TeX & Friends (Planet by DANTE e.V.)

2020-07-14

LaTeX.net

Managing beamer background materials with beamerappendixnote

Imagine you are in a situation where you need to defend your thesis. Besides the actual presentation slides you have prepared lots of additional slides, just in case someone asks for the details of your proofs, etc.

You could put them to the end of your presentation and manually jump there and back which I do clearly not recommend as it destroys the “natural flow” of your presentation. It is way better to use hyperlinks to get directly to the corresponding note and back. Until today I created these links manually, now I discovered a package named beamerappendixnote which automates these steps.

Let’s have a look at the following example which loads the beamerappendixnote package. It uses two commands, \appxnote and \printappxnotes. The first creates the named link to the appendix and the text to be displayed, the latter command outputs all the appendixnotes.

\documentclass[12pt,ngerman]{beamer}
\usepackage[T1]{fontenc}
\usepackage{babel}
\usepackage{beamerappendixnote}
 
\begin{document}
 
\begin{frame}
\frametitle{Some Beamer Slide}
 
\begin{itemize}
	\item Some stuff
	\item that requires
	\item more background 
\end{itemize}
 
\appxnote{Proof}{We can easily prove this.}
 
\end{frame}
 
\printappxnotes
 
\end{document}

by Uwe Ziegenhagen at Tuesday, 2020-07-14 04:55

2020-07-10

LaTeX.net

TUG 2020 program schedule online

Great progress in a few days! Now there are 224 registered participants.

And the program schedule with times and abstracts is online now: tug.org/tug2020/sched.html

by Stefan Kottwitz at Friday, 2020-07-10 21:28

2020-07-03

LaTeX.net

TeX Users Group meeting 2020 online and for free

This year’s annual TeX users conference will be held online via Zoom (an online meeting solution). This 41th TUG meeting will happen July 24-26, 2020, and registration and attendance is for free.

No flight to pay, no hotel costs, no risk – check out the program!

Until today, 166 participants registered, and 36 presentations are listed.

Topics include

    • LaTeX online services (learnlatex.org, LaTeX-on-HTTP, Overleaf, texlive.info)
    • Tools (Make, Pandoc, Python)
    • Teaching LaTeX
    • Typography (conveying emotional charge in text, church material)
    • Fonts (Monotype, HarfBuzz, Malayalam, history)
    • Accessibility
    • Interviews (biber author, babel maintainer)

and more, during sessions, workshops, keynotes, and connecting with users wordwide.

The event contains video streams either live or prerecorded plus live discussion, and separate online rooms for “coffee talks”.

For more information and attending,

  • read the program
  • visit the event site
  • write to tug-conferences@tug.org if you have a question

The easiest way to attend a TUG meeting – see you there?

by Stefan Kottwitz at Friday, 2020-07-03 15:14

2020-06-29

TeX Stack Exchange

New posts on LaTeX.net

On LaTeX-Community.org, founded January 2007, many authors published articles about LaTeX and related tools. The article database has been changed from Joomla to a modern WordPress CMS, mainly because of security concerns. The site has been renamed to LaTeX.net. The accompanying forum has been renamed to LaTeX.org and upgraded. Thanks to ICANN and IANA for getting convenient names.

Uwe Ziegenhagen posted three articles on LaTeX.net this weekend. Click the large title to get to the article.

A Beamer Template for MINT Lectures

beamer2

He created a beamer template where individual lectures could be compiled both separately and all together. A polished version of the template has been uploaded to Github. A special focus is on displaying source code.


Creating bilingual Beamer slides

beamer1

It shows an example how to create bilingual slides in a single document. One can switch between German and English by simply setting the babel language in the document options.


Typesetting todo lists with fontawesome and the tasks package

tasks

Uwe shows, how todo lists and similar documents can be typeset with the tasks package.

In an example he defines three tasks environments (for TODO, PROGRESSING, DONE) using different symbols from the fontawesome package. One could also use these packages to e.g. get entries from a Trello board.

by stefan at Monday, 2020-06-29 22:42

2020-06-28

LaTeX.net

Creating bilingual Beamer slides

For a lecture on Python I have been looking for a way to create bilingual slides in a single document. Based on https://tex.stackexchange.com/questions/443714/bilingual-slides-beamer-comment-package-and-non-ascii-characters-umlauts-dia and https://tex.stackexchange.com/questions/203412/using-a-generic-way-to-evaluate-global-document-options I have compiled the following example.

One simply needs to set the babel language in the document options to switch between German and English.

\documentclass[ngerman]{beamer}
 
\usepackage{comment}
\makeatletter
\newif\if@ngerman
\newif\if@option@ngerman
\DeclareOption{ngerman}{%
	\@ngermantrue
	\@option@ngermantrue
}
\ProcessOptions*\relax
\newcommand*{\ifngerman}{%
	\if@ngerman
	\expandafter\@firstoftwo
	\else
	\expandafter\@secondoftwo
	\fi
}
\makeatother
 
\ifngerman{
\usepackage[main=ngerman]{babel}
\includecomment{DE}
\excludecomment{EN}
}{
\usepackage[main=english]{babel}
\includecomment{EN}
\excludecomment{DE}
}
 
\begin{document}
	\begin{DE}
		\begin{frame}[fragile]{Hallo Welt}
		Hallo Welt
	\end{frame}
\end{DE}
 
\begin{EN}
	\begin{frame}[fragile]{Hello World}
	Hello World
\end{frame}
\end{EN}
 
\end{document}

Photo by Alex Litvin on Unsplash

by Uwe Ziegenhagen at Sunday, 2020-06-28 14:15

Typesetting todo lists with fontawesome and the tasks package

The following example shows, how todo lists and similar documents can be typeset with the tasks package, a spin-off of the exSheets package to generate task-like environments.

In this example we define three tasks environments (for TODO, PROGRESSING, DONE), for each environment we use a different symbol from the fontawesome package, a collection of more than 600 logos, many of them related to internet and WWW.

One could also use these packages to e.g. get entries from a Trello board, see the article in my blog (German): https://www.uweziegenhagen.de/?p=4228

\documentclass[12pt,english]{article}
 
\usepackage[T1]{fontenc}
\usepackage{babel}
\usepackage{tasks}
\usepackage{fontawesome}
 
\NewTasksEnvironment[label=\faHandORight,label-width=15pt]{todo}[*](1)
\NewTasksEnvironment[label=\faHandRockO,label-width=15pt]{progress}[*](1)
\NewTasksEnvironment[label=\faThumbsOUp,label-width=15pt]{done}[*](1)
 
\begin{document}
 
\section*{TODO}
 
\begin{todo}
* Water the plants
* Shop for groceries
* Sort newspapers
\end{todo}
 
\section*{PROGRESSING}
 
\begin{progress}
* Clean the basement
* Sort \LaTeX\ books
* Reinstall Linux server
\end{progress}
 
\section*{DONE}
 
\begin{done}
* Finish tax declaration
* Reinstall Windows server
* Reconfigure SSH access
\end{done}
 
\end{document}

tasks example

by Uwe Ziegenhagen at Sunday, 2020-06-28 09:55

2020-06-27

LaTeX.net

A Beamer Template for MINT Lectures

As a lecturer for MINT lectures I wanted to create a Beamer template where individual lectures could be compiled separately as well as in a collection of all slides.

After polishing the template for a few semesters an initial version of the template has been uploaded to Github (https://github.com/UweZiegenhagen/MINT-Lecture-Slide-Template).

Screenshot of listings slide

Feel free to send pull requests, comments and proposals.

by Uwe Ziegenhagen at Saturday, 2020-06-27 12:33

2020-06-22

Reden ist Silber ¶ Druckerey Blog (Martin Z. Schröder, Drucker)

Pedaltiegel mit Schwungrad zu verkaufen

Er hat mir seit 2004 treu gedient. Briefpapier, Eheurkunden, Einladungen, kleine Plakate und das zweite der bibliophilen Büchlein von Max Goldt sowie die Umschläge der Bände 2 bis 4 wurden auf dieser Maschine gedruckt.

Aber nun steht sie seit Jahren still. Wird nur noch alle paar Monate der Pflege-Routine unterzogen, entstaubt, ein wenig geölt und gestreichelt.

Es wird Zeit, daß der Nußknacker einen neuen Rumpelkutscher findet.

Gebaut wurde diese Maschine um 1900 von der Maschinenfabrik »Emil Kahle« in Leipzig-Paunsdorf.

Ich habe sie in einem nicht verwendbaren Zustand aus einem Privatmuseum gekauft, woraus sie aus Platzmangel weichen mußte. Zu dritt hievten wir sie mit Mühe auf einem Transporter. In Berlin legten wir einen dicken Strick um die vor dem Haus Schonensche Straße 38 stehende Laterne und ließen das Fundament langsam auf einer Schräge aus Brettern ins Souterrain. Anno 2003 hatte ich diese Werkstatt erst bezogen.

Wir bekamen sie aber nicht aufgestellt. Die Maschine lag schwer auf dem Boden und ließ sich von uns dreien nicht aufrichten. Da rief ich eine Freundin an und bat sie, mir ihren Sohn mit ein paar von dessen Freunden zu leihen. Dieser Sohn war nämlich damals ein junger Polizist und Kampfsportler.

Er kam rasch mit seinen Freunden nach dem Fußballtrainig vorbei, und drei der überbreiten Herren stellten die Maschine spielerisch auf die Füße.

Anschließend mußten einige Teile neu gedreht werden. Damals noch ohne CNC-Fräsen. Und ich mußte erst einmal eine Zeichnung der Walzenspindeln und Laufräder anfertigen. Ein Schlosser nahm sich der Sache an. Und der Tischlermeister Horst Wrede aus Emmen baute die fehlende Ablage, deren Maße ich einem alten Buch über ähnliche Maschinen so ungefähr entnehmen konnte.

Ein zweiter Schlosser, damals noch auf einem Hof in der Kastanienallee, in der es heute nur noch ständig wechselnde Firlefanzgeschäfte gibt, baute mir die Befestigung für den Aufzug und eine Muffe zum Festhalten des Schwungrades.

Anschließend wurden die vier Walzen neu mit Gummi bezogen.

Und dann verdiente diese Maschine zusammen mit einem Handtiegel nicht nur meinen Lebensunterhalt, sondern auch das Geld für meinen ersten Heidelberger Tiegel. Der ihr dann die Arbeit abnahm. Im Jahr 2013 zog die Maschine mit mir nach Weißensee in die jetzige Werkstatt. Aber hier hatte sie kaum noch zu tun, obwohl sie, das ist einer ihrer Vorzüge, ein etwas größeres Druckformat als der Heidelberger hat und auch über das Format weit herausragende Materialen bedrucken kann. Nun ist es also an der Zeit für einen neuen Standort, und für 3500 Euro brutto kann die Maschine abgeholt werden.

by Martin Z. Schröder at Monday, 2020-06-22 06:00

2020-06-21

Uwes kleines Technikblog - Kategorie LaTeX (by Uwe Ziegenhagen)

Mehrsprachige Beamerfolien erstellen – Teil 2

Basierend auf dem letzten Blog-Artikel dazu und einer Frage, die ich 2014 auf TSX gestellt habe, habe ich den Code für mehrsprachige Beamer-Folien angepasst.

\documentclass[ngerman]{beamer}

\usepackage{comment}
\makeatletter
\newif\if@ngerman
\newif\if@option@ngerman
\DeclareOption{ngerman}{%
	\@ngermantrue
	\@option@ngermantrue
}
\ProcessOptions*\relax
\newcommand*{\ifngerman}{%
	\if@ngerman
	\expandafter\@firstoftwo
	\else
	\expandafter\@secondoftwo
	\fi
}
\makeatother

\ifngerman{
\usepackage[main=ngerman]{babel}
\includecomment{DE}
\excludecomment{EN}
}{
\usepackage[main=english]{babel}
\includecomment{EN}
\excludecomment{DE}
}
	
\begin{document}
	\begin{DE}
		\begin{frame}[fragile]{Hallo Welt}
		Hallo Welt
	\end{frame}
\end{DE}

\begin{EN}
	\begin{frame}[fragile]{Hello World}
	Hello World
\end{frame}
\end{EN}

\end{document}

Uwe

Uwe Ziegenhagen likes LaTeX and Python, sometimes even combined. Do you like my content and would like to thank me for it? Consider making a small donation to my local fablab, the Dingfabrik Köln. Details on how to donate can be found here Spenden für die Dingfabrik.

More Posts - Website

üääü­üöü–üöü–üöü–

by Uwe at Sunday, 2020-06-21 17:28

2020-06-20

2020-06-08

LaTeX.net

About LaTeX.net

On LaTeX-Community.org, founded January 2007, many authors published articles about LaTeX and related tools. The site has been renamed to LaTeX.net. The article database has been changed from Joomla to a modern WordPress CMS. The accompanying forum has been renamed to LaTeX.org.

The LaTeX network is actually more than just this. Here comes a list.

All of the servers and web sites here are supported by DANTE e.V., the German speaking TeX user group. For serveral years now, DANTE covered the provider and hardware costs for two professional servers that have enough resources to run various virtual machines for different purposes.

This is what runs on this DANTE supported hardware:

Forums

LaTeX.orgInternational forum with 96112 posts in 24287 topics by 18367 users
TeXwelt.deGerman Q&A forum with 3428 questions and 3954 answers
goLaTeX.deGerman forum with 102352 posts in 19965 topics by 8170 users
Plus German wiki with command reference: golatex.de/wiki
TeXnique.frFrench Q&A forum with 991 questions and 1302 answers
LaTeX.net.brBrazilian Q&A forum, demo site
TeX.qaDemo Q&A forum

Galleries

TeXample.netTikZ gallery with community blog aggregator, with 407 examples of 190 authors
pgfplots.netPGFPlots gallery
LaTeX-Cookbook.netA gallery of chosen examples of the LaTeX Cookbook, re-using the same framework as above sites
LaTeX.netThis article database
TeX.worldA showcase of TeX sites

Software Archives and Mirrors

CTAN.netOfficial CTAN mirror
TeXlive.netTeX Live mirror (in maintainance, pointing to CTAN.net)
TeXlive.deOther TeX Live mirror (in maintainance, pointing to CTAN.net)

FAQs

TeXfragen.deGerman TeX FAQ
texfaq.orgInternational TeX FAQ, moved to Github now
www.tex.ac.ukOriginal UK TeX FAQ, moved to Github now
LaTeX.net.br/faqBrazilian Portuguese TeX FAQ
TeX.org.ukJust an experimental wiki version of the UK TeX FAQ

Blogs

tex-talk.netStackExchange TeX blog with a lot of Interviews of TeX friends
texblog.netStefan’s TeX blog since 2008
tex.tipsQuick mini TeX tips blog
mychemistry.euClemen’s chemistry TeX blog
tikz.deGerman TikZ friends blog
tex.myMalaysian TeX Users Group, with Lian Tze
TeX.coGerman TeX blog

Tools

TeXdoc.netPaulo powered web interface for TeXdoc

Photo by Taylor Vick on Unsplash

by Stefan Kottwitz at Monday, 2020-06-08 15:18

2020-06-06

LaTeX.net

Semi-automatic plotting

Producing data plots is an important part of doing research work. Making
good looking plots is not easy, and getting them right as well is a real
challenge. Perhaps the best way of producing plots, whether for use with LaTeX
or otherwise, is to use the pgfplots
package. For a general overview of using pgfplots effectively, see my TUGBoat
article
.

Using a programmatic approach to plotting has several advantages, as the plots
you get are easy to keep consistent. That’s particularly useful if several
people are preparing plots: using a GUI-based approach, it’s hard for multiple
workers to stick exactly to the same look. So it is worth putting some effort
into setting up templates for pgfplots: basic .tex files which can
be modified easily and reused multiple times. Putting a bit of effort into
developing templates also makes it easier to use data directly from a lot of
specialist systems. Many data file formats can be read as either comma or space
separated files, but it can take a little effort to get this right. So by
working on the basics, you can save yourself time later.

There is another advantage to setting up well documented templates. Not
everyone is a LaTeX expert: in my area, most people are not even day to day
LaTeX users. So making clear templates which can be used by altering a few key
settings is a great way to make LaTeX results accessible to more people.

Setting up

Before you can start developing a template, you need of course to have some
data and produce a one-off plot. That process is covered in the TUGBoat
article I mentioned earlier. There are then two big things to worry about:
generalising the .tex, and adding enough comments to let other
people use the template. That second point very important, as is talking to
other people to get things right: there’s no use in creating a template that
no-one can use!

As an example, I’ll use a plot of an infra-red spectrum: this is similar
to one in the TUGBoat article. The original version looks like this:

\documentclass{standalone}
 
\usepackage[T1]{fontenc}
\usepackage{helvet}
\sansmath
\renewcommand{\rmfamily}{\sffamily}
 
\usepackage{pgfplots}
\pgfplotsset
  {
    compat                   = newest,
    every tick/.append style = thin
  }
\pgfkeys{/pgf/number format/set thousands separator = }
 
\usepackage{siunitx}
\sisetup{mode = text}
 
\begin{document}
 
\begin{tikzpicture}[font = \sffamily]
  \begin{axis}
    [
      x dir               = reverse,
      xlabel              = Wavenumber/\si{\per\centi\metre},
      xmax                = 2100,
      xmin                = 1800,
      ylabel              = Milliabsorbance,
      ymax                = 34
    ]
    \addplot[color = black, mark = none] table {example.txt};
 
    \node[coordinate,  pin = {[rotate=90]right:1884}] at 
      (axis cs:1884,1.3) { };
    \node[coordinate,  pin = {[rotate=90]right:1922}] at 
      (axis cs:1922,1.3) { };
    \node[coordinate,  pin = {[rotate=90]right:1965}] at 
      (axis cs:19651,1.3) { };
    \node[coordinate,  pin = {[rotate=90]right:1965}] at 
      (axis cs:1965,1.3) { };      
    \node[coordinate,  pin = {[rotate=90]right:2076}] at 
      (axis cs:2076,1.3) { };
  \end{axis}
\end{tikzpicture}

From one plot to many plots

There are several things to notice about the example. First, there are no
comments: that’s fine for me (provided I remember how it works), but what about
my coworkers? Second, everything is hard coded, for example the file containing
the raw data, which is pretty hard to find. Third, I had to pre-modify the data
file to get it working: the .txt file is based on an instrument
file which is in a text format but which contains lines I needed to remove and
scale. Finally, there is a lot of repetition in the pin part,
which would be better handled using a loop.

The most important change to make is probably adding comments: that’s true of
any form of programming. In this case, that means labelling up the lines which
should be changed, and saying what should go in them. So for example I would
the settings for the axes to read

\begin{axis}
  [
    x dir               = reverse,
    xlabel              = Wavenumber/\si{\per\centi\metre},
    xmax                = 2100, % Alter "2100" to change x-max
    xmin                = 1800, % Alter "1800" to change x-min
    ylabel              = Milliabsorbance,
% Set ymax value to allow space for labels
% Alter "34" to set y-max, or comment out for autoscale
    ymax                = 34 
  ]

Making the template more flexible means moving some parts to macros which stand
out. In this template, the most important thing is where the data comes from.
So I would make that a macro right at the start of the file

% The file name for the raw data goes here
\newcommand*{\datafile}{example.txt}

Later in the file, I then use

\addplot[color = black, mark = none] table {\datafile};

Of course, I could have simply added a comment, but that does not work so well
for this type of ‘hidden’ setting. I find that the key-value lists used a lot
by pgfplots work fine with comments, but for other settings using a well-named
macro works better.

Making templates that work directly from instrument data rather than having to
post-process in a spreadsheet can require a bit of effort. Provided you can
save data in a text format (space-, tab- or comma-delimited), the pay-off is
that you only have to do the job once, and can then forget about the problem:
if you have to post-process every time, it’s easy to make mistakes. In the
example, I had to remove some lines at the start of the instrument file to make
it usable: easy to set up using

\addplot[color = black, mark = none] table[skip first n = 2] {\datafile};

Dealing with comma-separated files is also easy

\pgfplotsset{table/col sep = comma}

(the standard setting for pgfplots is whitespace delimited).

Scaling or shifting data points is sometimes necessary, and again pgfplots can
help as it will work with expressions for x and y, not just
values. We can therefore have something like

\addplot[color = black, mark = none]
  table
    [
      skip first n = 4,
      x expr = \thisrowno{0} + 10,
      y expr = 1000000 * \thisrowno{1}
    ]

where the column numbers for a table start at 0 (usually the x value)
and work up. Of course, if the values you need to shift or multiply by are
variable at all, you can store them as commands.

Finally, we can use loops to deal with repetition. I pointed out
that where I added some text markers in the original, things were
repetitive and a loop would work

\pgfplotsinvokeforeach{1884,1922,1965,2076}{% Alter numbers as needed
  \node[coordinate,  pin = {[rotate=90]right:#1}] at 
    (axis cs:#1,23) { }; % Alter "1.3" to set height of labels
  }

TikZ experts might wonder why I haven’t used \pgfforeach
here: it doesn’t work!

Putting it together

So what does the completed template look like?

% Template for plotting a single IR spectrum
 
% The file name for the raw data goes here
\newcommand*{\datafile}{example.asc}
 
\documentclass{standalone}
 
\usepackage[T1]{fontenc}
\usepackage{helvet}
\usepackage[EULERGREEK]{sansmath}
\sansmath
\renewcommand{\rmfamily}{\sffamily}
 
\usepackage{pgfplots}
\pgfplotsset
  {
    compat                   = newest,
    every tick/.append style = thin
  }
\pgfkeys{/pgf/number format/set thousands separator = }
 
\usepackage{siunitx}
\sisetup{mode = text}
 
\begin{document}
 
\begin{tikzpicture}[font = \sffamily]
  \begin{axis}
    [
      x dir               = reverse,
      xlabel              = Wavenumber/\si{\per\centi\metre},
      xmax                = 2100, % Alter "2100" to change x-max
      xmin                = 1800, % Alter "1800" to change x-min
      ylabel              = Milliabsorbance,
% Set ymax value to allow space for labels
      ymax                = 34 % Alter "34" to set y-max, or comment out for autoscale
    ]
    \addplot[color = black, mark = none] table[skip first n = 2] {\datafile};
 
% A list of labels: put all of the positions in the list.
  \pgfplotsinvokeforeach{1884,1922,1965,2076}{% Alter numbers as needed
    \node[coordinate,  pin = {[rotate=90]right:#1}] at 
      (axis cs:#1,23) { }; % Alter "1.3" to set height of labels
    }
  \end{axis}
\end{tikzpicture}
 
\end{document}

The result is shown in the figure.

Example plot

Programming for flexibility

Of course, you can make templates as simple or as complex as you like. For
example, we have some data that can come from one of three machines. Two save
directly in text-based files, but the formats are different. The third can only
export data, in .csv format, which is different again from the
other two! I could have written three templates, but as my non-LaTeX using
colleagues need to use them too, a programmatic approach looked better. So I
worked out the three different settings needed, then set up some code to work
out the file extension and set up accordingly

% The file name for the raw data goes here
\newcommand*{\datafile}{100mvn.ocw} % Change "100mvn.par"
 
% This does the auto-detection of file type
% You don't need to change anything
\newcommand*{\xcolumn}{0}
\newcommand*{\ycolumn}{1}
\newcommand*{\ignorelines}{0}
 
\newcommand*{\ext}{}
\newcommand*{\getext}{}
\def\getext#1.#2\stop{%
  \expandafter\ifx\expandafter\relax\detokenize{#2}\relax
    \renewcommand{\ext}{#1}%
    \expandafter\getextaux
  \else
    \expandafter\getext
  \fi
  #2\stop
}
\newcommand*{\getextaux}{}
\def\getextaux#1\stop{%
  \ifnum\pdfstrcmp{\ext}{par}=0 %
    \renewcommand*{\ignorelines}{110}
    \renewcommand*{\xcolumn}{2}
    \renewcommand*{\ycolumn}{3}
  \else
    \ifnum\pdfstrcmp{\ext}{ocw}=0 %
      \renewcommand*{\ignorelines}{2}
      \AtBeginDocument{%
        \pgfplotsset{table/col sep = space}
      }
    \fi
  \fi
}
\expandafter\getext\datafile.\stop

You might not want to go that far, but the point is that using LaTeX gives you
the possibility to program this kind of thing. You only need to set it up once,
so it is worth considering.

Conclusions

With a bit of effort, you can use pgfplots to produce sophisticated templates
that can be used to produce high quality plots with ease. This helps you
keep you data presentation consistent, and can also be used where several
workers have to produce similar output: vital if one person (you!) is to
avoid doing all of the work.

by Joseph Wright at Saturday, 2020-06-06 19:25

TikZ Library for Structural Analysis

At university it is always a very time consuming work to create new assignments, and tests; especially when those tasks include drawing graphics.

In the field of structural engineering those small structures are a key part for teaching. For this reason I developed, in cooperation with the Institute for Structural Analysis at the Graz University of Technology, a TikZ library for Structural Analysis.

There are two different types of libraries available: one for 2D structures (structuralanalysis.sty) and one for 3D structures (3dstructuralanalysis.sty). In the following article only the 2D library will be discussed, but the principles and methods are the same for 3D structures.

Contents

Principles

TikZ is a very powerful tool; however, unfortunately not everyone is used to this part of LaTeX. Therefore, in addition to the creation of the library the second goal was to keep the usage as simple as possible. So that:

  • anyone can use this library without (deeper) knowledge in TikZ
  • skilled users can easily modify and customise the code
  • the principle of this library can be used for any other library

Getting Started

Installation


Download the .sty file in the right directory and add it to the LaTeX file like:

\usepackage{structuralanalysis}

LaTeX Environment

Like every TikZ graph, needs also this library the

\begin{tikzpicture}
    ...
\end{tikzpicture}

environment.

Elements

Basic Commands

The library provides 10 different commands:

  • \point
  • \beam
  • \support
  • \hinge
  • \load or \lineload and \temperature
  • \internalforces
  • \dimensioning
  • \influenceline
  • \notation
  • \addon

For each element (command) are different options available. Obligatory options are marked with {curley brackets} and optional values are marked with [square brackets]. The first type is a must have criteria. In contrast, the optional input is not required to be entered.

An easy example is the following single force:

\load{type}{insertion point}[rotation][length or included angle][loaddistance];

Manual

More specific information about the elements and their options can be found in the manual. The manual is written in German, but section 1 provides a table with all elements and options; furthermore, the code is also given for each picture in the manual.

Examples

The easiest way to create a structure is the list above, starting with \point and ending with \addon.

The following examples shall give a first impression how drawings can be generated. In the manual both examples are explained in detail.

2D Simplified Roof

\begin{tikzpicture}
     \scaling{.65};
 
     \point{a}{0}{1};
     \point{b}{3}{1};
     \point{c}{11}{3};
     \point{d}{19}{1};
     \point{e}{22}{1};
     \point{f}{3}{0};
     \point{g}{11}{-2};
     \point{h}{19}{0};
 
     \beam{1}{a}{b}[0][1];
     \beam{1}{b}{c}[1][1];
     \beam{1}{c}{d}[1][1];
     \beam{1}{d}{e}[1][0];
     \beam{1}{f}{b};
     \beam{1}{d}{h};
     \beam{2}{f}{g};
     \beam{2}{g}{h};
     \beam{2}{g}{c};
 
     \support{1}{f};
     \support{2}{h};
 
     \hinge{1}{f};
     \hinge{1}{h};
     \hinge{1}{g};
     \hinge{2}{c}[<!-- no bbcode -->b][d];
 
     \lineload{2}{a}{b}[1][1][.5];
     \lineload{2}{b}{c};
 
     \dimensioning{1}{a}{b}{-2.5}[$3,0$];
     \dimensioning{1}{b}{c}{-2.5}[$8,0$];
     \dimensioning{1}{c}{d}{-2.5}[$8,0$];
     \dimensioning{1}{d}{e}{-2.5}[$3,0$];
     \dimensioning{2}{f}{a}{-1}[$1,0$];
     \dimensioning{2}{g}{f}{-1}[$2,0$];
     \dimensioning{2}{a}{c}{-1}[$2,0$];
 
     \influenceline{a}{e}{3}[.3];
 
     \notation{1}{a}{$1$}[left];
     \notation{1}{b}{$2$}[below right=2mm];
     \notation{1}{c}{$3$};
     \notation{1}{d}{$4$}[above];
     \notation{1}{e}{$5$}[above];
     \notation{1}{f}{$6$}[left=2mm];
     \notation{1}{g}{$7$}[below=2mm];
     \notation{1}{h}{$8$}[right=2mm];
     \notation{4}{f}{g}[$S$];
 
\end{tikzpicture}
2D Simplified Roof

3D Support Construction

By using the library 3dstructuralanalysis, the following graph can be created in a very short time:

\setcoords{-25}{10}[1][1.2]
\setaxis{2}
%\showpoint
\begin{tikzpicture}[coords]
 
     \dpoint{a}{0}{0}{0};
     \dpoint{b}{3}{0}{0};
     \dpoint{c}{6}{0}{0};
     \dpoint{d}{9}{0}{0};
     \dpoint{e}{12}{0}{0};
     \dpoint{f}{0}{3}{0};
     \dpoint{g}{3}{3}{0};
     \dpoint{h}{6}{3}{0};
     \dpoint{i}{9}{3}{0};
     \dpoint{j}{12}{3}{0};
 
     \daxis{1}{a};
 
     \dbeam{1}{f}{b};
     \dbeam{1}{b}{h};
     \dbeam{1}{h}{d};
     \dbeam{1}{d}{j};
     \dbeam{3}{a}{e};
     \dbeam{3}{f}{j};
     \dbeam{3}{a}{f};
     \dbeam{3}{b}{g};
     \dbeam{3}{c}{h};
     \dbeam{3}{d}{i};
     \dbeam{3}{e}{j};
 
     \dsupport{1}{b};
     \dsupport{1}{h}[0][0];
     \dsupport{1}{d}[0];
 
     \dhinge{2}{b}[f][h][1];
     \dhinge{2}{h}[<!-- no bbcode-->b][d][1];
     \dhinge{2}{d}[h][j][1];
 
     \dlineload{5}{0}{f}{b}[.5][.5][.11];
     \dlineload{5}{0}{b}{h}[.5][.5][.11];
     \dlineload{5}{0}{h}{d}[.5][.5][.11];
     \dlineload{5}{0}{d}{j}[.5][.5][.11];
 
     \ddimensioning{xy}{f}{g}{4.5}[$3~m$];
     \ddimensioning{xy}{g}{h}{4.5}[$3~m$];
     \ddimensioning{xy}{h}{i}{4.5}[$3~m$];
     \ddimensioning{xy}{i}{j}{4.5}[$3~m$];
     \ddimensioning{yx}{e}{j}{13}[$3~m$];
 
     \dnotation{1}{f}{$q=10~kN/m$}[above left=3mm];
     \dnotation{1}{b}{$A$}[below left];
     \dnotation{1}{h}{$C$}[right=2mm];
     \dnotation{1}{d}{$B$}[below left];
 
\end{tikzpicture}
3D Support Construction

Downloads

by Jürgen Hackl at Saturday, 2020-06-06 19:18

Uwes kleines Technikblog - Kategorie LaTeX (by Uwe Ziegenhagen)

Mehrsprachige Beamer-Folien erstellen

Unter https://tex.stackexchange.com/questions/443714/bilingual-slides-beamer-comment-package-and-non-ascii-characters-umlauts-dia gibt es ein gutes Beispiel, wie man mehrsprachige Beamer-Folien erstellen kann. Je nach gesetztem \newcommand{\lvlang}{EN} wird entweder die englische oder deutsche Version erzeugt.

Der Code müsste sich noch verbessern lassen, wenn man beispielsweise globale Klassenoptionen wie english oder ngerman auswertet. Nachtrag: Siehe dazu https://www.uweziegenhagen.de/?p=4352

Hier ein vollständiges Beispiel:

\documentclass{beamer}

\newcommand{\lvlang}{EN}

\usepackage[utf8]{inputenc}
\usepackage[T1]{fontenc}

\usepackage{comment}
\long\def\WriteCommentLine#1{\immediate\write\CommentStream{\unexpanded{#1}}}
\let\ThisComment\WriteCommentLine

\usepackage{ifthen}
\newcommand{\iflvlangde}[2]{%
  \ifthenelse{\equal{\lvlang}{DE}}{#1}{#2}%
}

\makeatletter
\iflvlangde{
  \usepackage[main=ngerman]{babel}
  \includecomment{DE}
  \excludecomment{EN}
}{
  \usepackage[main=english]{babel}
  \includecomment{EN}
  \excludecomment{DE}
}
\makeatother

\begin{document}
\begin{DE}
\begin{frame}[fragile]{Hallo Welt}
  Hallo Welt
\end{frame}
\end{DE}

\begin{EN}
\begin{frame}[fragile]{Hello World}
  Hello World
\end{frame}
\end{EN}

\end{document}

Uwe

Uwe Ziegenhagen likes LaTeX and Python, sometimes even combined. Do you like my content and would like to thank me for it? Consider making a small donation to my local fablab, the Dingfabrik Köln. Details on how to donate can be found here Spenden für die Dingfabrik.

More Posts - Website

üääü­üöü–üöü–üöü–

by Uwe at Saturday, 2020-06-06 15:48

LaTeX.net

Drawing with the tikz-3dplot Package

When I started working on my thesis dissertation using LaTeX, I discovered the TikZ package for drawing vector-based figures. I needed a way to easily draw three-dimensional figures, and so I put together a few handy tools in the tikz-3dplot package. This package builds on TikZ, providing an easy way to rotate the perspective when drawing three-dimensional shapes using basic shapes in a tikzpicture environment.

Let’s explore some examples of what tikz-3dplot can do.

– A contribution to the LaTeX and Graphics contest – This article is available for reading and for download in pdf format

The Basics

Let’s draw a cube, with side length of 2. To help illustrate the comparison, we’ll draw a grid in the xy plane, and also show the x, y, and z axes.

\begin{tikzpicture}
		[cube/.style={very thick,black},
			grid/.style={very thin,gray},
			axis/.style={-&gt;,blue,thick}]
 
	%draw a grid in the x-y plane
	\foreach \x in {-0.5,0,...,2.5}
		\foreach \y in {-0.5,0,...,2.5}
		{
			\draw[grid] (\x,-0.5) -- (\x,2.5);
			\draw[grid] (-0.5,\y) -- (2.5,\y);
		}
 
	%draw the axes
	\draw[axis] (0,0,0) -- (3,0,0) node[anchor=west]{$x$};
	\draw[axis] (0,0,0) -- (0,3,0) node[anchor=west]{$y$};
	\draw[axis] (0,0,0) -- (0,0,3) node[anchor=west]{$z$};
 
	%draw the top and bottom of the cube
	\draw[cube] (0,0,0) -- (0,2,0) -- (2,2,0) -- (2,0,0) -- cycle;
	\draw[cube] (0,0,2) -- (0,2,2) -- (2,2,2) -- (2,0,2) -- cycle;
 
	%draw the edges of the cube
	\draw[cube] (0,0,0) -- (0,0,2);
	\draw[cube] (0,2,0) -- (0,2,2);
	\draw[cube] (2,0,0) -- (2,0,2);
	\draw[cube] (2,2,0) -- (2,2,2);
 
\end{tikzpicture}
\tdplotsetmaincoords{60}{125}
\begin{tikzpicture}
		[tdplot_main_coords,
			cube/.style={very thick,black},
			grid/.style={very thin,gray},
			axis/.style={-&gt;,blue,thick}]
 
	%draw a grid in the x-y plane
	\foreach \x in {-0.5,0,...,2.5}
		\foreach \y in {-0.5,0,...,2.5}
		{
			\draw[grid] (\x,-0.5) -- (\x,2.5);
			\draw[grid] (-0.5,\y) -- (2.5,\y);
		}
 
 
	%draw the axes
	\draw[axis] (0,0,0) -- (3,0,0) node[anchor=west]{$x$};
	\draw[axis] (0,0,0) -- (0,3,0) node[anchor=west]{$y$};
	\draw[axis] (0,0,0) -- (0,0,3) node[anchor=west]{$z$};
 
	%draw the top and bottom of the cube
	\draw[cube] (0,0,0) -- (0,2,0) -- (2,2,0) -- (2,0,0) -- cycle;
	\draw[cube] (0,0,2) -- (0,2,2) -- (2,2,2) -- (2,0,2) -- cycle;
 
	%draw the edges of the cube
	\draw[cube] (0,0,0) -- (0,0,2);
	\draw[cube] (0,2,0) -- (0,2,2);
	\draw[cube] (2,0,0) -- (2,0,2);
	\draw[cube] (2,2,0) -- (2,2,2);
 
\end{tikzpicture}

Basic cube example

In the default configuration, shown on the left, the xy plane lies in the same plane as the page. The z-axis extends down and to the left, giving the illusion of depth. This is a useful representation of a three-dimensional space as is, but gives little in the range of customization.

The tikz-3dplot package can redefine the perspective for viewing this three-dimensional space. In the tikz-3dplot configuration, the z-axis points in the vertical direction, and the viewed perspective of the xy plane can be specified using the user-specified values θ and φ (in degrees). These angles define the direction from which the three-dimensional space is viewed, using the standard definition of the polar and azimuthal angles from polar coordinates.

To specify the display orientation, use the command \tdplotsetmaincoords{θ}{φ} before the tikzpicture environment, and include the tdplot_main_coords style within any drawing command. Alternatively, as seen in this example, you can include the tdplot_main_coords style within the global style settings of the tikzpicture environment.

As suggested by the name, tdplot_main_coords, I refer to this coordinate frame as the “main” coordinate frame. It provides the base through which you can perform all drawing operations. It may seem a bit restrictive that the z-axis of the main coordinate frame can only the vertical direction. If you wish to define a more general orientation, there is a second, “rotated” coordinate frame that can be specified relative to the orientation of the main coordinate frame. Let’s take a look at this cube example again, drawn in the rotated coordinate frame.

\tdplotsetmaincoords{60}{120}%
\tdplotsetrotatedcoords{0}{20}{0}%
\begin{tikzpicture}
		[tdplot_rotated_coords,
			cube/.style={very thick,black},
			grid/.style={very thin,gray},
			axis/.style={-&gt;,blue,thick},
			rotated axis/.style={-&gt;,purple,thick}]
 
	%draw a grid in the x-y plane
	\foreach \x in {-0.5,0,...,2.5}
		\foreach \y in {-0.5,0,...,2.5}
		{
			\draw[grid] (\x,-0.5) -- (\x,2.5);
			\draw[grid] (-0.5,\y) -- (2.5,\y);
		}
 
	%draw the main coordinate frame axes
	\draw[axis,tdplot_main_coords] (0,0,0) -- (3,0,0) node[anchor=west]{$x$};
	\draw[axis,tdplot_main_coords] (0,0,0) -- (0,3,0) node[anchor=north west]{$y$};
	\draw[axis,tdplot_main_coords] (0,0,0) -- (0,0,3) node[anchor=west]{$z$};
 
 
	%draw the rotated coordinate frame axes
	\draw[rotated axis] (0,0,0) -- (3,0,0) node[anchor=west]{$x'$};
	\draw[rotated axis] (0,0,0) -- (0,3,0) node[anchor=south west]{$y'$};
	\draw[rotated axis] (0,0,0) -- (0,0,3) node[anchor=west]{$z'$};
 
	%draw the top and bottom of the cube
	\draw[cube] (0,0,0) -- (0,2,0) -- (2,2,0) -- (2,0,0) -- cycle;
	\draw[cube] (0,0,2) -- (0,2,2) -- (2,2,2) -- (2,0,2) -- cycle;
 
	%draw the edges of the cube
	\draw[cube] (0,0,0) -- (0,0,2);
	\draw[cube] (0,2,0) -- (0,2,2);
	\draw[cube] (2,0,0) -- (2,0,2);
	\draw[cube] (2,2,0) -- (2,2,2);
 
\end{tikzpicture}

Rotated cube

Here, I show the axes for both the main coordinate frame (xyz) and rotated coordinate frame (xyz‘). Using the command \tdplotsetrotatedcoords{θz}{θy}{θz}, the rotated coordinate frame is defined by taking the orientation of the main coordinate frame, and then performing the Euler angle rotations (θz, θy, θz) (in degrees) to define the rotated coordinate frame. The coordinate transformation for the rotated coordinate frame is stored in the tdplot_rotated_coords style. In this example, I simply rotated about the y-axis of the main coordinate frame.

Examples

Defining tdplot_main_coord and tdplot_rotated_coords is just the beginning. tikz-3dplot provides a bunch of handy tools to make it easier to work in a three-dimensional space.

Defining Coordinates

For example, the command \tdplotsetcoord{r}{θ}{φ} defines a coordinate using spherical coordinates r, θ, φ. More than that, this handy command also defines points that can be useful for projections on the axes and their shared planes. Consider the following example, where the coordinate (P) is defined in the three-dimensional space using spherical polar coordinates.

\tdplotsetmaincoords{60}{120}
\begin{tikzpicture}
	[scale=3,
		tdplot_main_coords,
		axis/.style={-&gt;,blue,thick},
		vector/.style={-stealth,red,very thick}]
 
	%standard tikz coordinate definition using x, y, z coords
	\coordinate (O) at (0,0,0);
 
	%tikz-3dplot coordinate definition using r, theta, phi coords
	\tdplotsetcoord{P}{.8}{55}{60}
 
	%draw axes
	\draw[axis] (0,0,0) -- (1,0,0) node[anchor=north east]{$x$};
	\draw[axis] (0,0,0) -- (0,1,0) node[anchor=north west]{$y$};
	\draw[axis] (0,0,0) -- (0,0,1) node[anchor=south]{$z$};
 
	%draw a vector from O to P
	\draw[vector] (O) -- (P);
\end{tikzpicture}
\tdplotsetmaincoords{60}{120}
\begin{tikzpicture}
	[scale=3,
		tdplot_main_coords,
		axis/.style={-&gt;,blue,thick},
		vector/.style={-stealth,red,very thick},
		vector guide/.style={dashed,red,thick}]
 
	%standard tikz coordinate definition using x, y, z coords
	\coordinate (O) at (0,0,0);
 
	%tikz-3dplot coordinate definition using r, theta, phi coords
	\tdplotsetcoord{P}{.8}{55}{60}
 
	%draw axes
	\draw[axis] (0,0,0) -- (1,0,0) node[anchor=north east]{$x$};
	\draw[axis] (0,0,0) -- (0,1,0) node[anchor=north west]{$y$};
	\draw[axis] (0,0,0) -- (0,0,1) node[anchor=south]{$z$};
 
	%draw a vector from O to P
	\draw[vector] (O) -- (P);
 
	%draw guide lines to components
	\draw[vector guide] (O) -- (Pxy);
	\draw[vector guide] (Pxy) -- (P);
\end{tikzpicture}

Coordinate system

In the left diagram, it is hard to identify where the vector lies in the three-dimensional space. In the right diagram, I make use of the (automatically generated) projection coordinate (Pxy), which lies in the xy plane below (P), to illustrate the orientation of the vector.

Drawing Circles and Arcs

To draw a circle or arc, the \tdplotdrawarc command is provided. Here, you specify the center of the circle/arc, the radius, the start and end angles, and label notes. Here are a couple examples that use arcs and circles.

\tdplotsetmaincoords{60}{120}
\begin{tikzpicture}
	[scale=3,
		tdplot_main_coords,
		axis/.style={-&gt;,blue,thick},
		vector/.style={-stealth,red,very thick},
		vector guide/.style={dashed,red,thick},
		angle/.style={red,thick}]
 
	%standard tikz coordinate definition using x, y, z coords
	\coordinate (O) at (0,0,0);
 
	%tikz-3dplot coordinate definition using r, theta, phi coords
	\tdplotsetcoord{P}{.8}{55}{60}
 
	%draw axes
	\draw[axis] (0,0,0) -- (1,0,0) node[anchor=north east]{$x$};
	\draw[axis] (0,0,0) -- (0,1,0) node[anchor=north west]{$y$};
	\draw[axis] (0,0,0) -- (0,0,1) node[anchor=south]{$z$};
 
	%draw a vector from O to P
	\draw[vector] (O) -- (P);
 
	%draw guide lines to components
	\draw[vector guide] (O) -- (Pxy);
	\draw[vector guide] (Pxy) -- (P);
 
	%draw an arc illustrating the angle defining the orientation
	\tdplotdrawarc[angle]{(O)}{.35}{0}{60}{anchor=north}{$\phi$}
 
	%define the rotated coordinate frame to lie in the "theta plane"
	\tdplotsetthetaplanecoords{55}
 
	\tdplotdrawarc[tdplot_rotated_coords,angle]{(O)}{.35}{0}{55}
          {anchor=south west}{$\theta$}
 
\end{tikzpicture}
\tdplotsetmaincoords{55}{5}
\begin{tikzpicture}
	[scale=3,
		tdplot_main_coords,
		curve/.style={red,densely dotted,thick}]
 
	\coordinate (O) at (0,0,0);
 
	\foreach \angle in {-90,-75,...,90}
	{
		%calculate the sine and cosine of the angle
		\tdplotsinandcos{\sintheta}{\costheta}{\angle}%
 
		%define a point along the z-axis through which to draw
		%a circle in the xy-plane
		\coordinate (P) at (0,0,\sintheta);
 
		%draw the circle in the main frame
		\tdplotdrawarc[curve]{(P)}{\costheta}{0}{360}{}{}
 
		%define the rotated coordinate frame based on the angle
		\tdplotsetthetaplanecoords{\angle}
 
		%draw the circle in the rotated frame
		\tdplotdrawarc[curve,tdplot_rotated_coords]{(O)}{1}{0}{360}{}{}
	}
 
\end{tikzpicture}

Circles and arcs

The left example is an extension of the vector example shown earlier. An arc was added in the xy plane to illustrate the azimuthal angle, φ, and another arc was added to illustrate the polar angle, θ. In the right example, a series of circles are drawn to represent longitudinal and latitudinal lines on a sphere.

To make these examples, a few useful helper functions are used. First, the \tdplotsetthetaplanecoords{φ} function gives a convenient way of placing rotated coordinate frame such that the xy‘ plane is lined up to draw the polar angle, θ. Second, the \tdplotsinandcos{\sintheta}{\costheta}{θ} command takes the specified angle, θ (in degrees), and stores the sine and cosine value of that angle in the macros \sintheta and \costheta. Note that you can use any name in place of \sintheta and \costheta for your convenience.

Drawing Surfaces

Drawing lines and curves can be great fun, but what if you wanted to represent a solid object with opaque surfaces? With proper planning and careful consideration of which surfaces are drawn first, you can render simple shapes.

\tdplotsetmaincoords{60}{125}
\begin{tikzpicture}
	[tdplot_main_coords,
		grid/.style={very thin,gray},
		axis/.style={-&gt;,blue,thick},
		cube/.style={opacity=.5,very thick,fill=red}]
	%draw a grid in the x-y plane
	\foreach \x in {-0.5,0,...,2.5}
		\foreach \y in {-0.5,0,...,2.5}
		{
			\draw[grid] (\x,-0.5) -- (\x,2.5);
			\draw[grid] (-0.5,\y) -- (2.5,\y);
		}			
 
	%draw the axes
	\draw[axis] (0,0,0) -- (3,0,0) node[anchor=west]{$x$};
	\draw[axis] (0,0,0) -- (0,3,0) node[anchor=west]{$y$};
	\draw[axis] (0,0,0) -- (0,0,3) node[anchor=west]{$z$};
 
	%draw the bottom of the cube
	\draw[cube] (0,0,0) -- (0,2,0) -- (2,2,0) -- (2,0,0) -- cycle;
 
	%draw the back-right of the cube
	\draw[cube] (0,0,0) -- (0,2,0) -- (0,2,2) -- (0,0,2) -- cycle;
 
	%draw the back-left of the cube
	\draw[cube] (0,0,0) -- (2,0,0) -- (2,0,2) -- (0,0,2) -- cycle;
 
 
	%draw the front-right of the cube
	\draw[cube] (2,0,0) -- (2,2,0) -- (2,2,2) -- (2,0,2) -- cycle;
 
	%draw the front-left of the cube
	\draw[cube] (0,2,0) -- (2,2,0) -- (2,2,2) -- (0,2,2) -- cycle;
 
	%draw the top of the cube
	\draw[cube] (0,0,2) -- (0,2,2) -- (2,2,2) -- (2,0,2) -- cycle;
 
\end{tikzpicture}
\tdplotsetmaincoords{60}{125}
\begin{tikzpicture}[
		tdplot_main_coords,
		grid/.style={very thin,gray},
		axis/.style={-&gt;,blue,thick},
		cube/.style={very thick,fill=red},
		cube hidden/.style={very thick,dashed}]
	%draw a grid in the x-y plane
	\foreach \x in {-0.5,0,...,2.5}
		\foreach \y in {-0.5,0,...,2.5}
		{
			\draw[grid] (\x,-0.5) -- (\x,2.5);
			\draw[grid] (-0.5,\y) -- (2.5,\y);
		}
 
	%draw the axes
	\draw[axis] (0,0,0) -- (3,0,0) node[anchor=west]{$x$};
	\draw[axis] (0,0,0) -- (0,3,0) node[anchor=west]{$y$};
	\draw[axis] (0,0,0) -- (0,0,3) node[anchor=west]{$z$};
 
	%draw the front-right of the cube
	\draw[cube] (2,0,0) -- (2,2,0) -- (2,2,2) -- (2,0,2) -- cycle;
 
	%draw the front-left of the cube
	\draw[cube] (0,2,0) -- (2,2,0) -- (2,2,2) -- (0,2,2) -- cycle;
 
	%draw the top of the cube
	\draw[cube] (0,0,2) -- (0,2,2) -- (2,2,2) -- (2,0,2) -- cycle;
 
	%draw dashed lines to represent hidden edges
	\draw[cube hidden] (0,0,0) -- (2,0,0);
	\draw[cube hidden] (0,0,0) -- (0,2,0);
	\draw[cube hidden] (0,0,0) -- (0,0,2);
 
\end{tikzpicture}

Surface plots: cubes

The left example uses fill color transparency to illustrate surfaces hidden behind others. Here, the covered and back edges of the cube are distinguished by having the fill for the front surfaces drawn over top. The right example has opaque front surfaces of the cube drawn first, and then the back edges are illustrated using dashed lines. In both situations, the order of drawing depends on the perspective. If you change the orientation of the coordinate frame, you will need to be careful about whether the drawing order needs to change. In the case with dashed lines, you may even need to reassign roles to the components of the object.

Another example of surface plots is the \tdplotsphericalsurfaceplot command. This command was developed to allow me to plot complex spherical harmonics, where the radius and hue of the surface is plotted as a function of the polar and azimuthal angles.

\tdplotsetmaincoords{70}{135}
\begin{tikzpicture}[scale=4,line join=bevel,tdplot_main_coords, fill opacity=.5]
	\pgfsetlinewidth{.2pt}
	\tdplotsphericalsurfaceplot[parametricfill]{72}{36}{sin(\tdplottheta)*cos(\tdplottheta)}{black}{\tdplotphi}%
		{\draw[color=black,thick,-&gt;] (0,0,0) -- (1,0,0) node[anchor=north east]{$x$};}%
		{\draw[color=black,thick,-&gt;] (0,0,0) -- (0,1,0) node[anchor=north west]{$y$};}%
		{\draw[color=black,thick,-&gt;] (0,0,0) -- (0,0,1) node[anchor=south]{$z$};}%
\end{tikzpicture}

Surface plot

Here, I am plotting the function r = sin(θ)cos(θ), and using φ as the parameter to choose the surface fill hue. The instructions for \tdplotsphericalsurfaceplot define the angular step sizes, the function to plot, the line style, the fill style, and instructions for drawing axes. Unlike the manual surface plot examples shown earlier, the \tdplotsphericalsurfaceplot command does the work of determining how to appropriately draw the surface so that surfaces and edges drawn on the back side are appropriately rendered below those on the front. The only downside with this is that it takes some time to render, so you may want to look into externalizing these figures.

Limitations

When drawing shapes in tikz-3dplot, only simple shapes like line segments and arcs behave properly, whereas more involved shapes like rectangles and grids do not adhere to the sense of rotated coordinate system. Let’s look at the first example again, where we use the rectangle command to draw the top and bottom of the cube, rather than a series of line segments.

\begin{tikzpicture}
	%draw a grid in the x-y plane
	\foreach \x in {-0.5,0,...,2.5}
		\foreach \y in {-0.5,0,...,2.5}
		{
			\draw[gray,very thin] (\x,-0.5) -- (\x,2.5);
			\draw[gray,very thin] (-0.5,\y) -- (2.5,\y);
		}
 
	%draw the axes
	\draw[-&gt;] (0,0,0) -- (3,0,0) node[anchor=west]{$x$};
	\draw[-&gt;] (0,0,0) -- (0,3,0) node[anchor=west]{$y$};
	\draw[-&gt;] (0,0,0) -- (0,0,3) node[anchor=west]{$z$};
 
	%draw the top and bottom of the cube
	\draw[very thick] (0,0,0) rectangle (2,2,0);
	\draw[very thick] (0,0,2) rectangle (2,2,2);
 
	%draw the edges of the cube
	\draw[very thick] (0,0,0) -- (0,0,2);
	\draw[very thick] (0,2,0) -- (0,2,2);
	\draw[very thick] (2,0,0) -- (2,0,2);
	\draw[very thick] (2,2,0) -- (2,2,2);
 
\end{tikzpicture}
\tdplotsetmaincoords{60}{125}
\begin{tikzpicture}[tdplot_main_coords]
	%draw a grid in the x-y plane
	\foreach \x in {-0.5,0,...,2.5}
		\foreach \y in {-0.5,0,...,2.5}
		{
			\draw[gray,very thin] (\x,-0.5) -- (\x,2.5);
			\draw[gray,very thin] (-0.5,\y) -- (2.5,\y);
		}
 
	%draw the axes
	\draw[-&gt;] (0,0,0) -- (3,0,0) node[anchor=west]{$x$};
	\draw[-&gt;] (0,0,0) -- (0,3,0) node[anchor=west]{$y$};
	\draw[-&gt;] (0,0,0) -- (0,0,3) node[anchor=west]{$z$};
 
	%draw the top and bottom of the cube
	\draw[very thick] (0,0,0) rectangle (2,2,0);
	\draw[very thick] (0,0,2) rectangle (2,2,2);
 
	%draw the edges of the cube
	\draw[very thick] (0,0,0) -- (0,0,2);
	\draw[very thick] (0,2,0) -- (0,2,2);
	\draw[very thick] (2,0,0) -- (2,0,2);
	\draw[very thick] (2,2,0) -- (2,2,2);
 
\end{tikzpicture}

Limitations

If you look carefully at the rotated diagram, you’ll notice that the rectangles are drawn with the correct beginning and end points, but the overall shape conforms to the original coordinate system of the page.

For More Information

For more information, I recommend you have a look at the package, located at www.ctan.org/pkg/tikz-3dplot.


About the Author:Jeff Hein is the author of the tikz-3dplot package. He maintains a blog for this package on tikz3dplot.wordpress.com.

by Jeff Hein at Saturday, 2020-06-06 06:31

2020-05-28

LaTeX Project

First prerelease of LaTeX 2020-10-01 is available for testing

The first LaTeX prerelease for 2020-10-01 is available for testing

A few days ago we have submitted a new LaTeX development format1 to CTAN and by now it should be available to all users using MiKTeX or TeX Live (on any operating system).

This format allows you to test the upcoming LaTeX release scheduled for 2020-10-01 with your documents or packages. Such testing is particularly important for package maintainers to verify that changes to the core LaTeX haven’t introduced incompatibilities with existing code. We try to identify any such problem beforehand, but such an undertaking is necessarily incomplete, which is why we ask for user testing.

Besides developers we also ask ordinary users to try out the new release candidate, because the more people are testing the new format, the higher the chances that any hidden problems are identified before the final release in February hits the streets.

Processing your documents with the prerelease is straight forward. All you have to do is to replace the invocation command by appending -dev to the executable, e.g., on the command line you would run

pdflatex-dev myfile    or    lualatex-dev myfile    or    xelatex-dev myfile

instead of using pdflatex, lualatex or xelatex. If you use an integrated editing environment, then it depends on the system how to configure it to use an alternative format; but in any case the necessary modification should be straight forward.

Main features of the first prerelease for 2020-10-01

We have been quite busy (did Corona help?) and so already this first prerelease contains close to thirty smaller and larger fixes and enhancements. A full list is given in a draft version of ltnews32 which you should be able to read by running

texdoc ltnews32

on the command line (or by any other means available at your operating system—somewhere there should be a file called ltnews32.pdf that you can open with a PDF reader). The draft version is also available from our website as LaTeX2e News Issue 32 draft.

In this post I only touch two of the most important topics, but many others are worth exploring too, so please check that documentation out.

Providing xparse as part of the format

In the previous release we added the LaTeX3 programming layer to the LaTeX format to improve the loading speed when packages using expl3 are used (such as fontspec or xparse). In the upcoming release we are now extending this support by integrating xparse so that the extended interface for defining document-level commands becomes available out of the box.

This enables users and most importantly package developers to easily define LaTeX commands with multiple optional arguments or other syntax features with ease. For details, check out the xparse documentation, e.g., via texdoc xparse.

Improving the font series handling

In the previous release we extended NFSS (the new font selection scheme) to better support modern fonts that offer different font faces, e.g., condensed, semi-bold, etc., and make them work seamlessly with each other. Experiences with the extended interface showed that for some use cases adequate support was still missing or that in special setups the algorithms sometimes selected a wrong font series value. These cases have now been resolved and additional support commands have been added. For example, with

\IfFontSeriesContextTF{〈context〉} {〈true code〉}{〈false code〉}

you can now define commands that behave differently depending on the current font series context. The 〈context〉 to check has to be specified as either bf or md. The command then chooses the 〈true code〉 or the 〈false code〉 based on where it is used (e.g., inside \textbf (or \bfseries) or not).

Outlook

We issue the first prerelease now in the hope that you will help by making sure that all the enhancements and fixes inside are safe and without any undesired side effects, so please help with the testing if you can.

We expect further extensions (currently under development) to be added in a second prerelease, in particular a general hook management system for LaTeX, so stay tuned.

Enjoy — Frank

  1. The internal version number for the pre-release is LaTeX2e <2020-10-01> pre-release-6, the earlier prereleases just mirrored the patch releases we did for 2020-02-02. 

Thursday, 2020-05-28 00:00

2020-05-27

TUG

TUG 2020 conference: July 24-26, online via zoom

The TUG'20 conference will take place online via Zoom, from July 24-26, 2020. Registration is free of charge but requested in advance. We have posted the registration form and call for presentation proposals. We also need volunteers in several areas for the conference to be a success. Thanks, and hope to see you there!

Wednesday, 2020-05-27 22:01

2020-05-24

Uwes kleines Technikblog - Kategorie LaTeX (by Uwe Ziegenhagen)

Beamer-Vorlage für (MINT)-Vorlesungen

Ich habe heute die erste Version einer Beamer-Vorlage für Vorlesungen auf github hochgeladen. Ziel war es, sowohl einzelne Module (Vorlesungen) als auch den kompletten Foliensatz erzeugen zu können. Die Vorlage eignet sich nicht nur für MINT-Veranstaltungen, mein Fokus lag aber auf dem sauberen Einbinden von Quellcodes, was bei geisteswissenschaftlichen Vorlesungen vielleicht nicht der Hauptfokus ist.

Die Dateien finden sich unter https://github.com/UweZiegenhagen/MINT-Lecture-Slide-Template

Pull Requests, Kommentare und Vorschläge werden gern gesehen.

Als nächstes baue ich noch Beispiele für die von mir definierten Befehle ein, die ein vereinfachtes Einbetten von Grafiken und Quellcodes erlauben.

Uwe

Uwe Ziegenhagen likes LaTeX and Python, sometimes even combined. Do you like my content and would like to thank me for it? Consider making a small donation to my local fablab, the Dingfabrik Köln. Details on how to donate can be found here Spenden für die Dingfabrik.

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by Uwe at Sunday, 2020-05-24 14:07

2020-05-22

LaTeX.net

goLaTeX Forum Updated

Auch auf Deutsch / in German: TeX.co


In April I did a pretty big software update on goLaTeX.de, and added more features since then.

What’s new? For example:

  • The display is automatically adjusted, so it’s much better readable on smart phones. (before vs. now)
  • Embedding images is easier
  • More options for faster navigation
  • Better protection agains spam (thanks to stopforumspam.com)
  • Internal notification system (as alternative way instead of email)
  • Markdown support for easier input

For interested readers there’s a short description of the update procedure.

Thanks to DANTE for supporting the server operation!


Photo by Markus Winkler on Unsplash

by Stefan Kottwitz at Friday, 2020-05-22 15:44

2020-05-20

LaTeX.net

DANTE

DANTE, “Deutschsprachige Anwendervereinigung TeX e.V.”, is a registered non-profit association of TeX users. It was founded April 14, 1989 in Heidelberg, Germany.

Its purpose is to support TeX and LaTeX mainly for German speaking people, by providing information, software, and support.

DANTE is an important supporter of the international TeX world too, such as by providing the central services for the Comprehensive TeX Archive Network, CTAN. Furthermore, it supports projects, such as font development, LaTeX development, user and developer meetings.

DANTE also supports web forums, FAQ sites, wikis, and further sites by covering the recurring server hosting costs since years. Thanks in the name of thousands registered users and countless anonymous LaTeX web surfers!

Photo by Raphael Schaller on Unsplash

by Stefan Kottwitz at Wednesday, 2020-05-20 00:00

2020-05-15

Thomas Schramm

Fussball-Halbjahreskalender 2020 mit Bundesliga-Geisterspielen

Das Interesse an den Geisterspielen der Bundesliga d체rfte sich in Grenzen halten, aber durch Aktualisierung des Halbjahreskalenders kann man den zu erwartenden Flickenteppich recht gut veranschaulichen. Hier d체rfte sich noch einiges 채ndern, und f체r die internationalen Spielen gibt es aktuell noch gar keine Termine. Die werden dann ebenfalls nach Bekanntgabe aktualisiert.

by Thomas Schramm at Friday, 2020-05-15 16:02

2020-04-27

Uwes kleines Technikblog - Kategorie LaTeX (by Uwe Ziegenhagen)

Aufgabenlisten mit dem tasks Paket setzen

Heute mal ein Beispiel, wie man mit dem tasks Paket Aufgabenlisten setzen kann. Im nächsten Schritt werde ich dann die Listen per Export aus Trello befüllen.

\documentclass[12pt,ngerman]{scrartcl}
\usepackage[utf8]{inputenc}
\usepackage[T1]{fontenc}
\usepackage{babel}
\usepackage{tasks}
\usepackage{fontawesome}

\NewTasksEnvironment[label=\faHandORight,label-width=15pt]{todo}[*](1)
\NewTasksEnvironment[label=\faHandRockO,label-width=15pt]{progress}[*](1)
\NewTasksEnvironment[label=\faThumbsOUp,label-width=15pt]{done}[*](1)

\begin{document}

\section*{TODO}

\begin{todo}
* Blumen gießen
* Einkaufen gehen
* Zeitschriften sortieren
\end{todo}

\section*{PROGRESSING}

\begin{progress}
* Keller aufräumen
* Bücher sortieren
* Rechner neu installieren
\end{progress}

\section*{DONE}

\begin{done}
* Steuererklärung
* Server neu installieren
* SSH-Zugang einrichten
\end{done}

\end{document}

Uwe

Uwe Ziegenhagen likes LaTeX and Python, sometimes even combined. Do you like my content and would like to thank me for it? Consider making a small donation to my local fablab, the Dingfabrik Köln. Details on how to donate can be found here Spenden für die Dingfabrik.

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by Uwe at Monday, 2020-04-27 19:52

2020-04-26

TUG

TUGboat 41:1 published

TUGboat volume 41, number 1, a regular issue, has been mailed to TUG members. (Mail delivery will be subject to unknown delays due to the global health situation, but the physical issues are in the pipeline, at least.) It is also available online and from the TUG store. In addition, prior TUGboat issue 40:3, a regular issue, is now publicly available. Please consider joining or renewing your TUG membership if you haven't already, and thanks.

Sunday, 2020-04-26 16:58

Uwes kleines Technikblog - Kategorie LaTeX (by Uwe Ziegenhagen)

Monatskalender für LaTeX mit Python erzeugen

Hier ein Beispiel, wie man mit Python kleine Monatskalender erzeugen kann. Geht auch mit LaTeX allein, ich möchte aber verschiedene Output-Formate (Markdown, HTML, etc.) erzeugen und dabei die komplette Kontrolle über den Code behalten.

# -*- coding: utf-8 -*-

import calendar
import datetime

def number_of_weeks(year, month):
    """
        Returns a tupel with the ISO no of the first and week and the no of weeks
    """
    tup_month_days = calendar.monthrange(year, month)
    first = datetime.date(year, month, 1)
    last = datetime.date(year, month, tup_month_days[1])
    first_week = first.isocalendar()[1]
    last_week = last.isocalendar()[1]
    return (first_week, last_week, last_week-first_week+1)

def gen_cal_latex(year, month):
    """
        https://stackoverflow.com/questions/9459337/assign-value-to-an-individual-cell-in-a-two-dimensional-python-array
    """
    c = calendar.TextCalendar()
    week_month_first, week_month_last, no_of_weeks = number_of_weeks(year, month)

    # generate calendar list, using tupel as a key    
    m = {(i, j):' ' for i in range(no_of_weeks) for j in range(7)}

    for tupel_date in c.itermonthdays4(year, month):
        t_year, t_month, t_day, t_weekday = tupel_date
        # use only dates inside the required month
        if t_month == month:
            temp_date = datetime.date(t_year, t_month, t_day)
            # check in which week we are with the current date
            # to get index for the list
            week_no = temp_date.isocalendar()[1]
            m[week_no % week_month_first, t_weekday] = t_day

    print(r'\begin{tabular}{rrrrrrr}')
    print(r'Mo & Di & Mi & Do & Fr & Sa & So \\')
    for i in m:
        if i[1] < 6:
            print('{0} &'.format(m[i]), end='')
        else:
            print('{0}'.format(m[i]),end='')
        if i[1] == 6:
            print(r'\\')
    print(r'\end{tabular}')

gen_cal_latex(2020, 4)

Erzeugt werden kleine Monatskalender der Form

\begin{tabular}{rrrrrrr}
Mo & Di & Mi & Do & Fr & Sa & So \\
  &  &1 &2 &3 &4 &5\\
6 &7 &8 &9 &10 &11 &12\\
13 &14 &15 &16 &17 &18 &19\\
20 &21 &22 &23 &24 &25 &26\\
27 &28 &29 &30 &  &  & \\
\end{tabular}

Per Copy & Paste kann man den Code in ein LaTeX-Dokument kopieren, natürlich lässt sich das alles auch direkt in eine LaTeX-Datei schreiben.

Uwe

Uwe Ziegenhagen likes LaTeX and Python, sometimes even combined. Do you like my content and would like to thank me for it? Consider making a small donation to my local fablab, the Dingfabrik Köln. Details on how to donate can be found here Spenden für die Dingfabrik.

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by Uwe at Sunday, 2020-04-26 16:42

2020-04-19

Uwes kleines Technikblog - Kategorie LaTeX (by Uwe Ziegenhagen)

Trello-Boards exportieren mit py-trello

Hier etwas Beispiel-Code, um Trello-Boards zu exportieren. Unten im Code nur nach stdout, Code für LaTeX und HTML/MD werde ich im Github Repository https://github.com/UweZiegenhagen/python-trello-output ergänzen.

from trello import TrelloClient # pip install py-trello

client = TrelloClient(
    api_key='',
    token=''
)

def list_all_boards(client):
    """
        get list of all boards to determine the ID
        for further functions
    """
    all_boards = client.list_boards()
    for counter, board in enumerate(all_boards):
        print(counter, board.name)

## uncomment if needed
# list_all_boards(client)

def print_cards_from_board(board_id, client):
    """
        Access board with ID board_id in the client instance
        and print all non-archived lists with their non-archived cards 
    """
    all_boards = client.list_boards()
    my_board = all_boards[board_id] # 15 = my someday projects
    all_lists_on_board = my_board.list_lists()

    for list in all_lists_on_board:
        if not list.closed:
            for card in list.list_cards():
                if not card.closed:
                    print(list.name, ':' , card.name)
                
print_cards_from_board(15, client)

Uwe

Uwe Ziegenhagen likes LaTeX and Python, sometimes even combined. Do you like my content and would like to thank me for it? Consider making a small donation to my local fablab, the Dingfabrik Köln. Details on how to donate can be found here Spenden für die Dingfabrik.

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by Uwe at Sunday, 2020-04-19 11:58

2020-04-15

Uwes kleines Technikblog - Kategorie LaTeX (by Uwe Ziegenhagen)

TeX-Dokumentstrukturen visualisieren mit Graphviz und Python

Hier ein Code-Schnipsel, um die Inputs und Includes von LaTeX-Dokumenten zu visualisieren. Ist noch ein wenig rudimentär und hardcoded, in den nächsten Tagen werde ich den Code mal in ein Github-Repo packen und dann ein wenig aufräumen. Aktuell wird eine Datei Master.tex erwartet, eine Graph.dot Datei wird als Output geschrieben. Das Skript geht rekursiv durch die TeX-Dateien durch und sucht nach \input, \include, \includegraphics und \lstinputlisting Befehlen.

# -*- coding: utf-8 -*-
import re

nodes = []

# which commands indicate following
commandsToFollow = ('input', 'include')

def find_ext_references(somefile):
    with open(somefile) as file:
        filecontent = file.readlines()
        for i in filecontent:
            search_results = re.findall(r"(\\)(includegraphics|include|lstinputlisting|input)(\[?.*\]?{)(.+?)(})", i)
            for j in search_results:
                print(j)
                nodes.append((somefile, j[3], j[1]))
                if j[1].endswith(commandsToFollow):
                    find_ext_references(j[3]+'.tex') # assume that no extension is used for input/include
               
find_ext_references('Master.tex')

print(nodes)

if len(nodes)>0:
    with open('graph.dot','w') as output:
            output.write('digraph IncludesInputs {\n')
            output.write('node [shape=box];\n\n')
            for k in nodes:
                if k[2].endswith(commandsToFollow):
                    output.write('"'+k[0] + '"->"' + k[1] + '.tex" [color="green"];\n')
                elif k[2].endswith('graphics'):
                    output.write('"'+k[0] + '"->"' + k[1] + '" [color="blue"];\n')         
                elif k[2].endswith('listing'):
                    output.write('"'+k[0] + '"->"' + k[1] + '" [color="red"];\n')                             
                   
            output.write('}')

Übersetzt man die Graph.dot dann mit der dot.exe aus Graphviz, so erhält man für ein kleines Beispiel den folgenden Graphen. (Beispielaufruf: dot -Tpng Graph.dot)

Uwe

Uwe Ziegenhagen likes LaTeX and Python, sometimes even combined. Do you like my content and would like to thank me for it? Consider making a small donation to my local fablab, the Dingfabrik Köln. Details on how to donate can be found here Spenden für die Dingfabrik.

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by Uwe at Wednesday, 2020-04-15 19:54

2020-04-13

TUG

TeX Collection 2020 and TeX Live 2020 released

TeX Live 2020 has been released, along with the entire TeX Collection 2020, which also includes MacTeX, proTeXt, and a CTAN snapshot. The DVD is in production and will be mailed to TUG, and most other TeX user group, members when manufacturing is complete (hopefully this summer, depending on the global health situation). The software can also be downloaded in various ways, and the DVD ordered from TUG store. Please consider joining or renewing your membership in TUG or another TeX user group, and thanks if you already have. Thanks to all the contributors.

Monday, 2020-04-13 16:44

2020-04-11

Uwes kleines Technikblog - Kategorie LaTeX (by Uwe Ziegenhagen)

Einen Gutschein mit LaTeX entwerfen

Hier der Code, um einen Gutschein mit LaTeX zu entwerfen. Der Code stammt vor allem aus der Anleitung von pgfornaments. Der Code ist nicht „minimal“, das liefere ich gelegentlich nach.

\documentclass[ngerman, a5paper]{article} 
\usepackage[utf8]{inputenc}
\usepackage[T1]{fontenc}
\PassOptionsToPackage{dvipsnames,svgnames}{xcolor}  
\usepackage{graphicx,rotating} 
\usepackage[object=vectorian]{pgfornament}
\usepackage{tkzexample,tikzrput,pict2e,picture} 
\usetikzlibrary{shapes.geometric,calc} 
\usepackage{eso-pic,calc} 
\usepackage{fancyvrb}
\fvset{fontsize=\normalsize}  

\makeatletter
\AddToShipoutPicture{%
  \begingroup 
    \setlength{\@tempdima}{2mm}%
    \setlength{\@tempdimb}{\paperwidth-\@tempdima-2cm}%
    \setlength{\@tempdimc}{\paperheight-\@tempdima}%
    \put(\LenToUnit{\@tempdima},\LenToUnit{\@tempdimc}){%
            \pgfornament[color=Maroon,anchor=north west,width=2cm]{63}} 
    \put(\LenToUnit{\@tempdima},\LenToUnit{\@tempdima}){%
            \pgfornament[color=Maroon,anchor=south west,width=2cm,symmetry=h]{63}}
    \put(\LenToUnit{\@tempdimb},\LenToUnit{\@tempdimc}){%
            \pgfornament[color=Maroon,anchor=north east,width=2cm,symmetry=v]{63}} 
    \put(\LenToUnit{\@tempdimb},\LenToUnit{\@tempdima}){%
            \pgfornament[color=Maroon,anchor=south east,width=2cm,symmetry=c]{63}}    
  \endgroup  
} 
\let\strippt\strip@pt     
\makeatother   
\newcommand{\eachpageornament}{%
\begin{picture}(0,0)
\put(0,0){\pgfornament[width=1cm]{41}};
\put(\strippt\textwidth,0){\pgfornament[width=1cm,symmetry=v]{41}}; 
\put(0,-\strippt\textheight){\pgfornament[width=1cm,symmetry=h]{41}}; 
\put(\strippt\textwidth,-\strippt\textheight){\pgfornament[width=1cm,symmetry=c]{41}};  % 
\end{picture}}   

 \usepackage{aurical}
\setkeys{Gin}{width=\linewidth,totalheight=\textheight,keepaspectratio}
\usepackage{array,booktabs} % book-quality tables
\usepackage{multicol} % multiple column layout facilities
\usepackage[babel=true]{microtype}
\usepackage[ngerman]{babel}   
\usepackage{blindtext} 
\pagestyle{empty}

\begin{document}
 \Fontlukas
 
\begin{center}
{\Huge Gutschein}
\end{center}

\large\noindent \blindtext

\vspace*{1.5em}\noindent Max\hfill Moritz

\end{document}  

Uwe

Uwe Ziegenhagen likes LaTeX and Python, sometimes even combined. Do you like my content and would like to thank me for it? Consider making a small donation to my local fablab, the Dingfabrik KĂśln. Details on how to donate can be found here Spenden fĂźr die Dingfabrik.

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by Uwe at Saturday, 2020-04-11 15:26

2020-04-10

TeX & Friends (by Jürgen Fenn)

TeX Live 2020 veröffentlicht

TeX Live 2020 ist fertig und wurde jetzt auch offiziell veröffentlicht. Es wird noch bis zu einer Woche dauern, bis alle CTAN-Spiegelserver mit der neuen Version bestückt sind. Alle Neuigkeiten wurden hier zusammengefasst, der Link entlastet mich von einer Nacherzählung. Die meisten Anwender werden von den Neuerungen wahrscheinlich nichts bemerken, und diejenigen, die es angeht, sind mit dem Link gut informiert.

Speziell für den Mac ist zu beachten, dass MacTeX 2020 unter macOS 10.13 und höher läuft. Wie schon in den Vorjahren, werden nur die drei letzten von Apple noch gepflegten Plattformen von macOS unterstützt. Wer eine ältere Plattform einsetzt, muss also x86_64-darwinlegacy verwenden; die Binaries setzen Mac OS X 10.6 oder höher voraus.

Da die TeX Live Utility und BibDesk (noch) nicht notarisiert worden sind, sind sie nicht Teil von MacTeX, sondern müssen separat heruntergeladen werden (wir erinnern uns an Dick Kochs Posting vom letzten Sommer). Näheres dazu findet man im README von MacTeX und in der Datei MISSING APPS.pdf. Wer die beiden erwähnten Programme bereits von einer früheren Version von MacTeX in Applications/TeX installiert hatte, wird sie auch weiterhin dort vorfinden und benutzen können. Sie sollten, wie alle Bestandteile der Distribution, auf dem aktuellen Stand gehalten werden, und zumindest die Verwendung der TeX Live Utility ist für den teXnischen Unterbau dringend anzuraten, denn sie bedeutet eine enorme Erleichterung gegenüber dem Kommandozeilentool tlmgr als Paketmanager.

Wer sich längere Zeit nicht mehr mit der Entwicklung von LaTeX beschäftigt hatte, möge sich dringend die LaTeX News zu Gemüte führen, mindestens seit der Ausgabe Nr. 28, als UTF-8 zur Standardkodierung wurde. Vor zwei Monaten wurde das LaTeX3-Interface expl3 zu großen Teilen in den LaTeX-Kernel integriert. NFSS wurden schöne Erweiterungen spendiert. Und LuaTeX wurde mit HarfBuzz kombiniert.

by schneeschmelze at Friday, 2020-04-10 21:12

2020-04-05

STM Publishing: Tools, Technologies and Change (by Graham Douglas)

Site update

This site has been dormant since my last post back in December 2016 but, yesterday, I had to make some upgrades, including the PHP version used on this site. Unfortunately, those upgrades broke a few things—which I fixed just to get the site operational. However, for now, the site is running with a vanilla-style WordPress theme and, no doubt, some old posts need remedial work to fix them (I will get around to that…). However, upgrading/fixing the site re-kindled my interest in writing some new articles which I’ll try to do over the forthcoming weeks (time permitting!).

For several years I had not been checking the contact e-mail address I use for this site—due to the tsunami of junk e-mail, despite efforts to block spam. Now, I’ve simply removed the contact page which is not ideal but if you run a blog you will know the curse of spammers only too well. Sigh. However, I braved the task of checking that backlog list of e-mails (thousands!) and found a few legitimate e-mails that I never replied to, so my sincere apologies for that.

Since my last post I was fortunate to secure a new job with Overleaf where, among other things, I write articles about various TeX-related topics. Here, on this site, I will probably write posts which cover various eclectic topics which reflect whatever has caught my interest at the time.

Until the next post, stay safe and take all necessary precautions to protect yourself from the dreadful coronavirus (COVID-19) pandemic. Cheers!

by Graham Douglas at Sunday, 2020-04-05 11:10

2020-04-01

TeX & Friends (by Jürgen Fenn)

TeX Live 2020 Pretest abgeschlossen

TeX Live 2020 ist eingefroren worden. Der Release war ursprünglich für den 10. April 2020 geplant, jedenfalls zu Ostern, am Ende der Karwoche.

by schneeschmelze at Wednesday, 2020-04-01 04:22

2020-03-26

TUG

TUG early bird deadline extended to April 30

We have extended the deadline for the TUG early bird membership discount to April 30. Thanks so much to everyone who has already renewed or joined.
Two bits of news, while we're here: 1) The first issue of TUGboat for 2020 is well underway, and we will happily accept submissions for a few more days; 2) TeX Live 2020 is in the last days of pretesting before the release, so give it a try if you like.
Happy TeXing to all.

Thursday, 2020-03-26 17:45

2020-03-20

2020-03-12

2020-03-11

Beautiful Type

Trying to come back on track 😅 with that beautiful H from...



Trying to come back on track 😅 with that beautiful H from @a_letter_a_day https://ift.tt/2Q4vSEE

Wednesday, 2020-03-11 10:40

2020-03-03

TeX & Friends (by Jürgen Fenn)

TeX Live 2020 Pretest hat begonnen

Nach dem Freeze für TeX Live 2019 hat Karl Berry nun den Beginn des Pretest für TeX Live 2020 angekündigt. Alles weitere ist der entsprechenden Seite zu entnehmen. Dort werden auch die Neuerungen gesammelt. Der Master für die Release Notes ist hier im Webbrowser zu lesen. Alles etwas schrittweise dieses Jahr, sage ich mal.

MacTeX 2020 setzt mindestens macOS 10.13 High Sierra voraus, die x86_64-darwinlegacy Binaries laufen ab Mac OS X 10.6. BibDesk und die TeX Live Utility sind diesmal nicht in MacTeX enthalten, weil sie nicht notarised werden. Sie müssen separat heruntergeladen werden.

by schneeschmelze at Tuesday, 2020-03-03 05:22

2020-03-01

TeX & Friends (by Jürgen Fenn)

TeX Live 2019 eingefroren und LaTeX Spring Release

Karl Berry hat auf der TeX-Live-Mailingliste bekanntgegeben, dass die Distribution nun eingefroren werde. Der Paketmanager tlmgr zeige das schon an. Gleichwohl würden noch einige Updates zusätzlich installiert, so die gerade erst hochgeladene neue LaTeX-Version. Der Pretest für TeX Live 2020 stehe bald bevor.

Der gerade erwähnte LaTeX-Frühlings-Release (der mir bisher entgangen war) bringt vor allem zwei Neuerungen:

  • LaTeX3 muss nicht mehr separat hinzugeladen werden, sondern steht nun standardmäßig im Format LaTeX zur Verfügung, was die Verarbeitung von Features, die expl3 voraussetzen, beschleunigen soll. Dazu zählen alle Dokumente, die mit einer Unicode-Engine (LuaTeX, XeTeX) bearbeitet werden sollen. Aber auch das Ziel, tagged und barrierefreie PDFs mit LaTeX zu erzeugen, soll dadurch näher rücken.

  • Weiterhin wurde das New Font Selection Scheme (NFSS) modernisiert. Schriftschnitte, die bisher nicht mit dem NFSS aufgerufen werden konnten, werden nun kanonisch berücksichtigt, beispielsweise kursive Kapitälchen oder eine Serie von condensed-Schnitten.

Mehr darüber ist den LaTeX News Nr. 31 zu entnehmen.

by schneeschmelze at Sunday, 2020-03-01 19:35

2020-02-25

2020-02-23

Reden ist Silber ¶ Druckerey Blog (Martin Z. Schröder, Drucker)

Maschinenschaden am Tiegel: Eine Woche nachdenken [1]

Als ich morgens die Maschine einschaltete, den Original Heidelberger Tiegel, 1952 gebaut und fast täglich im Einsatz für alles, was mit schwarzer Farbe gedruckt wird, gab es ein Kratzen, Kreischen, Schnarren.

Das kam aus der Richtung der Riemenscheiben, auf denen der das Schwungrad treibende Keilriemen vom Motor angetrieben wird. Ich nahm die Verkleidung ab und fand darunter eine gebrochene Druckfeder und eine durchgefressene Riemenscheibe. Auf dem Foto (Vergrößerung nach Anklicken) sieht man den größeren Teil der Feder, die ich von der Welle gezottelt hatte, daneben die Abdeckung mit dem eingefrästen Schlitz. Wie lange dauert es, bis eine Stahlfeder eine Eisenplatte durchfräst? Sechs Jahre? Zwölf? Fünfzig? Dieser Heidelberger Tiegel ist nun 68 Jahre alt.

Über das graue Pulver, das sich in den letzten Jahren auf der Bodenplatte sammelte, hatte ich mich zwar gewundert, aber ich ahnte die Ursache nicht und wischte es nur weg. Ein gescheiterer Drucker als ich hätte schon eher mal unter die Verkleidung geschaut.

Ich hatte das Glück, daß der Maschinenexperte Herbert Wrede in Bremen, dem ich die beiden Geräte verdanke, noch die beiden Ersatzteile hatte: die gebrochene Feder und die durchgefressene Scheibe. Dazu schickte er mir noch ein Werkzeug, um die Abdeckung wieder präzise aufzuschrauben. Aber wie bekomme ich die Scheibe auf die Stahlfeder? Drücken und schrauben, sagte der Kollege. Und ein zweiter Mann hält an der Riemenscheibe die Welle fest.

Allerdings ist das Gewinde, mit dem die Scheibe auf die Welle geschraubt wird, sehr fein. Und wenn man eine Stahlfeder zusammendrückt, hat man wenig Gefühl übrig dafür, das Gewinde exakt aufzusetzen. Also überlegte ich, wie ich die Feder komprimiert auf die Spindel bekomme. An die ersten Versuche ging ich durchaus mit Respekt. Eine dreißig Zentimeter lange Stahldruckfeder kann Waffe werden. Und trotzdem traf sie mich im Daumenballen. Mit Pflaster und Handschuhen ging es weiter. Die Kabelbinder rutschten ständig weg. Dann gelang es mir, die Feder mit Spanngurten zusammenzudrücken. Erst mit vier Stück, dann blieben zwei übrig. Aber die Feder hatte kaum Spiel auf der Spindel der Riemenscheibe, auch mit zwei Gurten paßte die Feder nicht auf die Spindel.

Ich korrespondierte und telefonierte mit insgesamt fünf Kollegen. Ich befragte die Facebookgruppe »Heidelberger Tiegel«. Mir wurden Werkzeuge empfohlen und Techniken, aber nichts davon war brauchbar. Diese Feder bricht so selten, daß niemand mir aus eigener Erfahrung raten konnte. Ich rief einen Schlosser an, der wollte am nächsten Morgen kommen. An diesem Morgen noch im Bett meinte ich deutlicher als bisher zu spüren, etwas übersehen zu haben.

Dann stand ich vor der Maschine, und auf einmal fiel der Groschen: Statt die Feder im ganzen Stück zusammenzupressen, müßte ich ihr mehr Raum schaffen. Mehr Raum schaffte ich, wenn ich den Keilriemen, der die Riemenscheiben auseinanderdrückt, herunternehme. Dadurch gibt die Spindel der Riemenscheibe ein Stück der Welle frei, und das müßte genügen, eine zur Hälfte kompirimierte Feder aufzusetzen und die Abdeckung ohne Federdruck aufzuschrauben. Ich sagte dem freundlichen Schlosser Dudek senior (sein Betrieb in Weißensee hatte mir schon Teile für die Sanierung von Bostontiegeln gefräst und Druckfedern zugeschnitten) seinen Besuch ab und machte mich ans Werk.

Es ging flott. Nach einer halben Stunde war alles erledigt. Die Feder habe ich erst mit Spanngurten gepreßt, dann Kabelbinder eingesetzt und die Gurte entfernt. Mit einer Hand konnte ich die Scheibe aufschrauben, mit einem Gummihammer und einem Greifer einhändig genau so festziehen, daß die Sicherungsschraube sich einsetzen ließ, mit der anderen Hand eine der Riemenscheiben und damit die Welle festhalten.

Zum Schluß, nach einem Probelauf, wurden die Kabelbinder abgeschnitten und die Abdeckung aufgesetzt. Beim Anlaufen ist die Maschine jetzt viel leiser als früher. Das schleifende Geräusch der gebrochenen Feder hatte mich seit Jahren begleitet, ohne daß ich es erkannt hatte. Jeder Tiegel hört sich ohnehin etwas anders an. Jetzt läuft die Maschine ruhiger an. Nun war ich erstens froh, daß mein Tiegel wieder läuft. Zweitens war ich stolz auf meine Denkleistung. Ich bin kein Maschinenbauer. Ich bin ein sicherlich ein brauchbarer Schriftsetzer und auch Drucker, aber in Motoren und Getriebe glotze ich wie ein Esel. Deshalb freute ich mich, die Lösung nun alleine gefunden zu haben. Und drittens erwies sich die Lösung als so simpel, daß ich mich schämte, eine Woche dafür gebraucht zu haben.

Die Freude aber war so groß, wie ich sie als Folge einer Denkleistung nicht kannte. Das brauchte mich wieder ins Grübeln. Wie wichtig ist eigentlich das konstruktive Denken? Warum gibt es außer ein bißchen Physik und Elektronik keinen Schulunterricht in Konstruktion? Denn an diesem Denkvorgang fand ich interessant, daß die Weiterung des Feldes die Lösung brachte. Ich verstand endlich einmal konkret, was es bedeutet, an einem System zu arbeiten, weil dieser Vorgang so eindrücklich war: erst die Lösung nicht sehen, dann ihre Einfachheit erkennen. Ich hatte erst tagelang nur die Feder und die Spindel angestarrt und versucht, die Lösung dort zu finden. Als ich den Horizont vergrößerte und schaute, was hinter der Spindel ist, fiel mir die Lösung gleich auf. Alles greift ineinander, schon beim Drucken hat man ja diverse Einstellungen vorzunehmen: Anblasen des Papierstapels, Transport des Stapels, wenn oben Bogen weggenommen werden, Kippung der Ansaugstutzen, Einstellungen der Paßmarken, Geschwindigkeit, die den Farbauftrag und das Auftreffen des Bogens auf den Marken beeinflußt, Einstellen der Farbkonsistenz und -menge, Bestäubung, Druckregulierung, Zurichtung. Wenn nur eines nicht stimmt, wird das Produkt weniger gut.

by Martin Z. Schröder at Sunday, 2020-02-23 18:10

2020-02-02

LaTeX Project

Spring 2020 LaTeX release available

The spring 2020 LaTeX release is available

When we realized that the next LaTeX release was scheduled close to a rather memorable day, we decided to delay the release by one day so that it will now appear officially on February the 2nd 2020 (or on 20 20 02 02 if you use the ISO-date and arrange the spaces somewhat unconventionally). This release introduces a number of important enhancements and so being able to use this date is a rather nice opportunity to mark its importance.

LaTeX now contains the L3 programming layer as part of its format

This results in noticeable speed improvements for many documents because these days they often (implicitly) load expl3 at some point in the preamble. This is the case for virtually all documents processed with a Unicode engine, but also true for many pdfTeX documents, because more and more packages use xparse or other expl3-based code. Also important (and maybe more so) it will enable us to successfully tackle large and difficult problems, such as automatically producing tagged and accessible documents, in the near future.

The LaTeX Font Selection Scheme (NFSS) got a face lift

It now integrates some important enhancements that have been developed in the recent years, including ideas from the packages fontspec, fontaxes and mweights. Beside other improvements this will better support the new font families that are made available for use with LaTeX, because a large number of them provide additional font faces (e.g., small caps italic, or a condensed series) and those could not be supported in the old NFSS in a natural way.

Where to learn more …

The new features and most the important bug fixes made in this release are documented in “LaTeX2e News Issue 31”. This document can be found on the LaTeX2e news page where you will also find release information for earlier LaTeX releases.

Topics are:

  • Experiences with the LaTeX-dev formats
  • Concerning this release … (LuaLaTeX engine)
  • Improved load-times for expl3
  • Improvements to LaTeX font selection: NFSS
  • Other changes to the LaTeX kernel
  • Changes to packages in the graphics category
  • LaTeX requirements on engine primitives

Happy LaTeXing — Frank

Sunday, 2020-02-02 00:00

2020-01-31

LaTeX Project

Issues 11 and 12 of LaTeX3 news released

Issues 11 and 12 of LaTeX3 news released

There has been quite a gap since the last LaTeX3 News and there is a lot to report. By mistake LaTeX3 News 11 (nominally February 2018) did not get published when written and we discovered this only when we prepared issue 12. We have kept the information it contains separate as it is a good summary of the work that had happened in 2017.

LaTeX3 News 12 then covers the work done in 2018 and 2019.

We also added a document that combines all twelve LaTeX3 newletters in historical order. This gives some interesting insights into the activities of the last decade and clearly shows the increased activities of the team in the recent years, now that expl3 (the programming layer of LaTeX3) gains more and more followers.

You will find all newletters as individual PDF files also on the LaTeX3 newletter page on this site.

—Enjoy Frank

Friday, 2020-01-31 00:00

2020-01-17

LaTeX Project

Second prerelease of LaTeX 2020-02-02 is available for testing

The second (and final) LaTeX prerelease for 2020-02-02 is available for testing

A few days ago we submitted a new LaTeX development format to CTAN and by now it should be available to all users using MikTeX or TeX Live (on any operating system).

This format allows you to test the upcoming LaTeX release scheduled for 2020-02-02 with your documents or packages. Such testing is particularly important for package maintainers to verify that changes to the core LaTeX haven’t introduced incompatibilities with existing code. We try to identify any such problem beforehand, but such an undertaking is necessarily incomplete, which is why we ask for user testing.

Besides developers we also ask ordinary users to try out the new release candidate, because the more people who test the new format, the higher the chances that any hidden problems are identified before the final release in February hits the streets.

Processing your documents with the prerelease is straight forward. All you have to do is to replace the invocation command by appending -dev to the executable, e.g., on the command line you would run

pdflatex-dev myfile    or    lualatex-dev myfile    or    xelatex-dev myfile

instead of using pdflatex, lualatex or xelatex. If you use an integrated editing environment, then it depends on the system how to configure it to use an alternative format; but in any case the necessary modification should be straight forward.

Please test now — this is the final pre-release prior to the main 2020-02-02 release

We ask you to test now, because this pre-release (with the execption of some further documentation improvements) is representing the 2020-02-02 in the way we want to roll it out in February.

If you encounter any issues with it, please open a bug report at our Issue Tracker for LaTeX2e.

Main features of 2020-02-02 prerelease 3

For technical reasons this second prerelease is labeled “prerelease 3”. Prerelease 1 existed only for a few hours on CTAN, as it was missing some files due to a problem in the build process, but because it was already on CTAN we had to increase the prerelease number.

Improvements for selecting and managing modern fonts

Many modern fonts available these days offer additional font faces, e.g., small caps italics or a condensed font series, etc. To better support these fonts NFSS (the New Font Selection Mechanism for LaTeX) was extended by incorporating ideas from the mweights, fontaxes and fontspec packages. In addition all symbols formerly provided through the textcomp package are now available out of the box and the use of \oldstylenums got improved.

We also fixed a number of smaller bugs. A detailed description of the new features and the bug fixes can be found in a draft version of ltnews31 which you can access via texdoc ltnews31 if the pre-release is installed on your computer.

Main features already available in the previous pre-release

Below is a summary of the main features that were made available earlier in the first pre-release.

A new LuaTeX engine coming up …

In TeXLive 2020 the LuaLaTeX format will always use the new LuaHBTeX engine, which is LuaTeX with an embedded HarfBuzz library. HarfBuzz can be used by setting a suitable renderer in the font declaration. An interface for that is provided by the fontspec package. This additional font renderer will greatly improve the shaping of various scripts, which are currently handled correctly only by XeTeX.

To simplify the testing of the new engine, the necessary executables have been added to MiKTeX and TeXLive 2019 and both have changed the LuaLaTeX-dev format to use it. This means you can already now test the new engine by using the prerelease!

Even if you have no need for the new HarfBuzz functionality it might be worthwhile running some tests, because, from 2020 onwards this will be the only LuaTeX engine for which a LaTeX format will be distributed in TeXLive and MikTeX.

Improved load-times for expl3

The LaTeX3 programming layer, expl3, has over the past decade moved from being largely experimental to broadly stable. It is now used in a significant number of third-party packages, either explicitly or implicitly (e.g., by loading xparse to define user command interfaces), so that many documents load the expl3 code at some point in the preamble. Most LaTeX documents compiled using XeTeX or LuaTeX load fontspec, which is written using expl3 so in these engines it is nearly always used.

The expl3 layer contains a non-trivial number of macros, and when used with the XeTeX and LuaTeX engines, it loads a large body of Unicode data. This means that even on a fast computer, there is a relatively large load time penalty whenever expl3 is needed.

For this release, the team have made adjustments in the LaTeX 2e kernel to pre-load a significant portion of expl3 when the format is built. This is transparent at the user level, other than the significant decrease in document processing time: there will be no “pause” for loading Unicode data files. Loading of expl3 in documents and packages can be done as usual; it will, at some future time, become possible to omit

\RequirePackage{expl3}

entirely, but, to support older formats, this explicit loading is at present still recommended.

The prereleases will never go stale in the future (we hope)

The release policy we will follow should ensure that the -dev releases are never older than the main release. When a full 2020-02-02 release is made, the -dev release will be updated to be the same format, or possibly a pre-release of the next release. It will not be left as a pre-release of 2020-02-02 at that point.

More details on prereleases please …

More details and some background information about these concepts and the process of the development formats is available in a TUGboat article:

The LaTeX release workflow and the LaTeX dev formats

  • Frank Mittelbach
  • TUGboat 40:2, 2019
  • Abstract

    How do you prevent creating banana software (i.e., software that gets ripe at the customer site)? By proper testing! But this is anything but easy.

    The paper will give an overview of the efforts made by the LaTeX Project Team over the years to provide high-quality software and explains the changes that we have made this summer to improve the situation further.


Enjoy — Frank

Friday, 2020-01-17 00:00

2020-01-15

Some TeX Developments (by Joseph Wright)

Case changing in expl3

A few years ago I wrote about the work the LaTeX team were doing on providing case changing functions in expl3. Since then, the code has been tested and revised, and very recently has moved to a ‘final’ home within expl3. It therefore seems like a good time to look again at what the challenges are and what tools we’ve provided.

It’s worth noting up-front that all of the expl3 functions work with UTF-8 input, and as far as possible case changing (and other text manipulation) follows the Unicode Consortium guidelines.

Different kinds of input, different kinds of case changing

To understand what functions we’ve provided for case changing, we first have to know what different types of input we might be dealing with. There are broadly two types

  • Text: material that we will want to typeset or similar, and which contains natural language content. This material might also have some formatting, and may be marked up as being in a particular language.
  • Strings: material used in code, for example as identifiers, to construct control sequences or to find files. This material will never have formatting, and should always give the same outcome, irrespective of the language a document is written in.

Unsurprisingly, case-changing strings is a lot more straight-forward than case-changing text. They ‘live’ in different parts of the expl3 code, so I’ll look at them separately.

Strings

In TeX terms, a string is a series of characters which are all treated as ‘other’ tokens (except spaces, which are still spaces). That’s important here because it means strings won’t contain any control sequences, and because with pdfTeX there can’t be any (useful) accented characters.

The most obvious need to handle case in programming strings is when comparing in a caseless manner: ‘removing’ the case. Programmers often do that by lowercasing text, but there are places where that’s not right. For example, Greek has two forms of the lowercase sigma (σ and ς), and these should be treated as the same for a caseless test. Unicode define the correct operation: case folding. In expl3, that’s called \str_foldcase:n.

\exp_args:Ne \str_show:n
  { \str_foldcase:n { AbC } }

Much more rare is the need to upper- or lowercase a string. Unicode do not mention this at all, but in TeX we might want to construct a control sequence dynamically. To do that, we might want to uppercase the first character of some user input string, and lowercase the rest. We can do that by combining \str_uppercase:n and \str_lowercase:n with the \str_head:n and \str_tail:n functions:

\exp_args:Ne \str_show:n
  {
    \str_uppercase:f { \str_head:n { SomeThing } }
    \str_lowercase:f { \str_tail:n { SomeThing } }
  }

Text

The basics

Case changing text is much more complicated because it has to deal with control sequences, accents, math mode and context. The first step of case changing here is to expand the input as far as possible: that’s done using a function called \text_expand:n which works very similarity to the LaTeX2e command \protected@edef, but is expandable. We don’t really need to worry too much about this: it’s built in to the case changing system anyway.

Upper- and lowercasing is quite straight-forward: the functions have the natural names \text_uppercase:n and \text_lowercase:n. These deal correctly with things like the Greek final-sigma rule and (with LuaTeX and XeTeX) cover the full Unicode range.

% Try with XeTeX or LuaTeX
\exp_args:Ne \tl_show:n
  {
    \text_uppercase:n { Ragıp~Hulûsi~Özdem } ~
    \text_lowercase:n { ὈΔΥΣΣΕΎΣ }
  }

A variety of standard LaTeX accents and letter-like commands are set up for correct case changing with no user intervention required.

\exp_args:Ne \tl_show:n
  {
    \text_uppercase:n { \aa{}ngstr\"{o}m  ~ caf\'{e} }
  }

Case changing exceptions

There are places that case changing should not apply, most obviously to math mode material. There are a set of exceptions built-in to the case changer, and that list can be extended: it’s easy to add the equivalent of \NoCaseChange from the textcase package.

\tl_put_right:Nn \l_text_case_exclude_arg_tl
  { \NoCaseChange }
\exp_args:Ne \tl_show:n
  {
    \text_uppercase:n { Hello ~ $y = max + c$ } ~
    \text_lowercase:n { \NoCaseChange { iPhone } ~ iPhone }
  }

Titlecasing

Commonly, people think about uppercasing the first character of some text then lowercasing the rest, for example to use it at the start of a sentence. Unicode describe this operation as titlecasing, as there are some situations where the ‘first character’ is handled in a non-standard way. Perhaps the best example is IJ in Dutch: it’s treated as a single ‘letter’, so both letters have to be uppercase at the start of a sentence. (We’ll come to language-dependence in a second.)

Depending on the exact nature of the input, we might want to titlecase the first ‘character’ then lowercase everything else, or we might want just to titlecase the first ‘character’ and leave everything else unchanged. These are called \text_titlecase:n and \text_titlecase_first:n, respectively.

\exp_args:Ne \tl_show:n
  {
    \text_titlecase:n { some~text } ~
    \text_titlecase:n { SOME~TEXT } ~
    \text_titlecase_first:n { some~text } ~
    \text_titlecase_first:n { SOME~TEXT }
  }

As we are not simply grabbing the first token of the input, non-letters are ignored and the first real text is case-changed.

\exp_args:Ne \tl_show:n
  {
    \text_titlecase:n { 'some~text' }
  }

Language-dependent functions

One important context for case changing text is the language the text is written in: there are special considerations for Dutch, Lithuanian, Turkic languages and Greek. That’s all handled by using versions of the case-changing functions that take a second argument: a BCP 47 string which can determine the path taken.

\exp_args:Ne \tl_show:n
  {
    \text_uppercase:n { Ragıp~Hulûsi~Özdem } ~
    \text_uppercase:nn { tr } { Ragıp~Hulûsi~Özdem }
  }
\exp_args:Ne \tl_show:n
  {
    \text_uppercase:n { ὈΔΥΣΣΕΎΣ} ~
    \text_uppercase:nn { el } { ὈΔΥΣΣΕΎΣ }
  }

Over time, mechanisms to link this behaviour to babel will be developed.

Conclusions

Case-changing functions in expl3 are now mature and stable, and ready for wider use. It’s likely that they will be made available as document-level commands in the medium term, but programmers can use them now to make handling this important aspect of text manipulation easier.

Wednesday, 2020-01-15 00:00

2020-01-07

Weblog von Markus Kohm

Das neue Jahr bringt nicht nur Vorsätze

Wer auf komascript.de aufmerksam mitliest, weiß schon länger, dass einige Entscheidungen anstanden und teilweise noch anstehen. Diese sollen dringend notwendige Veränderungen für mich mit sich bringen, haben aber natürlich auch Auswirkungen auf die Anwender. Mit dem neuen Jahr – oder eigentlich bereits kurz vor Weihnachten – sind die meisten dieser Entscheidungen gereift.

Seit mehr als 25 Jahren entwickle und pflege ich KOMA-Script quasi als One-Man-Show. So ganz stimmt das natürlich nicht, denn schon sehr früh bekam ich erste Unterstützung. Damals übernahm Luzia den Upload von KOMA-Script auf den CTAN-Server, weil es für mich extrem umständlich war, per Modem und VT220-Terminal-Zugang zur Uni das damals schon nicht kleine Paket zuerst auf meinen Benutzeraccount an der Uni zu übertragen und dann per ftp auf den CTAN-Server. Axel/Harald schrieb die erste vollständige Anleitung zu KOMA-Script. Der andere Axel steuerte die erste Briefklasse bei. Jahre später investierte Jens-Uwe sehr viel Zeit, die Überarbeitung der Anleitung und die Veröffentlichung als Buch zu betreuen und auch einige Kapitel der neuen Anleitung beizusteuern. Torsten wurde in dieser Zeit unverzichtbar als Ratgeber bei der Entwicklung einer komplett neuen Briefklasse aber auch bei der fortgesetzten Korrektur der Anleitung. Wenige Jahre später wurde Elke für die Weiterentwicklung des Pakets und die Korrektur der Anleitung und der Buchfassung aber auch für den Support im Allgemeinen unverzichtbar. Falk wiederum findet seit Jahren die Fehler, die so tief in KOMA-Script vergraben sind, dass ihre Beseitigung mir immer wieder erhebliche Kopfschmerzen bereitet. Dasselbe gilt für die vielen Anregungen und Erweiterungen, die auf ihn zurück gehen. Uwe hat seit der Jubiläumstagung von DTANE in Heidelberg die Verwaltung der CTAN-Uploads übernommen. Nach Elke, die die komplette Familie dafür eingespannt hat, haben zunächst unter anderem Gernot, dann Krickette und schließlich Karl sich der Übersetzung der KOMA-Script-Anleitung angenommen und diese massiv überarbeitet. Viele weitere stießen im Laufe der Jahrzehnte zum inoffiziellen Team, manche sind wieder in der Versenkung verschwunden. Ohne die ganzen Mitstreiter wäre die Arbeit aber auch der immer wieder entstehende Frust nicht zu bewältigen gewesen. Eine wichtige Rolle haben dabei natürlich auch diejenigen gespielt, die mich auf unterschiedliche Weise aufgemuntert und ermutigt haben. Eine zentrale Rolle spielte auch meine Familie, die mir überhaupt ermöglicht haben, Jahre in die Entwicklung und Pflege dieses Monsters zu stecken.

Neben den ganzen Arbeiten an KOMA-Script habe ich seit mehr als 30 Jahren auch allgemeinen LaTeX-Support geleistet. Auch dieser Bereich unterlag in den 25 Jahren vielfältiger Veränderung. Anfangs erfolgte der Support noch per Post und in einem Mailbox-Netz, in dem Laufzeiten von 12–24 Stunden für E-Mails und öffentliche Beiträge normal waren. Damals hat kaum jemand erwartet, innerhalb weniger Stunden oder gar Minuten eine fertige Lösung zu erhalten. Inzwischen findet der Support hauptsächlich in WWW-Foren statt. Davon gibt es Dutzende, deren Bezug zu LaTeX teilweise sehr klar, teilweise aber auch sehr undeutlich ist. Zeitweilig war ich in bis zu neun dieser Foren gleichzeitig aktiv. Dazu kamen Mailinglisten und Usenet-Gruppen. In mehreren Foren war ich auch als Moderator oder Administator tätig. Gerade die WWW-Foren verleiten extrem dazu, sich mit Dingen zu beschäftigen, die vor allem Zeit kosten und mit meiner Kernkompetenz – so ich eine solche überhaupt habe – wenig zu tun haben. Persönlich lagen und liegen mir dort Anfänger sehr am Herzen. Immer wieder habe ich auch gegen besseres Wissen versucht, solche an die Hand zu nehmen und ihnen bei ihrem mehr als holprigen Start in die Welt der Foren und die LaTeX-Welt zu helfen. Manchmal zerrte das erheblich an den Nerven. Denn genau genommen bin ich dabei komplett fehlt am Platz. Ich nehme mir viel zu sehr zu Herzen, wenn ich es nicht schaffe, jemanden auf die Erfolgsspur zu bringen.

Auch die Arbeit am Monster hat sich über die Jahre verändert. Auch da wird inzwischen teilweise erwartet, dass die Lösung eines Problems nicht nur vom Himmel fällt, sondern den Boden bereits in dem Moment erreicht, in dem ein wage Ahnung des Problems wie ein laues Lüftchen durch die Baumwipfel der Kalahari zieht. Würde mich nicht hin und wieder jemand auf das Rauschen der Blätter hinweisen oder mir den Wind hinter der Luftbewegung zur Kenntnis bringen, würde ich oftmals nicht einmal die Bäume finden. Auf der anderen Seite hat beispielsweise die Entwicklung von LaTeX nach Jahren des Stillstands derart an Fahrt aufgenommen, dass ich ständig hinter irgendwelchen Veränderungen, die Auswirkungen auf KOMA-Script haben, her hechle. In den Anfangsjahren von KOMA-Script hatte ich mich noch schlicht geweigert, Interna von LaTeX anzutasten. Trotzdem wurde ich schon damals von Änderungen an LaTeX manchmal überfahren, wenn Dinge, die KOMA-Script selbst anbot, plötzlich in den LaTeX-Kern übernommen wurden. Bei KOMA-Script 3 war es unvermeidbar, einige Interna von LaTeX anzupacken, obwohl ich schon damals befürchtete, dass mir das irgendwann auf die Füße fallen könnte. Das geschieht inzwischen. Gleichzeitig ist KOMA-Script so riesig geworden, dass es erheblichen Aufwand bedeutet, allein schon eine Ahnung davon zu bekommen, was sich wo auswirken könnte. Die Art der Auswirkung und ggf. die Lösung von daraus entstehenden Problemen ist dann noch lange nicht gefunden.

Trotz beruflicher Reduktion und schließlich komplettem Rückzug hat all das schon seit Jahren zu einem latenten Gefühl der ständigen Überlastung geführt. Ein Zustand, den ich durchaus schon einmal kannte und den ich inzwischen dringend zu vermeiden suche. Schon länger weiß ich, dass sowohl meine Zeit als auch meine Energie nicht genügen, um all die Dinge, die ich gefühlt tun sollte, die man von mir erwartet und die ich tatsächlich tun will, auch wirklich zu schaffen. Schon vor längerer Zeit habe ich deshalb diversen Foren den Rücken gekehrt. Manchmal fiel das eher schwer, manchmal wurde es durch unschöne Vorfälle wie den Nazivorwurf an mehr oder weniger alle deutschen Teilnehmer auf TeX.SX sehr erleichtert. Eine Verletzung, die ich gerne als Sportverletzung bezeichnen würde, die aber tatsächlich eher meiner Eitelkeit und Ungeduld zuzuschreiben ist, behindert mich darüber hinaus leider nach über einem Jahr noch immer bei meiner Arbeit am Computer. Ende Oktober, Anfang November musste ich mir dann eingestehen, dass alle Kompensationsversuche und alle bisherigen Reduktionsversuche nicht genügten. Die überraschend dringlichen Arbeiten an der siebten Auflage des KOMA-Script-Buchs reichte aus, mich ins Straucheln zu bringen. Dass ich in dieser Situation auch noch mit dem Wiederaufflammen von alten Anfeindungen konfrontiert wurde, deren tiefere Ursache ich in den Lizenzdiskussion – einem der unsäglichen Nebenschauplätze, welche die KOMA-Script-Entwicklung leider mit sich brachte – um die Jahrtausendwende vermute, war nicht unbedingt hilfreich.

Jedenfalls war ab dem Zeitpunkt klar, dass es eine radikale Veränderung geben muss. Ich kann KOMA-Script nicht mehr weiterentwickeln, pflegen, Support dafür und für alle möglichen LaTeX-Fragen leisten, mich in die Verwaltung von TeX-Seiten einmischen, DTK-Artikel schreiben, Anleitungen in zwei Sprachen auf dem Laufenden halten, ein Buch zu KOMA-Script alle durchschnittlich 18–24 Monate komplett überarbeiten und einen Großteil der Administrationsarbeit für komascript.de erledigen. Und ich will es auch nicht mehr.

Wie einige wissen dürfte, liegt mein Interesse tatsächlich in der Entwicklung. Wie oben erklärt, fühle ich mich außerdem verantwortlich, Anwendern Hilfestellung zu leisten. Die schönste Entwicklung nützt wenig, wenn sie mangels Dokumentation und auch darüber hinaus gehender Hilfe keine Anwendung findet. Die schönste Entwicklung nutzt nichts, wenn darin enthaltene Fehler ihre Verwendung verhindern. Die schönste Entwicklung nutzt nichts, wenn sie durch externe Entwicklungen unbrauchbar wird. Gleichzeitig bedeutet neue Entwicklung auch immer neue Fehler und immer neuen Bedarf für Dokumentation und Hilfestellung. Die Stelle, an der ich recht einfach mit erheblichen Auswirkungen etwas ändern kann, ist also die Entwicklung. Da das leider mein Hauptinteresse ist, habe ich mich viel zu lange schwer damit getan, die logische Konsequenz zu akzeptieren. Die Entwicklung neuer Dinge in KOMA-Script, so schön sie sein mögen, so weit die Ideen dazu bereits gereift sein mögen, muss aufhören!

Mit dem jüngst veröffentlichten KOMA-Script 3.28 ist daher ein für mich grundlegender Wechsel markiert: Alles, was angedacht, begonnen oder auch schon ansatzweise oder als Prototyp vorhanden ist, ist ab sofort eingestellt. Erweiterungen wird es in KOMA-Script in der Regel nicht mehr geben. Kosmetik und Detailverbesserungen sind möglich, wenn sie wohl begründet sind. Alpha- und Beta-Pakete und überholtes wird aus KOMA-Script verschwinden. Das betrifft ausdrücklich auch tocstyle und scrpage2. Bei komamarks ist es bereits erfolgt. scrlayer-fancyhdr ist ein Wackelkandidat. scrhack als eines der Pakete, bei denen ich ständig der Entwicklung anderer hinterher hecheln muss, steht ebenfalls zur Disposition. Bereits bei KOMA-Script 3.27 habe ich den Workaround für titlesec aus den Klassen entfernt. Damit wurde (erneut) eine seit Jahren verbreitete Warnung Realität. Workarounds für andere Pakete werden eventuell folgen. Erwähnt sei beispielsweise der für das ohnehin veraltete caption2 (von dem ich gar nicht weiß, ob der noch irgend einen Sinn hat). Die meisten dieser Workarounds waren nur als Übergangslösung gedacht, verbunden mit der Hoffnung, dass die entsprechenden Paketautoren selbst irgendwann KOMA-Script-Klassen unterstützen würden, was im Falle von caption2 in Form von caption3 und caption ja auch erfolgt ist. Wäre dies generell erfolgt, wäre übrigens die Verwendung von scrlfile durch die Klassen überflüssig und mir ein GAU des letzten Jahres erspart geblieben.

Da inzwischen durch externe Entwicklungen eine Kompatibilität alter Dokumente mit neuen TeX-Installationen ohnehin nicht mehr gewährleistet werden kann, stehen auch Kompatibilitätseinstellungen wie Option version auf dem Prüfstand. Derartige komplett zu entfernen reduziert einerseits den Pflegeaufwand und das Risiko bei zukünftigen Änderungen etwas zu übersehen. Andererseits birgt das Entfernen selbst ein gewisses Fehlerrisiko. Allerdings nützt die vorhandene Option zunehmend wenig und würde zudem ad-absurdum geführt, wenn sie bei zukünftigen Änderungen unbeachtet bliebe. Ein erster Schritt könnte daher sein, die Dokumentation der Option zu entfernen und sie als veraltet zu markieren. Die logische Konsequenz aus einer solchen Markierung ist dann im nächsten Schritt aber in der Tat das Entfernen.

Mein ohnehin nur wenig bekanntes öffentliche Engagement im allgemeinen LaTeX-Support werde ich ganz nach Lust und Laune ebenfalls zeitweilig bis auf Null reduzieren und jedenfalls einer ständigen, kritischen Prüfung unterziehen. Dass ich oftmals über eine Stunde investiere, um alle erkannten Fehler und Ungereimtheiten in einem gezeigten, nicht minimalen Code aufzuführen, ist letztlich verschwendete Zeit. Die Mehrzahl der entsprechenden Fragesteller ignoriert diese Hinweise ohnehin oder verschwindet sang- und klanglos und schneller als ich meine Hinweise liefern kann.

Ziel des ganzen ist, den Support und die Pflege von KOMA-Script weiterhin leisten zu können. Ideal wäre, wenn dabei auch noch etwas Zeit für andere Dinge abfallen würde.

So bringt das neue Jahr für mich also bereits erste Veränderungen. Weitere liegen im Bereich der Vorsätze.

Bis demnächst
Markus

by Markus Kohm at Tuesday, 2020-01-07 10:08

2019-12-30

Thomas Schramm

Fussball-Halbjahreskalender 2020 Januar bis Juni mit ics-Datei

Der Halbjahreskalender Januar bis Juni 2020 A4 Querformat mit den Terminen der 1. Bundesliga, CL, EL, Länderspielen und DFB-Pokal als PDF mit zugehörigem LaTeX-Quelltext. Dazu die ics-Kalenderdatei zum Einbinden in Kalenderprogramme mit allen Terminen der 1. Bundesliga, Champions League, Europa League, Pokal und Länderspielen. Der TeX-Quelltext beinhaltet aus praktischen Gründen auch die Termine Juli bis […]

by Thomas Schramm at Monday, 2019-12-30 18:40

2019-12-15

TUG

G21C conference: Grapholinguistics in the 21st Century

A biennial conference bringing together disciplines concerned with grapholinguistics and more generally the study writing systems and their representation in written communication. Submission deadline: January 13, 2020.

Sunday, 2019-12-15 23:08

2019-12-11

Typeroom

Print is back! The renowned culture brand to be relaunched in 2020

This December, Print magazine, an online authority on graphic, interactive and brand design and their influences on visual culture, announces new ownership and its continued presence in the graphic arts industry.

Print began publishing in 1940 as Print, A Quarterly Journal of the Graphic Arts led by William Edwin Rudge to demonstrate, in his words, the far-reaching importance of the graphic arts.

Through the decades Print became an iconic design and visual culture brand serving as the go-to industry resource for design dialogue and inspiration, design education, profiles of leading design minds and everything in between via a top-ranking website and social media platforms, The Daily Heller column, and one of the most well-respected design competitions in the industry—the Print Regional Design Awards—Print has been the leading authority on all things design today. 

The Print brand and Printmag.com was acquired by Print Holdings LLC comprised of industry veterans, Debbie Millman (Design Matters), Steven Heller (The Daily Heller), Andrew Gibbs (Dieline), Jessica Deseo (Dieline), Jessica Deseo (D’NA Company) and Laura Des Enfants (D’NA Company).

Together, this team is committed to offering the design industry a hub for inspiration, education, and community, while remaining committed to Print’s original mission of commenting on, critiquing, discussing and documenting the work, thinking and business of design. 

The site will continue to publish its legacy site including up-to-date Daily Heller columns until 2020 when a new format will launch under the vision and guidance of this ownership team.

“While we are thrilled to rescue this piece of design history,” said Debbie Millman, “we are even more excited about the opportunity to reinvent Printmag.com” 

Relaunched in 2020, Print aims to continue building a dialogue about design by detailing the intersections of art and culture. “Rather than focusing on the how-to of design, Print’s content covers the why—why the world of design looks the way it does, how it has evolved, and why the way it looks matters and while Print will continue to identify and analyze important trends, history and insights from thought leaders in the industry, the online magazine will begin to include an expanded 21st-century view of design and its contribution to our world” notes the team.

“While we are thrilled to rescue this piece of design history,” said Debbie Millman, “we are even more excited about the opportunity to reinvent Printmag.com as a reflection of what designers are interested in reading today.” 

“The magazine we all call Print has had a half dozen different names since its inception in June of 1940” writes J. J. Sedelmaier. “It was originally a limited-edition periodical that discussed the endless techniques used in the graphic arts industry, and even included original prints and tipped-in features within. From its first edition up to Volume VII, Number 6, in March 1953, it was a 7 1/4-by-10-inch journal-sized publication.”

“William Edwin Rudge was the publication’s original publisher and managing editor. He was the third generation of a family of printers (all named William Edwin Rudge), and he worked out of his publishing business office in New Haven, Connecticut. From the first issue in 1940 through Volume VI, Number 4, the publication was called Print: A Quarterly Journal Of The Graphic Arts. Beginning with the following edition, Volume VII, Number 1, it changed its name to Print after combining its previous title with another magazine called The Print Collector’s Quarterly. Rudge continued as the publisher and managing editor, but the publishing office had moved to Burlington, Vermont, with the editorial offices in Hartsdale, New York. By the spring of 1953, Rudge was the president/editor, and the publishing and editorial offices had moved to 17 West 44th Street in Manhattan.”

Volume 1, Number 1. Cover by Howard Trafton.

An editorial introduction to the journal’s mission (with an interesting mention of television in the footnote)

Explore more of Print's legacy here and reengage with Print here

by loukas at Wednesday, 2019-12-11 14:01

2019-12-10

Typeroom

Social Poster Exhibition: time for graphic design to teach us kindness

Promoting tolerance among nations through the art of the poster is a mission Typeroom approves and Gabriel Benderski is an artivist whose portfolio speaks of the importance of human rights in times of need . 

Born in Montevideo, Uruguay into a Jewish home in 1988, Benderski started his formal training by studying graphic design at ORT University where he obtained a BA. Prior to going freelance, he worked for five years in design studios where he discovered his enthusiasm for editorial and brand design -his visual identity of Campeón del Siglo FIFA Stadium for Club Atlético Peñarol is one of the projects he highlights.

Yet it is not just his talent but his agenda that makes Benderski a creative to follow.

“Recently, I started to focus on the social aspect of graphic design and as a result, the Social Poster Exhibition is part of The Uruguayan Plan for Human Rights Education and it was declared of Educational Interest by the Uruguayan Ministry of Education and Culture” he notes of his latest exhibition. 

From New York through Warsaw, Toronto, Ottawa and in four cities around Uruguay Benderski demonstrates how graphic design allows us to use it as a tool that promotes tolerance.

Tolerance Poster Show: Mirko Ilić campaigns for humanity with Milton Glaser & more

While the posters are been displayed in embassies and consulates around the world this man on a mission “analyzes the background of poster design and it’s social function.”

Human type: Gabriel Benderski's posters is letterpress activism for a better world

“The aim is to transmit to the participants an introduction to graphic design that allows them to use it as a tool to promote tolerance” he adds. 

In case you interested in holding the exhibition get in touch with Benderski here.

“Thanks to the hand of Max Phillips (Signal Type) an old sketch I made a few years ago is now finished. Infinite Union is to understand that we are all together in this world”

“I was invited by Mirko Ilić to participate in The Tolerance Show, a traveling exhibition that brings together artists from around the world to create posters of Tolerance. To tolerate is to behave as one”

 “The aim is to transmit to the participants an introduction to graphic design that allows them to use it as a tool to promote tolerance”

 

by loukas at Tuesday, 2019-12-10 11:10

2019-12-06

Typeroom

Graphic Design Festival Scotland 2019: Lamm & Kirch & more winning posters to inspire

Since launching in 2014 Graphic Design Festival Scotland has received more than 38,000 poster submissions from over 100+ countries fo its International Poster Competition from established agencies and budding designers alike from all corners of the earth.

This year's International Poster Competition winners are inspiring as their designs “alter perceptions or ways of thinking, offer creative solutions to problems, contribute to current affairs, open dialogues for debate, provoke discussions and make innovative use of media or medium” notes GDFS

The 2019 competition received 8,567 submissions from 86 countries with Lamm & Kirch, Mark Bohle & Nam Huynh and Formes Vives! winning big. 

You can visit the International Poster Exhibition at an all-new space dedicated to graphic design aka Olympia Gallery – where the exhibition opened on November 22nd, 2019.

The following are the top three winning posters with the jury's comments as noted on GDFS

Ruhr Ding: Territorien and Tony Cokes – Mixing Plant by Lamm & Kirch, 3rd place

“The bold factual typography combined with soft, fading colors and blended imagery melts together a unique fusion of industrial communication and creative expression”

The posters were commissioned by Urbane Kuenst Ruhr, an institution for contemporary art, to promote two exhibitions. One titled Territories which explores territorial definitions and the territorial aspects of establishing an identity. The other, an exhibition of artist Tony Cokes’ work which “reflects on capitalism, subjective perceptions, knowledge transfer and (visual) stimuli”. The posters are designed within a wider identity as part of Lamm & Kirch's on-going work with the institution.

Aiming to reflect the “unstable” identity of the institution which operates in the “decentralised" post-industrial area of Ruhr in West Germany, Lamm & Kirch utilise “a tool kit” of “variable components”; photography, abstract imagery, artist material, formless shapes, graphic symbols and a custom variable font built with Dinamo Typefaces. The elements come together in seemingly haphazard compositions; images layer over each other, lines and shapes intersect and information appears sporadically dotted around in perceptively chaotic compositions.

Bigger and Better: Graphic Design Festival Scotland 2018 in 230 posters!

The bold factual typography combined with soft, fading colors and blended imagery melts together a unique fusion of industrial communication and creative expression.

“The posters are successful on many levels; effective as stand-alone pieces of work, perform seamlessly as part of a wider identity, visually exciting at first glance with various levels of interest up to small details within the typography, an exciting variety of visual elements, all of the elements connect and disconnect with one another in an interesting way, the posters strongly reflect the concept and approach of the institution, exceptionally high quality of finish, typography is solid and the aesthetic is original” notes the jury of this year's competition. 

The Big Bang by Mark Bohle and Nam Huynh, 2nd place 

The poster was commissioned by community-focused student space ODAS to promote a doors-open day which offered the opportunity to visit the private studios of various creatives.

Through the poster, creative spaces were compared to children’s bedrooms, places “of imagination and pure freedom”. Continuing the idea of child-like imagination, inspiration was drawn from a Joan Miro illustration for the central motif – a star. The area around the star is embellished with a scattering of pop-culture icons, characters, and symbols – comparable to children plastering stickers all over belongings as a way of personalizing or customizing.

“Posters do not always have to be direct or immediate. A successful poster may not be straight forward and could be open to interpretation”

Custom 3D typography is paired with a geometric sans at the bottom of the poster to communicate the title and event information.

“The poster is instantly memorable; strange, playful and engaging. The concept comparing the children’s bedrooms to creative studios is original and communicated in a fascinating way. The “stickers”, Joan Miro inspired 3D-rendered toothpaste, thick blobby custom lettering and light grotesk geometric typeface at the bottom are an unforgettable combination of elements and assembled together in a tactile, unexpected way. The poster is highly contemporary but well-grounded and formed. Very enjoyable to look at” comments the jury members of the winning project. 

Extra Ball and Golden Ball by Formes Vives!, 1st place

The posters were commissioned by art/craft/DIY design publisher Ultra for public display next to their offices in Brittany, France, and Formes Vives were offered complete creative control.

Formes Vives aimed to "support" the Gilet Jaune, a populist, political movement for economic justice started in France during 2018, and “talk about police repression”. An illustrated pinball machine is combined with typographic cues relating to the "Gilet Jaune” in a tactile frenzy of colors, lines, and forms. Some of the scrawled cues on the posters include “gasoline”, “fire”, “capital gains”, “tax-free”, “power” and “play”. The posters do not explicitly comment but perhaps compare the actions between the Gilet Jaune and the police on the streets of Paris to a game of fatal pinball.

The posters were created using hand-drawn illustrations, layered digital collage and printed digitally before being displayed publicly in Brittany.

“Posters which engage with current affairs or on-going global topics are important, particularly within graphic design where designers have such a strong position to communicate ideas and educate those around them. The posters are totally original, visually engaging, spark curiosity and contribute to on-going political discussion” notes this year's jury members which included The Rodina from the Czech Republic, Spassky Fischer from France and Warriors Studio from the United Kingdom.

Koos Breen knows how to design a typographic poster for the win

“Formes Vives approach feels human, organic and personal which implies a level of authenticity and expressive emotion which strengthens the message and the connection between the poster and the subject. Posters do not always have to be direct or immediate. A successful poster may not be straight forward and could be open to interpretation. This may be atypical of how we expect “good” design to behave but hopefully, through the competition we can open up new ways of thinking and demonstrate that immediacy and directness are not always an indicator of quality.”

“The posters hit the sweet spot in many ways: they contribute to on-going political discussions, are visually striking, the use of colors and forms in the composition is strong, the tactility of the work is quite unique. The approach of Formes Vives is inimitable with real emotion and craft. The posters demonstrate that the artistic aspect and the craft of poster design are alive and well.”

All 252 posters selected are featured inside the International Poster Book edition. The limited publication of 1,000 copies available hits all the right notes so do make sure to grab your own copy here.

by loukas at Friday, 2019-12-06 16:22

2019-12-05

Typeroom

From the New York Times to Pentagram sky is the limit for multi-awarded Matt Willey

I was born with severe hearing loss. My parents were told I would never be able to speak properly or go to a normal school. That, more than anything else, shaped my childhood” says Matt Willey, arguably one of the most influential art directors of the industry and an official Pentagram partner as announced earlier this week in his latest interview with Creative Review.

Born in Bristol, Willey has managed to be the talk of the city that never sleeps as the art director at The New York Times Magazine -a position he has held since 2014 before becoming Pentagram's latest MVP. 

Willey studied graphic design at Central St. Martins in London, graduating in 1997. In 2002, he joined Vince Frost at Frost Design London, ultimately rising to the position of creative director and three years later he co-founded the London-based firm Studio 8 Design with Zoë Bather. After the company's closure in 2012 Willey relocated to New York for more adventures in type and design.

“In his editorial design, Willey combines strong typography and photography to create powerful settings for the content at hand” notes Pentagram

Currently the creative director and senior editor of Port, the gentlemen’s quarterly he co-founded with editor Dan Crowe, Willey has art directed the arts magazine Elephant, the travel and culture magazine Avaunt (which he co-founded) and in 2013 he completed the game-changing redesign of UK newspaper The Independent.

A magazine lover since his early days in the industry Willey felt “for a long time quite ambivalent about the idea of being a graphic designer... I maybe gravitated towards magazines because they offered proximity to other worlds – to writers and editors, to art and photography and film, and illustration, and music and so on” says Willey to Crowe for WePresent. 

“Design is almost always – or should almost always be – just a small part of something else. Usually something bigger and more interesting. I don’t think design is much in and of itself; it’s only interesting when it’s in service to something else. But I felt comfortable with magazines, they made some sort of sense to me” he adds.

Feeling “a small cog in a big and incredibly impressive machine” by the name New York Times, Willey has just swapped one of the industry's most coveted jobs for another.

A type designer as well, Willey's custom typefaces such as AType, BWord, NewPort, and NSW01 to name a few are created for the specific context of the brands, publications, stories and other projects in which they appear.

Willey, obviously a creative with a kind agenda, has made several of the fonts commercially available and proceeds from select fonts are donated to charity. “His MFred and TIMMONS typefaces have helped raise more than £70,000 for Cancer Research UK and Macmillan Cancer Support through the Buy Fonts Save Lives initiative, while all money made from the sale of Blakey Slab goes to the American Civil Liberties Union (ACLU)” notes Pentagram. 

“I don’t think design is much in and of itself; it’s only interesting when it’s in service to something else”

Named Designer of the Year by Creative Review in 2014 Willey’s work has been recognized with numerous awards. “During his five-year tenure at The New York Times Magazine, the publication was honored with SPD Magazine of the Year in 2016 (and Finalist for 2017-2019) and SPD Brand of the Year in 2019, and more than 40 gold medals; five D&AD yellow pencils; more than 20 Gold and Silver cubes from the Art Directors Club; and awards from the Creative Review Annual and the Type Directors Club. Avaunt was a finalist for SPD Magazine of the Year and received a D&AD yellow pencil, and Port won SPD Independent Magazine of the Year in 2019.”

Willey’s titles for Phoebe Waller-Bridge’s spy series Killing Eve were nominated for a BAFTA Award and received a Royal Television Society Craft Award and obviously sky is the limit for this son of a poet and the latest creative to join Pentagram's New York office. 

Explore more of Matt Willey's instinctively visual brilliance here

Willey, obviously a creative with a kind agenda, has made several of the fonts commercially available and proceeds from select fonts are donated to charity

All images via Matt Willey

by loukas at Thursday, 2019-12-05 15:48

PlayStation turns 25: the good, the bad and the glorious logos revealed

On December 3rd, 1994, history happened with a little help from SONY. On that day, the PlayStation launched in Japan and the company entered the video game industry with Playstation -changing the core of it almost overnight. 

Twenty-five years later the Playstation saga continues and SONY's influential product being undoubtedly one of the world's biggest modern franchises in entertainment ever. 

The PlayStation impact upon our culture is evident -from the iconic games aka Final Fantasy through its sartorial influence per The Verge- and that little gray box which started it all came with a logo not to be forgotten.

Conceptualized in 1994 by Manabu Sakamoto, the Japanese designer, who had also worked on other logos for SONY aka VAIO, the PlayStation logo was not an easy task to accomplish. 

The final logo, which comprises the letter ‘P’ standing over the letter ‘S’, resulted after numerous concepts being put forward for selection revealed a compilation of rejected PlayStation logo iterations that surfaced recently online on Reddit.

All of the concepts were created by Sakamoto himself who played with variations in color and typefaces in search of the perfect emblem. 

Shortened to just two letterforms the logo, strong as the console itself, carried the product to its dominance and is one of the most recognized logos of our times. 

Sakamoto also designed the custom typeface used in the PS logo and the font, simple and clean, is part of SONY’s global success story that was launched a quarter of a century ago. 

Eventually the PlayStation (officially abbreviated as PS and commonly known as the PS1 or its codename PSX) was first released on 3 December 1994 in Japan, on 9 September 1995 in North America, on 29 September 1995 in Europe, and on 15 November 1995 in Australia, and was the first of the PlayStation lineup of video game consoles. 

Photo by Hello I'm Nik on Unsplash

“Starting from a humble beginning as an upstart within SONY, Ken Kutaragi and team delivered on a vision to elevate video games as a form of entertainment that everyone could enjoy, and to make a platform for game developers to express their creativity,” writes Jim Ryan, President & CEO, SIE. 

The original PlayStation sold 100,000 units in Japan on its first day and went on to become the first-ever home console to surpass 100 million units sold globally.

On 19 September 2018, Sony unveiled the PlayStation Classic to mark the 24th anniversary of the original console. This miniature recreation of the original console was released on 3 December 2018, the exact date the console was released in Japan in 1994.

SONY has already confirmed that the PlayStation 5 will launch during the 2020 holiday season because what started with a bang will go volcanic.

Playstation wall with hundreds of signatures at Gamescom 2019, Cologne, Germany, photo by Andreas Heimann on Unsplash

by loukas at Thursday, 2019-12-05 13:36

2019-12-04

Typeroom

Remembering Gerard Unger: thanks to Ashler Design every type design of the legend is back online

From Markeur, his first-ever professional type design for Joh back in 1972 to Sanserata, his latest type design in 2016 Gerard Unger’s legacy is alive and kicking in full force again online. 

Spain based Ashler Design, a collaboration between two people, Elena Ramírez, web designer and UX expert, and Octavio Pardo, graphic and type designer decided to pay a very welcoming tribute to Unger, resurrecting his website back from oblivion. 

“Gerard Unger died on 23 November 2018. His personal website went down a few months later, which I found out while talking about him in a type design course” explains Ashler of Remembering Gerard Unger

The website is up and running, almost exactly-ish the way it was. As Ashler puts it, “almost like he was still among us”

“It was a personal shock, like a sudden realization that he was really gone. Using web archive, we have brought his website back to life as a small homage to a professor that not only inspired several generations of type designers but was also an outstanding human being. Gerry Leonidas describes him beautifully here.”

In Memoriam: Gerard Unger 1942-2018

“To be precise, this is not exactly his original website. We have removed a subtle but charming animation he created in his logo because it was using Flash technology. We also added another slot in his type design collection because Sanserata, his latest release, was missing from the collection. We thought it would be great to have it there as well. The rest is exactly-ish the way it was. Almost like he was still among us.”

A perfect gift to all by Ashler aka one grateful student of a type design legend is live here.

Unger on Markeur, 1972

My first professional type design was Markeur, for Joh. Enschedé & Zonen, Haarlem. By 1970 Enschedé’s last punchcutter, Henk Drost, had few opportunities to practice his original craft, so the type foundry had looked for a new sort of work: signage, with letters, cut into laminated plastic sheets. For this purpose, Sem Hartz had designed Panture (1971), a series of seriffed capitals.” 

“Markeur was designed as a sans serif alternative. Usually engraved lettering of this kind is the same thickness all over, like din letters. Drost pointed out that if he wanted to produce perfect letters he had to go through the groove twice anyway.”

“ If these two tracks were made not to overlap each other exactly but were slightly offset, it was possible to create letters with different thicknesses. The rounded corners are the result of using rotating bits.”

Unger on Sanserata, 2016

“Sanserata's originality does not overtly present itself at text sizes. Rather, at those sizes, it draws upon its enormous x-height, short extenders, and articulated terminals to improve readability, especially on screens.”

“Having articulated terminals means characters flare as they near their end, but readers likely won’t notice. What they would notice is that their ability to take in more content in a line of text is improved because the letter shapes are more defined. Articulation also makes clearer text from digital sources, where rectangular endings tend to get rounded by the emission of light from the screen.”

Gerard Unger's Theory of Type Design is the must-buy book of the season

“Lately there seems a whispered discontent with the lack of progress in the sans serif category. Designs can either stretch too far beyond what is accepted or be too bland to be considered new. Sanserata’s strength is in being vivid and unique without being off-putting. This bodes well for designers of paragraphs and of branding schemes since, with Sanserata’s two flavors, it is well able to capture attention or simply set the tone.”

“Sanserata’s first voice is a generous, friendly, and even cheerful sans serif. But when using the alternate letterforms its voice becomes more businesslike, though still with nice curves, generous proportions, and a pleasant character.”

by loukas at Wednesday, 2019-12-04 13:10

2019-12-03

Typeroom

FENTY for the win: how Commission Studio branded Rihanna’s urban luxe label

After just six months in business, Rihanna's historic luxury fashion house FENTY has been presented with the Urban Luxe award by the British Fashion Council at this year’s Fashion Awards 2019.

“Contextualising Rihanna isn’t easy – which meant the role of creating the branding for her first fashion house had to be handled by the experts” writes Leanne Cloudsdale. Founded by creative directors David McFarline and Christopher Moorby, Commission Studio’s heavyweight portfolio of luxury clients was enough proof for the synergy to happen.

“The new wordmark was drawn from scratch. The distinctive letter ‘F’ with the strokes overlapping references Rihanna’s own handwriting and the reverse ‘N’ is a legacy nod to the Fenty Beauty logo” said McFarline describing the inspiration behind the design of an entirely new wordmark for the brand. 

“We used a special adaptation of the Grilli typeface GT America Compressed Light for the brand typeface with the ‘N’s reversed as part of the standard character set. Everything is clean and modern – specifically designed to work well on small scale devices such as phones and tablets. Across the packaging, the logos were applied with gold foil and a 3D sculpted diamond emboss to give that luxe feel” he added.

“Typically, monograms have always been an integral communication tool for luxury brands and Commission Studio wanted to develop a contemporary version that could be used throughout the Fenty collection. ‘The Mazelogo was a fresh interpretation of this and includes every letter of the brand name. At first glance, it could be a QR code, electronic circuitry, a Chinese character, or a Greek key – what makes ‘The Maze’ unique is how it manages to be modern and familiar at the same time.” 

Alongside the visual identity, London based design and branding consultancy Commission created the complete packaging suite and garment branding for Robyn Rihanna Fenty's awarded fashion house.

“The Maze logo includes every letter of the brand name. What makes ‘The Maze’ unique is how it manages to be modern and familiar at the same time”

“The distinctive letter ‘F’ with the strokes overlapping references Rihanna’s own handwriting and the reverse ‘N’ is a legacy nod to the Fenty Beauty logo”

Explore more of FENTY’s graphic branding, reflective of the “artistic director's complex style, creative vision, and progressive attitude across many digital and physical applications” here.

All photos via Commission Studio @ Luke Evans and Rihanna's official twitter account

by loukas at Tuesday, 2019-12-03 14:18

2019-12-02

Typeroom

Nouvelle type: Jean Fouchet’s title design legacy will make you weep

Long before La La Land, there was a French anti-musical which launched Catherine Deneuve’s iconic career and made filmgoers weep for love does not conquer all in Jacques Demy’s movie musical Les parapluies de Cherbourg (The Umbrellas of Cherbourg). 

Set in northwest France in the late 50s the drama of Geneviève, a lovesick 17-year-old and Guy, played by Deneuve and the equally charming Nino Castelnuovo, broke boundaries with its aesthetics. 

Per Nouvelle Vague’s pioneer Demy his Oscar-nominated and Palme d’Or-winning masterpiece “used color like a singing Matisse” and thanks to restorations pushed forward by Demy’s widow Agnès Varda, The Umbrellas of Cherbourg’s enchanting palette is today just as vivid 55 years after its original release. 

Eventually the title design of the soon to be re-released in UK oh-so-melancholic-it-hurts musical, set in Michel Legrand’s poetic and haunting melodies, movie by the French New Wave director Jacques Demy is a fine example of Jean Fouchet’s typography and talent. 

The opening credits, with it’s bird’s eye view of pastel bikes and titular umbrellas on a rainy day in Cherbourg, are frequently acclaimed as some of the best of all time. “Brilliantly, title designer Jean Fouchet uses the cobbles of the street as a grid that guides the typography” notes Yale Daily News of Fouchet’s pop type. Deneuve, Demy, Legrand and Fouchet were reunited in Les Demoiselles de Rochefort, another movie which displays Fouchet’s talent in introducing us to a story through typography and design. 

Fouchet was a film titles designer born in France in 1918. One of France’s most well-known title designers during the 1960s and ’70s, Fouchet began his career in film as a set designer, decorator, and assistant operator. 

In 1950, he was hired as a designer of special effects and credits for the Lax company and soon he founded his own company, F.L., with which he created title sequences, trailers, and special effects per Art of The Title.

Fouchet designed special effects for films such as The Longest Day (1962), The Train (1964), and Up To His Ears (1965) and his title sequence credits include Last Year at Marienbad (1961), Phaedra (1962),The Umbrellas of Cherbourg (1964), Topkapi (1964), Les Demoiselles de Rochefort (1967) and more.

Following is a tribute to Fouchet’s title design legacy before the brand new tears flood the movie theatres again.

The Umbrellas of Cherbourg is released in the UK on 6 December. 

Slider images captions: Phaedra by Jules Dassin (1962),  Le Président by Henri Verneuil (1961). All images via Annyas 

by loukas at Monday, 2019-12-02 12:40

2019-12-01

Typeroom

World AIDS Day: brutal and humane, the US national AIDS crisis in posters

In 1981, a new disease appeared in the United States. As it spread, fear and confusion pervaded the country. The infectious “rare cancer” bewildered researchers and bred suspicion, but the worry was not the same for everyone. Many feared contact with those who were ill. Others, particularly but not exclusively gay men, feared for their lives and the lives of loved ones.

Reactions to the disease, soon named AIDS (acquired immune deficiency syndrome), were as varied as the uncertainties about it. Early responders cared for the sick, fought homophobia, and promoted new practices to keep people healthy. Scientists and public health officials struggled to understand the disease and how it spread. Politicians remained largely silent until the epidemic became too big to ignore. Activists demanded that people with AIDS be part of the solution.

Takings its title from “Surviving and Thriving,” the book written in 1987 by and for people with AIDS that insisted people could live with AIDS, not just die from it, “Surviving and Thriving: AIDS, Politics and Culture” is a traveling exhibit and online adaptation curated by the National Library of Medicine that explores the rise of AIDS in the early 1980s, as well as the medical and social responses to the disease since. 

Posters, comic books, and postcards focused on AIDS are as old as the disease itself” notes the exhibition's curators. “Representing some of the best forms of public health outreach, this ephemera contains images and slogans that communicate a range of ideas about AIDS—from how to prevent it from spreading, to how to care for people with AIDS, to how to talk to children about the disease.”

“Inexpensively printed and distributed, these colorful materials performed a great deal of social and political work over the course of the 1980s and 1990s. Whether originally wheat-pasted on bus stops or the sides of buildings, hung in municipal office spaces, or placed in the waiting rooms of doctors’ offices, these documents provide powerful historical evidence about how people did and did not confront HIV/AIDS.”

“Posters, comic books, and postcards focused on AIDS are as old as the disease itself” 

Safe sex is hot sex, 1991. Developed in 1990 by the Red Hot Organization, a leading international initiative dedicated to fighting AIDS through popular culture, this campaign featured diverse people locked in intimate poses. The posters combined text and visuals to normalize and eroticize safe sex. Both provocative and instructional, the carefully positioned subjects aimed to encourage viewers to change their sexual practices. The voyeuristic presentation worked in conjunction with the message: sex can be enjoyable and safe for all couples regardless of sexual orientation

Stop worrying about how you won’t get AIDS and worry about how you can, 1980s. Misinformation ran rampant through much of the 1980s as people struggled to interpret the new information about risk behaviors and safe practices. By providing the beginnings of a list of safe practices, this poster from American Responds to AIDS helped spread accurate information and dispel some of the stigma and fear associated with people with AIDS.

“Please Be Safe” by the Northwest AIDS Foundation. In 1987, with funding from the U.S. Conference of Mayors, the Seattle-based Northwest AIDS Foundation launched the “Please Be Safe” campaign to help gay and bisexual men reimagine their sexual behaviors.  Using a different creative visual strategy than the sexually charged imagery of some contemporaneous public health efforts, this campaign used road signs—a straightforward, familiar set of symbols—to discuss and advertise sexual safety. The “Please be Safe” or “Rules of the Road” campaign used road signs and compelling, straightforward, community-specific language to help gay men engage in safer sex. The campaign sought to establish these practices as the new norm for all. The “Sexual Safety Card” featured on many of the posters provided quick and accessible information on activities at every level of safety.

The more you score, the greater your chances of losing the game, 1980s. This fear-mongering poster offered a simple solution for preventing AIDS: Just say no. . Advice like this ignored the complexity of human behavior and, as such, missed out on the opportunity to educate people on realistic, alternative strategies.

Some people think you can catch AIDS from a glass, you can’t, 1980s by the California Medical Association. Evidence that AIDS was spread by the exchange of “bodily fluids” provided many opportunities for misunderstanding. Even after researchers proved that saliva could not transmit AIDS, the fear of used drinking glasses, shared eating utensils and kissing persisted well into the 1980s.

Perform a death-defying act, 1987 by the Oregon Health Division. This huge headline communicated a simple solution. By depicting condoms as a common, easy-to-use solution, this poster from the Cascade AIDS Project in Portland made protection approachable.

AIDS is a white man’s disease, famous last words, 1980s by People of Color Against AIDS. Directed to the black community, this poster used straightforward language to debunk the all-too-widespread idea that AIDS was a gay, white disease.

You Won’t Get AIDS From. With misinformation too readily available, the You Won’t Get AIDS From campaign from America Responds to AIDS attempted to reach a wide audience with neutral images and straightforward information on ways people could not “catch” AIDS.

From the “Safe Sex is Hot Sex” campaign dubbed too hot to handle during the Reagan era to the “America Responds to AIDS” campaign which promoted the “everyone is at risk” message of AIDS prevention, generalizing the epidemic beyond its core targeted communities which suffered the most, through the “Fear Mongering” ominous posters which declared in big bold type the danger of “sleeping around” whilst providing little -if any- information on how to prevent the spread of AIDS epidemic, the exhibition presents through posters and visual elements the US national AIDS crisis in pictures.

Explore more here

Slider images captions: ACT UP is watching: Photo from one of thousands of demonstrations nationwide, reminding officials that activists were watching. ACT UP (The AIDS Coalition to Unleash Power) was founded in March 1987. As of 2012, ACT UP chapters in nearly every major city continued to champion for rights for people with AIDS. Ignorance = fear, silence = death, 1989: In the 1980s and 90s, artist Keith Haring’s widely recognized figures championed AIDS education and compassion, what was then a new cause. Today, Haring’s foundation continues to support AIDS organizations nationwide, including AIDS Project Los Angeles, the Elizabeth Glaser Pediatric AIDS Foundation, and Gay Men’s Health Crisis. Read my lips, 1988Gran Fury, an artists’ collective within ACT UP (The AIDS Coalition to Unleash Power), created iconic materials, including postcards, to spread information and promote education about HIV and AIDS. The mantra featured here subverts President George H. W. Bush’s notable quip about no new taxes, delivered during the 1988 Republican National Convention, to call attention to his ambivalent support on AIDS outreach, education, research, and support.

by loukas at Sunday, 2019-12-01 10:56

2019-11-28

Typeroom

2024 Paris Olympic Games: Graphéine's visual identity is better than yours

Almost a month ago Paris unveiled a gold-medal-shaped emblem for the 2024 Olympics and Paralympic Games. According to the official press release “the emblem embraces the shape and color of the most beautiful medal of all to express one of the core values of sport: striving for excellence. That same commitment also informs every step that Paris 2024 is taking in organizing the Olympic and Paralympic Games Paris 2024, so that it can fulfill the pledges it has made to stage a different, grounded, sustainable and inclusive Games.”

Eventually, Twitter-verse had its own take of the Paris 2024 Olympic logo which was mercilessly mocked -even though the gold design (apart from representing gold medals), the variable custom-designed typeface and Art Deco styling is a nod to the last time Paris hosted the games, in 1924.

"Its pure, understated lines and its original typeface take their inspiration from Art Deco, the first complete artistic movement, which reached its height at the 1924 Games in Paris," says a statement announcing the logo which per Creative Bloq's Rosie Hilder “looks like either a) the Tinder app logo, aka a sexy flame b) a condom packet or c) a hair salon logo. There's nothing about it that makes us want to jump off the sofa/out of bed/away from our screen to do the javelin or the long jump or pursue some other Olympic dream.” 

After all the buzz another visual identity emerged with rave reviews from many -even though it was not selected. Graphéine's team studied the question of the visual identity of the 2024 Paris Olympic Games and its answer is presented in the agency's blog.

“Imagine an impossible timetable (only 3 weeks to send a response....) and all the conditions that we usually denounce (no financial compensation for submitting a project). Nevertheless... it's the Olympic Games! What's more, in Paris, our city capital! So we offered a creative sprint to our teams. 48 hours to find an idea. Here is the project we have collectively imagined” writes Graphéine.

“For a branding project to be successful, the logo must be based on an idea that is sufficiently 'fertile' to inspire the multitude of necessary variations. Indeed, it is in the polysemy of a sign that the richness of the declinations will be able to sprout.  Thus some signs can easily be imagined in movement, volume, space... while others will seem 'static and uninspiring'. In our opinion, this visual polysemy is a guarantee of sustainability. Indeed, the strong repetition of a sign inevitably causes a form of habit, even weariness. A sign that has several levels of reading will be much more resistant to time.”

“Baudelaire used to define modernity as the meeting of fashion ("mode" in French) and eternity.  It is precisely in the conjunction of these two temporal notions that a logo must be found. On the one hand, he must be in tune with the times to make himself desirable in the eyes of its contemporaries. On the other hand, it is destined to go down in the annals of sport and Paris, and it will continue to live for many years after the end of the Games” notes the agency of its proposal. 

Building the logo around the concept of an Eiffel Tower sports track the proposal is sporty with “fluid curves, fast lines. A sports track emerges before our eyes, telling the story of movement and speed.” 

Solidly placed on the ground, a 3D Eiffel Tower is emerging and “the magic of this sign comes from its possible double reading. In turn sports track and Eiffel Tower. The eye seems not to want to choose.”

This is a logo “that tells a story of encounter and convergence. It is a profoundly humanistic and optimistic sign that offers a perspective of collective progress.” 

The agency's open invitation to the world with five colors for the five continents of our world echoes “the IOC motto with the symbol of the Eiffel Tower. It affirms the audacity to go further, thus illustrating the idea of surpassing oneself.”

“For a branding project to be successful, the logo must be based on an idea that is sufficiently 'fertile' to inspire the multitude of necessary variations”

“The two logos are from the same shape” notes the agency of its two logos for a shared vision.

”A simple change of angle of view makes it possible to switch from the logo of the Olympic Games to that of the Paralympic Games. This symbolic rapprochement between the two logos is a strong gesture that can act as a bridge between the world of able-bodied athletes and that of athletes with disabilities.”

“This project was not selected... But, as Pierre de Coubertin said, the most important thing is to participate!”

”A simple change of angle of view makes it possible to switch from the logo of the Olympic Games to that of the Paralympic Games. This symbolic rapprochement between the two logos is a strong gesture that can act as a bridge between the world of able-bodied athletes and that of athletes with disabilities.”

Check more here

All images via Graphéine

by loukas at Thursday, 2019-11-28 10:55

LaTeX Project

First prerelease of LaTeX 2020-02-02 is available for testing

The first LaTeX prerelease for 2020-02-02 is available for testing

A few days ago we have submitted a new LaTeX development format to CTAN and by now it should be available to all users using MikTeX or TeX Live (on any operating system).

This format allows you to test the upcoming LaTeX release scheduled for 2020-02-02 with your documents or packages. Such testing is particularly important for package maintainers to verify that changes to the core LaTeX haven’t introduced incompatibilities with existing code. We try to identify any such problem beforehand, but such an undertaking is necessarily incomplete, which is why we ask for user testing.

Besides developers we also ask ordinary users to try out the new release candidate, because the more people are testing the new format, the higher the chances that any hidden problems are identified before the final release in February hits the streets.

Processing your documents with the prerelease is straight forward. All you have to do is to replace the invocation command by appending -dev to the executable, e.g., on the command line you would run

pdflatex-dev myfile    or    lualatex-dev myfile    or    xelatex-dev myfile

instead of using pdflatex, lualatex or xelatex. If you use an integrated editing environment, then it depends on the system how to configure it to use an alternative format; but in any case the necessary modification should be straight forward.

Main features of 2020-02-02 prerelease 2

For technical reasons this first prerelease is labeled “prerelease 2”. Prerelease 1 existed only for a few hours on CTAN, as it was missing some files due to a problem in the build process, but because it was already on CTAN we had to increase the prerelease number.

A new LuaTeX engine coming up …

In TeXLive 2020 the LuaLaTeX format will always use the new LuaHBTeX engine, which is LuaTeX with an embedded HarfBuzz library. HarfBuzz can be used by setting a suitable renderer in the font declaration. An interface for that is provided by the fontspec package. This additional font renderer will greatly improve the shaping of various scripts, which are currently handled correctly only by XeTeX.

To simplify the testing of the new engine, the necessary executables have been added to MiKTeX and TeXLive 2019 and both have changed the LuaLaTeX-dev format to use it. This means you can already now test the new engine by using the prerelease!

Even if you have no need for the new HarfBuzz functionality it might be worthwhile running some tests, because, from 2020 onwards this will be the only LuaTeX engine for which a LaTeX format will be distributed in TeXLive and MikTeX from 2020 onwards.

Improved load-times for expl3

The LaTeX3 programming layer, expl3, has over the past decade moved from being largely experimental to broadly stable. It is now used in a significant number of third-party packages, either explicitly or implicitly (e.g., by loading xparse to define user command interfaces), so that many documents load the expl3 code at some point in the preamble. Most LaTeX documents compiled using XeTeX or LuaTeX load fontspec, which is written using expl3 so in these engines it is nearly always used.

The expl3 layer contains a non-trivial number of macros, and when used with the XeTeX and LuaTeX engines, it loads a large body of Unicode data. This means that even on a fast computer, there is a relatively large load time penalty whenever expl3 is needed.

For this release, the team have made adjustments in the LaTeX 2e kernel to pre-load a significant portion of expl3 when the format is built. This is transparent at the user level, other than the significant decrease in document processing time: there will be no “pause” for loading Unicode data files. Loading of expl3 in documents and packages can be done as usual; it will, at some future time, become possible to omit

\RequirePackage{expl3}

entirely, but, to support older formats, this explicit loading is at present still recommended.

Please test now — even though there is more to come

We ask you to test now, because (unless we made some mistakes) the above changes should be transparent to the user — other than speeding up the load process or allowing to handle complicated scripts with LuaLaTeX that before would not work correctly.

Probably early January we expect to distribute another prerelease which will most likely contain improvements to the font support for all engines.

The prereleases will never go stale in the future (we hope)

Starting with this prerelease we will make sure that the prerelease in the distributions either matches the main release code or will be newer than the current main release. This was not the case in the last few weeks when the main release was 2019-10-01 with a few hot fixes added, but the -dev format was still from some day prior to October.

In the future we intend to ensure that this does not happen, so that, to avoid confusion, the distributed development release is always newer or the same as the current main release.

More details on prereleases please …

More details and some background information about these concepts and the process of the development formats is available in a TUGboat article:

The LaTeX release workflow and the LaTeX dev formats

  • Frank Mittelbach
  • TUGboat 40:2, 2019
  • Abstract

    How do you prevent creating banana software (i.e., software that gets ripe at the customer site)? By proper testing! But this is anything but easy.

    The paper will give an overview of the efforts made by the LaTeX Project Team over the years to provide high-quality software and explains the changes that we have made this summer to improve the situation further.


Enjoy — Frank

Thursday, 2019-11-28 00:00

2019-11-26

Typeroom

Typography as raw material: République Studio on their AJAP 2018 visual fest

Simple is not boring -at least not in the portfolio of one of our favorite design studios made in France aka République Studio, who infused their modernity to AJAP 2018.

AJAP” (Albums des Jeunes Architectes et Paysagistes) is a biennial competition organized by the French Ministry of Culture. They distinguish young European architects and landscape designers under 35 who have realized a project or participated in a competition in France.

The exhibition presents the work of the twenty winners constituting the 2018 promotion, fifteen teams of architects, five landscaping teams.

République Studio, a team of creatives “often inspired by the zeitgeist” did all the design, catalogs, and signage for AJAP 2018 which will be exhibited in all the French Institutes around the world for the next couple of years.

Typeroom's Loukas Karnis caught up with the award-winning creative direction and graphic design practice based in Paris to discover how type makes the life of creatives a place of wonders and versatility.

How did you approach the design of AJAP 2018?

As the exhibition is traveling all around the world, we discussed with the scenographer on which kind of printed matter would be best to showcase the architects and their works.

It had to be lightweight, easy to build, easy to print, in short, easy to travel. Gaspard came up with the idea of a wooden module, easy to assemble, that could carry two posters aboard. 

The traveling exhibit is bilingual, French and the native language of the country where it is shown. We figured that the posters would display only big images and the explanatory texts would be shown in small booklets on the board. Therefore the visitor could take a booklet with him and bring a small part of the exhibit home. 

As for the design, we wanted something that would work well with the wooden modules, unique and light. 

Which are the most important elements in AJAP 2018’s visual language?

Type was definitely the most important part. The typeface Past Perfect, used for titles, emphasizes the wooden modules. The letters look like wooden sticks and give to the whole project an «architectural and playful vibe».

Plus, it contrasts with Basis Grotesque, used for body text, which is more shapely yet more comfortable for the reader to focus on content. 

Which was the most difficult part of this project?

Keeping things simple without being boring. 

How long have you been working on it?

It took us around 3 weeks to design all the booklets, catalog, signage and make the layout of the posters. 

How important is type in creating a unique voice for the branding of a project?

At Republique Studio every work begins with a typeface. We think a typeface is a big part of the identity of the project because it can provoke different emotions. That’s why you really have to choose well the fonts you will use.

We always want to find the typefaces which will tell the good story, and which speak the same language as the project itself.

A typeface, and the way you use it, has real power on the identity of a brand. By looking at a typeface, it can remind you of a brand, or a movie poster, or an album, etc. That’s why when you start working with a new client, it’s important to choose a typeface that doesn’t have a recognizable history already.

The typeface has a real impact on your memory whether you want it or not. That’s why we try not to use the same typeface on many projects.

Would you consider bespoke typefaces the most important factor to express attitude though letterforms?

Typography is not just about choosing a typeface, what is most important is also how you use it, where, for which audience, in what size, in which color, etc. If you choose a well-known typeface but use it in a unique and intelligent way, then your message can be just as bold. 

What is Republique Studio’s motto to live and work by?

Don’t overuse the same typefaces, because you don’t want the whole world to look the same! Or at least, change the way you are using them.

We don’t want to see the same identity everywhere. Diversity makes our world beautiful!

What are you working on now?

We are working on signage for museums, which is really exciting because we love to see big type in action. Also websites, branding and poster/communication for exhibitions. 

How would you describe the French typographic scene? What's your take on it?

There are many good type designers in France! Too many to name all of them. Sure thing is that the type game is global today, and you can find good designers all around the world.

We are living in a liberating era where type design became very accessible and talented people can very easily make their point and live from their art. Typography is our raw material and type designers our best friends :)

“The typeface has a real impact on your memory whether you want it or not. ”

All images via République Studio. Set design by Gaspard Pinta / Photos by Julien Lelièvre

by loukas at Tuesday, 2019-11-26 14:51

2019-11-25

Typeroom

It stops now! Design for social good rules in Piquant's anti-violence campaign

Design can inform, educate and promote social change” notes Piquant Media of its “It Stops Now” campaign, which aims to end sexual violence and harassment in third level institutions.

Piquant Media worked with Ireland's National Women’s Council of Ireland (NWCI), the country's leading women’s membership organization seeking equality for women, on the branding, video, web design and development of “It Stops Now”, an international campaign which aims to raise awareness of the prevalence of gender-based harassment and violence in third-level education and to engage both staff and students in combatting all forms of harassment and violence against women students throughout Europe.

NWCI lead the campaign with project partners in Cyprus, Lithuania, Scotland and Germany. Each project partner worked with higher education institutions, statutory agencies and NGOs.

Piquant Media worked with the team at NWCI to create a brand identity and project content that would resonate with students and staff at third level institutions around Europe.

“This brand had to have the ability to capture people’s attention and provoke a response. The goal of the project is to generate awareness but also connect with the third-level community to show them that they have the power to make the change” notes Piquant. 

“As graphic designers, we should be aware of the responsibility we have in our community as we don’t only design nice and attractive shapes, we are social communicators, no matter what type of client we’re working for” writes Victoria Brunetta, the studio's graphic designer of the task to design for good.

“How we develop and visualize a communication strategy will eventually impact on people’s perception. For better or worse, graphic designers have become key actors in the consumption chain development.”

“I hold the opinion that our mission when visualizing a social movement is also to bring in to question the perceptions most people have around issues such as feminism, homelessness, immigration, poverty, racism, education, environment… In other words, how can we challenge dominating stereotypes that harm the dignity of the most vulnerable and communicate a clear, powerful message that encourages people to take action? Or, eventually, how can that message give the audience a different perspective on community development and social change? In my eyes, ultimately, the challenge when trying to visualize a social movement or any human rights-related issue, is how can I, as a graphic designer, help people to live in a more equal society?”

“How we develop and visualize a communication strategy will eventually impact on people’s perception. For better or worse, graphic designers have become key actors in the consumption chain development.”

Check out the It Stops Now project here.

by loukas at Monday, 2019-11-25 13:22

Beazley Designs of the Year 2019: Artificial Intelligence, stencil & more winners

Drum-roll, please! The overall winner of Beazley Designs of the Year is “Anatomy of an AI System” and Artificial Intelligence is under the microscope for this groundbreaking “anatomical case study of the Amazon Echo as an artificial intelligence system made of human labour, data and planetary resources.”

“You will never look at your smart home hub the same way again,” said chair of the judges and Royal College of Art vice-chancellor Paul Thompson of the project. 

“The consensus among climate scientists is that human activity is the root cause of an ongoing planetary crisis. The way in which everyday decisions and the devices we buy can add to this issue is sometimes difficult to comprehend. Taking a consumer’s conversation with Alexa, Amazon’s voice-activated assistant, as its starting point, designers and researchers Kate Crawford and Vladan Joler created a map and essay to represent the impact of the creation, use and disposal of just one of the many Amazon Echo units that have been purchased to date.”

Whilst the “Anatomy of an AI System”  charts the birth, life and death of a voice assistant and its impact on our planet Pentagram's Sascha Lobe and his team won the Graphics award for Beazley Designs of the Year for their “clever way-finding system that uses pictograms designed for Amorepacific, one of the world’s largest cosmetic companies, operating over thirty health, beauty, and personal care brands including Etude House, Innisfree and Laneige. 

Sascha Lobe and his team have designed the architectural branding, environmental graphics, and signage for Amorepacific's new corporate headquarters in Seoul, South Korea.

Lobe's team worked closely with David Chipperfield Architects who designed the building. Reflecting the headquarters’ unique geometry, the team devised a matrix that uses Hangul-inspired pictograms to orientate visitors notes Pentagram

“Taking the form of a grid divided into nine sub-squares, level position is communicated through the middle square, with the framing eight squares providing information relative to position, as defined by the ‘corner number’ and ‘geographic location’ hierarchies.”

“Lobe and his team created a Hangul-inspired Latin typeface specifically for the Amorepacific Headquarters. As with the numerals and pictograms, the pared-back, stencilled font is constructed using the Hangul method, resulting in a balanced and consistent visual language”

“English, Chinese and Korean are all used throughout the building and presented a unique challenge for the designers. These systems each possess different complexities, and while Korean and Chinese scripts have some formal relation to one another, it is difficult to achieve a satisfactory integration of Latin characters with a line thickness and font size of similar appearance.”

“Since no typeface existed that would fulfill these criteria completely, Lobe and his team created a Hangul-inspired Latin typeface specifically for the Amorepacific Headquarters. As with the numerals and pictograms, the pared-back, stencilled font is constructed using the Hangul method, resulting in a balanced and consistent visual language throughout the space.”

A total of 76 innovative designs including clothing, buildings, apps, books, homewares and posters that have made a strong global impact were nominated for this year's award, which is given by London's Design Museum.

Following are all the winners of this year's competition.

Anatomy of an AI System from Design Museum on Vimeo.

Beazley Design of the Year Overall Winner: Anatomy of an AI System by Kate Crawford and Vladan Joler

Beazley Architecture Design of the Year: Maya Somaiya Library

Beazley Graphic Design of the Year: Amorepacific architectural branding by Pentagram and David Chipperfield Architects

Beazley Product Design of the Year: CATCH by Hans Ramzan

Beazley Fashion Design of the Year: Adidas Originals by Ji Won Choi

Beazley Transport Design of the Year: GACHA Self-driving Shuttle Bus by MUJI and Sensible 4

Beazley Digital Design of the Year: Anatomy of an AI System by Kate Crawford and Vladan Joler

Beazley Design of the Year - People's Choice: MySleeve by Marie Van den Broeck

Explore more Beazley Designs of the Year 2019 here.

by loukas at Monday, 2019-11-25 12:39

2019-11-24

Uwes kleines Technikblog - Kategorie LaTeX (by Uwe Ziegenhagen)

Kalender mit tikz-calendar erstellen

Hier ein Beispiel, wie man mit tikz-calendar Jahreskalender erstellen kann. Kalenderereignisse müssen in einer externen Datei abgelegt werden, im Beispiel ist das die meineevents.events.

Die Farbnamen für die einzelnen Elemente lassen sich in https://www.sciencetronics.com/greenphotons/wp-content/uploads/2016/10/xcolor_names.pdf nachlesen.

\documentclass{tikz-kalender}

\setup{%
lang=german,
year=2020,
showweeknumbers=true,
title={Urlaub},
xcoloroptions={x11names},
titleColor=cyan, 
eventColor=brown,
periodColor=lime,
monthBGcolor=red,
monthColor=Purple0,
workdayColor=yellow,
saturdayColor=magenta,
sundayColor=orange,
events={meineevents} % Einbinden der events-Datei
}

\begin{document}
\makeKalender
\end{document} 

Hier der Inhalt der meineevents.events:

\event{\year-10-09}{John Lennon (1940)}
\event{2020-10-03}{Tag d. dt. Einheit}
\event*{2020-04-12}{Ostersonntag}
\period{2020-02-01}{2020-02-06}[color=Gray0,name={Urlaub}]; 

Uwe

Uwe Ziegenhagen likes LaTeX and Python, sometimes even combined. Do you like my content and would like to thank me for it? Consider making a small donation to my local fablab, the Dingfabrik Köln. Details on how to donate can be found here Spenden für die Dingfabrik.

More Posts - Website

üääü­üöü–üöü–üöü–

by Uwe at Sunday, 2019-11-24 19:02

2019-11-15

Typeroom

It's all in the A! The Atlantic is stunningly redesigned with a bespoke typeface & a monogram

Led by creative director Peter Mendelsund and senior art director Oliver Munday, the well-respected book publishing design team who came on board full-time at The Atlantic almost a year ago, the magazine unveiled a new visual identity complete with a new logo, custom typeface, updated website, and iOS app with its December issue.

“It is the most dramatic new look for our magazine in its 162-year history, and one that, we hope, reflects boldness, elegance, and urgency,” writes Jeffrey Goldberg, the editor in chief of The Atlantic, author and a recipient of the National Magazine Award for Reporting. 

“The interesting thing to me about the first cover in 1857 is how clear the hierarchy of information is. The forthrightness, the omitting of needless information, the seriousness of purpose and mission—I would say those are all components of the design that represent what The Atlantic, as an institution, does well” notes Mendelsund of his team effort to redesign the historic title. 

“The most notable change in this redesign is the new nameplate, the move to the A as representative of the whole” adds Goldberg of the wordmark aka “an emblem—a logo.”

Set in the all-new bespoke typeface Atlantic Condensed based on the type forms that the founders chose for the first issue the font speaks of the magazine's legacy as well. 

“We started with a condensed capital A that pointed toward an old version of The Atlantic logo drawn by Boston Type Foundry in the mid-19th century,” Munday explains to AdAge. With some adjustments for something "that felt weightier or slightly more bespoke” the design team added a notch to the top of the A, adjusted the feet and then hired typographer Jeremy Mickel for final refinement. 

Eventually, the process led to the creation of a new custom condensed typeface, a full alphabet based on the original Boston Type Foundry sample used for the A.

This serif typeface known also as a “Scotch” face -a term describing the way the serifs are designed- is “an extremely legible, classical kind of typography, but also transmits a certain kind of vehemence and urgency that works nicely for our contemporary purposes.”

Atlantic Condensed, the bespoke and extremely legible serif typeface, aims to transmit a certain kind of vehemence and urgency that works nicely for The Atlantic's contemporary purposes

Per Mendelsund the new design had to be “readerly” and “to feel confident” without “clamoring for your attention in too many ways.” The task has been accomplished per the designers in a number of different ways. 

“One is through good grids, making sure that the page itself has a rigorous, almost Euclidean logic to the way it’s laid out. Another is by ensuring that the type is interrupted as little as possible and that when it is interrupted by imagery, the imagery is contained within its own cordoned-off space.” 

With the single-letter logo being the most striking aspect of this year's redesign -the magazine’s last full redesign happened in 2009- the A is set in roman, or normal, type. The upright letter conveys more authority, Mendelsund says. “Italics are typically not meant to work as a main graphical component but rather call attention in a body of text that is upright.”

Accompanied by a whole ecosystem of “engraved” nautical emblems to serve as visual elements of the Atlantic's latest redesign this is by far one of the most daring and visual pleasing rebranding projects of the year for a title which was launched in the autumn of 1857 by Boston publisher Moses Dresser Phillips

The first issue of The Atlantic Monthly was published in November 1857 and quickly gained fame as one of the finest magazines in the English-speaking world. The magazine, which billed itself as a "journal of literature, politics, science, and the arts," was an immediate success and within two years the circulation of the magazine had risen above 30,000. 

Two centuries later, on July 28, 2017, The Atlantic announced that multi-billionaire investor and philanthropist Laurene Powell Jobs (the widow of former Apple Inc. chairman and CEO Steve Jobs) had acquired majority ownership through her Emerson Collective organization. Now the magazine, subscribed to by over 500,000 readers, publishes ten times a year. Obviously the saga continues with an A.  

Discover more here.

All images via The Atlantic

by loukas at Friday, 2019-11-15 13:33

2019-11-11

Typeroom

Rüdiger Schlömer will teach us how to type knit our lives for good

Swiss designer Rüdiger Schlömer is the kind of creative you can count on even under the worst and most extreme cold weather conditions. After all, he is a man who knows how to infuse type into knitting. 

Schlömer's book, Pixel, Patch und Pattern: Typeknitting (published by Verlag Hermann Schmidt) has been recently awarded the «Certificate of Typographic Excellence» from Type Directors Club, is currently on display in The World’s Best Typography exhibition (TDC65) and as Pentagram's Eddie Opara notes, is filled with surprises.

Innovative, insightful and playful, the book -which has also been nominated for Design Prize Switzerland 2019/20 for «Communication Design»- challenges the readers to learn to knit a variety of typefaces modeled on digital designs by well-known type foundries including Emigre, Lineto, Parachute, and Typotheque and emblazon ones hats, scarves, and sweaters with smartly designed monograms, letters, or words. 

“At first glance, the cover is extremely unassuming and without further inspection you would walk right past it. With a closer examination, its apparent pixelated, title in all caps wears a distorted, woven-textured effect with its added hybrid brew of Anglo-German: Pixel, Patch und Pattern. As your eyes peer down to the bottom of the cover, innocuously set in Futura, Typeknitting leaves you intrigued and you are overcome with curiosity” notes TDC's Communication Design Judge Opara of the publication which was published last winter by Verlag Hermann Schmidt. 

“When opening the book, behold the incredible surprises that wait! You are taken into an alternative culture of typography that is knitted! The different stitching techniques are endless and transformative. The open, playful, thought-provoking, effortless, enterprising, and dynamic qualities are profound. You relish the fact that every design is made by hand. The end results are awe-inspiring. It brings life to modularity and systems. After viewing this book, you have to ask yourself, why do you sit at your computer, hour after hour? Are you really making something that is tangible?” he adds. 

Typeroom's Loukas Karnis asked Schlömer some questions between his own type knitting lessons now that winter marches on in Europe. 

So please introduce yourself to us.

I grew up in Paris, France, and Bremen, Germany and studied Visual Communication in Aachen and Art in Context in Berlin. In my studies, I became interested in experimental communicative formats that combined analog and digital principles, like hacking, reverse engineering or programming.

I find that many of these "new" principles can be found in older media or techniques, in music notation or textiles. I have been living in Zurich since 2011, Switzerland, where I work mostly on exhibition design, books, and self-initiated projects.

How did you come up with the idea of mixing type with knitting?

For the occasion of the soccer World Cup in Germany, I developed a "Fan-Scarf-Remix"-Webtool together with my friend, designer and programmer Jan Lindenberg.

On the project website, you could remix existing fan-scarfs into individual messages and then download your remix as a knitting pattern. It was a playful, deconstructive answer -a hack- to the idea of national identity and its instrumentalization.

I started the project without any practical knitting skills, thinking that the knitting part would be just like printing out the final result ... which was very wrong. Suddenly I discovered the multitude of personal and regional knitting techniques and got interested in their practical exploration. Eventually I started a private knitting circle in my flat in Berlin with a couple of friends.

Which was the first knitted typographic product you came up with?

The first machine-knit product I developed was remix-fan scarves editions, which I released in small editions. There are big differences between hand and machine knitting.

Hand knitting is very accessible, you just need two needles and some yarn. Machine knitting allows larger editions, but it needs a technical infrastructure and brings you back to the computer. I like to keep switching between both, analog and digital.

“My Remix Fan Scarf editions are made of low-quality Jpegs found on the Internet. I started with soccer scarves only, now they contain letters of various source and context. Each edition come with an open-source pattern”

You have called your project “generative typography”. Please elaborate on this genre.

When looking at all the different hand knitting techniques, I see a lot of parallels to digital tools, layout programs or plugins. “Patchwork Knitting” for example, is based on geometric patches as basic elements. Instead of following a pixel-by-pixel knitting pattern, Patchwork Knitting gives you a basic grid, which you can freely combine into color and pattern combinations.

It's basically a modular, generative approach to pattern design, just very slow, because you knit it by hand. And since it's based on patches, it's perfect for knitting modular typography.

“Patchwork knitting is basically a modular, generative approach to pattern design, just very slow, because you knit it by hand. And since it's based on patches, it's perfect for knitting modular typography”

What is your book "Pixel, Patch und Pattern – Typeknitting" all about?

My book shows typographers how to knit letters, and knitters how to include typography. It's a systematic introduction to how different types of letters can be constructed using different hand knitting techniques.

The four main chapters, PIXEL, PATTERN, PATCH, and MODULE go from intarsia knitting to slip-stitch patterns to patchwork knitting. These approaches are shown through knitted prototypes with typefaces from type designers like Andrea Tinnes or Christian Schmalohr, and type foundries like Emigre, Lineto, Nouvelle Noire, Parachute and Typotheque. It also contains instructions for some specific knitting projects, like pullovers, Selbu mittens or cushions. 

How did you decide to collaborate with typographers on this project of yours?

When developing the book, I wanted to show "Typeknitting" as an open practice, not a collection of finished results. I saw my role as a mediator and translator between knitting and typography, two fields I know well enough to initiate this dialogue, without being a hardcore specialist in either.

As Typeknitting is a lot about communication through knitting and letters, the very process of it becomes communicative as well. The exchange with the contributing knitters and typographers was and still is essential in this process.

In most cases, I started with the different knitting techniques, and their structural, constructive characteristics. From there I looked for typefaces that would suit theses characteristics and then I knitted prototypes to illustrate the different principles. TypeJockey by Andrea Tinnes (Typecuts) turned this process around: it inspired an approach of combining structural and color patterns, which can be applied to many other fonts.

Typefaces are most knittable when they are pixel-based or have a strong constructive character. My book contains a collection of more than 30 typefaces, from bitmap classics like Emigre's Lo-Res and Oblong, to contemporary interpretations like Fidel Peugeot's Walking Chair. Some can be used for a specific technique, for example, dot-matrix fonts like Panos Vassiliou's Online One are perfect for slip-stitch-knitting.

Once you start exploring, the amount of knittable typefaces, knitting techniques, and the possible combinations is almost endless.

What are the similarities between the craftsmanship of knitting and type design if any?

I think that the knitting structure has many parallels to a piece of text -even if you are not knitting letters. Loops form a texture, just like letters form a text. Roland Barthes described the text as “a tissue [or fabric] of quotations”. Vice versa, you can also look at the knitting fabric as a text or code. But I would rather compare knitting to digital practice in general. The whole Typeknitting approach is somehow about the relationship between digital craft and analog programming, which form a kind of digital craftsmanship.

“When developing the book, I saw my role as a mediator and translator between knitting and typography, two fields I know well enough to initiate this dialogue”

Lots of people compare knitting to the protocols of software and the “Zen” qualities of the loops themselves. What's your take?

It depends whether you look at the process or at the physical result. When looking at finished knitwear you only see the visual characteristics of knitting textures and materials. This is like looking at a finished painting compared to experiencing the single brushstrokes. When you get into the process of knitting, the subjective experience is very repetitive, meditative, almost hypnotic. It's a very logical, algorithmic process, which definitely shows parallels to software. And as knitting is mostly based on two variables (knit and purl) it can be seen as a form of manual programming. I see many similarities and think it's no coincidence that knitting patterns look like code.

Do you consider yourself a fashion or a typography hacker?

“Hacking” as I originally understand it, describes a subversive intervention of a system from the outside. Today you find so-called “Life Hacks” in every mainstream magazine. Using your leftover coffee grounds for plants has become a hack, or using empty shampoo bottles to store valuables. Most of these tricks my grandmother used a long time ago, they were just basic household knowledge.

Which makes you think, either hacking wasn't as subversive in the first place ... or that the imaginative usage of older things and practices (like knitting) have a lot of potentials to be discovered, which is helpful to many. I see my book as a “Plug-In”, a joint between typography and knitting.

If you were a knitted typographic element which one would you be and why?

My favorite element right now it the slip-stitch. Instead of knitting a loop, you simply slip the yarn over from the left to the right needle. This makes a pre-writing, pre-typographic element, which later can become a sign (or part of a sign), although it's basically a pause in the structure. I like the simplicity of this. It also looks to me like it could have evolved as a mistake at first, and was later systematized into a method.

What are you working on right now?

Right now I am preparing a workshop program. The next will be at the Amsterdam knitting academy "De Amsterdamse Steek", and another at the Swiss Yarn Festival. I am really excited about working with experienced knitters, to get practical feedback on my methods and to exchange ideas for further methods and patterns.

Parallel to that, I am constantly researching typefaces and ways of graphic applications, which I plan to explore in workshops on the graphic side. Typeknitting is made for dialogue, it's a process of constant translation between the two fields, knitting, and typography. And besides the physical projects you make with it, the evolving interdisciplinary communication is one of its most interesting side effects. I am very curious about where this will lead to.

Learn how to loop your creativity with type here (German edition) and here (English edition).

All photos © Linda Suter

by loukas at Monday, 2019-11-11 17:08

2019-11-10

TUG

TUGboat 40:3 published

TUGboat volume 40, number 3, a regular issue, has been mailed to TUG members. It is also available online and from the TUG store. In addition, prior TUGboat issue 40:2, the TUG 2019 (Palo Alto) proceedings, is now publicly available. Please consider joining or renewing your TUG membership if you haven't already, and thanks.

Sunday, 2019-11-10 18:00

2019-11-06

Typeroom

Moholy-Nagy and the New Typography: a comprehensive publication finally released

In 1929, ten years after the Bauhaus was founded, Berlin’s Martin-Gropius-Bau launched the exhibition “New Typography.”

László Moholy-Nagy, who had left Dessau the previous year and had earned a reputation as a designer in Berlin, was invited to exhibit his work together with other artists.

He designed a room—entitled “Wohin geht die typografische Entwicklung?” (“Where is typography headed?”)—where he presented 78 wall charts illustrating the development of the “New Typography” since the turn of the century and extrapolating its possible future.

To create these charts, he not only used his own designs, but also included advertising prints by colleagues associated with the Bauhaus.

The functional graphic design, initiated by the “New Typography” movement in the 1920s, broke with tradition and established a new advertising design based on artistic criteria.

It aimed to achieve a modern look with standardized typefaces, industrial DIN norms, and adherence to such ideals as legibility, lucidity, and straightforwardness, in line with the key principles of constructivist art.

For the first time, this comprehensive publication showcases Moholy-Nagy’s wall charts which have recently been rediscovered in Berlin’s Kunstbibliothek.

Renowned authors provide insights into this treasure trove by each contributing to this alphabetized compilation starting with “A” for “Asymmetry” and ending with “Z” for “Zukunftsvision” (“vision of the future”).

By perusing through the pages and allowing a free flow of association, the typographical world of ideas of the 1920s avant-garde is once again brought back to life.

Enter this universe of geometric wonder here.

by loukas at Wednesday, 2019-11-06 14:17

Type Champions Award 2019: Alibaba, The Guardian, NYT & more honorees to note

And the winners are in! Monotype introduced the inaugural recipients of the Type Champions Award, a new program that recognizes brands for their creative, innovative, and memorable use of typography in developing and maintaining their brand identities. 

“To celebrate that value, we are introducing a new program, the Type Champions Award” noted Monotype earlier this fall in this thank you note to brands that support the value of typography overall. 

The honorees are obviously brands which “demonstrate a focus on type in building their brand message, marketing & advertising efforts, and overall customer experience. This includes: Type consistency across the brand experience, an emphasis on future-proofing the brand through typography selection, authenticity in brand/creative, creative approach to advertising (use of new/emerging channels, unique strategy for engaging new/existing customers, mix of creative asset types) and leadership that vocally champions the value of type and creative.”

“Type plays a critical role in brand identity, and some brands are using type in their creative campaigns in a way that stands out as strategic, thought-provoking and innovative,” said James Fooks-Bale, Monotype's creative director of this award program which recognized the companies that use type “to stand out among their peers, and create authentic, consistent and relevant brand identities.”

After an open nomination period and an extensive review process, the following brands are this year's Type Champions Award honorees:

& Other Stories
Alibaba Group
Audi
Dropbox
Juventus
Mailchimp
Ogilvy
Southwest Airlines
Squarespace
The Guardian
The New School
The New York Times

Last but not least Monotype launched a brand new e-book on trends in type design, often an indicator of broader shifts in brand strategy. 

“During the nomination process for the Type Champions Award, we asked creative professionals and our expert panel to identify the most prevalent trends driving design now and into the future” notes Monotype.  

Per the downloadable report the “5 Type Trends for Brands to Consider in 2020” are the following.  

1. The need for global language coverage

2. The rise of variable fonts

3. Emphasis on geometric sans serifs

4. Type as icon: Inline and engraving

5. A.B.R. always be rebranding

Download the report here.

by loukas at Wednesday, 2019-11-06 11:59

2019-11-04

Typeroom

Artivist at large: John Mavroudis and his multi-awarded typographic portraiture explodes

A statement and a truth: John Mavroudis is one of the most influential and talked about contemporary illustrators of our times. Blending his drawings with type, Mavroudis is an artist and activist to admire for his breathtaking and multi-awarded covers for TIME Magazine, New Yorker and more.

In the event of this year's 60th anniversary of Greece's highly acclaimed Thessaloniki International Film Festival, Mavroudis created two posters fueled with what this Greek-American artivist loves more. Pop aesthetics and type are the real stars in the visual identity of the 60th anniversary TIFF with two posters, a tribute to the festivalists who follow this cinematic adventure throughout sixty years.

“The figures are angelic, symbols of goodness. They remind us that the greater we understand different points of view, the more we see that others are not so different from us” notes Mavroudis. “I love the postage stamp frame because it’s a universal symbol of communication. That is exactly what the Festival amplifies, giving voice to filmmakers from Greece and all over the world. I’ve used it on many of my artworks, but I feel it is especially relevant here.” To discover more of this artist who speaks with type Typeroom's Loukas Karnis talked with John Mavroudis of his highly political and totally optimistic art.

So first off, congratulations on the 60th Thessaloniki Film Festival poster you designed for the milestone of Greece's movie fest. Can you walk us through how it came together — the concept and art direction and everything in between?

The 60th Thessaloniki International Film Festival poster was a wonderful project to work on. I was so honored to be asked to create it. I was contacted by the good people at the Festival and given some general parameters about the project but I was given wide latitude to create something I felt worked.

I studied up on the history of the city and came up with a series of sketches, which I submitted. I heard back from them that they were more interested in looking forward rather than back. On reflection, I missed that part of the brief… but it made complete sense. It’s one of the reasons that the Festival has lasted this long. They constantly look forward. With that in mind, I submitted a few more ideas and they loved the typographic portrait of the angel. The idea that this would be the festival viewer was quite appealing to us.

We agreed on this sketch and they submitted a list of words and terms that would be used to create the piece. I ended up making two versions in a couple of different color variations. The fact that it could be deconstructed and used in a few different ways ensured that it had some utility to it. That’s important for a Festival that has all sorts of requirements on the variety of ways it was to be used. 

I ended up putting a stamped frame around it for a couple of reasons: I’ve used this motif before and I love the idea of a universally recognized symbol for communication to frame the artwork for a Festival that includes so many voices from all over the world. Although the brief was to look forward, I’m still drawn to Greek history. The connection to the arts is self-evident so there was some styling towards the iconic paintings I’m drawn to. A lot more time was spent trying to get the type on the face to match well with the facial features. All in all, I’m quite proud of how they turned out. I hope people find them worthy of such a great film festival.

On your site, you mention that you might have been born in Athens or Ireland or California. So what's your story?

I have a bit of fun on my website describing my origins. I’m an American. Born in the San Francisco Bay Area, California and extremely proud of being the son of a Greek father and an Irish-American mother.

My father was a Greek citizen who was born and raised in Alexandria, Egypt. His family originally came from Lemnos and Syros and when he emigrated to America in his early 20s he settled in California. I’ve only been to Greece once, but it’s a trip I’ll never forget. Athens, Delphi, Volos, Kefalonia Poros... I’m thrilled to be able to travel back and see Thessaloniki. 

Has your Greek heritage played any part in your art or your creative process overall?

Definitely, I grew up learning about Greek mythology and it certainly stirred my imagination. I remember reading D'Aulaires' Book of Greek Myths and being completely absorbed by the stories and the amazing artwork. Then there were the trips to the Greek Orthodox church and seeing the iconic paintings of the saints. All of these things play a part in my style and my attempts to say something with my art. 

I love being able to communicate ideas through my artwork. I always found the most powerful artists hit you a couple of different levels.

One could admire the skill and style of the artist but for me, the artists that are seared into my memory are those who also sparked my imagination via a powerful message and/or unique approach. Goya, Magritte, Bosch, Thomas Nast, Alphonse Mucha, Stenberg Brothers, Frida Kahlo, Diego Rivera, George Tooker, Ron Cobb, Paul Conrad, Ralph Steadman, Jim Starlin, Ted McKeever, Odd Nerdrum, Banksy to name a few are some of the artists who inspire me.

You are an illustrator, a graphic designer, and an activist. What is your creative process?

I usually spend a lot of time working on concepts. Once I am interested in a certain topic or inspired or outraged by something I’ve read or seen on the news, I start playing with ideas. Sometimes the ideas come in waves and sometimes you’re simply trying to find one piece that will lodge its way into my brain.

Once I have something that works, it’s tough for me to let go of it, until I’ve created what I imagine. Then comes the tricky part aka to find the right vehicle for that artwork. As an example, I was so outraged by the rise of Donald Trump and so tired of explaining to people why I hated him so much, that I tried to create a single piece that would satisfy my need to fully explain my opposition to him. After a series of attempts, I landed on the idea of creating his portrait made up of every word I could think of that applied to him. It took about a month to create the piece.

Thanks to my connections to the band Moonalice, Roger McNamee saw the piece and wanted to print them into posters. I then submitted the artwork to various publications. The Nation magazine eventually offered to use the art on its cover for the 2016 Election preview issue. The art had found a home -or in this case, two.

You are pretty outspoken against sexism and your TIME Magazine cover with Dr. Christine Blasey Ford and your signature lettering has been a viral and artistic hit. How did that come up?

This particular style of mine, which I call typographic portraiture, seemed to catch on. I created additional portraits (much more flattering versions) of Hillary Clinton and Harvey Milk. I had submitted some pieces to TIME magazine (including those portraits) and they later got in touch with me during the Senate confirmation hearings for the controversial judge, Brett Kavanaugh.

They wanted a portrait of Dr. Christine Blasey Ford in that style, made up of her quotes during her powerful testimony. She had held America’s attention with her accusation of sexual assault against the Supreme Court nominee. She came across powerfully as a credible victim and witness. That cover got a ton of attention. I was inundated by interview requests from all over. Eventually, that cover was later named Cover of the Year.

“TIME wanted a portrait of Dr. Christine Blasey Ford in that typographic portraiture style, made up of her quotes during her powerful testimony. That cover got a ton of attention and eventually was later named Cover of the Year”

You have been hailed as one of the most prominent artivists in the magazine industry with your TIME cover for mass shootings taking the world by storm earlier this year. How did you come up with this heavily typographic cover aka statement against White Nationalist Terrorism?

Working with TIME magazine was pretty amazing, and I guess they had a positive experience working with me as well because they commissioned me with another cover seven months later. I was working on some ideas after the horrific gun deaths in Gilroy, California which is very close to my home town. I had attended the Garlic Festival in previous years, and now we had another mass shooting to join the rest of the very long list. Just a week after that shooting, there were two more in rapid succession. I was so sad, and angry about the continued bloodshed and I sent some ideas I developed over to TIME.

They got back to me on Monday and thought a different direction might work. They suggested making a list of all the cities where there had been 4 or more injured or dead in the course of a mass shooting. The list I worked with eventually (and sadly) numbered 153 events in cities -including repeat offenders. I turned that cover around in a few days and, again, it seemed to have made an impact on social media, as well. 

“This style, this combination of art and typography, works perfectly as a weapon of resistance. The fact that someone can go back to the artwork and see something they may have missed at first is gratifying”

Would you consider art and typography a weapon of resistance?

This style, this combination of art and typography, works perfectly as a weapon of resistance. On the successful pieces, there’s an immediate impact, but also some deeper layers to explore and think about. The fact that someone can go back to the artwork and see something they may have missed at first is gratifying. 

You are obviously against fascism, populism and all those -isms that make this world a harsh place to live. How do you deal with the trolls and haters on social media out there?

With success comes social media haters and though I used to be a very sensitive person, I’ve developed a thicker skin for criticism. I have a few friends that I completely disagree with on politics, but I feel it’s important to have the debate. Those that simply want to troll or attack, I have no use for, so I’ve learned to block and move on, as opposed to carrying on a long, long debate with people who refuse to acknowledge basic truths.

We can all have our own opinions, but we can’t have our own facts. So, while I’ll still debate every once in a while on social media or amongst my friends, life’s too short to simply bang my head against a wall debating the Trump Cult. 

Would you consider your art political?

A lot of my artwork is definitely political, but I also love creating decidedly non-political art, as well. I love creating music or film posters. I’d love to do a children’s book -I’m working on a few- or create book covers. 

You have worked for the printing industry in the past. Which is your all-time favorite newspaper and magazine both in terms of editorial and design?

New York Times, Washington Post, The Guardian, TIME magazine, The New Yorker, Q music magazine, The Big Takeover (music), The Nation (politics), Harper’s, Juxtapose, Communication Arts are some of my all-time favorite publications.

My favorite covers would probably feature many from The New Yorker, TIME, Fortune magazine -their early covers were spectacular. I’m also very influenced by the design and illustration of comic book covers, mostly Marvel, book covers, album covers, posters, and baseball cards.

You mention many interesting things on your site. So “along life's path, you have encountered many amazing things (with the unfortunate exception of Alien Abduction).” Were you really mocked by Bono of U2 fame?

I was a big fan of U2 in the early days and I saw them open for a band in Los Angeles. They were not very famous, but a friend and I waited near the backstage area and saw their manager walk by. He noticed us and asked us if we wanted to meet the band. We were thrilled at the prospect, so he brought the boys out, you see the main act, J Geils Band had taken the stage, so it wasn’t crowded where we were. U2 were very kind and signed autographs. I told Bono that I paid $40 -a lot of money for me in 1982- from a scalper to see the band. Then Bono turned to his guitarist and said: “Hey Edge, this idiot paid $40 to see us!” He immediately turned around and apologized, but I was laughing. 

You sold four covers to The New Yorker including one that was named Magazine Cover of the Year by the American Society Of Magazine Editors and had a cartoon of the Week, as well. Which covers and when?

I’ve been submitting ideas to The New Yorker for a while now. They’ve used my ideas (but not artwork) on four covers. The subjects were on illegal music downloads, Cristo wrapping Central Park, the 5th Anniversary of 9/11 (which was named the Cover of The Year), and a blackout in New York City.

I also did a cartoon for The New Yorker aka “Trump’s fake TIME magazine fixation” that was selected as their cartoon of the day. They were considering a cover, but they had a 2-week printing break, so they just published online. You can check my process on the 9/11 cover here.

I read that your 9 years old daughter Athena is your Art Director. How come? Does she have a word on your work?

My daughter, Athena, is very precocious. She’s in 4th grade but reads at an 8th-grade level and I’m very proud of her. I was mostly kidding, but she, like most Greeks in my family, is not shy about sharing her opinions. So I joke that she’s my Art Director.

You have mentioned in your interview with Nikos Fotakis that you create your own art when an idea strikes you and either you submit it to a magazine or you post it on your social media and someone picks it up it goes public. Will you share two examples of the above?

For my process to print I usually go about creating pieces that spark me and then try to find the best place for that piece to go, the Trump illustration was a prime example of that. It eventually made the cover of The Nation magazine but I had to do it, in any case. When I have an idea that I think can work, I try to get it out of my system by drawing it out.

Another example would be a piece I’m working on now on Bob Dylan. I don’t have any particular destination, I’m not a huge fan either but I really respect his body of work and consider him one of the truly great songwriters of this or any era. With that in mind, I had to start creating his portrait based on the titles of his amazing catalog of songs. If it finds a home or not that’s an entirely different matter. 

If I’m pleased with it, I’ll start sending it out to different publications to see if there’s any interest. The same applies to my desire to do a comic book cover. I’m such a fan of the comics, I basically learned to draw by tracing comic books when I was a kid, that I sent in some samples to Marvel comics and now I’m working on a cover project with them.

Which is your favorite typeface of them all?

I don’t have any particular favorite typeface but I can list a few that I love. Constructivist font which looks like the glory days of Russian poster making in the 1920s and 1930s is a favorite and I’ve used it on a couple of pieces. I find the design and usage of it so compelling. Also, I love the Art Nouveau fonts, but maybe that’s because I love the poster artwork of Alphonse Mucha so much. I also use DIN and Futura a lot so I guess I slightly veer towards the sans serif fonts.

If you were a symbol or a letterform which one would you be and why?

If I was a letterform, I’d probably opt towards “A,” “M,” or “X” aka my daughter’s first initial, my last name’s initial, and my favorite band’s first initial.

Your portfolio is impactful and heavy yet when one sees your body of work, you seem like an artist with optimism. What are your hopes for the future?

Thanks for the kind words about being “impactful and heavy” but “optimistic.”  That’s exactly how I’d love to be described. My personality is such that I feel so strongly about certain issues. I’m outraged by what’s happening to my country under Trump, but I’ve always maintained my sense that we’ll get through this. Reading history helps. This planet has survived more horrific times at great cost but the courage of those who resist that path shouldn’t be underestimated. 

Getting into the fetal position and rocking ourselves to sleep will not fix what ails us. My greatest example is the American Civil Rights Movement. Faced with the most brutal opposition and so many defeats, they plowed ahead and changed my country for the better.

We’re not there, yet. But we’ve come far and we shouldn’t let setbacks deter us from progress. The fight for a better world is never over. We need to accept that and find victories wherever we can and continue to move forward.

What are you working on now?

I’m currently working on a few different projects. I have just finished a limited-edition screenprint piece on gay rights leader Harvey Milk and Natasha Trethewey, a wonderful poet. My illustration of the writer Joan Didion, a typographic portrait made up of great California writers, was just published and I’m doing the Bob Dylan piece I referenced already.

I also work on one of Paul McCartney. I have the Marvel cover project and a portrait of pro-basketball player Steph Curry. I’d love to do a portrait of Arsenal’s historic manager Arsene Wenger, but I haven’t contacted the club, yet but I’m always looking for more projects that excite me.

You mention that you have worked also as a DJ on the #1-rated Rock N' Roll station in the San Francisco Bay Area. What is your all-time favorite artists to accompany this interview of yours?

JM: These are my all-time favorite musicians.  XTC, The Chills, Guided By Voices, Radiohead, Peter Gabriel-era Genesis, The Pernice Brothers, The Jam, Beach House, Grizzly Bear, The Delgados, Menomena, among others…

Explore more John Mavroudis' stunning typographic portraiture and universe here

“TIME wanted a portrait of Dr. Christine Blasey Ford in that typographic portraiture style, made up of her quotes during her powerful testimony. That cover got a ton of attention and eventually was later named Cover of the Year”

All images via John Mavroudis

by loukas at Monday, 2019-11-04 12:31

2019-11-02

Some TeX Developments (by Joseph Wright)

siunitx v3 alpha 2

I’ve been talking about a new version of siunitx for a number of years now, and progress has been slower than I’d hoped.

After something of a hiatus (I released the first alpha last year), I’ve been back looking at the code again and expanding the range of tests to try to pick up more of the hidden bugs. I’m hoping now to have a reasonably regular alpha series as I build toward a first feature-complete beta, probably by the Spring.

Taking advantage of the possibilities offered by GitHub and Travis-CI, I’ve decided to place the zip files there rather than upload them here to my blog. (To be fair, the blog itself is currently hosted by GitHub too!)

The work on version 3 is taking place throughout the codebase, but the differences between the first and second alpha versions are focussed in two areas

  • Testing the backward-compatibility options
  • Beginning to implement quantities

There are still a lot of features to add, but for me the code works as a user. Of course, I don’t use most of the features!

One thing that’s definitely not done is full compatibility with version 2 font features. At the moment, I feel I’ll end up providing a way to continue to load v2 ‘behind the scenes’ for people who need it: I’ve got a completely new approach to font control, and it’s not really possible to map readily between old and new options. Probably I will have more on this for alpha 3, but at present I’d love feedback on any font cases that don’t work with the new approach.

One area I’d like to highlight is performance. I’ve always said that the move from v1 to v2 (using expl3) led to a bit performance jump. I’ve now got some figures, which also show v3 is going to be even better. My test document, using l3benchmark of course, is

\RequirePackage{latexrelease}[2019-10-01]
\documentclass{article}
\usepackage{expl3}
\usepackage{l3benchmark}
\usepackage{siunitx}
\listfiles
\ExplSyntaxOn
\cs_new_eq:NN \benchmark \benchmark:n
\ExplSyntaxOff
\begin{document}
\benchmark{\SI{0.234e3}{\joule\per\mole\per\kelvin} }
\end{document}

which gives

Version 1 0.0155 seconds (4.42e4 ops)
Version 2 0.00415 seconds (1.46e4 ops)
Version 3 0.00195 seconds (7.14e3 ops)

Saturday, 2019-11-02 00:00

2019-11-01

medievalbooks

Breaking Bad: The Incomplete History of the St Albans Bible

It reads like a horror story. In 1964, the New York rare book dealer Philip Duschnes (d. 1970) bought and subsequently broke a splendid medieval Bible produced in early-fourteenth-century Paris (Figure 1). Every page is adorned with exuberant decoration, usually with gold leaf. The manuscript also contains numerous historiated initials, like the letter S above. With … Continue reading Breaking Bad: The Incomplete History of the St Albans Bible

by Erik Kwakkel at Friday, 2019-11-01 16:47

2019-10-30

Typeroom

60 years on: Typeroom's 21 favorite TIFF posters of all time

This year the Thessaloniki International Film Festival (TIFF) which kicks off today, celebrates its 60th anniversary. The festival, which runs through November 10, will feature a total of 201 films and 59 short films, while 25 awards will be given out as part of the festivities.

According to the organizers, instead of celebrating by looking back on the sixty years of the festival, this is an anniversary which looks forward to the future of cinema itself. The theme of the 60th TIFF International Competition is “The Overview Effect” aka the effect that astronauts feel as they observe the Earth from space for the first time and perceive the world in its entirety.

To celebrate TIFF's milestone we present you with our all-time favorite posters of Greece's most prominent movie festival.

From the vintage aesthetics of the 20th century to Dimitris Papazoglou (57th TIFF), Beetroot Design (59th TIFF) and more this is a trip down the festival's history through its visual identity which changed over the years, sometimes for bad, sometimes for good. 

TIFF has collaborated with a variety of creatives throughout the years and for its 60th poster commissioned John Mavroudis, the multi-awarded Greek-American illustrator, to design the posters with his brilliant typographic portraiture. 

The first period of the Thessaloniki Film Festival started in 1960 and finished in 1991. During this period the festival showed exclusively Greek films and in its first year the festival was a modest "Week of Greek Cinema". From 1965 to 1991 the festival was named "Festival of Greek Cinema". Finally the festival became international in 199, acknowledged by the International Federation of Film Producers Associations (FIAPF).

Nowadays the Thessaloniki International Film Festival is an annual event focused on the discovery and promotion of new directors from all over the world. For ten days in mid-November, audiences numbering approximately 70,000, as well as hundreds of Greek and foreign Festival guests, attend screenings of more than 150 films in the city's cinemas.

Explore more here.

All images via TIFF

by loukas at Wednesday, 2019-10-30 15:15

2019-10-29

Typeroom

PF Marlet: Edgy, elegant & probably the ideal font of the month

In the event of Typography Guru's Font of The Month competition, we present you with a type system nominated for October, our beloved PF Marlet. 

“Marlet is a beautiful and inspiring set of typographic elements based on a minimal and simplistic approach to elegance. Originally designed as a single-style font for a Mexican cosmetics institute and its exclusive make-up and skincare line aimed at upper-middle income bracket women, Marlet has progressively bloomed” notes Parachute Typefoundry's Panos Vassiliou of his latest creation, a type system made for timeless elegance through numerous combinations diverting from passing trends in type design.

“The inspiration came from the roaring 20s and 30s, decades that embraced women’s independence both socially and politically. Taking intricate hints from the era whilst maintaining approachability, the contemporary dynamic version of this humanist typeface evolved with modulated b.”

“Marlet projects elegance and understated luxury, bringing femininity and all its complexities into the limelight, with lean lines concluding to subtle humanist curves that reference simplicity and underline the font’s exquisite quality. Its thick-thin, serif-less strokes express the modernity of the fashion industry, breaking away from the monotone sans serif.”

“A type system with contrast progressing from low (Text version) through medium (Display) to high (Finesse), with differentiated letter widths (Titling), extravagant letterforms (Swash) and finally 64 eclectic patterns (Motifs), Marlet evolved from a single typeface into a comprehensive type system in various weights which support Latin, Greek and Cyrillic.”

“Simple and elegant at the same time and in contrast to ultra-feminine Didot and Bodoni, Marlet is a ladylike infused typeface that is nonconformist, multifaceted, fashionable and romantic, strong and chic, casual yet provocative.”

Vote until Thursday for the Font of the Month competition here.

“Simple and elegant at the same time and in contrast to ultra-feminine Didot and Bodoni, Marlet is a ladylike infused typeface that is nonconformist, multifaceted, fashionable and romantic, strong and chic, casual yet provocative.”

Discover more of Marlet's edgy elegance here.

by loukas at Tuesday, 2019-10-29 06:29

2019-10-25

UK TUG

Notice of 2019 Annual General Meeting

The 2019 UK-TUG Annual General Meeting (AGM) will be held on Saturday 16th November at 14:00. The meeting will take place in the Fletcher Room, Trinity College, Oxford, OX1 3BH. We hope that as members as possible will be able to attend the AGM.

Notice is hereby given for the following.

1. Election of Chair

There were no nominations in 2018 for the position of Chair, which is therefore vacant. Anyone who wishes to stand should ask a member to nominate them for the post: in case of difficulty, please approach the committee. The term of Chair runs for two years from the AGM.

Nominations should be sent to the Secretary, by 23:59 on 1st November. The candidate should also confirm that they are happy to stand, and may be send a statement for circulation to members in support of their candidature.

If there is a contested election then there will be an electronic ballot. Details of the candidates and supporting statements will be circulated on Sunday 3rd November and voting will close at 23:59 on Friday 15th November.

2. Elections for the committee

The term of all committee members (with the exception of the Chair) expires at the end of the AGM. Anyone who wishes to stand should contact the Secretary at any time before the AGM. Nominations should be submitted by the candidate and supported by a second member.

Most of the business of the committee is carried out electronically, so a remote location should be no barrier. UK-TUG will pay reasonable travel expenses for attending committee meetings.

There will be a committee meeting after the AGM, likely at around 16:30.

3. Motions for the AGM

Any member may submit a motion to the AGM. Motions should be sent to the Secretary at the e-mail address above, and should be received by 23:59 on Friday 1st November. Motions and supporting documentation will be circulated on Sunday 3rd November.

Members not able to attend the AGM will be able to propose and vote on motions remotely. Details will be given with the motions when circulated.

by Jonathan Fine at Friday, 2019-10-25 19:26

2019-10-24

Typeroom

Nature: with a bespoke typeface & a new logo the journal's evolution is on

Nature aka the British multidisciplinary scientific journal, first published on 4 November 1869 and one of the most recognizable scientific journals in the world sure looks different. Nature has evolved and it is being redesigned aiming at “clearer research communication in the digital age.” From today, Nature unveiled its brand new visual language in order to “fulfil its mission to serve researchers and disseminate scientific knowledge worldwide.“

“This design has been in development for well over a year, and is a much-needed update that helps us — in our 150th year — to communicate science with fresh clarity and style” note the editors of the journal's latest design transformation over its long historytn in printing. Yet this time is different because... digital.

Nature's previous designs were all based on one assumption: that the journal's content would be accessed through the medium of static ink printed on a physical page. As noted the redesign “is suited to digital platforms — where the vast majority of readers now find us — while at the same time producing a clear and engaging printed edition.”

“In surveys and interviews, readers told us that our text can be hard to read; and that research articles increasingly need to do justice to complex data sets. We knew that it would be challenging to come up with a compelling design that meets these needs and also works across formats, but working with renowned editorial designer b, we listened, we experimented and we have now acted” writes the editorial of a brand new Nature which has evolved from print to digital with many tricks.

Nature logo has changed for the 11th time -"a fresh take on the nature-with-a-small-n that we’ve used for the past half-century" and text is now in a custom typeface called Harding.

The font, crafted in collaboration with designers and typographers at Commercial Type is inspired by the mid-century Swiss modernist school of rational design. "This design school — sometimes called the internationalist school — emerged in response to nationalist design trends before and during the Second World War. It promoted the idea that graphic design should be based on a mathematical grid, allowing designers to arrange type and images with a semblance of order, as Nature’s creative director Kelly Krause explains in the journal's latest issue.

“Harding is designed to cope across the disciplines. It boasts an unusually large range of special characters, from triple prime and nabla to a full set of astronomical symbols and the ‘click’ phonemes found in some African languages” adds Krause.

“A key consideration in Harding’s overall design is performance on small digital screens. To boost readability in a limited space, it helps to enlarge the main portion of the lower-case letters, while making the ascenders and descenders (as in ‘h’ and ‘g’, respectively) smaller. Ultimately, this renders long, complex strings of words easier to parse, and allows for neat stacking of lengthy technical research-article titles over a number of lines. The ‘flavour’ of the typeface — the feelings it evokes, its personality — evolved over several months. We initially looked at six fledgling concepts, each with distinct letterforms such as rounded serifs (the small strokes at the end of letters). After we winnowed these down to two, Harding emerged as the clear winner. We aimed for an overall impression of calm, rational intelligence with perhaps a dash of British formality and wit. The myriad design considerations behind Nature’s new typeface serve one goal: to improve the reading experience for researchers and policymakers globally, and enhance comprehension and insight.”

A key consideration in the bespoke typeface's design is performance on small digital screens. To boost readability in a limited space, the font helps to enlarge the main portion of the lower-case letters, while making the ascenders and descenders smaller

The font is named in memory of Anita Harding, an inspirational professor at London’s Institute of Neurology who made important contributions to neurogenetics before her death at the age of just 42.

“The redesign process is not over, and you can expect to see more digital changes over the coming year, along with new print and digital design principles for all Nature-branded journal. Nothing is more important to Nature than communicating science with authenticity, accuracy and clarity. We hope the new design does this with a dash of style and with imagination, too. Please tell us what you think” adds one of the world's most respected journals.

Nature was ranked the world's most cited scientific journal by the Science Edition of the 2010 Journal Citation Reports and is ascribed an impact factor of 43.070, making it one of the world's top academic journals and one of the few remaining academic journals that publishes original research across a wide range of scientific fields.

Research scientists are the primary audience for the journal, but summaries and accompanying articles are intended to make many of the most important papers understandable to scientists in other fields and the educated public. Towards the front of each issue are editorials, news and feature articles on issues of general interest to scientists, including current affairs, science funding, business, scientific ethics and research breakthroughs. There are also sections on books, arts, and short science fiction stories. The remainder of the journal consists mostly of research papers (articles or letters), which are often dense and highly technical. Because of strict limits on the length of papers, often the printed text is actually a summary of the work in question with many details relegated to accompanying supplementary material on the journal's website.

Nature's first title page circa 4 November 1869. Image via Wikipedia

There are many fields of research in which important new advances and original research are published as either articles or letters in Nature. The papers that have been published in this journal are internationally acclaimed for maintaining high research standards. Fewer than 8% of submitted papers are accepted for publication.

In 2007 Nature (together with Science) received the Prince of Asturias Award for Communications and Humanity.

Explore more here.

All images via Nature

by loukas at Thursday, 2019-10-24 08:27

2019-10-23

Typeroom

Paris 2024: variable fonts and Art Deco for the Olympics

Paris has unveiled a gold-medal-shaped emblem for the 2024 Olympics and Paralympic Games that incorporates the Olympic flame and the lips of Marianne. The new design, under the direction of creative agency Royalties Ecobranding, brings together three iconic symbols connected to sport, the Games and France.

The logo pays tribute to Paris as the host city of the Games, as its pure, understated lines and its original variable typeface take their inspiration from Art Deco, the first complete artistic movement, which reached its height at the 1924 Games in Paris. Per IOC the typeface “expresses just how proud the country is to be welcoming the world to its capital city in 2024”.

According to the official press release “the emblem embraces the shape and colour of the most beautiful medal of all to express one of the core values of sport: striving for excellence. That same commitment also informs every step that Paris 2024 is taking in organising the Olympic and Paralympic Games Paris 2024, so that it can fulfil the pledges it has made to stage a different, grounded, sustainable and inclusive Games.”

“The Olympic and Paralympic flames always conjure up special memories. The flame invites us to dream, to engage and to come up with new ways of staging the Olympic and Paralympic Games. It reflects the unique energy of the Games, which bring people together and drive solutions forward. The Games will help improve the lives of the inhabitants of the Seine-Saint-Denis area by bequeathing useful infrastructure to them: eco-neighbourhoods, through the conversion of the athlete and media villages into housing, and the creation of local sports facilities, such as the Olympic Aquatics Centre.”

“Finally, Marianne. With its feminine traits, the Paris 2024 emblem pays tribute to a woman who is a French national symbol known around the world. She embodies the revolutionary spirit that infuses the Paris Olympic and Paralympic Games. She encapsulates the desire to bring the competitions out of the stadium and into the heart of the city. A familiar figure who is everywhere in the everyday lives of French people, she is also a reminder that these Games will be Games for everyone, Games that will belong to the people. Her face is also a homage to female athletes and a nod to history, as it was in 1900 at the Olympic Games in Paris that women were first allowed to compete.”

For the first time, the emblem will be the same for the Olympic and Paralympic Games, only differentiated by the Olympic rings or Paralympic agitos, which will appear underneath notes IOC.

“I congratulate Paris 2024 on the launch of their new emblem. It perfectly reflects their vision and desire to put people at the heart of the Olympic Games Paris 2024. The combination of the gold medal, the Olympic flame and Marianne brings together the values, history and French touch that will make these Olympic Games truly special. I believe that this innovative design will be quickly recognised around the world and be a wonderful calling card for the Olympic Games Paris 2024” said International Olympic Committee Coordination Commission Chair for the Olympic Games Paris 2024, Pierre-Olivier Beckers-Vieujant. 

The variable bespoke typeface takes its inspiration from Art Deco, the first complete artistic movement, which reached its height at the 1924 Games in Paris

Poster for The International Exposition of Modern Decorative and Industrial Arts held in Paris in 1925 via Wikipedia

The 2024 Summer Olympics (French: Jeux olympiques d’été de 2024), officially known as the Games of the XXXIII Olympiad (French: Jeux de la XXXIIIe Olympiade), and commonly known as Paris 2024, is a forthcoming international multi-sport event that is scheduled to take place from 26 July to 11 August 2024 in Paris, France.

Having previously played host in 1900 and 1924, Paris will become the second city to host the Olympics three times, after London (1908, 1948 and 2012). 2024 will mark the centenary of the Paris Games of 1924. These will be the sixth Olympic Games hosted by France (three summer and three winter).

For more Olympics check here.

by loukas at Wednesday, 2019-10-23 13:41

2019-10-22

Typeroom

Bauhaus Rewritten: Pentagram's ode to the female forces which shaped our visuals

To celebrate Bauhaus' centenary London's Design Museum has commisioned Pentagram's partner Sascha Lobe with a London Design Festival installation aka a Bauhaus road crossing celebrating the women of Bauhaus.

To mark the iconic centenary of the design movement which fiercely changed our visual language Lobe designed a pedestrian crossing for London Design Festival 2019.

The road installation, titled Bauhaus Rewritten pays homage to the female forces of the Bauhaus, whose achievements are all too often overlooked in design history.

The names of pioneering designers including Anni Albers, Gertrud Arndt, Marianne Brandt and Ise Gropius, will feature in a typographic layout among glyphs that Lobe and his team created while designing the new identity for the Bauhaus Archive in Berlin last year.

The crossing is situated on High Street Kensington at the junction with Abingdon Road, moments from the Design Museum and it was launched to coincide with the start of London Design Festival.

The crossing is one of a series of Creative Crossings on Kensington High Street that also includes Japan House. Creative Crossings is project with the Kensington High Street Business Forum and is supported by the Royal Borough of Kensington and Chelsea.

The Bauhaus was seen as a progressive academic institution, as it declared equality between the sexes and accepted both male and female students into its programs.

During a time when women were denied admittance to formal art academies, the Bauhaus provided them with an unprecedented level of opportunity for both education and artistic development, though generally in weaving and other fields considered at the time to be appropriate for women.

The Bauhaus was founded by the architect Walter Gropius in 1919 and operated until 1933 with the school's main objective the unification of the arts.

The Bauhaus taught a combination of fine arts, craft and industrial arts, and design theory in order to produce artists that were equipped to create both practical and aesthetically pleasing works to cater to an increasingly industrialized world and  had a significant impact on the development of art, architecture, graphic design, interior design, industrial design and typography.

The road installation, titled Bauhaus Rewritten pays homage to the female forces of the Bauhaus, whose achievements are all too often overlooked in design history. 

From top to bottom: Gunta Stölzl (left), Ljuba Monastirskaja (right), Grete Reichardt (left), Otti Berger, (right), Elisabeth Müller (light patterned sweater), Rosa Berger (dark sweater), Lis Beyer-Volger (center, white collar), Lena Meyer-Bergner (left), Ruth Hollós (far right) and Elisabeth Oestreicher. Photograph by T. Lux Feininger; collection of the Bauhaus-Archiv Berlin

The recently published the book “Bauhaus Women: A Global Perspective” reclaims the other half of Bauhaus history, yielding a new understanding of the radical experiments in art and life undertaken at the Bauhaus and the innovations that continue to resonate with viewers around the world today.

“Bauhaus Women: A Global Perspective” bursts the bounds of this slim history by revealing fresh Bauhaus faces aka forty-five Bauhaus women unjustifiably forgotten by most history books.

Moving chronologically from the first women to enter the school to those who helped lead it through its last days in 1933, this book also widens the lens to reveal how the Bauhaus drew women from many parts of Europe and beyond, and how, through these cosmopolitan female designers, artists, and architects, it sent the Bauhaus message out into the world and to a global audience.

“Many of the Bauhaus women weren’t self-promoting,” says Dr. Elizabeth Otto, associate professor of art history and visual studies at the University at Buffalo College of Arts and Sciences. It’s one of the many reasons that few women Bauhauslers have been widely recognized. “The [male-driven] history of the Bauhaus as we know it, is not right,” Otto adds. “If you integrate the women, it is simply a more complete and a much more interesting picture.”

Otto co-authored the book with University of Erfurt professor Patrick Rössler, spotlighting 45 Bauhaus women, bringing their courage and creativity, as well as their progressive ideas and inspiring stories, into the spotlight.

For more Bauhaus inspiration check here.

Slider images via Pentagram

by loukas at Tuesday, 2019-10-22 09:02

2019-10-16

Typeroom

Crowdfund alert: Letterform Archive X Jack Stauffacher

Only on Saturday: The Wood Type Prints of Jack Stauffacher is the typographic project to support asap. The publication is a long awaited tribute to the iconic figure of the letterpress community and artist of the type Stauffacher.

For its third book after W. A. Dwiggins: A Life in Design and Morla: Design, Letterform Archive is proud to announce this stunning tribute to the typographer, and designer whose elegant and innovative type treatments cemented his reputation as one of the best printers of the twentieth century.

“Only on Saturday is the only comprehensive look at Stauffacher’s striking typographic experiments, in which he used a box of worn, mismatched wood type to transform letters from legibility workhorses into expressive studies of surface, color, and form.” 

“These prized compositions — some patterned with letters in different sizes, typefaces, and inks; some layered with multiple presses of a single letter; others awash in solvent — morphed from exploratory pieces made in his off-hours to formal studies of what was possible between the positive and negative spaces on a page. Today, they are in the permanent collections of many major museums.”

Edited and designed by Chuck Byrne (a years-long contributor to PRINT magazine and Stauffacher’s longtime friend and representative in the art world), Only on Saturday will be the first widely distributed book on AIGA medalist Jack Stauffacher featuring hundreds of his wood type prints — many of which have never before been shared in book form — all imaged and printed using the highest reproduction standards in a handsome, large-format art book.

The edition is hailed as “an unprecedented look at Stauffacher’s process, presented through in-progress materials recovered from his studio; thoroughly documents Stauffacher’s influences, from his early days in the California letterpress scene to his absorption of modernist and Swiss Style teachings.

The book includes insights from established names in type like Chuck Bigelow, Matthew Carter, and Jim Faris; representatives of the modern art world such as Jennifer Dunlop Fletcher, SFMOMA curator, and Staci Steinberger, LACMA associate curator; and a host of his closest friends and collaborators, including photographer Dennis Letbetter. 

“As typographers, designers, and printers, we translate words into written communication. Jack had done that all his life, making words visible. Then, after he had designed pretty much everything worth designing for a purpose, he started doing the opposite: he picked random wood letters from a case he had stumbled upon and made images with them. We aren’t supposed to read those letters as words but to go back to where they came from: pictures of those things. A large red B can be a sail, a blue A on its side is the sea, and the little black letters are birds or stones or ripples... When I asked Jack about the prints, he said that those letters had become such intimate friends over time that he could behold them just as beautiful objects; they didn’t have to work for a living anymore” once said Erik Spiekermann of Stauffacher.


Homepage image caption: Jack Stauffacher in his office at Carnegie Tech, circa 1960. Image courtesy Fritz Klinke. All images via Kickstarter

Our pledge for Only on Saturday will share Jack Stauffacher’s important artwork and charming story with the world, will cover production costs and enable Letterform Archive to digitize its complete collection of Stauffacher prints, “freezing their details — their color, type impression, and paper texture — in high-resolution reproductions that will be enjoyed for generations.”

Only on Saturday will be delivered to backers in June 1, 2020.

Kickstart here.

by loukas at Wednesday, 2019-10-16 09:48

2019-10-15

Typeroom

Ten most eclectic A' Design Award packaging winners ever

If devil is in the details then an awarded branding design is the real win in a market where everything needs to stand out. The following A' Design Award winners are the best inspiration to urge you, the Typeroomers of the globe, to enter the world's most prestigious design competition.

As the deadline to enter this year's A' Design Award and Competition is getting closer, we remind you that this call for entry is the best chance you are given to be internationally recognized and join this very eclectic league of A' Design Awards and Competition winners. 

With categories ranging from Good Graphic Design through Good Communication Design and Good Product Design, every creative force will find the one which suits the best for one's discipline. 

This year there are more than 100 categories to choose from so do register here.

Submit your work in order to enjoy fame, prestige, recognition, credibility, publicity and international awareness. All of the above in addition to a Winners’ Pack which includes everything your creative heart desires. 

Speaking of inspiration we present you with our favorite A' Packaging Design Award 2018 - 2019 Period Winners aka brilliant and innovative packaging designs for cosmetics and spirits to adore. For even more winners enter here. 

PRO RE NATA Cosmetic Brand Identity & Package Design by PlusX and Katalyst

Gin Manners Gin Bottle by Estudio Maba

Santaren Rum Bottle by Estudio Maba

The Good Stuff Hair Care by forceMAJEURE Design

Guapos Wine Label by Cesar Moura

Twenty Twenty Packaging Design by Panos Tsakiris

Poetic Hotel Packaging by Joel Derksen

Kaishan Chinese Spirit 18 Neo-Chinese Spirit Package by Jansword Zhu

Aeril Lab Package by Anastasia Dunaeva

Gradaia Grapewine range Grapewine brand and packaging identity by Stefano Giuseppe Dell'Orto and Giacomo Stefanelli

by loukas at Tuesday, 2019-10-15 10:17

LaTeX Project

New October 2019 LaTeX release available

October 2019 LaTeX release available

We have recently released the October 2019 LaTeX distribution to CTAN from where it automatically moves (or has moved) to the major TeX distributions.

This release fixes a small number of bugs and introduces some new features. The most important ones are documented in “LaTeX2e News Issue 30”. This document can be found on the LaTeX2e news page where you will also find release information for earlier LaTeX releases.

Topics are:

  • LaTeX development formats now available
  • Improving Unicode handling in pdfTeX
  • Improving file name handling in pdfTeX
  • Improving the filecontents environment
  • Making more user commands robust
  • Other changes to the LaTeX kernel, tools and amsmath
  • Documentation updates

Happy LaTeXing — Frank

Tuesday, 2019-10-15 00:00

2019-10-14

TeX & Friends (by Jürgen Fenn)

Greta Grotesk

Eine Schriftart ist nach Greta Thunberg benannt worden, die Greta Grotesk von Tal Shab, herunterzuladen aus Google Drive.

Der Name der Schrift ist nicht satirisch zu verstehen, sondern ein Hinweis darauf, dass es sich um eine Grotesk-Schrift handelt, also um eine Schriftart mit gleicher Strichstärke ohne Serifen. Sie ist an das Schriftbild angelehnt, das man von Greta Thunbergs handbeschrifteten Transparenten und Plakaten kennt. Genaugenommen ist es also ein Handschriften-Font. Leider hat die Schriftart – zumindest in der derzeitigen Fassung – keine Umlaute, also kann man damit den Slogan SKOLSTREJK FÖR KLIMATET nicht korrekt setzen… via t3n.

Der Beitrag wurde im Vergleich zu einer früheren Fassung geringfügig ergänzt um Erläuterungen zur Bezeichnung der erwähnten Schriftart.

by schneeschmelze at Monday, 2019-10-14 22:22

TUG

TUGboat 40:2 published

TUGboat volume 40, number 2, the TUG 2019 (Palo Alto) proceedings, has been mailed to TUG members. It is also available online and from the TUG store. In addition, prior TUGboat issue 40:1 is now publicly available. Please consider joining or renewing your TUG membership if you haven't already, and thanks.

Monday, 2019-10-14 15:45