TUGBOAT Volume 37, Number 3 / 2016
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An Animated Avatar to Interpret Signwriting Transcription
An Animated Avatar to Interpret SignWriting Transcription Yosra Bouzid Mohamed Jemni Research Laboratory of Technologies of Information and Research Laboratory of Technologies of Information and Communication & Electrical Engineering (LaTICE) Communication & Electrical Engineering (LaTICE) ESSTT, University of Tunis ESSTT, University of Tunis [email protected] [email protected] Abstract—People with hearing disability often face multiple To address this issue, different methods and technologies barriers when attempting to interact with hearing society. geared towards deaf communication have been suggested over The lower proficiency in reading, writing and understanding the the last decades. For instance, the use of sign language spoken language may be one of the most important reasons. interpreters is one of the most common ways to ensure a Certainly, if there were a commonly accepted notation system for successful communication between deaf and hearing persons in sign languages, signed information could be provided in written direct interaction. But according to a WFD survey in 2009, 13 form, but such a system does not exist yet. SignWriting seems at countries out of 93 do not have any sign language interpreters, present the best solution to the problem of SL representation as it and in many of those countries where there are interpreters, was intended as a practical writing system for everyday there are serious problems in finding qualified candidates. communication, but requires mastery of a set of conventions The digital technologies, particularly video and avatar-based different from those of the other transcriptions systems to become a proficient reader or writer. To provide additional systems, contribute, in turn, in bridging the communication support for deaf signers to learn and use such notation, we gap. -
CSS Font Stacks by Classification
CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed. -
Dynamic and Interactive R Graphics for the Web: the Gridsvg Package
JSS Journal of Statistical Software MMMMMM YYYY, Volume VV, Issue II. http://www.jstatsoft.org/ Dynamic and Interactive R Graphics for the Web: The gridSVG Package Paul Murrell Simon Potter The Unversity of Auckland The Unversity of Auckland Abstract This article describes the gridSVG package, which provides functions to convert grid- based R graphics to an SVG format. The package also provides a function to associate hyperlinks with components of a plot, a function to animate components of a plot, a function to associate any SVG attribute with a component of a plot, and a function to add JavaScript code to a plot. The last two of these provides a basis for adding interactivity to the SVG version of the plot. Together these tools provide a way to generate dynamic and interactive R graphics for use in web pages. Keywords: world-wide web, graphics, R, SVG. 1. Introduction Interactive and dynamic plots within web pages are becomingly increasingly popular, as part of a general trend towards making data sets more open and accessible on the web, for example, GapMinder (Rosling 2008) and ManyEyes (Viegas, Wattenberg, van Ham, Kriss, and McKeon 2007). The R language and environment for statistical computing and graphics (R Development Core Team 2011) has many facilities for producing plots, and it can produce graphics formats that are suitable for including in web pages, but the core graphics facilities in R are largely focused on static plots. This article describes an R extension package, gridSVG, that is designed to embellish and transform a standard, static R plot and turn it into a dynamic and interactive plot that can be embedded in a web page. -
The Unicode Cookbook for Linguists: Managing Writing Systems Using Orthography Profiles
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2017 The Unicode Cookbook for Linguists: Managing writing systems using orthography profiles Moran, Steven ; Cysouw, Michael DOI: https://doi.org/10.5281/zenodo.290662 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-135400 Monograph The following work is licensed under a Creative Commons: Attribution 4.0 International (CC BY 4.0) License. Originally published at: Moran, Steven; Cysouw, Michael (2017). The Unicode Cookbook for Linguists: Managing writing systems using orthography profiles. CERN Data Centre: Zenodo. DOI: https://doi.org/10.5281/zenodo.290662 The Unicode Cookbook for Linguists Managing writing systems using orthography profiles Steven Moran & Michael Cysouw Change dedication in localmetadata.tex Preface This text is meant as a practical guide for linguists, and programmers, whowork with data in multilingual computational environments. We introduce the basic concepts needed to understand how writing systems and character encodings function, and how they work together. The intersection of the Unicode Standard and the International Phonetic Al- phabet is often not met without frustration by users. Nevertheless, thetwo standards have provided language researchers with a consistent computational architecture needed to process, publish and analyze data from many different languages. We bring to light common, but not always transparent, pitfalls that researchers face when working with Unicode and IPA. Our research uses quantitative methods to compare languages and uncover and clarify their phylogenetic relations. However, the majority of lexical data available from the world’s languages is in author- or document-specific orthogra- phies. -
Graphics Design
Graphics Design - Typography Exercise 7 - ‘Arial’ ____________________________________________________________________________________________________________________________ Closest Fonts: {Arial, Helvetica, MS Gothic} Closer Fonts: {Newhouse DT Condensed, CG Triumvirate Condensed} Chosen Focus Font: {Arial Narrow Bold Italic} ____________________________________________________________________________________________________________________________ Font: Monotype Grotesque Birth-Date: 1926 Creator: Frank Hinman Pierpont Publisher: Monotype Foundry Based Off: Grotesque (by H. Berthold AG Foundry & William Thorowogood, 1832) Family: Largely-Extended: Multiple Widths (Condensed,...,Extended) Recognition: Easily Recognisable as san-serifs were few and unusual in England. Use: Early 20th Century Avant Garde Printing from Western & Central Europe ____________________________________________________________________________________________________________________________ Font: Arial Alias: (Original) Sonoran Sans Serif, (After Microsoft Acquisition) Arial MT Birth-Date: 1982 Self-Description: “Contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can -
Fira Code: Monospaced Font with Programming Ligatures
Personal Open source Business Explore Pricing Blog Support This repository Sign in Sign up tonsky / FiraCode Watch 282 Star 9,014 Fork 255 Code Issues 74 Pull requests 1 Projects 0 Wiki Pulse Graphs Monospaced font with programming ligatures 145 commits 1 branch 15 releases 32 contributors OFL-1.1 master New pull request Find file Clone or download lf- committed with tonsky Add mintty to the ligatures-unsupported list (#284) Latest commit d7dbc2d 16 days ago distr Version 1.203 (added `__`, closes #120) a month ago showcases Version 1.203 (added `__`, closes #120) a month ago .gitignore - Removed `!!!` `???` `;;;` `&&&` `|||` `=~` (closes #167) `~~~` `%%%` 3 months ago FiraCode.glyphs Version 1.203 (added `__`, closes #120) a month ago LICENSE version 0.6 a year ago README.md Add mintty to the ligatures-unsupported list (#284) 16 days ago gen_calt.clj Removed `/**` `**/` and disabled ligatures for `/*/` `*/*` sequences … 2 months ago release.sh removed Retina weight from webfonts 3 months ago README.md Fira Code: monospaced font with programming ligatures Problem Programmers use a lot of symbols, often encoded with several characters. For the human brain, sequences like -> , <= or := are single logical tokens, even if they take two or three characters on the screen. Your eye spends a non-zero amount of energy to scan, parse and join multiple characters into a single logical one. Ideally, all programming languages should be designed with full-fledged Unicode symbols for operators, but that’s not the case yet. Solution Download v1.203 · How to install · News & updates Fira Code is an extension of the Fira Mono font containing a set of ligatures for common programming multi-character combinations. -
CSS Contenu / Mise En Forme 3 Séparer Contenu, Site Mise En Forme, Web Document Object Et Actions
Langages du Web 1 Langages du Web CSS Contenu / Mise en forme 3 Séparer contenu, Site mise en forme, Web Document Object et actions. DOM Model Cascading Style JS JavaScript Sheet CSS HyperText Markup Language HTML francois.piat@univ‐fcomte.fr CSS Cascading Style Sheet 4 Feuille de style en cascade : séparer contenu et forme. Pas d'attributs de mise en forme dans le code HTML CSS ≠ HTML. Un "mécanisme" avec sa propre syntaxe Contrôle précis de la mise en page et de la mise en forme Code HTML plus simple et plus court CCS 1 : décembre 1996 Propriétés de mise en forme et de rendu typographique CSS 2 : mai 1998 70 nouvelles propriétés (ex : positionnement à l'écran) Cascade : plusieurs de feuilles de styles mises en oeuvre CSS 2.1 : septembre 2009 ‐ Recommandation : 7 juin 2011 Supprime des parties de CSS 2 / corrections suivant les implémentations CSS 3 : en développement http://www.w3.org/Style/CSS/current‐work#roadmap francois.piat@univ‐fcomte.fr 2 Langages du Web CSS Contenu / Mise en forme 5 1994 1997 1999 2005 Maintenant JS JS HTML HTML CSS JS CSS HTML HTML JS HTML HTML "The Web technology stack is a complete mess." Ian Hickson – 08/01/2013 - http://html5doctor.com/interview-with-ian-hickson-html-editor/ francois.piat@univ‐fcomte.fr CSS Code CSS 6 h1 { background: url(images/trait.png) no‐repeat; color: #be7e11; font‐size: 28px; font‐weight: bold; width: 590px; } #bcContenu li .avatar { font: 16px/1.8 Arial, Verdana, sans‐serif; height: 50px; margin‐left: ‐60px; width: 50px; } francois.piat@univ‐fcomte.fr 3 Langages du -
CM-Super: Automatic Creation of Efficient Type 1 Fonts from Metafont
CM-Super: Automatic creation of efficient Type 1 fonts from METAFONT fonts Vladimir Volovich Voronezh State University Moskovsky prosp. 109/1, kv. 75, Voronezh 304077 Russia [email protected] Abstract In this article I describe making the CM-Super fonts: Type 1 fonts converted from METAFONT sources of various Computer Modern font families. The fonts contain a large number of glyphs covering writing in dozens of languages (Latin-based, Cyrillic-based, etc.) and provide outline replacements for the original METAFONT fonts. The CM-Super fonts were produced by tracing the high resolution bitmaps generated by METAFONT with the help of TEXtrace, optimizing and hinting the fonts with FontLab, and applying cleanups and optimizations with Perl scripts. 1 The idea behind the CM-Super fonts There exist free Type 1 versions of the original CM The Computer Modern (CM) fonts are the default fonts, provided by Blue Sky Research, Elsevier Sci- ence, IBM Corporation, the Society for Industrial and most commonly used text fonts with TEX. Orig- inally, CM fonts contained only basic Latin letters, and Applied Mathematics (SIAM), Springer-Verlag, and thus covered only the English language. There Y&Y and the American Mathematical Society, but are however a number of Computer Modern look- until not long ago there were no free Type 1 versions alike METAFONT fonts developed which cover other of other “CM look-alike” fonts available, which lim- languages and scripts. Just to name a few: ited their usage in PDF and PostScript target docu- ment formats. The CM-Super fonts were developed • EC and TC fonts, developed by J¨orgKnappen, to cover this gap. -
FONT GUIDE Workbook to Help You Find the Right One for Your Brand
FONT GUIDE Workbook to help you find the right one for your brand. www.ottocreative.com.au Choosing the right font for your brand YOUR BRAND VALUES: How different font styles can be used to make up your brand: Logo Typeface: Is usually a bit more special and packed with your brands personality. This font should be used sparingly and kept for special occasions. Headings font: Logo Font This font will reflect the same brand values as your logo font - eg in this example both fonts are feminine and elegant. Headings Unlike your logo typeface, this font should be easier to read and look good a number of different sizes and thicknesses. Body copy Body font: The main rule here is that this font MUST be easy to read, both digitally and for print. If there is already alot going on in your logo and heading font, keep this style simple. Typefaces, common associations & popular font styles San Serif: Clean, Modern, Neutral Try these: Roboto, Open Sans, Lato, Montserrat, Raleway Serif: Classic, Traditional, reliable Try these: Playfair Display, Lora, Source Serif Pro, Prata, Gentium Basic Slab Serif: Youthful, modern, approachable Try these: Roboto Slab, Merriweather, Slabo 27px, Bitter, Arvo Script: Feminine, Romantic, Elegant Try these: Dancing Script, Pacifico, Satisfy, Courgette, Great Vibes Monotype:Simple, Technical, Futuristic Try these: Source Code Pro, Nanum Gothic Coding, Fira Mono, Cutive Mono Handwritten: Authentic, casual, creative Try these: Indie Flower, Shadows into light, Amatic SC, Caveat, Kalam Display: Playful, fun, personality galore Try these: Lobster, Abril Fatface, Luckiest Guy, Bangers, Monoton NOTE: Be careful when using handwritten and display fonts, as they can be hard to read. -
Apple Lisa Computer Font Charts
Apple Lisa Computer Font Charts Apple Lisa Computer Technical Information APPLE LISA COMPUTER FONT CHARTS Printed by David T. Craig Printed by: Macintosh Picture Printer 0.0.2 1998-12-06 Printed: 1998-12-15 17:06:07 Printed by David T. Craig Page 0000 of 0028 Apple Lisa Computer Font Charts Printed by David T. Craig Page 0001 of 0028 “Apple Lisa Font Chart 01/28.PIC” 16 KB 1998-12-13 dpi: 72h x 72v pix: 576h x 720v Apple Lisa Computer Font Charts Printed by David T. Craig Page 0002 of 0028 “Apple Lisa Font Chart 02/28.PIC” 22 KB 1998-12-13 dpi: 72h x 72v pix: 576h x 720v Apple Lisa Computer Font Charts Printed by David T. Craig Page 0003 of 0028 “Apple Lisa Font Chart 03/28.PIC” 12 KB 1998-12-13 dpi: 72h x 72v pix: 576h x 720v Apple Lisa Computer Font Charts Printed by David T. Craig Page 0004 of 0028 “Apple Lisa Font Chart 04/28.PIC” 14 KB 1998-12-13 dpi: 72h x 72v pix: 576h x 720v Apple Lisa Computer Font Charts Printed by David T. Craig Page 0005 of 0028 “Apple Lisa Font Chart 05/28.PIC” 16 KB 1998-12-13 dpi: 72h x 72v pix: 576h x 720v Apple Lisa Computer Font Charts Printed by David T. Craig Page 0006 of 0028 “Apple Lisa Font Chart 06/28.PIC” 21 KB 1998-12-13 dpi: 72h x 72v pix: 576h x 720v Apple Lisa Computer Font Charts Printed by David T. -
Differences of Fira Sans & Firago
January 2018 FiraGO and Fira Sans – A guide Fira Sans Copyright by bBox Type GmbH 2018 January 2018 FiraGO and Fira Sans – A guide Project History: Fira Sans In 2012, Fira was designed as a typeface for the Mozilla OS in cooperation with Erik Spiekermann and – of course – Mozilla. Over the next years, Fira covered more and more languages and provided further weights and styles. In 2016 (with version 4.2), Mozilla decided not to put effort into the project anymore and in fact quit. Please also note that their Git is not up to date anymore. Since 2016, we encourage the project on our own and therefor introduced a new Git: https://github.com/carrois/Fira Also, recent font files can always be downloaded at: http://bboxtype.com/typefaces/FiraSans Fira Sans 4.3 will be the last version of Fira Sans (except from bug fixing). We decided to go on with a new branch: FiraGO. Copyright by bBox Type GmbH 2018 January 2018 FiraGO and Fira Sans – A guide Status Quo: Fira Sans 4.3 Family structure: Fira Sans Two to Ultra 16 weights Fira Sans TwoItalic to UltraItalic 16 weights Fira Sans Condensed Two to Heavy 15 weights Fira Sans Condensed TwoItalic to HeavyItalic 15 weights Fira Sans Compressed Two to Heavy 15 weights Fira Sans Compressed TwoItalic to HeavyItalic 15 weights Fira Mono Regular Medium Bold 3 weights Script Support: Latin Extended/IPA, Cyrillic Extended, Polytonic Greek ~ 2600 glyphs per font Copyright by bBox Type GmbH 2018 January 2018 FiraGO and Fira Sans – A guide FiraGO Copyright by bBox Type GmbH 2018 January 2018 FiraGO and Fira Sans – A guide Project History: FiraGO In 2016, the geo data provider Here chose Fira Sans as their corporate typeface. -
About Basictex-2021
About BasicTeX-2021 Richard Koch January 2, 2021 1 Introduction Most TeX distributions for Mac OS X are based on TeX Live, the reference edition of TeX produced by TeX User Groups across the world. Among these is MacTeX, which installs the full TeX Live as well as front ends, Ghostscript, and other utilities | everything needed to use TeX on the Mac. To obtain it, go to http://tug.org/mactex. 2 Basic TeX BasicTeX (92 MB) is an installation package for Mac OS X based on TeX Live 2021. Unlike MacTeX, this package is deliberately small. Yet it contains all of the standard tools needed to write TeX documents, including TeX, LaTeX, pdfTeX, MetaFont, dvips, MetaPost, and XeTeX. It would be dangerous to construct a new distribution by going directly to CTAN or the Web and collecting useful style files, fonts and so forth. Such a distribution would run into support issues as the creators move on to other projects. Luckily, the TeX Live install script has its own notion of \installation packages" and collections of such packages to make \installation schemes." BasicTeX is constructed by running the TeX Live install script and choosing the \small" scheme. Thus it is a subset of the full TeX Live with exactly the TeX Live directory structure and configuration scripts. Moreover, BasicTeX contains tlmgr, the TeX Live Manager software introduced in TeX Live 2008, which can install additional packages over the network. So it will be easy for users to add missing packages if needed. Since it is important that the install package come directly from the standard TeX Live distribution, I'm going to explain exactly how I installed TeX to produce the install package.