DOCSLIB.ORG

Designing an Interface to Combine Typefaces Based on Typographic Anatomy and Letter Formations Jill Sanders [email protected]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Iowa State University Capstones, Theses and Creative Components Dissertations Spring 2019 Designing an interface to combine typefaces based on typographic anatomy and letter formations Jill Sanders [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/creativecomponents Part of the Graphic Design Commons Recommended Citation Sanders, Jill, "Designing an interface to combine typefaces based on typographic anatomy and letter formations" (2019). Creative Components. 243. https://lib.dr.iastate.edu/creativecomponents/243 This Creative Component is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Creative Components by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. GEORGIA / HELVETICA NEUVE / BASKERVILLE / ARIAL BLACK / GIBBS GENEVA / MONOTYPE GROTESQUE / MRS. EAVES / P22 UNDERGROUND DIDOT / ROCKWELL / HELVETICA / UNIT SLAB PRO / TRADE GOTHIC NEXT ADELLE PE / GILL SANS / TURQUOISE / AVENIR / SOURCE SANS PRO CENTURY GOTHIC PRO / CONDOR / MINION PRO / VERDANA / TIMES NEW ROMAN MYRIAD PRO / COURIER NEW / SCALA PRO AMERICAN TYPEWRITER / PROXIMA NOVA / ANTIQUE OLIVE / ARIAL / BODONI / COURIER / FUTURA / PROXIMA SOFT / MERRIWEATHER / IMPACT / PALATINO / STARLING / LUCIDA GRANDE / BIG CASLON / CODE SAVER META PRO / BERLIN SANS / BEBAS NEUE / SOFIA PRO SOFT / ITC BERKLEY OLDSTYLE / WHITMAN / IVYMODE / FIELDWORK GEO / INTERSTATE / ORPHEUS PRO / AGENDA / POYNTER OLDSTYLE TEXT / BRANDON GROTESQUE / COLUMBIA TITLING PROXIMA NOVA / OPEN SANS / CALIBRI / FREIGHTTEXT PRO / EFFRA / ITC AVANT GARDE GOTHIC / LEXIA / BERNINA SANS / CALLUNA SANS / BOOKMAN JF SUPRIA SANS / ADOBE GARAMOND PRO / ARVO / MR. EAVES XL / SKOLAR LATIN / ITC FRANKLIN GOTHIC / FREIGHTSANS PRO / QUESTA SANS / MILLER TEXT / NEUZEIT GROTESQUE TITLING GOTHIC / NEUE HAAS UNICA / GRANVILLE / SOLEIL / FILOSOFIA NIMBUSA SANS / WARNOCK / ALVERATA / CALLUNA / GIBSON / SABON LT PRO / BENTON MODERN DISPLAY / KEPLER Designing an Interface to Combine Typefaces Based on Typographic STD / MUSEO SANS / NOBEL / IBM PLEX Anatomy and Letter Formations SANS / TISA PRO / FARNHAM DISPLAY / Jillianne E. M. Sanders CAECILIA LT PRO / ANONYMOUS PRO / Spring 2019 INCONSOLATA / SPACE MONO / QUATRO / CRONOS PRO / OPTIMA / MONSERRATE / BENGUAIT PRO ITC / ALTERNATE GOTHIC No.1 / BENGUAIT PRO ITC / AKTIV GROTESK / PLANTIN MT PRO / TABLET GOTHIC / AKTIV GROTESK / MENO BANNER CLARENDON URW / POYNTER OLDSTYLE DISPLAY / FORMA DJR / TRILBY / VENDETTA / MR. EAVES SANS / MENCO / PARALUCENT /LE MONDE LIVRE CLASSIC / ACUMIN PRO / FIRA SANS / TENSO / AZO SANS / TRAJAN / LITHOS PRO / JUBILAT / PRAGMATICA / BASIC GOTHIC PRO / STIX GENERAL / KEFA / PT SANS CAPTION / ITC GALLIARD PRO / UNIT SLAB PRO / TREBUCHET MS / Designing an interface to combine typefaces based on typographic anatomy and letter formations by Jillianne Elizabeth Maureen Sanders A thesis submitted to the graduate faculty in partial fulfllment of the requirements for the degree of MASTER OF ARTS Major: Graphic Design Program of Study Committee: Paula J. Curran, Major Professor Andrea L. Quam The student author, whose presentation of the scholarship herein was approved by the program of study committee, is solely responsible for the content of this thesis. The Graduate College will ensure this thesis is globally accessible and will not permit alterations after a degree is conferred. Iowa State University Ames, Iowa 2019 Copyright © Jillianne Elizabeth Maureen Sanders, 2019 All rights reserved. TABLE OF CONTENTS NOMENCLATURE ii Typographic Terminology ii Typographic Classifcations ii Typographic Anatomy iii ABSTRACT v CHAPTER 1. INTRODUCTION 1 CHAPTER 2. INSPIRATION AND INFLUENCES 3 What the Font App and Website 3 511 Comparing Typefaces Exploration 3 Tiff 3 CHAPTER 3. RESEARCH AND SURVEYS 4 Literature Review 4 Survey 5 Survey Results 5 CHAPTER 4. DESIGN 6 Website 6 App 6 Name 7 Logo 7 Color Palette 7 CHAPTER 5. CONCLUSION 7 Future Implementations and Direction 7 APPENDIX 9 Survey Questions APPENDIX B 11 Summery of Survey Responses APPENDIX C 15 Sketches 15 Type Hype Website & App 21 REFERENCES 45 TABLE OF CONTENTS i NOMENCLATURE Defnitions from Typographic Design: Form and Communication and The Complete Manual of Typography: A Guide to Setting Perfect Type TypograpHic Terminology Character Symbol, sign or mark in a language system: the alphabet for example. Font A font is a cookie cutter, the description of a typeface, in computer code, photograph, or metal, used to image the type. Typeface A typeface is the cookie: the alphabet with a certain design. TypograpHy The art and process of typesetting by any system or method. Stress Gradual variation in the thickness of a curved part or stroke, most visible in the letter “O”. X-HeigHt Height of lowercase letters in a font (excludes ascenders and descenders.) THick/THin Contrast The thinnest or thickest parts of the letterform. WeigHt Lightness or heaviness of a typeface (determined by ratio of stroke thickness to character height.) Baseline The line where letters “sit.” Above are ascenders, and below are descenders extend. Typographic Classifcations Old Style Classifcation of 15th-18th century serif designs with thick/thin contrasts, bracketed serifs, diagonal stress on the capital letter “O”, and a handwritten infuence. Transitional Classifcation of serif which combines aspects of both Old Style and Modern typefaces. Modern Classifcation of serif designed at the end of the 18th century whose characteristics include vertical stress on capital letter “O”, hairline serifs and prominent contrast between thick/thin strokes. NOMENCLATURE ii Slab Classifcation of serif characterized by rectangular serifs similar in APEX weight to the main stroke. HAIRLINE EYE Grotesque Classifcation of sans serif type characterized by stroke with varied contrast in width and square-like curves. FILLET A Neo- CROSSBAR e Grotesque Classifcation of sans serif to describe sub-category of grotesque characterized by less contrast in stroke width, curved strokes which terminate as horizontals, higher x-heights, and shorter descenders. Humanist Classifcation of sans serif typeface with characteristics including letterforms with diagonal stress, and two-story “a” and “g” characters. BOWL Geometric Classifcation of sans serif typeface based on circles and rectangles. Characteristics include uniform stroke width and single-story “a” and SERIF “g” characters. COUNTER EAR Typographic Anatomy LINK 1. Apex The point at the uppercase letter “A.” G g DESCENDER 2. Arm A horizontal stroke unattached at one or both ends such as in the SPUR letters “T” or “E.” LOOP 3. Ascender The stroke of a lowercase letter that is above the mean line like the letter “k”. 4. Bowl Rounded stroke as seen in “g,” “o,” and “q.” 5. Counter Negative space completely or partially closed by the letterform as in ASCENDER SHOULDER “G” and “C.” STROKE 6. Crossbar Horizontal stroke that connects two sides of a letter seen in “A” and LEG TAIL “H” or bisecting in “F” and “T.” k R 7. Descender Stroke on a lowercase letter that falls below the baseline such as “g,” “j,” “p,” “q,” and “y.” 8. Ear Found only on Roman two-story “g’s”projecting from the bowl on the upper right side. 9. Eye Found only on the lowercase “e.” It is the enclosed part of the letter. ARM SPINE STEM iii T TERMINAL S 10. Fillet Contoured edge that connects the serif and stem of a bracket serif: APEX commonly seen in “A” and “K.” HAIRLINE EYE 11. Hairline Thinnest stroke of a typeface. A FILLET 12. Leg A lower diagonal stroke seen on letters such as “K,” and “R”. CROSSBAR e 13. Link- The connecting stroke which connects the bowl and loop of the lowercase roman “g.” 14. Loop Same as the bowl but only found on lowercase roman “g.” 15. Serif Short strokes extending from and at an angle on the ends of upper and lower major strokes of each letter. BOWL SERIF 16. Shoulder Curved stroke extending from a stem such as uppercase “R” or lowercase “m.” COUNTER EAR 17. Spine Only found in the letter “S:” the central curve that connects the upper LINK and lower portions of the letter. G g DESCENDER 18. Spur A projection smaller than a serif found on the curved stroke of the SPUR uppercase letter “G.” LOOP 19. Stem A major vertical or diagonal strokes of the letterform such as in “T,” “R,” “Z”, “I” and “A.” 20. Stroke Linear elements within a letterform. 21. Tail Diagonal stroke or loop at the end of a letter such as in “R” or “Q.” ASCENDER SHOULDER 22. Terminal End of a stroke that does not end with a serif. STROKE k LEG R TAIL ARM STEM SPINE iv T TERMINAL S ABSTRACT The purpose of this creative component is to explore the theory that letterforms and typographic anatomy infuence which typefaces work well together, and how to most effciently provide designers with necessary tools to make those decisions. In this paper, I propose a website concept and app resource for both novice and experienced designers. It is diffcult to fnd a comprehensive website, book or blog if an individual is not aware of its existence, as my research will show. My creative component focuses on the collection of this widespread information and combines it into one resource that promotes designer collaboration. This resource tool would help designers keep up to date on current trends, books, and font releases from anywhere they work with a mobile app or website. My proposed website also features a tool that would help designers determine which fonts to combine based on letter formation and type anatomy. I drew upon relevant literature, typographic explorations, and a survey I conducted. My survey of working professionals and academics provided results that suggest a broad scope of taste, historical and regional infuence. The survey also explored the infuence of designer intuition, and the role it plays when choosing an effective typeface. ABSTRACT v INTRODUCTION Twenty-six letters comprise the English alphabet. There are millions of combinations, arrangements and abbreviations that create symbolic patterns fundamental to human existence, languages, and more specifcally, words.
Recommended publications
  • Download Fedra Sans Bold

    Download Fedra Sans Bold

    Download fedra sans bold click here to download Download Fedra Sans Std Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans Expert Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans SC Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download fedra sans std bold font with bold style. Download free fonts for Mac, Windows and Linux. All fonts are in TrueType format. Download fedra sans std bold font for Windows, Linux and Mac free at www.doorway.ru - database of around free OpenType and TrueType. Fedra Sans Book ItalicMacromedia Fontographer 4. 1 Fedra Sans Book ItalicFedra Sans Book ItalicMacromedia Fontographer 4. 1 Fedra Sans Pro-Bold. Download OTF. Similar. Fedra Sans Pro-Bold Italic · Fedra Sans Pro Light Light · Fedra Sans Pro Normal Normal · Fedra Sans Pro-Book. Fedra Sans was originally commissioned by Paris-based Ruedi Baur Integral Design and developed as a corporate font for Bayerische Rück, a German. Fedra Sans: Fedra Sans is a contemporary sans serif, highly legible, font Fedra Sans Medium Italic px Fedra Sans Bold Italic px . Is there any reason to make new fonts when there are so many already available for downloading? Fedra Sans is a typeface designed by Peter Bil'ak, and is available for Desktop. Try, buy and download these fonts now! Bold SC Italic. Büroflächen. Bold TF. Font Fedra Sans Std Normal font download free at www.doorway.ru, the largest collection of cool fonts for Fedra Sans Std Bold Italic font.
  • Cloud Fonts in Microsoft Office

    Cloud Fonts in Microsoft Office

    APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ
  • Typography One Typeface Classification Why Classify?

    Typography One Typeface Classification Why Classify?

    Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing.
  • Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles

    Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles

    Bitstream Fonts in May 2005 at http://www.myfonts.com/fonts/bitstream totaling 350 font families with a total of 1357 font styles The former Bitstream typeface libraries consisted mainly of forgeries of Linotype fonts and of ITC fonts. See the list below on the pages 24–29 about the old Bitstream Typeface Library of 1992. The 2005 Bitstream typeface library contains the same forgeries of Linotype fonts as formerly and also the same ITC fonts, but it also includes a lot of new mediocre „rubbish fonts“ (e.g. „Alphabet Soup“, „Arkeo“, „Big Limbo“), but also a few new quality fonts (e.g. „Drescher Grotesk“, „Prima Serif“ etc.). On the other hand, a few old fonts (e.g. „Caxton“) were removed. See the list below on pages 1–23. The typeface collection of CorelDraw comprises almost the entire former old Bitstream typeface library (see the list below on pages 24–29) with the following exceptions: 1. A few (ca. 3) forgeries of Linotype fonts are missing in the CorelDraw font collections, e.g. the fonts „Baskerville No. 2“ (= Linotype Baskerville No. 2), „Italian Garamond“ (= Linotype Garamond Simoncini), and „Revival 555“ (= Linotype Horley Old Style). 2. A lot (ca. 11) of ITC fonts are not contained in the CorelDraw font collections, e.g. „ITC Berkeley Oldstyle“, „ITC Century“, „ITC Clearface“, „ITC Isbell“, „ITC Italia“, „ITC Modern No. 216“, „ITC Ronda“, „ITC Serif Gothic“, „ITC Tom’s Roman“, „ITC Zapf Book“, and „ITC Zapf International“. Ulrich Stiehl, Heidelberg 3-May 2005 Aachen – 2 styles Ad Lib™ – 1 styles Aerospace Pi – 1 styles Aldine
  • Basic Styles of Lettering for Monuments and Markers.Indd

    Basic Styles of Lettering for Monuments and Markers.Indd

    BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble.
  • Multimedia Foundations Glossary of Terms Chapter 8 – Text

    Multimedia Foundations Glossary of Terms Chapter 8 – Text

    Multimedia Foundations Glossary of Terms Chapter 8 – Text Ascender Any part of a lowercase character that extends above the x-height, such as in the vertical stem of the letter b or h. Baseline And imaginary plane where the bottom edge of each character’s main body rests. Baseline Shift Refers to shifting the base of certain characters (up or down) to a new position. Capline An imaginary line denoting the tops of uppercase letters. Counter The enclosed or partially enclosed open area in letters such as O and G. Descender Any part of a character that extends below the baseline; such as in the bottom stroke of a y or p. Flush Left The alignment of text along a common left-edged line. Font Family A collection of related fonts – all of the bolds, italics, and so forth, in their various sizes. Gridline A matrix of evenly spaced vertical and horizontal lines that are superimposed overtop of the design window as a visual aid for aligning objects. Justification The term used when both the left and right edges of a paragraph are vertically aligned. Kerning A technique that selectively varies the amount of space between a single pair of letters and accounts for letter shape; allowing letters like A and V to extend into one another’s virtual blocks. Leading A term used to define the amount of space between vertically adjacent lines of text. Legibility Refers to a typeface’s characteristics and can change depending on font size. The more legible a typeface, the easier it is at a glance to distinguish and identify letters, numbers, and symbols.
  • Type ID and History

    Type ID and History

    History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface
  • Presentation

    Presentation

    Born Broken: Fonts And Information Loss In Legacy Documents Geoffrey Brown and Kam Woods Indiana University School of Informatics and Computing Key Questions How pervasive are font substitution problems ? What information is available to identify fonts ? How well can we match the fonts required by a document collection ? How can we assist archivists in identifying serious font issues ? Page 8 MCTM Bulletin February 2005 K: I knew what you meant. I was just kidding. I’ll do XüLLbl (W):InputQ:FnOff :"""Y =! Y",Y#:PlotsOff the dishes tonight at dinner. YüL‚(W):Goto:0!Xscl:0!Yscl:Plot1(Scatt T er,L#,L$,&) PlotsOn 1:ZoomStat:StorePic Pic1 Lbl Q:FnOff :""üY :PlotsOff Jennifer felt better so offered the following challenge to Pause :Goto T Kevin. Lbl:0üXscl:0üYscl:Plot1(Scatt S:ClrHome:2!dim(L%er,L):dim(L ,L‚,Ñ)# )!N J: What type of general statement can you make DispPlotsOn "NO. 1:ZoomStat:StorePic OF Pic1 regarding the various polygons and, better yet, what PausePTS.":Output(1,13,N):Pause :Goto T can you say about a figure that looks like this? LblFor(I,1,N):ClrHome S:ClrHome:2üdim(Lƒ):dim(L )üN Disp "NO. "PT. OF NO.","":Output(1,9,I) PTS.":Output(1,13,N):Pause L#(I)!L%(1):L$(I)!L%(2) For(I,1,N):ClrHome Disp L%:Pause :End:Goto T LblDisp "PT.0:Menu(" NO.","":Output(1,9,I) MODELS R""," LINEAR (2)",1,"L(I)üLƒ(1):L‚(I)üLƒ(2) QUADRATIC",2," CUBIC/QUARTIC",3,"Disp Lƒ:Pause :End:Goto LOGARITHMIC",4," T LblEXPONENTIAL",5," 0:Menu(" MODELS POWER",6," RÜ"," LINEAR MAIN (2)",1," MENU",T) QUADRATIC",2," CUBIC/QUARTIC",3," Lbl 1:"aX+b"!Y# Kevin was impressed.
  • Lushootseed Unicode Keyboard Help

    Lushootseed Unicode Keyboard Help

    Lushootseed Unicode Keyboard 1.1 Overview Design This Keyman keyboard is designed for Lushootseed, a language of the Pacific Northwest spoken in Washington state. The arrangement of Lushootseed letters on this keyboard closely follow the arrangement of keys in a standard English QWERTY keyboard. On Screen Keyboard This keyboard includes an On Screen Keyboard view for easy reference. The On Screen Keyboard works best when associated with a QWERTY US layout. Fonts This is a Unicode keyboard and works with any Unicode font which has support for Lushootseed characters. Common fonts which work with Lushootseed are: Arial Consolas Arial Unicode MS Courier New Calibri Tahoma Cambria Times New Roman This keyboard also includes the following fonts which work well with Lushootseed: Lushootseed Sulad Gentium Plus Lushootseed School Keyboard Layout Lushootseed Unicode: Unshifted ` 1 2 3 4 5 6 7 8 9 0 - = Backspace © 1 2 3 4 5 6 7 8 9 0 - = Tab q w e r t y u i o p [ ] \ q w ə š t y u i ʷ p [ ] \ Caps Lock a s d f g h j k l ; ' Enter a s d ʔ g h ǰ k l ɬ ' Shift z x c v b n m , . / Shift & x c č b n m , . / Ctrl Alt Alt Ctrl Lushootseed Unicode: Shifted ~ ! @ # $ % ^ & * ( ) _ + Backspace © ! @ # $ % ^ & * ( ) _ + Tab Q W E R T Y U I O P { } ¦ ; < ;ʷ = > kʷ ? { } ¦ Caps Lock A S D F G H J K L : " Enter qʷ dᶻ gʷ Aʷ A B C " Shift Z X C V B N M < > ? Shift &ʷ xʷ E F G H I < > ? Ctrl Alt Alt Ctrl Keyboard Details You can find most keys on the Lushootseed keyboard by thinking of a similar letter in English.
  • Suitcase Fusion 8 Getting Started

    Suitcase Fusion 8 Getting Started

    Copyright © 2014–2018 Celartem, Inc., doing business as Extensis. This document and the software described in it are copyrighted with all rights reserved. This document or the software described may not be copied, in whole or part, without the written consent of Extensis, except in the normal use of the software, or to make a backup copy of the software. This exception does not allow copies to be made for others. Licensed under U.S. patents issued and pending. Celartem, Extensis, LizardTech, MrSID, NetPublish, Portfolio, Portfolio Flow, Portfolio NetPublish, Portfolio Server, Suitcase Fusion, Type Server, TurboSync, TeamSync, and Universal Type Server are registered trademarks of Celartem, Inc. The Celartem logo, Extensis logos, LizardTech logos, Extensis Portfolio, Font Sense, Font Vault, FontLink, QuickComp, QuickFind, QuickMatch, QuickType, Suitcase, Suitcase Attaché, Universal Type, Universal Type Client, and Universal Type Core are trademarks of Celartem, Inc. Adobe, Acrobat, After Effects, Creative Cloud, Creative Suite, Illustrator, InCopy, InDesign, Photoshop, PostScript, Typekit and XMP are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apache Tika, Apache Tomcat and Tomcat are trademarks of the Apache Software Foundation. Apple, Bonjour, the Bonjour logo, Finder, iBooks, iPhone, Mac, the Mac logo, Mac OS, OS X, Safari, and TrueType are trademarks of Apple Inc., registered in the U.S. and other countries. macOS is a trademark of Apple Inc. App Store is a service mark of Apple Inc. IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license. Elasticsearch is a trademark of Elasticsearch BV, registered in the U.S.
  • Cap Height Body X-Height Crossbar Terminal Counter Bowl Stroke Loop

    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.
  • OCR a Level Computer Science H446 Specification

    OCR a Level Computer Science H446 Specification

    Qualification Accredited Oxford Cambridge and RSA A LEVEL Specification COMPUTER SCIENCE H446 ForH418 first assessment in 2017 For first assessment 2022 Version 2.5 (January 2021) ocr.org.uk/alevelcomputerscience Disclaimer Specifications are updated over time. Whilst every effort is made to check all documents, there may be contradictions between published resources and the specification, therefore please use the information on the latest specification at all times. Where changes are made to specifications these will be indicated within the document, there will be a new version number indicated, and a summary of the changes. If you do notice a discrepancy between the specification and a resource please contact us at: [email protected] We will inform centres about changes to specifications. We will also publish changes on our website. The latest version of our specifications will always be those on our website (ocr.org.uk) and these may differ from printed versions. Registered office: The Triangle Building © 2021 OCR. All rights reserved. Shaftesbury Road Cambridge Copyright CB2 8EA OCR retains the copyright on all its publications, including the specifications. However, registered centres for OCR are permitted to copy material from this OCR is an exempt charity. specification booklet for their own internal use. Oxford Cambridge and RSA is a Company Limited by Guarantee. Registered in England. Registered company number 3484466. Contents Introducing… A Level Computer Science (from September 2015) ii Teaching and learning resources iii Professional development iv 1 Why choose an OCR A Level in Computer Science? 1 1a. Why choose an OCR qualification? 1 1b. Why choose an OCR A Level in Computer Science? 2 1c.