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GOV-TA-0003 SFF TA TWG Style Guide
PUBLISHED R1.0a GOV-TA-0003 Documentation for SFF TA TWG Style Guide Rev 1.0a January 17, 2019 This guide provides editors of SFF TA TWG documents with information on style and formatting to aid in the creation of new documents and in the revision of existing documents. Questions about the content of this document should be directed to the SNIA Technical Council Managing Director at [email protected]. SFF TA TWG Style Guide Page 1 Copyright © 2019. All rights reserved. PUBLISHED R1.0a Revision History Rev 1.0 November 21, 2018 - First publication Rev 1.0a January 17, 2019 - Added document number (GOV-TA-0003) - Added revision history - Updated formatting Contents 1 Overview ..................................................................................................................................... 3 2 Section Numbering ...................................................................................................................... 3 3 Text ............................................................................................................................................ 3 3.1 Font, Margins, and Formatting .............................................................................................. 3 3.2 Units, Subscripts, and Superscripts ........................................................................................ 3 3.3 Trademark and Copyright Symbols ........................................................................................ 3 4 Tables of Contents, Figures, and Tables ....................................................................................... -
Your Paper's Title Starts Here: Please Center Use Helvetica (Arial) 14
Your Paper's Title Starts Here: Please Center use Helvetica (Arial) 14 FULL First Author1, a, FULL Second Author2,b and FULL Other Author3,c 1Full address of first author, including country 2Full address of second author, including country 3List all DISTINCT addresses in the same way aemail, bemail, cemail Keywords: List the keywords covered in your paper. These keywords will also be used by the publisher to produce a keyword index. Abstract. For the rest of the paper, please use Times Roman (Times New Roman) 12. This template explains and demonstrates how to prepare your camera-ready paper for the proceedings of the conference Materials Structure & Micromechanics of Fracture. The best is to read these instructions and follow the outline of this text. Please make the page settings of your word processor to A4 format (21 x 29,7 cm or 8 x 11 inches); with the margins: bottom 1.5 cm (0.59 in) and top 2.5 cm (0.98 in), right/left margins must be 2 cm (0.78 in). Introduction All manuscripts must be in English, also the table and figure texts, otherwise we cannot publish your paper. Please keep a second copy of your manuscript in your office. When receiving the paper, we assume that the corresponding authors grant us the copyright to use the paper for the book or journal in question. Should authors use tables or figures from other Publications, they must ask the corresponding publishers to grant them the right to publish this material in their paper. Use italic for emphasizing a word or phrase. -
1 Symbols (2286)
1 Symbols (2286) USV Symbol Macro(s) Description 0009 \textHT <control> 000A \textLF <control> 000D \textCR <control> 0022 ” \textquotedbl QUOTATION MARK 0023 # \texthash NUMBER SIGN \textnumbersign 0024 $ \textdollar DOLLAR SIGN 0025 % \textpercent PERCENT SIGN 0026 & \textampersand AMPERSAND 0027 ’ \textquotesingle APOSTROPHE 0028 ( \textparenleft LEFT PARENTHESIS 0029 ) \textparenright RIGHT PARENTHESIS 002A * \textasteriskcentered ASTERISK 002B + \textMVPlus PLUS SIGN 002C , \textMVComma COMMA 002D - \textMVMinus HYPHEN-MINUS 002E . \textMVPeriod FULL STOP 002F / \textMVDivision SOLIDUS 0030 0 \textMVZero DIGIT ZERO 0031 1 \textMVOne DIGIT ONE 0032 2 \textMVTwo DIGIT TWO 0033 3 \textMVThree DIGIT THREE 0034 4 \textMVFour DIGIT FOUR 0035 5 \textMVFive DIGIT FIVE 0036 6 \textMVSix DIGIT SIX 0037 7 \textMVSeven DIGIT SEVEN 0038 8 \textMVEight DIGIT EIGHT 0039 9 \textMVNine DIGIT NINE 003C < \textless LESS-THAN SIGN 003D = \textequals EQUALS SIGN 003E > \textgreater GREATER-THAN SIGN 0040 @ \textMVAt COMMERCIAL AT 005C \ \textbackslash REVERSE SOLIDUS 005E ^ \textasciicircum CIRCUMFLEX ACCENT 005F _ \textunderscore LOW LINE 0060 ‘ \textasciigrave GRAVE ACCENT 0067 g \textg LATIN SMALL LETTER G 007B { \textbraceleft LEFT CURLY BRACKET 007C | \textbar VERTICAL LINE 007D } \textbraceright RIGHT CURLY BRACKET 007E ~ \textasciitilde TILDE 00A0 \nobreakspace NO-BREAK SPACE 00A1 ¡ \textexclamdown INVERTED EXCLAMATION MARK 00A2 ¢ \textcent CENT SIGN 00A3 £ \textsterling POUND SIGN 00A4 ¤ \textcurrency CURRENCY SIGN 00A5 ¥ \textyen YEN SIGN 00A6 -
Information for Contributors (Print)
PHYSICAL REVIEW LETTERS INFORMATION FOR CONTRIBUTORS (Revised July 2012) This journal, and more detailed information about it, can be found at http://prl.aps.org/. Prospective authors are particularly advised to consult the information accessible via the Authors and Manuscript Submission subpages. Those looking for a specific known file may find it more convenient to consult the alphabetical listing available on the Author Forms subpage at http://forms.aps.org/author.html. Manuscripts may be submitted by a variety of electronic modes (including via e-print servers, direct Web upload, and email). Web or e-print submission is strongly preferred. Interactive submission forms are an integral part of the submission process for the e-print and Web modes. These forms aid authors in supplying all the information needed in a structured format which furthers efficient processing; they also provide a location for additional “free form” information. Please specify the author to whom correspondence should be addressed, and give all available communications information for this individual (postal and email addresses, phone and fax numbers), since in various circumstances they may all be useful. Please specify journal and section to which the paper is submitted, and give PACS (Physics and Astronomy Classification SchemeR ) index categories for the work. The scheme is available at http://publish.aps.org/PACS/. Authors of manuscripts that have been sent for review are directed, via email, to an online, interactive service that guides the completion of the ‘publication rights’ agreement(s), such as the APS Transfer of Copyright agreement, appropriate to their work. While such agreements take effect only upon acceptance of the manuscript for publication in an APS journal, the prompt completion of this process can prevent unnecessary delays; accepted manuscripts will not be forwarded to production until APS is in receipt of the agreement(s) associated with them. -
Instructions for the Preparation of Manuscripts
INSTRUCTIONS FOR THE PREPARATION OF MANUSCRIPTS ANNUAL REVIEWS 4139 El Camino Way P.O. Box 10139 Palo Alto, CA 94303-0139 (courier address: 4139 El Camino Way Palo Alto, CA 94306) Phone: 650-493-4400 Fax: 650-855-9815 http://www.AnnualReviews.org Revised April 2012 For the Annual Reviews of Anthropology; Astronomy and Astrophysics; Cell and Developmental Biology; Clinical Psychology; Earth and Planetary Sciences; Ecology, Evolution, and Systematics; Economics; Financial Economics; Fluid Mechanics; Food Science and Technology; Law and Social Science; Marine Science; Neuroscience; Political Science; Psychology; Resource Economics; and Sociology WELCOME TO ANNUAL REVIEWS Thank you for accepting our invitation to contribute to Annual Reviews. Recognizing the effort involved in writing for us, Annual Reviews strives to be responsive during your article’s submission, vetting, and revision processes. We provide editorial, graphics, and online support at every step. The information in this handbook provides further details about Annual Reviews, the preparation of your manuscript, and the publication process. If you have any questions about the information, please contact your production editor. TABLE OF CONTENTS Manuscript Submission Checklist.................................................................................................................. 5 Annual Reviews’ Editorial Principles and Policies........................................................................................ 7 Principles Copyright, Archiving, and Permissions -
Final Submissions
www.nature.com/nature/authors/submissions Final submissions These instructions apply only if your manuscript has been accepted • Do not use linked fields (produced by ‘EndNote’ and similar in principle for publication and an editor has asked you to upload programs). For authors using EndNote, please use the one-click production-quality material. removal button provided by EndNote to strip out EndNote macros before saving and submitting your text file. Before your manuscript can be formally accepted for publication and passed to our subediting, art and production departments, you will need FINAL PRINT-ONLY ARTWORK to upload electronic files of your text, figures, Extended Data figures and tables, and Supplementary Information (if any) to our server. You When preparing figures, authors are advised to refer to printed copies of will also need to upload scanned copies of any forms and declarations Nature to get a sense of general size and style points. requested by the editorial office for signing. When you send us your final artwork files, please include the e-mail FINAL TEXT address of a person (an author or author’s artist) who can promptly deal with our artwork format queries over a three-week period after your Instructions for formatting and content of the text are at www.nature. paper is accepted for publication. com/nature/authors/gta. For an illustrated guide to preparing production-quality artwork after Our preferred format for text is Microsoft Word with the style tags acceptance, see the information sheet 'Guide to preparing final artwork'. removed. Lettering TeX/LaTeX: If you have prepared your paper using TeX/LaTeX, we Lettering should be in a sans-serif typeface, preferably Helvetica or Arial, will need to convert this to Word after acceptance, before your paper in the same font throughout all figures in the paper. -
15. Footnotes, Indexes, Contents, and Outlines Footnotes and Reference
15. Footnotes, Indexes, Contents, and Outlines Footnotes and reference marks 15.1. Text footnotes follow the style of the text with the exception of those things noted in Chapter 9 “Abbreviations and Letter Symbols.’’ Footnotes appearing in tabular material follow the guidelines set forth in Chapter 13 “Tabular Work.’’ 15.2. In a publication divided into chapters, sections, or articles, each beginning a new page, text footnotes begin with 1 in each such division. In a publication without such divisional grouping, foot- notes are numbered consecutively from 1 to 99, and then begin with 1 again. However, in supplemental sections, such as appendixes and bibliographies, which are not parts of the publication proper, foot- notes begin with 1. 15.3. Copy preparers must see that references and footnotes are plainly marked. 15.4. If a reference is repeated on another page, it should carry the origi- nal footnote; but to avoid repetition of a long note, the copy preparer may use the words “See footnote 3 (6, 10, etc.) on p.—.’’ instead of repeating the entire footnote. 15.5. Unless the copy is otherwise marked: (1) Footnotes to 12-point text are set in 8 point; (2) footnotes to 11-point text are set in 8 point, except in Supreme Court reports, in which they are set in 9 point; (3) footnotes to 10- and 8-point text are set in 7 point. 15.6. Footnotes are set as paragraphs at the bottom of the page and are separated from the text by a 50-point rule, set fl ush left , with no less than 2 points of space above and below the rule. -
Points to Consider
points to consider Assignment 3 1 Typography exists to honor content Text typography Typography must draw attention to itself in order to be read, yet in order to be read, it must relinquish the attention it has drawn. A traditional goal of typography is durability — durable typography is legible, but beyond that, it activates the page. 2 Letters have a life and dignity of their own Well-chosen words deserve well-chosen letters; these in turn deserve to be set with intelligence, knowledge and skill. In a badly designed book, letters and words stand out unnaturally, making them difficult to read. Uneveness in lines of text are jarring and so what seems simple – the task of non-interference with letters – is actually quite difficult and designers spend hours and hours working out proper measure and reading gait. 3 Read the text before designing it 4 Discover the outer logic of the typography in the inner logic of the text Does the text have a particular structure? What are the elements, for example is it broken down into sections with heads, are there footnotes, endnotes, lists, excerpts, captions? All of these things must be taken into consideration and it is best to do so before designing anything so that one considers all the elements of the text and how they will fit together. 5 Give full typographical attention to incidental details Things like page numbers (folios), headers, footers – these are elements which can be made into beautiful typography, and are items that, when taken into consideration and carefully designed, set apart a well-designed text from a more typical rote way of flowing text in to a template. -
Fonts for Greek Paleography
FONTS FOR GREEK PALEOGRAPHY ANGULAR UNCIAL, BIBLICAL UNCIAL, COPTIC UNCIAL, PAPYRUS UNCIAL, ROUND UNCIAL, SLAVONIC UNCIAL, SLOPING UNCIAL, MINUSCULE IX, MINUSCULE XI and MINUSCULE XV User’s manual 3rd edition February 2017 Juan-José Marcos [email protected] Professor of Classics. Plasencia. (Cáceres). Spain. Designer of fonts for ancient scripts and linguistics ALPHABETUM Unicode font http://guindo.pntic.mec.es/jmag0042/alphabet.html PALEOGRAPHIC LATIN fonts http://guindo.pntic.mec.es/jmag0042/palefont.html PALEOGRAPHIC GREEK fonts http://guindo.pntic.mec.es/jmag0042/palegreek.html TABLE OF CONTENTS Page INTRODUCTION: FONTS FOR GREEK PALEOGRAPHY (3-6) Font package for Greek Paleography 3 Characteristics of the fonts 5 Price of the palaeographic set of fonts 6 Methods of payment 6 Suggestions and queries 6 FIRST PART: A BRIEF OVERVIEW ON GREEK PALEOGRAPHY (7-60) Preliminary advice 8 Styles of Greek handwriting 8 The papyrus period (Uncials) 10 • Ptolemaic period 11 • Roman period 15 • Byzantine period 19 The vellum period (Uncials) 22 • Biblical Uncial 23 • Sloping Uncial 31 • Coptic Uncial 33 • Slavonic Uncial 36 The minuscule handwriting (Minuscules) 39 • Codices Vetustissimi 42 • Codices Vetusti 46 • Codices Recentiores 49 • Codices Novelli 53 SECOND PART: TECHNICAL INFORMATION (61-71) Unicode-encoded fonts 62 Private Use Areas 63 OpenType 64 • Introduction 64 • Mac and PC compatible 64 • What is inside? 65 • How to enable OpenType features in applications 66 • OpenType features in Microsoft Word 67 • OpenType features in Adobe InDesign 68 • OpenType features in QuarkXPress 70 Paleographic fonts for Greek script 2 Juan-José Marcos [email protected] FONT PACKAGE FOR GREEK PALEOGRAPHY The font package termed "Fonts for Greek Paleography" is a font package which contains a total of 10 typefaces named ANGULAR UNCIAL, BIBLICAL UNCIAL, SLOPING UNCIAL, COPTIC UNCIAL, PAPYRUS UNCIAL, ROUND UNCIAL, SLAVONIC UNCIAL, MINUSCULE IX, MINUSCULE XI and MINUSCULE XV respectively. -
1 Symbols (2284)
1 Symbols (2284) USV Symbol Macro(s) Description 0009 \textHT <control> 000A \textLF <control> 000D \textCR <control> 0022 ” \textquotedbl QUOTATION MARK 0023 # \texthash NUMBER SIGN \textnumbersign 0024 $ \textdollar DOLLAR SIGN 0025 % \textpercent PERCENT SIGN 0026 & \textampersand AMPERSAND 0027 ’ \textquotesingle APOSTROPHE 0028 ( \textparenleft LEFT PARENTHESIS 0029 ) \textparenright RIGHT PARENTHESIS 002A * \textasteriskcentered ASTERISK 002B + \textMVPlus PLUS SIGN 002C , \textMVComma COMMA 002D - \textMVMinus HYPHEN-MINUS 002E . \textMVPeriod FULL STOP 002F / \textMVDivision SOLIDUS 0030 0 \textMVZero DIGIT ZERO 0031 1 \textMVOne DIGIT ONE 0032 2 \textMVTwo DIGIT TWO 0033 3 \textMVThree DIGIT THREE 0034 4 \textMVFour DIGIT FOUR 0035 5 \textMVFive DIGIT FIVE 0036 6 \textMVSix DIGIT SIX 0037 7 \textMVSeven DIGIT SEVEN 0038 8 \textMVEight DIGIT EIGHT 0039 9 \textMVNine DIGIT NINE 003C < \textless LESS-THAN SIGN 003D = \textequals EQUALS SIGN 003E > \textgreater GREATER-THAN SIGN 0040 @ \textMVAt COMMERCIAL AT 005C \ \textbackslash REVERSE SOLIDUS 005E ^ \textasciicircum CIRCUMFLEX ACCENT 005F _ \textunderscore LOW LINE 0060 ‘ \textasciigrave GRAVE ACCENT 0067 g \textg LATIN SMALL LETTER G 007B { \textbraceleft LEFT CURLY BRACKET 007C | \textbar VERTICAL LINE 007D } \textbraceright RIGHT CURLY BRACKET 007E ~ \textasciitilde TILDE 00A0 \nobreakspace NO-BREAK SPACE 00A1 ¡ \textexclamdown INVERTED EXCLAMATION MARK 00A2 ¢ \textcent CENT SIGN 00A3 £ \textsterling POUND SIGN 00A4 ¤ \textcurrency CURRENCY SIGN 00A5 ¥ \textyen YEN SIGN 00A6 -
Guidelines for Typography in Nbcs
GUIDELINES FOR TYPOGRAPHY IN NBCS his document is intended as a brief checklist for writers. Its target is reports, T documentation, and other documents that are primarily text. There are addi- tional considerations for “design-intensive” documents such as newsletters, with multiple columns, side-bars, and other complexities. For the web, this document ap plies to reports and other material that is primarily read from beginning to end. There are other issues with pages that are primarily links (i.e. top-level pages) or that look more like advertising than like a book. Of course there are in-between cases. For example, a lot of computer documenta- tion follows the principles described here, but has examples of user interaction or screen shots as well as text. These sometimes require a document that has a bit more structure to it than just a single column of text. This is not a complete textbook on typography. Rather, it’s an attempt to sum- marize some of the most important points. If you are interested in learning more, I strongly recommend Robert Bringhurst’s book The Elements of Typographical Style. A lot of the material here is based on that book. * * * The purpose of typography is to get your point across. While documents can be beautiful or ugly, most of us aren’t creating great art – we’re trying to convince some- one or present information. Thus the starting points are to do everything possible to make the document comprehensible, and to avoid distraction. In general a well type- set document will have a fairly even overall look. -
How to Make a Figure
ME Writing Thread MECHANICAL ENGINEERING How to produce a Figure Where does it fit? – A figure is often included in results and discussion sections to convey specific data in a meaningful way, though they can be included in other sections as appropriate. Before writing – Determine whether a figure is the best method to convey data and its intended message; this requires thoughtful examination of the data and the purpose of presenting the data. Sometimes data can be presented in a single sentence or two, in which case neither a figure nor table is necessary. Other times data is best presented in a table, in which case instructions for producing a table should be followed. Often, a figure is the best method to convey data that supplements the text but does not duplicate it. Graphs are best used to demonstrate trends or patterns in relationships between different variables from models, measurements, and other data. Other figure types, such as a graphic, diagram, or schematic, can be used to illustrate a concept. One can also use images, pictures, and maps to convey visual evidence of a certain phenomenon. One must first determine which type of figure best conveys the intended message. In preparation for writing, create a draft figure according to the following steps Graph: 1. Collect all the data that may be presented in the graph. 2. Identify the variables and combinations thereof and create a graph, or multiple graphs, to determine what trend or pattern the data and graph convey. 3. Analyze the trend, pattern or lack thereof so you can write about what the meaning of the data.