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This study aimed to investigate the views of students enrolled on a desktop publishing course of the flipped classroom model adapted to a design course conducted in an online learning environment. The model was implemented over one semester, and at the end, semi‐structured interviews were conducted with 65 volunteer students. Content analysis was used to analyse the students' views. It was determined that delivering course content through instructor‐created videos had a positive effect on student views of the course. In addition, the students stated that doing assignments outside the classroom and evaluating them during the course contributed significantly to their learning design. Finally, student views on the feasibility of conducting the course through traditional design teaching methods in an online learning environment were examined. The students stated that delivering the course in live online classes may have both positive and negative aspects. [ABSTRACT FROM AUTHOR]

Objective: This article will explain and demonstrate the application of analog smile design techniques and concepts as a precursor for digital smile design implementation. The application of these techniques will be described with two case presentations that will demonstrate the incorporation of these analog methods into digital smile design programs. Clinical Considerations: Digital smile design workflows can be more efficient and require less chair time but must be based on an understanding and application of basic smile design principles to apply the digital techniques successfully. Conclusions: The application of basic smile design techniques to digital workflows resulted in excellent clinical outcomes for both a localized treatment plan and a full mouth restorative rehabilitation. Clinical Significance: Digital smile design is quickly being adopted into dental practices. However, the digital design must be created by the clinician and be based on a thorough understanding of basic esthetic and restorative principles to achieve predictable successful clinical outcomes. [ABSTRACT FROM AUTHOR]

Copyright of Akademik Sanat is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Istanbul Aydin University Journal of Social Sciences / İstanbul Aydın Üniversitesi Sosyal Bilimler Dergisi is the property of Istanbul Aydin University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Presents an interview conducted with Liz Bond Crews. Crews began her career as a systems analyst in Los Angeles, CA, USA, for RCA. She soon joined the Xerox Electro-Optical Division in Pasadena, CA, where she led a group building special systems for National Geographic magazine, Ginn & Company, and University Microfilm. In her final position at Xerox, she licensed high-quality typeface designs from Mergenthaler Linotype, among others, for use on Xerox's high-performance 9700 laser printer. In the early 1980s, the Adobe cofounder John Warnock recruited Crews to Adobe Systems, where her first task was to license high-quality typeface designs to be rendered as Adobe Type 1 fonts for PostScript printers. While at Adobe, she was responsible for bringing high-quality typography to the Adobe PostScript pagedescription language, running corporate marketing, hiring graphics designers, and putting Adobe on a firm footing with professional designers and printers, greatly enhancing the value of their product. After Adobe, she helped found Electronics for Imaging and, after some consulting, retired in 1993. [ABSTRACT FROM AUTHOR]

Presents an interview conducted with Larry Bohn of Interlewaf. This company was founded in 1981 and was acquired by Broadvision in 2000. Larry Bohn was with Interleaf in 1986–1993, serving in a variety of senior management positions. This interview took place in Cambridge, Massachusetts, on September 24, 2019, at his place of work, General Catalyst. [ABSTRACT FROM AUTHOR]

In the early 1980s, letters rasterized from outline fonts at low and medium resolutions had irregular shapes. The lower the resolutions, the greater the irregularities, and the more that typographers criticized the type quality. PostScript fonts, launched in 1985, regularized medium resolution type with secret ingredients coyly called "hints" by Adobe. This prompted competing inventions of font regularization using techniques variously called "instructions," "delta exceptions," "procedures," "intelligence," and other terms sounding more like hi-tech snake oil than science. Further research and open publication, however, revealed their connections to traditional aesthetics of letter symmetry as well as to modern signal processing, pattern recognition, and psychophysics, thus expanding our understanding of typography in digital culture. [ABSTRACT FROM AUTHOR]

The Font Wars were a decades-long competition in the computer industry for dominance in font technology, viewed as a key success factor for personal computing platforms. The Font Wars spurred innovative scientific research into the small, nearly subliminal forms of the printed letters on which modern civilization was based, yet which had received little scrutiny outside the printing trades. More than a business episode, the Font Wars were above all a manifestation and translation of ideas—some modern, some ancient, some theoretical, some practical—into computer software and hardware. At the heart of the Font Wars was a fundamental question: What is the best way to turn traditional printed letter forms into digital fonts for computer screens and printers? Answers to this question were researched, implemented, and launched into the marketplace, where their intense competition transformed the 500 year tradition of printing and publishing, placing the electronic literacy on the screens of billions of digital displays, computers, tablets, and smart phones around the world. [ABSTRACT FROM AUTHOR]

In the 1960s, John and Jonathan Seybold founded and ran the pioneering computer typesetting company Rocappi. In 1971, they started the Seybold Report, which had a major role in guiding the computer transformation of publishing that took place in that decade. In 1981, Jonathan started the companion company, Seybold Seminars, to conduct conferences and (later) exhibitions, which facilitated the even broader revolutions in computing and publishing in the 1980s and 1990s. [ABSTRACT FROM AUTHOR]

Frame technology became a leading provider of technical publishing software within two years of its founding in 1986. Frame went public in February 1992, and by the end of that year, its flagship software, FrameMaker, ran on Apple Macintosh, Microsoft Windows, and all leading Unix workstations of that era. It was used by thousands of high-tech companies around the globe. The company was acquired by Adobe Systems in 1995 at a valuation of approximately $500 million. This paper is a personal remembrance by the founder who co-wrote FrameMaker 1.0, and lead Frame's product design and product strategy through its IPO. It tells Frame's founding story, and describes the key product and architectural features that contributed to its success. This paper also briefly describes Frame's early funding model, business and sales strategies, and culture. [ABSTRACT FROM AUTHOR]

Ventura Publisher was the first desktop publishing software package to run on IBM PC compatible computers. Developed in the mid-1980s, Ventura was also the first desktop publishing application to incorporate features such as style sheets and automatic page layouts, allowing for long document formatting. This paper provides an autobiographical sketch of Lee Lorenzen, one of the founders of Ventura Software and developers of Ventura Publisher. Lorenzen outlines his early career in software and the founding story of Ventura Software and their innovative application. He also describes the early competitive landscape in desktop publishing software, including Aldus PageMaker, and then contrasts it with the key long document publishing features of Ventura Publisher such as style sheets, fast hyphenation and justification, automated layout algorithms, and database publishing. [ABSTRACT FROM AUTHOR]

Founded in 1982, Adobe Systems heralded several of the technological innovations necessary to precipitate the emergence of desktop publishing as well as many features of modern office computing, digital media, and graphic arts. In this paper, Adobe founders Charles Geschke and John Warnock cover their professional history, the conception of Adobe Systems, and its growth. They also explain the technology behind the advances in computer printing, electronic file transfer, and digital art and photography. Adobe, its products, and its engineers played a key role in these developments, which enabled desktop publishing and the publishing revolution. [ABSTRACT FROM AUTHOR]

In 1985, Apple was in crisis and Macintosh and LaserWriter sales were plummeting. Marketing manager John Scull was tasked with saving the LaserWriter. Despite having no staff and facing resistance, Scull marshaled allies across Apple's sales and marketing organizations, its dealer channel, and third-party partners like Aldus and Adobe in order to launch a successful desktop publishing marketing program. By 1988, desktop publishing at Apple had become a $1 billion business. [ABSTRACT FROM AUTHOR]

The algorithmic turn in photography raises the question of whether an algorithmically generated image is even a photograph at all. This paradox is abundant on India's urban streets, where the pedestrian or road user is met with giant photo saturated flex hoardings printed with political and community messages and photo-shopped portraits of gods, chief ministers and party workers. In this article, attention to photo-based political posters alongside art practices sharing common elements of digital capture and postproduction contextualizes a reading of technologically produced visual landscapes in the South Indian city of Bangalore. Informed by Vilèm Flusser, the techno-materiality of hoardings are interpreted as visual practices whose reliance on Microsoft and Adobe softwares reveal more than the semiotic information that is ostensibly transmitted; in so doing the extent to which photography is a useful entry point for assessing the visuality in which we're currently living and how this gets locally inflected in the case of India is explored. [ABSTRACT FROM AUTHOR]

Donald Knuth began the development of TeX in 1977 and had an initial version running in 1978, with the aim of typesetting mathematical documents with the highest quality and with archival reproducibility far into the future. Its usage spread and today the TeX system remains in use by a vibrant user community. However, the world of TeX has always been somewhat out of sync with the commercial desktop publishing systems that began to come out in the mid-1980s, and are now ubiquitous in the worlds of publishing and printing. [ABSTRACT FROM AUTHOR]

In the early 1990s, most large American publishing houses adopted desktop publishing software, creating an entirely digital book design and layout process. And no one noticed. To this day, only a few scholars have mentioned this fact, and there has been no significant consideration of the effect that desktop publishing has had on literature. This article considers how desktop publishing was employed in three twenty-first century novels: Mark Z. Danielewski's House of Leaves (2001), Jennifer Egan's A Visit from the Goon Squad (2010), and Junot Díaz's The Brief Wondrous Life of Oscar Wao (2007). These novels are very different and employ desktop publishing software in different ways, showing the expansion of possibility in the era of digital print. Yet, all three also show a tendency to use the expanded typographic possibilities of digital technology to reinforce narrative and textual meaning, rather than to disrupt the workings of language or book traditions. [ABSTRACT FROM AUTHOR]

The purpose of this article was to introduce you to some of the specific programs available in the new software category of desktop presentations. PowerPoint, a very popular offering from Microsoft Corporation, was used to illustrate the advantages of this category of software; and the steps used to create a professional slide presentation with such software. Many users of outside slide services will want to seriously consider developing an in-house capability around desktop presentation software, and their own equipment. Potential users will want to consult some of the references cited, and the appropriate software manuals, for more detailed information on specific techniques. For those sales and marketing executives with a need for quality presentations, at a reasonable price; desktop presentation software will probably save money and enhance both their presentations, and their images as professional presenters. [ABSTRACT FROM AUTHOR]

The article reviews several desktop publishing programs, including Ragtime 3.0 developed by Bruning & Everth Softwarepartner GmbH, Aldius Pagemaker developed by Aldus Corp., and Quark Express 2.11 developed by Quark Inc.

BACKGROUND: Active workstation alternatives (e.g., treadmill desks and pedal desks) have the potential to elevate workplace energy expenditure by replacing occupational sedentary behavior with opportunities to generate low-intensity non-exercise physical activity, but only to the extent that workers find them acceptable and congruent with their primary working tasks and therefore can frequently use them for extended periods of time. OBJECTIVE: To assess workers’ acceptability of the Pennington Pedal Desk™. METHODS: Full-time sedentary workers (N = 42; 76% female; mean+SD age 39.6±11.3 years; BMI 25.7±5.4 kg/m2) used the pedal desk for 15 minutes while they: 1) searched the internet, 2) composed an email, and 3) completed acceptability ratings using an online Likert scale anchored from 1/strongly disagree to 5/strongly agree. Garmin Vector power meter pedals and EDGE 510 GPS bike computer (Garmin ®, USA) continuously captured revolutions per minute (RPM) and power. RESULTS: Participants indicated that they would use the pedal desk for 4 (median) hours per work day and 97.6% of participants were somewhat or completely confident that they could type proficiently while using the pedal desk. Participants pedaled at 54.8±11.2 RPM and 23.1±8.6 watts (mean+SD). CONCLUSIONS: Participants rated the Pennington Pedal Desk™ workstation positively and indicated potential for extended daily use. [ABSTRACT FROM AUTHOR]

Donald Knuth began the development of TeX in 1977 and had an initial version running in 1978, with the aim of typesetting mathematical documents with the highest quality, and with archival reproducibility far into the future. Its usage spread, and today the TeX system remains in use by a vibrant user community. However, the world of TeX has always been somewhat out of sync with the commercial desktop publishing systems that began to come out in the mid-1980s and are now ubiquitous in the worlds of publishing and printing. [ABSTRACT FROM AUTHOR]

In 1963, John Seybold started the company Rocappi to use computer technology to produce and typeset complex, high-quality books, catalogs, directories, manuals, magazines, and other typeset documents. Over the next seven years, with the participation of his son, Jonathan W. Seybold, Rocappi pioneered the use of computers for publishing. [ABSTRACT FROM AUTHOR]

Guest editors Burton Grad and David Hemmendinger discuss the History of Desktop Publishing, Part 1 issue. [ABSTRACT FROM AUTHOR]

In this issue of the Annals, we have two Anecdotes on the history of Atex, an early innovator in newspapers and magazines converting to digital operation. The first anecdote is by co-founder Douglas Drane. This anecdote provides more information about Atexs history. [ABSTRACT FROM AUTHOR]

Introduced by Adobe Systems in 1984, PostScript was a unique device-independent approach to describing the appearance of a printed page, for the first time allowing pages to be printed on a range of devices of different resolutions. From 1984 to 1987, the use of PostScript by printer manufacturers grew to the point that it became the de facto standard. [ABSTRACT FROM AUTHOR]

Starting in 1973, researchers at the Xerox Palo Alto Research Center (PARC) built the first networked workstation platform (Alto and Ethernet) and a suite of applications and services to explore office automation. Separate interactive tools allowed people to create and edit different sorts of document content, which were then merged onto pages using Press files, a page description file format. [ABSTRACT FROM AUTHOR]

Douglas Drane was one of three co-founders of Atex, an early dominant supplier of digital systems for newspaper and magazine publication. Drane recounts his memories of Atexs founding and operation until it was bought by Kodak. [ABSTRACT FROM AUTHOR]

Charles Bigelows career parallels the development of digital font technology. He has designed fonts and consulted about font technology to many of the companies that created desktop publishing systems. He has also written extensively on digital font technology and taught at RISD, Stanford, and RIT. [ABSTRACT FROM AUTHOR]

Several word processing and desktop publishing innovations grew out of 1970s research by Larry Tesler and his collaborators at Stanford and Xerox PARC. One prototype was PUB, a markup language for print publishing. Another was Gypsy, a text editor with a cut/copy/paste command suite that became the de facto standard in desktop publishing and most other applications. [ABSTRACT FROM AUTHOR]

An editorial is presented on the electronic communication and desktop publishing which represent technological advancement in the publishing sector. It states that open-access idea in a scientific journal publishing is a noble concept and that the predatory scam of fake online open-access publication is an unintended consequence. It also states that predatory journals make fake studies to look like real science and target the countries where there is limited access for higher training.

General-purpose computing on graphics processing units is the utilization of a graphics processing unit (GPU) to perform computation in applications traditionally handled by the central processing unit. Many attempts have been made to implement well-known algorithms on embedded and mobile GPUs. Unfortunately, these applications are computationally complex and often require high precision arithmetic, whereas embedded and mobile GPUs are designed specifically for graphics, and thus are very restrictive in terms of input/output, precision, programming style and primitives available. This paper studies how to implement efficient and accurate high-precision algorithms on embedded GPUs adopting the OpenGL ES language. We discuss the problems arising during the design phase, and we detail our implementation choices, focusing on the SIFT and ALP key-point detectors. We transform standard, i.e., single (or double) precision floating-point computations, to reduced-precision GPU arithmetic without precision loss. We develop a desktop framework to simulate Gaussian Scale Space transforms on all possible target embedded GPU platforms, and with all possible range and precision arithmetic. We illustrate how to re-engineer standard Gaussian Scale Space computations to mobile multi-core parallel GPUs using the OpenGL ES language. We present experiments on a large set of standard images, proving how efficiency and accuracy can be maintained on different target platforms. To sum up, we present a complete framework to minimize future programming effort, i.e., to easily check, on different embedded platforms, the accuracy and performance of complex algorithms requiring high-precision computations. [ABSTRACT FROM AUTHOR]

The article discusses hosting of a two-day symposium of the Desktop Publishing Pioneer Meeting which held in Mountain View, California on May 22 and 23, 2017. Topics include the Joss Group, chemicals distribution company on discussion for collection of desktop publishing and computer publishing materials; two-day meeting which offer brief quotations from the transcripts; and obtaining of Compact disc (CDs) which contain Seybold content and videos and tapes of Seybold Seminars presentations.

Copyright of ICT in Muzical Field / Tehnologii Informatice si de Comunicatie in Domeniul Muzical is the property of Tehnologii Informatice si de Comunicatie in Domeniul Muzical / ICT in Musical Field and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In May 2017, more than 15 pioneering participants in the creation of the desktop publishing industry met at the Computer History Museum to exchange and record their recollections. [ABSTRACT FROM PUBLISHER]

Copyright of Technical Journal / Tehnički Glasnik is the property of Polytechnic of Varazdin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Documentation & Bibliotheques is the property of Les Editions ASTED inc and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)