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The Origins of the Underline As Visual Representation of the Hyperlink on the Web: a Case Study in Skeuomorphism
The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Romano, John J. 2016. The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797379 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism John J Romano A Thesis in the Field of Visual Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 Abstract This thesis investigates the process by which the underline came to be used as the default signifier of hyperlinks on the World Wide Web. Created in 1990 by Tim Berners- Lee, the web quickly became the most used hypertext system in the world, and most browsers default to indicating hyperlinks with an underline. To answer the question of why the underline was chosen over competing demarcation techniques, the thesis applies the methods of history of technology and sociology of technology. Before the invention of the web, the underline–also known as the vinculum–was used in many contexts in writing systems; collecting entities together to form a whole and ascribing additional meaning to the content. -
Unicode Nearly Plain-Text Encoding of Mathematics Murray Sargent III Office Authoring Services, Microsoft Corporation 4-Apr-06
Unicode Nearly Plain Text Encoding of Mathematics Unicode Nearly Plain-Text Encoding of Mathematics Murray Sargent III Office Authoring Services, Microsoft Corporation 4-Apr-06 1. Introduction ............................................................................................................ 2 2. Encoding Simple Math Expressions ...................................................................... 3 2.1 Fractions .......................................................................................................... 4 2.2 Subscripts and Superscripts........................................................................... 6 2.3 Use of the Blank (Space) Character ............................................................... 7 3. Encoding Other Math Expressions ........................................................................ 8 3.1 Delimiters ........................................................................................................ 8 3.2 Literal Operators ........................................................................................... 10 3.3 Prescripts and Above/Below Scripts........................................................... 11 3.4 n-ary Operators ............................................................................................. 11 3.5 Mathematical Functions ............................................................................... 12 3.6 Square Roots and Radicals ........................................................................... 13 3.7 Enclosures..................................................................................................... -
The Second Wave of Japanese Desktop Publishing
Volume 30, Number 6 The Seybold Report on Publishing Systems The Second Wave of Japanese Desktop Publishing APANESE DTP ARRIVED just over a decade ago with Apple’s NTX-J PostScript printer and Linotype’s first Japanese J PostScript imagesetter. They came at the right time: The early- ’90s economy was bubbling, companies had money to burn and Japanese DTP took off. It was a young, booming market and it forgave many mistakes that would haunt the industry later. By 1996, the go-go days were gone and they would not come back. By this time, DTP tools (Quark Xpress, Illustrator, Photoshop and, to a smaller extent, PageMaker) had captured nearly 40 per- cent of the production process. For a conservative industry like Japanese publishing, this was phenomenal—until compared to the West. There, in the same amount of time, practically the entire industry converted to DTP production. Japan is still about 40 per- cent and holding. What happened? Three things: the economy, the failure of Western technology to address Japanese issues, and the same old cultural differences Westerners have been running into since Com- modore Perry knocked down the doors in 1853. They just do things differently here. The economic crunch hit the publishing market hard, and it hasn’t really recovered. Consider the book and magazine market: On average, this year’s revenues are down 3.4 percent over last year. Books and magazines 1997 2,637,416 million ¥ 1998 2,541,508 million ¥ 1999 2,460,700 million ¥ 2000 (Jan–June) 1,232,445 million ¥ The advertising industry has been down, but has recently shown signs of recovering: On average, revenues are up 10.4 per- Hiragino. -
Lesson 3 8,UNBELIEVABLE60 HE SAYS4
L 3 Qotatio M, A, Pnt, S B, O, L L (U), Ssh Now learn the following additional punctuation signs: apostrophe ’ [or] ' ' (dot 3) opening one-cell (non-specific) quotation mark 8 (dots 236) closing one-cell (non-specific) quotation mark 0 (dots 356) opening single quotation mark ‘ [or] ' ,8 (dots 6, 236) closing single quotation mark ’ [or] ' ,0 (dots 6, 356) opening parenthesis ( "< (dots 5, 126) closing parenthesis ) "> (dots 5, 345) opening square bracket [ .< (dots 46, 126) (dots 46, 345) closing square bracket ] .> 3.1 S D Qotatio M [UEB §7.6] In braille, there are several different symbols to represent the various types of print quotation marks (additional information about quotation marks will be studied in Lesson 16). In most cases, the opening and clo one- (-ecific) tatio marks should be used to represent the primary or outer quotation marks in the text, and the two- cell opening and closing single quotation marks should represent the inner quotation marks. Examples: "Unbelievable!" he says. 8,BEIEABE60 HE A4 "I only wrote 'come home soon'," he claims. 3 - 1 8,I E ,8CE HE ,010 HE CAI4 3.2 Arop Follow print for the use of apostrophes. Example: "Tell 'em Sam's favorite music is new—1990's too old." 8,E 'E ,A' FAIE IC I E,-#AIIJ' D40 3.2 A api lette. A capital indicator is always placed immediately before the letter to which it applies. Therefore, if an apostrophe comes before a capital letter in print, the apostrophe is brailled before the capital indicator. Example: "'Twas a brilliant plan," says Dan O'Reilly. -
List of Approved Special Characters
List of Approved Special Characters The following list represents the Graduate Division's approved character list for display of dissertation titles in the Hooding Booklet. Please note these characters will not display when your dissertation is published on ProQuest's site. To insert a special character, simply hold the ALT key on your keyboard and enter in the corresponding code. This is only for entering in a special character for your title or your name. The abstract section has different requirements. See abstract for more details. Special Character Alt+ Description 0032 Space ! 0033 Exclamation mark '" 0034 Double quotes (or speech marks) # 0035 Number $ 0036 Dollar % 0037 Procenttecken & 0038 Ampersand '' 0039 Single quote ( 0040 Open parenthesis (or open bracket) ) 0041 Close parenthesis (or close bracket) * 0042 Asterisk + 0043 Plus , 0044 Comma ‐ 0045 Hyphen . 0046 Period, dot or full stop / 0047 Slash or divide 0 0048 Zero 1 0049 One 2 0050 Two 3 0051 Three 4 0052 Four 5 0053 Five 6 0054 Six 7 0055 Seven 8 0056 Eight 9 0057 Nine : 0058 Colon ; 0059 Semicolon < 0060 Less than (or open angled bracket) = 0061 Equals > 0062 Greater than (or close angled bracket) ? 0063 Question mark @ 0064 At symbol A 0065 Uppercase A B 0066 Uppercase B C 0067 Uppercase C D 0068 Uppercase D E 0069 Uppercase E List of Approved Special Characters F 0070 Uppercase F G 0071 Uppercase G H 0072 Uppercase H I 0073 Uppercase I J 0074 Uppercase J K 0075 Uppercase K L 0076 Uppercase L M 0077 Uppercase M N 0078 Uppercase N O 0079 Uppercase O P 0080 Uppercase -
Computer Braille Code (CBC) Update 2010 Special Symbols Page
Computer Braille Code (CBC) Update 2010 Special Symbols Page 3.3 Standard Computer Braille Code symbols, including any symbols that have been devised by the transcriber, should be listed on a “Special Symbols” page. These symbols must be transcribed in accordance with the rules of the Braille Formats: Principles of Print to Braille Transcription (latest edition). When putting CBC symbols on a special symbols page, the minor heading “Computer Braille Code” should appear before the symbols. The first two symbols on the list should always be the opening and closing computer code symbols. Other symbols listed should occur in the order shown below. Only symbols used within the volume are included in the list.. At the end of the list, insert the following paragraph, if applicable: All numbers in Computer Braille Code appear in the lower part of the cell, without the number sign. --------------------- SPECIAL SYMBOLS USED IN THIS VOLUME Computer Braille Code _+ begin Computer Braille Code _: end Computer Braille Code (End Nemeth Code, End shape indicator, etc.) _ (456) shift indicator _& continuation indicator _== countable spaces indicator _! transcriber’s option symbol [include any other description here] _. (456, 46) transcriber’s option symbol [include any other description here] _* begin emphasis indicator _/ end emphasis indicator _> caps lock indicator _< caps release indicator _% begin Nemeth Code indicator _? half-line shift down indicator _# half-line shift up indicator _$ begin shape indicator & ampersand = equal sign ( left parenthesis ) right parenthesis [ left bracket ] right bracket \ backslash * asterisk < less than sign > greater than sign % percent sign . -
Package 'Snakecase'
Package ‘snakecase’ May 26, 2019 Version 0.11.0 Date 2019-05-25 Title Convert Strings into any Case Description A consistent, flexible and easy to use tool to parse and con- vert strings into cases like snake or camel among others. Maintainer Malte Grosser <[email protected]> Depends R (>= 3.2) Imports stringr, stringi Suggests testthat, covr, tibble, purrrlyr, knitr, rmarkdown, magrittr URL https://github.com/Tazinho/snakecase BugReports https://github.com/Tazinho/snakecase/issues Encoding UTF-8 License GPL-3 RoxygenNote 6.1.1 VignetteBuilder knitr NeedsCompilation no Author Malte Grosser [aut, cre] Repository CRAN Date/Publication 2019-05-25 22:50:03 UTC R topics documented: abbreviation_internal . .2 caseconverter . .2 check_design_rule . .6 parsing_helpers . .7 preprocess_internal . .8 relevant . .9 replace_special_characters_internal . .9 to_any_case . 10 to_parsed_case_internal . 14 1 2 caseconverter Index 16 abbreviation_internal Internal abbreviation marker, marks abbreviations with an underscore behind. Useful if parsing_option 1 is needed, but some abbrevia- tions need parsing_option 2. Description Internal abbreviation marker, marks abbreviations with an underscore behind. Useful if parsing_option 1 is needed, but some abbreviations need parsing_option 2. Usage abbreviation_internal(string, abbreviations = NULL) Arguments string A string (for example names of a data frame). abbreviations character with (uppercase) abbreviations. This marks abbreviations with an un- derscore behind (in front of the parsing). Useful if parsing_option -
Best Practices for File Naming and Organizing
Smithsonian Data Management Best Practices Naming and Organizing Files Name and organize your files in a way that indicates their contents and specifies any relationships to other files. The five precepts of file naming and organization: Have a distinctive, human-readable name that gives an indication of the content. Follow a consistent pattern that is machine-friendly. Organize files into directories (when necessary) that follow a consistent pattern. Avoid repetition of semantic elements among file and directory names. Have a file extension that matches the file format (no changing extensions!) FILE NAMING A file name should enable disambiguation among similar files and, for large numbers of files that make up a dataset, facilitate sorting and reviewing. Ideally, file names should be unique. Keep in mind that files can be moved and, without the inherited folder structure, important descriptive information about the contents could be lost. Consider whether a filename would be meaningful outside of your chosen directory structure, and if not, how important the loss of that context would be, e.g., if the date a file was created is important, include it in the filename rather than just the directory name. To provide a description of the file contents in the name itself, you should include elements such as: a date, or at least the year, the contents of the file were created, in the YYYYMMDD format (four digit year, two digit month, two digit day.) o start the filename with the date if it is important to store or sort files in chronological order. the project name, or documented abbreviation for the project. -
Part 1: from Truetype GX to Variable Fonts | Monotype
Monotype › Blog › Articles Contact Search Menu Part 1: from TrueType GX to Variable Fonts Tom Rickner, veteran type designer, Category: Articles shares his personal role in the Author: Tom Rickner 29. 11. 2016 beginnings of type’s most exciting development in decades. Share this In August of 2016, four unlikely collaborators in the world of type, fonts and font technology stood on a stage at the ATypI conference in Warsaw, Poland. The collaborators were Apple, Microsoft, Adobe and Google. Together they announced the publishing of OpenType 1.8, an update to the now ubiquitous font standard which was originally an amalgam of Apple & Microsoft’s TrueType, and Adobe’s PostScript font formats. The OpenType 1.8 announcement, ATypI, Warsaw, Poland, September 14, 2016 OpenType 1.8 unveils tremendous new powers of control for type designers, typographers and application developers alike, and it will do so on each of the major operating systems. For those of you who remember Adobe’s Multiple Master format, that technology represented a sliver of the capabilities that will be at your disposal within the new OpenType standard. There were numerous reasons that this announcement was unique, and many have written about this news in these past few months. But for me, the announcement was not only the culmination of months of meetings, private discussions and collaboration with industry colleagues, but it was in fact the rebirth of one of my first collaborations in the font software business, some 25 years earlier. During the late 1980’s and early 1990’s I was a member of the TrueType team at Apple, working within the “Blue” system software group that released the revolutionary System 7 for the Macintosh. -
The Comprehensive LATEX Symbol List
The Comprehensive LATEX Symbol List Scott Pakin <[email protected]>∗ 22 September 2005 Abstract This document lists 3300 symbols and the corresponding LATEX commands that produce them. Some of these symbols are guaranteed to be available in every LATEX 2ε system; others require fonts and packages that may not accompany a given distribution and that therefore need to be installed. All of the fonts and packages used to prepare this document—as well as this document itself—are freely available from the Comprehensive TEX Archive Network (http://www.ctan.org/). Contents 1 Introduction 6 1.1 Document Usage . 6 1.2 Frequently Requested Symbols . 6 2 Body-text symbols 7 Table 1: LATEX 2ε Escapable “Special” Characters . 7 Table 2: Predefined LATEX 2ε Text-mode Commands . 7 Table 3: LATEX 2ε Commands Defined to Work in Both Math and Text Mode . 7 Table 4: AMS Commands Defined to Work in Both Math and Text Mode . 7 Table 5: Non-ASCII Letters (Excluding Accented Letters) . 8 Table 6: Letters Used to Typeset African Languages . 8 Table 7: Letters Used to Typeset Vietnamese . 8 Table 8: Punctuation Marks Not Found in OT1 . 8 Table 9: pifont Decorative Punctuation Marks . 8 Table 10: tipa Phonetic Symbols . 9 Table 11: tipx Phonetic Symbols . 10 Table 13: wsuipa Phonetic Symbols . 10 Table 14: wasysym Phonetic Symbols . 11 Table 15: phonetic Phonetic Symbols . 11 Table 16: t4phonet Phonetic Symbols . 12 Table 17: semtrans Transliteration Symbols . 12 Table 18: Text-mode Accents . 12 Table 19: tipa Text-mode Accents . 12 Table 20: extraipa Text-mode Accents . -
The Brill Typeface User Guide & Complete List of Characters
The Brill Typeface User Guide & Complete List of Characters Version 2.06, October 31, 2014 Pim Rietbroek Preamble Few typefaces – if any – allow the user to access every Latin character, every IPA character, every diacritic, and to have these combine in a typographically satisfactory manner, in a range of styles (roman, italic, and more); even fewer add full support for Greek, both modern and ancient, with specialised characters that papyrologists and epigraphers need; not to mention coverage of the Slavic languages in the Cyrillic range. The Brill typeface aims to do just that, and to be a tool for all scholars in the humanities; for Brill’s authors and editors; for Brill’s staff and service providers; and finally, for anyone in need of this tool, as long as it is not used for any commercial gain.* There are several fonts in different styles, each of which has the same set of characters as all the others. The Unicode Standard is rigorously adhered to: there is no dependence on the Private Use Area (PUA), as it happens frequently in other fonts with regard to characters carrying rare diacritics or combinations of diacritics. Instead, all alphabetic characters can carry any diacritic or combination of diacritics, even stacked, with automatic correct positioning. This is made possible by the inclusion of all of Unicode’s combining characters and by the application of extensive OpenType Glyph Positioning programming. Credits The Brill fonts are an original design by John Hudson of Tiro Typeworks. Alice Savoie contributed to Brill bold and bold italic. The black-letter (‘Fraktur’) range of characters was made by Karsten Lücke. -
Font Management Basic Terminology ∞ I
CS 175.21 Windsor Green Spring 2010 Font Management Basic Terminology ∞ I. Font Definition∞ A. Strictly speaking the contents of the two cases - upper and lower - in metal type (for one size) B. Nowadays, the word font means all the glyphs (symbols) for a font in all sizes. Examples; Century, Fritz Quadrata, Myriad, , Giddyup, Gill Sans Ultra Bold Bickham Script C. The term typeface is interchangeable with font in today’s modern computer world A. Myriad Italic D. All the variations for a font is called a font family — B. Myria Regular this includes different weights (thicknesses like bold and light) and glyph widths (condensed and extended). C. Myriad Light II. Acquiring Fonts D. Myriad Bold A. Computer fonts: postscript, True type and Open Type E. Myriad SemiboldCondesed B. Font foundries: companies that create fonts F. Myriad Semibold Italic C. Special system fonts: Microsoft has special TT fonts used in the Windows OS Apple has special TT fonts used in their OS and dfonts. D. Application fonts: Microsoft auto installs numerous True type fonts during Office installation Adobe auto installs numerous OpenType fonts during Adobe CS installation E. Purchased fonts 1. Adobe (no longer creates new PostScript fonts but supports them — the focus is now on Open Type fonts) 2. High end fonts for home use and professional printing: OpenType and PostScript 3. Be careful buying fonts! The same typeface is sometimes available from different foundries. 4. Some websites where you can purchase fonts and where foundries are listed. fonts.com myfonts.com philsfonts.com Page 1 5. Some Foundries linotype.com itcfonts.com bertholdtype.com adobe.com/type Licensing agreements for purchased fonts — how can you legally use a font? 6.