With the development of information technology¡Athe interface of communication is changed into the digit form of the electronic file from the traditional way gradually∙We want make a Chinese font of script that has the characteristics of user¡Alet the interface they used become a script interface with characteristics of other users¡Awhen they are communicate with each other∙ The quantity of the Chinese character is very huge¡Ato deal with all Chinese characters step by step is almost impossible∙In order to solve this problem¡Awe need to reduce the problem level from Chinese character to components of Chinese characters¡Abecause the components of Chinese characters are used as radical in many characters¡Aby this way¡Awe can use fewer input Chinese characters to make a large amount of Chinese characters personalizing∙ First¡Aanalyse all characters in True Type Font file∙Every character has a group of control points∙Calculate the spatial relationship between each control point and other adjacent control points¡Ato judge what stroke type that control point have¡Athen analyse all kinds of stroke types in character to check if there is the characteristics of control points can make some components of Chinese characters∙ Second¡Acalculate features of handwritten radicals in input handwritten Chinese characters which radicals we can recognize in first step¡Athen modify all control points in radical by this features to make radical personalizing∙ Final¡Areplace the personalized radical into all characters which has this radical as components of character to get a personalized True Typr Font file∙

This research is about a typeface for implementing Persian calligraphy called Nastaliq. The main purpose for developing this font was to handle stretching of letters in order to achieve line justification through a dynamic font. Therefore, a PostScript Type 3 font was developed. However, as the research progressed, it came clear that Nastaliq’s stretching cannot be implemented in a dynamic font. Therefore, the research’s purpose changes to implementing a font containing all the needed glyphs of all needed stretchings of all stretchable letters to allow achieving line justification. For this propose a mathematical formulation to model handwritten Nastaliq was necessary. The result was a PostScript font containing more than 1200 glyphs. To make it possible to use this font in the future, a regular expression grammar was developed to identify and name each glyph as a positioned letter in a particular context. This thesis describes all the steps taken to build the font.

This research is about a typeface for implementing Persian calligraphy called Nastaliq. The main purpose for developing this font was to handle stretching of letters in order to achieve line justification through a dynamic font. Therefore, a PostScript Type 3 font was developed. However, as the research progressed, it came clear that Nastaliq’s stretching cannot be implemented in a dynamic font. Therefore, the research’s purpose changes to implementing a font containing all the needed glyphs of all needed stretchings of all stretchable letters to allow achieving line justification. For this propose a mathematical formulation to model handwritten Nastaliq was necessary. The result was a PostScript font containing more than 1200 glyphs. To make it possible to use this font in the future, a regular expression grammar was developed to identify and name each glyph as a positioned letter in a particular context. This thesis describes all the steps taken to build the font.

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Thesis advisor: Robin Fleming / This dissertation examines the formation of Christian identity in Europe through the ritual performances of baptism. Baptism was an essential act of social and religious initiation experienced by the majority of people in Europe, yet historians have struggled to understand its administration for ordinary lay participants as Europe transitioned from paganism to Christianity. Rather than a uniform indicator of Christian identity as described in clerical texts and current scholarship, baptism changed dramatically between the sixth and twelfth centuries. I show how what began as a flexible array of diverse religious practices located in watery landscapes, Roman-style baptisteries, portable spoons, lead tubs, and wooden buckets, evolved into a ritual standardized in the stone baptismal font, a form which persists to this day. I deploy an interdisciplinary methodology that engages robustly with church archaeology and art history to demonstrate how baptism created localized religious identities for new converts through its use of diverse ritual places and things. This study challenges our definition of a united medieval Christendom by radically reinterpreting the long-term practice of baptism as a slow process of Christianization in Europe from below. / Thesis (PhD) — Boston College, 2017. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: History.

Published Article / Typography and layout are two powerful graphic tools in print advertising. They are used to arrest the attention of the target market by creating a positive association, a controversy or stimulate some kind of intellectual game. This means that much of the message has already been conveyed by creatively expanding and diversifying the conventional values embedded in certain graphic means and basing the advertisements on prevailing textual norms and our past experiences before the message itself has even been read, by just focusing on the typography used (e.g. compare the text layout and typography of a newspaper or a cell phone SMS). Based on a randomly selected South African dataset, aspects of the graphological options with their functional values will be described.

Syftet med denna studie är att undersöka användbarheten hos ikonbiblioteket Font Awesome samt hur sammanhanget påverkar användares uppfattning av en ikon. Frågeformulär och intervjuer har besvarats av 20 testpersoner för att undersöka hur internetanvändare uppfattar användningen av 35 utvalda ikoner och hur dessa ikoner bör presenteras för att bidra till hög användbarhet på webbplatser och i applikationer. Resultatet från frågeformuläret påvisar att flertalet ikoner kräver tillhörande text eller tydliga sammanhang för att vara användbara. Resultatet från intervjuerna påvisar att sammanhanget där en ikon presenteras har stor betydelse för hur användarna uppfattar ikonens representation. / This research is aimed to investigate the usability of the icon library Font Awesome and how context affects the user’s perception of an icon. Questionnaires and interviews were conducted by 20 respondents in order to examine how users perceive the use of 35 selected icons and how the icons should be presented for achieving good usability on web sites and in applications. The results of the questionnaire indicate that the majority of icons require accompanying text or clear context to demonstrate usability. The results of the interviews demonstrate that the context in which an icon is presented is of great importance for how users perceive the intention behind the application of the icon.

Currently, students who read tactually must learn specific braille indicators that correspond to typeset changes such as bold, italic, and underline. These symbols do not stand out like printed attributes. To learn emphasis indicators, students must understand the concepts of print and memorize corresponding braille coding, which requires explicit training. Because tactile readers can only "see" that which is under his/her fingers, scanning and locating indicators is difficult. One must scan the passage word by word to find the emphasis indicator. In contrast, a sighted child can quickly glance at a page and recognize attributes instantly. The difficulty in tactually recognizing typeset, leads to slower recognition of important information and potentially affects reading fluency for beginning readers.This research study compared the use of the current braille code (CBC) with two alternate ways of presenting typeset. The research questions were: (a) Is there a difference in speed in finding the emphasis indicators when presented in three different formats? (b) Is there a difference in accuracy of recognizing the emphasis indicator when presented in three different formats? (c) What are the students' perceptions and opinions about the various indicators?A quasi-experimental design was implemented and three types of data were collected: (a) measurement of speed - in seconds, (b) measurement of accuracy - in number of correctly identified words and indicators, and (c) the perceptions of students before and after the data were collected. The independent variables were the three ways of presenting typeset (CBC, Ua, and Ub), and the dependent variables were speed and accuracy. Quantitative data were analyzed using ANOVA for speed and accuracy and correlational data were conducted to determine if relationships existed between speed and accuracy. Qualitative data were categorized and reported.Results showed a statistical difference between the speed at which students located words with emphasis, but no difference was found in their accuracy. Interview data showed that most students did not have a grasp of print concepts or understand the purposes of using the indicators. Students also indicated that they preferred the alternate formats (Ua or Ub), rather than the current braille code (CBC).

Due to the advances of image system, most researches are developed on high-resolution system. However, the low-resolution system have an advantage over the high-resolution system on processing speed, saving space and power consumption. From the research of hexagonal grid, we know that from the view of microcosmic, the angle resolution and connection of hexagonal grid are better than rectangular grid, so images on hexagonal grid also have the better quality. Almost input and output systems of image device are on rectangular grid, so its technology and theory are developed on rectangular grid system. For a displaying system, fonts and images are the main elements. If we want to substitute hexagonal grid system for rectangular grid system, they will be primary factories that we consider. In this research based on rectangular grid system, we will apply the plane parametric curves and fill algorithm on hexagonal grid system, and probe into the displaying method of fonts and images on hexagonal grid system.

Einbinden von PostScript-Type1-Fonts in LaTeX/Dvips.