on the Units tab. 3b2 can measure text in a range of units, including true Anglo- 1 American points (72:27 inch), ciceros and didot points. Click on the appropriate button againstText size. The document preferences " If you want 3b2 always to show text sizes in the unit of your choice, (units tab) dialogue box. enable the Strict mode check box in the top left-hand corner of the dialogue box. " You can also de¢ne units of your own using the unit macro (see the Macro Reference manual). Click on ´OK· or ´Cancel· as appropriate. You can also set up 3b2's rulers to show typographic measurements : just select [View/ Ruler options...]. tdruler 281 Typography What is a font? 39.2 Changing font àààààààààààààààààààààààààààààààààààà Specifying a font completely involves specifying both its typeface (or design), and its height. 3b2's font dialogue box also allows you to specify a line spacing value, which again you can think of as being basic to the way you describe type. The diagram below shows how 3b2 de¢nesText height and Line spacing : Try and restrict the type sizes you use in a document to a`scale'of inter-related sizes, perhaps starting Line spacing Text height ) from the smallest and progressing ( upwards in logical steps, The text height is the distance between the tops of the ascenders and the e.g. 1, 1.5, 2 ¾ the basic height. bottoms of the descenders in your type (shown in grey).The baseline is an imaginary line upon which the bottom of your text sits, excluding any descenders (i.e. the line running along the bottom of capital letters.)When 3 1 you specify a value for line spacing 3b2 divides this 4 above, and 4 below the baseline. Select [Styles/ Attributes " Font...].The font dialogue box tstd "f" will appear. Enter a value for theText height.The ´||"· button will bring up a list of th common sizes : even if none of these is what you want, you will see that Text height can be speci¢ed in several di¡erent ways : either as a ¢xed value, or as a value relative to the current height or width of the font. " When you choose your Text height remember that lines of text with more than about 60 characters per line, or about 12 words per line, The font dialogue box. can be di¤cult to read. Specify the rightText height for the column width or `measure'. The two entry boxes next toTypeface display the short and long names tf of the currently-active typeface. To change this, click on either ´||"· to bring up a list (in short or long form respectively) of typefaces available on your system, and choose the one you want. " If you would like a selected list of fonts e.g. fonts starting with the letter `g',you can insert a wildcard character in the font name. For instance if you wanted to list all the fonts available starting with the letter `g',then simply type g* into the font name box.When you type a ! or click on the ´||"· a list of available fonts starting with the letter `g' will appear for you to select from. You can use more than one asterisk when specifying a font name. If, for example, you specify 282 What is a font? *times* then all the fonts with`times' in their name will appear e.g. Times Bold, CyrillicTimes Italic, GreekTimes Bold etc. Line spacing is the distance between the baselines of two lines of text tlb within a paragraph.The baseline of the ¢rst line of text at the top of a column is set the full line spacing distance down. " Line spacing is extra white space between lines of text. In the days of metal type printers achieved this e¡ect by putting strips of lead between the lines of type and the process came to be called leading. " 3b2's default document templates default to a line spacing of 120% of the typesize (1.2*h). This gives good line spacing for most type designs. Some serifed faces, for example Times, can look OK set solid (i.e. with inter-line spacing the same as the type size). Text in tlb h large point sizes will also look OK set solid. Most sans serif typefaces ^ such as Arial or Helvetica ^ bene¢t from more space between the lines. If no line spacing is speci¢ed then 3b2 defaults to 100% of the h Before copy¢tting theActual Scale typesize ( ). will always be 100. " It is possible to specifyline spacing of less than 100% of the typesize. 1:tx1,^,^ This may make the text di¤cult to read or cause lines of text to over- lap. Only specify line spacing of less than 100% if space is very Copy¢tting makes it limited, or if you are using an unusual typeface, for example a script face with a small `x-height' (the height of letters such as `a',`c',`x'etc.) easy to ¢t text to a frame of a speci¢c size. If the text is too short, it can 39.3 become bigger. Alternatives to changing type height àààààààààààààààààààààààààààààààààààà 3b2 provides two very e¤cientways of giving you the correct type height for a particular job: the Size to ¢t paragraph structure (see `Size to ¢t' on tpfmt 8 1:tx1,^,^ p.253) and `copy¢tting'. Copy¢tting, enabled on a frame-by-frame basis, allows you to change up to three text attributes at once (e.g. type height, Copy¢tting makes line spacing andword spacing) so that a block of text ¢ts your frame exactly.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Copyrighted Material
    INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets,
    [Show full text]
  • Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim
    Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim To cite this version: Dae Hwan Kim, Jin Hyung Kim. Ligature Modeling for Recognition of Characters Written in 3D Space. Tenth International Workshop on Frontiers in Handwriting Recognition, Université de Rennes 1, Oct 2006, La Baule (France). inria-00105116 HAL Id: inria-00105116 https://hal.inria.fr/inria-00105116 Submitted on 10 Oct 2006 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim Jin Hyung Kim Artificial Intelligence and Artificial Intelligence and Pattern Recognition Lab. Pattern Recognition Lab. KAIST, Daejeon, KAIST, Daejeon, South Korea South Korea [email protected] [email protected] Abstract defined shape of character while it showed high recognition performance. Moreover when a user writes In this work, we propose a 3D space handwriting multiple stroke character such as ‘4’, the user has to recognition system by combining 2D space handwriting write a new shape which is predefined in a uni-stroke models and 3D space ligature models based on that the and which he/she has never seen.
    [Show full text]
  • 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.
    [Show full text]
  • Checklist for Formats and Conventions of Theses and Dissertations Mckay School of Education Brigham Young University Directions
    Checklist for Formats and Conventions of Theses and Dissertations McKay School of Education Brigham Young University Directions. The process for getting your thesis or dissertation approved typically takes more time than you expect, so plan accordingly. The flowchart found at education.byu.edu/ research/dissertation_aids.html helps you to understand this process. You are responsible for checking your thesis/dissertation to be sure that formats and conventions follow your program/department requirements, BYU Graduate Studies guidelines, and the seventh edition of the Publication Manual of the American Psychological Association (APA). This checklist highlights some of the most critical formatting elements and common errors; refer to the following pages and the APA manual for more information. Complete this checklist, in conjunction with revisions from your committee and graduate coordinator. When the graduate coordinator has approved your Word version, they will submit it and your completed checklist to [email protected] in the dean’s office. Name Date Submitted BYU Format for Preliminary Pages and Organizational Components Line spacing Accurate spelling of committee members’ names and department name Chair identified; committee members listed Completeness of abstract Table of contents, list of tables, list of figures; correlation between table and manuscript (wording, page numbers); hanging indent, subheading indentation, number alignment Description of thesis structure (if needed); title of thesis italicized; appendices referred to in
    [Show full text]
  • List of Common Errors Serves As a Guide for Making Corrections Before You Submit Your Thesis Or Dissertation
    School of Graduate Studies Thesis and Dissertation (ETD) Error Checklist Common Errors Requiring Correction This list of common errors serves as a guide for making corrections before you submit your thesis or dissertation. From time to time, another common error appears, and we update the list. For detailed information on the correct grammatical detail or stylistic nuance, consult the manual of style that you have chosen to guide your work. According to our Handbook, the style choice must be the style guidelines of the major journal in your field. If you need help beyond that manual, try Google. While you must not reference Wikipedia, it is an excellent starting place for general information and the first look at almost everything. If it is complicated, try YouTube. Finally, Word has this amazing feature called “Help.” Exploit its powers. Use as Checklist (The Morgan Dissertation and Thesis Handbook includes detailed discussions of most of these): □ 1. Font type in paging cannot be different from font in text (it may be smaller). This is a popular error. The default for Word is always showing up in the headers, while you have carefully selected a font for your manuscript. □ 2. Incorrect page numbering: Abstract not counted; Title page is “i” but is not placed on the page; Chapter 1 begins with page 1. This takes a few steps in Word to sort, but hundreds of people have done it. The position of the number must be an inch from the margin. If in the corner, an inch from both margins is expected. □ 3. Margins incorrect.
    [Show full text]
  • A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With
    Ty p o g raph i c Factettes A collection of mildly interesting facts about the little symbols we communicate with. Helvetica The horizontal bars of a letter are almost always thinner than the vertical bars. Minion The font size is approximately the measurement from the lowest appearance of any letter to the highest. Most of the time. Seventy-two points equals one inch. Fridge256 point Cochin most of 50the point Zaphino time Letters with rounded bottoms don’t sit on the baseline, but slightly below it. Visually, they would appear too high if they rested on the same base as the squared letters. liceAdobe Caslon Bold UNITED KINGDOM UNITED STATES LOLITA LOLITA In Ancient Rome, scribes would abbreviate et (the latin word for and) into one letter. We still use that abbreviation, called the ampersand. The et is still very visible in some italic ampersands. The word ampersand comes from and-per-se-and. Strange. Adobe Garamond Regular Adobe Garamond Italic Trump Mediaval Italic Helvetica Light hat two letters ss w it cam gue e f can rom u . I Yo t h d. as n b ha e rt en ho a s ro n u e n t d it r fo w r s h a u n w ) d r e e m d a s n o r f e y t e t a e r b s , a b s u d t e d e e n m t i a ( n l d o b s o m a y r S e - d t w A i e t h h t t , h d e n a a s d r v e e p n t m a o f e e h m t e a k i i l .
    [Show full text]
  • The Selnolig Package: Selective Suppression of Typographic Ligatures*
    The selnolig package: Selective suppression of typographic ligatures* Mico Loretan† 2015/10/26 Abstract The selnolig package suppresses typographic ligatures selectively, i.e., based on predefined search patterns. The search patterns focus on ligatures deemed inappropriate because they span morpheme boundaries. For example, the word shelfful, which is mentioned in the TEXbook as a word for which the ff ligature might be inappropriate, is automatically typeset as shelfful rather than as shelfful. For English and German language documents, the selnolig package provides extensive rules for the selective suppression of so-called “common” ligatures. These comprise the ff, fi, fl, ffi, and ffl ligatures as well as the ft and fft ligatures. Other f-ligatures, such as fb, fh, fj and fk, are suppressed globally, while making exceptions for names and words of non-English/German origin, such as Kafka and fjord. For English language documents, the package further provides ligature suppression rules for a number of so-called “discretionary” or “rare” ligatures, such as ct, st, and sp. The selnolig package requires use of the LuaLATEX format provided by a recent TEX distribution, e.g., TEXLive 2013 and MiKTEX 2.9. Contents 1 Introduction ........................................... 1 2 I’m in a hurry! How do I start using this package? . 3 2.1 How do I load the selnolig package? . 3 2.2 Any hints on how to get started with LuaLATEX?...................... 4 2.3 Anything else I need to do or know? . 5 3 The selnolig package’s approach to breaking up ligatures . 6 3.1 Free, derivational, and inflectional morphemes .
    [Show full text]
  • Societal Responses to the State of Orphans and Vulnerable Children (OVC) in Kano
    Societal Responses to the State of Orphans and Vulnerable Children (OVC) in Kano Metropolis- Nigeria A thesis presented to the faculty of the Center for International Studies of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Mustapha Hashim Kurfi June 2010 © 2010 Mustapha Hashim Kurfi. All Rights Reserved. 2 This thesis titled Societal Responses to the State of Orphans and vulnerable children (OVC) in Kano Metropolis- Nigeria by MUSTAPHA HASHIM KURFI has been approved for the Center for International Studies by Steve Howard Professor of African Studies Steve Howard Director, African Studies Daniel Weiner Executive Director, Center for International Studies 3 ABSTRACT KURFI, MUSTAPHA HASHIM, M.A., June 2010, African Studies Societal Responses to the State of Orphans and Vulnerable Children (OVC) in Kano Metropolis- Nigeria (131 pp.) Director of Thesis: Steve Howard This study uses qualitative methodology to examine the contributions of Non- Governmental Organizations in response to the conditions of Orphans and Vulnerable Children (OVC) in Kano metropolis. The study investigates what these organizations do, what methods, techniques, and strategies they employ to identify the causes of OVC’s conditions for intervention. The study acknowledges colonization, globalization, poverty, illiteracy, and individualism as contributing factors to OVC’s conditions. However, essentially, the study identifies gross misunderstanding between paternal and maternal relatives of children to be the main factor responsible for the OVC’s conditions. This social disorganization puts the children in difficult conditions including exposure to health, educational, moral, emotional, psychological, and social problems. The thesis concludes that through “collective efficacy” the studied organizations are a perfect means for solving-problem.
    [Show full text]
  • 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.
    [Show full text]
  • Adobe Garamond Pro
    Adobe Garamond Pro a® a An Adobe® Original Adobe Garamond® Pro A contemporary typeface family based on the roman types of Claude Garamond and the italic types of Robert Granjon © Adobe Systems Incorporated. All rights reserved. For more information about OpenType®, please refer to Adobe’s web site at www.adobe.com/type/opentype is document was designed to be viewed on-screen or printed duplex and assembled as a booklet Adobe® Originals Adobe Systems Incorporated introduces Adobe Garamond Pro, a new font software package in the growing library of Adobe Originals typefaces, designed specifically for today’s digital technology. Since the inception of the Adobe Originals program in , the Adobe Originals typefaces have been consistently recognized throughout the world for their quality, originality, and practicality. ey combine the power of PostScript® language software technology and the most 23 sophisticated electronic design tools with the spirit of craftsmanship that has inspired type designers since Gutenberg. Comprising both new designs and revivals of classic typefaces, Adobe Originals font software has set a standard for typographic excellence. What is OpenType? Developed jointly by Adobe and Microsoft, OpenType® is a highly versatile new font file format that represents a signifi cant advance in type functionality on Macintosh and Windows® computers. Perhaps most exciting for designers and typographers is that OpenType fonts off er extended layout features that bring an unprecedented level of sophistication and control to contemporary typography. Because an OpenType typeface can incorporate all glyphs for a specifi c style and weight into a single font, the need for separate expert, alternate, swash, non-Latin, and other related sets is elimi- nated.
    [Show full text]
  • Chapter 5. Characters: Typology and Page Encoding 1
    Chapter 5. Characters: typology and page encoding 1 Chapter 5. Characters: typology and encoding Version 2.0 (16 May 2008) 5.1 Introduction PDF of chapter 5. The basic characters a-z / A-Z in the Latin alphabet can be encoded in virtually any electronic system and transferred from one system to another without loss of information. Any other characters may cause problems, even well established ones such as Modern Scandinavian ‘æ’, ‘ø’ and ‘å’. In v. 1 of The Menota handbook we therefore recommended that all characters outside a-z / A-Z should be encoded as entities, i.e. given an appropriate description and placed between the delimiters ‘&’ and ‘;’. In the last years, however, all major operating systems have implemented full Unicode support and a growing number of applications, including most web browsers, also support Unicode. We therefore believe that encoders should take full advantage of the Unicode Standard, as recommended in ch. 2.2.2 above. As of version 2.0, the character encoding recommended in The Menota handbook has been synchronised with the recommendations by the Medieval Unicode Font Initiative . The character recommendations by MUFI contain more than 1,300 characters in the Latin alphabet of potential use for the encoding of Medieval Nordic texts. As a consequence of the synchronisation, the list of entities which is part of the Menota scheme is identical to the one by MUFI. In other words, if a character is encoded with a code point or an entity in the MUFI character recommendation, it will be a valid character encoding also in a Menota text.
    [Show full text]