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This is a discussion forum for the english DAoC server known as Prydwen
Lairiodd wrote:What's the actual status of this? Has it hit beta yet?
Aranor wrote:I've pledged too ofc.
Been playing some daoc on Uthgard aswell to revive some old memories.
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Last week I finished up this tutorial for Project Wedding -a flower hair pin made from tulle, chiffon and a tiny cluster of old glass beads. Click over to get the how-to.Cutting the half yard of muted pink chiffon, I was reminded so much of after-school-ballet. Of those enviable and airy wrap around skirts some of the girls wore. For weeks I anticipated the start of those classes, donning ballet slippers daily, wearing holes in them running down the rough asphalt street to the mailbox. The luster sort of vanished in a crowded little dressing room, right off the dance floor, where the hot air of California autumn stagnantly cycled through two awning windows near the ceiling. To my second grade self there and then, nothing seemed worse than an itchy pair of pale pink tights and an ill-fitted leotard in faded black. Needless to say I never became a ballerina, but I came to learn a few things. That life's not always pink satin pointe shoes, smooth and perfect. Not always gathered tulle, fanciful and featherlight. And that true passions, those most loved and cherished, require determination and sustain disappointment.
Friday, April 23, 2010
Chiffon, Tulle & Satin
Labels: Needlecraft, Tutorial, Wedding
34 comments:
- Helena - A Diary of Lovely said...
Im going to check it out! thanks!!! Enjoy the weekend
- April 23, 2010 at 5:02 AM
- Hayley said...
Gorgeous!!! I adore the colours so much!
- April 23, 2010 at 7:34 AM
- curiosities by nicole leigh smith said...
so pretty! I really love your blog, I get so excited when I see you've posted!! ;)
- April 23, 2010 at 7:52 AM
- Hannah said...
So true. Beautiful.
- April 23, 2010 at 8:26 AM
- S.L.North said...
how perfectly lovely! your photos (here and on project wedding) are fantastic.
- April 23, 2010 at 8:30 AM
- Anonymous said...
gorgeous -- looks so beautiful! i love the box you have everything in too :]
- April 23, 2010 at 9:45 AM
- Anonymous said...
Pretty! I never got to be a ballerina... though I dreamed about it. I day dreamed more often about being an archaeologist!
- April 23, 2010 at 10:25 AM
- Whitney @ Whisker Graphics said...
Your post is lovely on so many levels. A pretty flower craft, a glimpse at second-grade you and some wisdom. Just lovely.
PS I discovered you through Suzonne at Urban Comfort.
- April 23, 2010 at 11:04 AM
- Ruby said...
Can I say lovely!? So pretty, I wanna make one for my little girl so thanks for the inspiration :)
- April 23, 2010 at 11:39 AM
- Gina said...
Gorgeous, I love it! When I cut chiffon, I am always reminded of my grandmother...not sure why. Maybe she wore a lot of chiffon? Who know!
- April 23, 2010 at 8:18 PM
- Carly Anne said...
The whole ensemble is gorgeous...although I'm really digging the vintage sewing box.
All this is Grace and Charm
- April 23, 2010 at 10:00 PM
- Anonymous said...
Beautiful words for a beautiful project.
- April 24, 2010 at 6:30 AM
- koralee said...
You so inspire me my friend. xoxox
- April 24, 2010 at 7:26 AM
- Linda said...
I love the flower you created and the beautiful colors!
- April 24, 2010 at 12:20 PM
- jennifer lorton said...
The pictures are dreamy. They give me fond memories of the days when I was a ballerina. Maybe we were in the same class, your discription sounds like the place I took lessons. I sometimes wanted to quit, but stuck with it until a knee injury took me out at 25. I miss those toe shoes, and girly bits, like you pictured. Thanks for the memories.
- April 25, 2010 at 8:29 AM
- Kris Pare said...
The flower is sweet and your sentiment is so true. Thanks for sharing.
- April 25, 2010 at 4:15 PM
- Anonymous said...
So romantic!
~ Kristen
- April 26, 2010 at 11:05 AM
- soulsearcher said...
wonderful..just in time for my parents 25th wedding anniversary next saturday...they'll be renewing their vows..some kind of rewedding..my mom has been asking for a suitable wedding hairstyles for her
- April 26, 2010 at 1:21 PM
- Auntie Cake said...
Very true what you wrote, actually pointe shoes are like life, they are beautiful, but they also can hurt and take hours of work, but they are a thing of beauty if you only look!
I love the way you displayed your supplies for the flowers!
- April 27, 2010 at 5:44 AM
- david swensen said...
This is lovely! You are really talented :)
- April 27, 2010 at 9:34 AM
- Laura said...
Wonderfull (L)
- April 27, 2010 at 1:44 PM
- wishful nals said...
loooove these colors. so pretty!
- April 27, 2010 at 6:49 PM
- Cassidy said...
so pretty ! <3
- April 28, 2010 at 11:28 AM
- aquacitrine said...
What a soothing palette...
Lovely colors!
- April 28, 2010 at 6:49 PM
- Leigha said...
New to your blog...and NOT disappointed. Very lovely. Plus, this fits right in to my latest obsession - fabric flowers!
- April 29, 2010 at 9:08 AM
- Maggie May said...
just gorgeous eye candy
- April 29, 2010 at 6:03 PM
- Melissa Allam said...
This is gorgeous and especially the way you style it in your photo.
- April 30, 2010 at 4:41 PM
- Such a Wondrous Place this Faery Space said...
I agree whole-heartedly! In fact, when I danced en pointe you cut up the tips of the satin tips a bit to grab the floor and have more friction. I see the irregularities as a way of seeing it all so much more clearly. I wrote on it yesterday. You have such a lovely grouping of treasures in this post. It is sweet and full of precious things. Blessings.
- May 2, 2010 at 9:23 AM
- Lauren Nicole said...
oh my goodness, that little flower is so, so pretty! one of the best DIY's i've seen in a good while. thanks for sharing!
- May 2, 2010 at 4:38 PM
- Sweet Asceticism said...
oh goodness. i love seeing projects that people have made like this but it just makes me so jealous! the colors are just perfect and everything looks so soft and light. the flower just makes me smile from ear to ear! this honestly makes me want to go to the store and make one myself. breath taking really. amazing work and cant wait to see what you come up with next. (:
- May 2, 2010 at 6:07 PM
- Empress Stationery said...
I absolutely adore your blog, your photography, and your talent. Thanks so much for sharing, and I always look forward to your new posts!
- May 5, 2010 at 3:17 PM
- Teri said...
I love these beautiful flower pins! I think I may make a few just for myself!!! I'll put a pin backing on and just attach to a purse or sweater (maybe a plain tank!) Endless beauty! Thank you for posting! This pink is my favorite!!!
- May 17, 2010 at 8:51 AM
- Craftiness NOW said...
hello, your blog is so beautiful, it's a refreshing break from the busy world. i was a ballet girl too, a good life lesson for sure :-)
- May 18, 2010 at 10:44 AM
- Wedding planning ideas said...
Wowww!! very pretty...I love the flowers....I will try this.
- July 25, 2010 at 11:28 PM

subset: commoncrawl


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"Ancient Beauty" Canvas Slip-Ons
Brand from China: HVBAO. Color: Blue, Materials: Upper Material: Canvas; Outsole: Rubber, Size: Europe 35-44 These shoes are approximately one size smaller than the listed size. Please select the next bigger size than your regular shoe size., Care: For the first wash, submerge the product in saltwater for half an hour. Subsequent washing involves soaking the HVBAO product in clear water and adding laundry detergent. You may use a gentle brush for further cleaning. Do not brush too hard on painted areas, put in direct sunlight, spin dry or bleach.


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LA Online Media brauchte ein neues Logo Design und hat einen Wettbewerb auf 99designs gestartet.
Aus 163 Designs von 28 Designern wurde eine Gewinner gewählt.
Tony Cardenas
Tony Cardenas is a Los Angeles City Councilman. His slogan is 'Our Voice, Our Neighorhood'
People who want to get involved in their communities and make a change. Voters who are up on all the newest social media trends and are advocates in grass roots organization and advocacy.
Hey guys! Thanks for hanging in there. We have re-opened the contest because we didn't give you the best direction. Think Obama. Give it some social media edge, but not over the top. Have Tony Cardenas' name in all caps. Slogan should stand out but doesn't have to be in all caps. Do not embed the two together but make sure they fit together. Get creative. We are also looking for a symbol, sign, picture, or mark that represents giving a voice to a community or giving a family a voice in the community. Something that can go alongside his name and slogan, but that can stand alone too.
Red, white and blue is good but don't feel trapped with just those colors. Simplicity speaks louder than busy designs with too much. It should pop though. Should look more LA or San Francisco savvy than Texas old school. Don't make it too old school Star Spangled Banner.
(a look that is more of a true advocate than anointed politician. But a sophisticated advocate who is up on all the newest social media trends) Edgy, grassroots but patriotic with clean lines. Again, think Obama. Don't think of it as a logo for a politician, but a logo for a cool, progressive social media advocate that loves to help communities get involved.
Finden Sie heraus, wie ein Designwettbewerb funktioniert, oder lernen Sie mehr über unsere Logo-Design-Angebote.


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unifont.org >> Font Dialog
By Ed Trager, 2005-09-25
Even though recent versions of important Open Source and commercial programs designed for graphic design and text layout have many advanced features indicative of the increasing maturity of these products, the font selection dialogs and widgets in these programs are for the most part still immature and lacking in important features that, if implemented, would make font selection a more streamlined and intuitive process.
The purpose of this document is to illustrate the problem using examples from both commercial and Open Source programs, and then suggest a solution for the Open Source community. Of course, the solution would be valuable if implemented in commercial software too, but my intention is to address an audience of Open Source software implementors. I specifically wish to address software engineers responsible for the Gnome and KDE desktops, the Gimp, Inkscape, and the OpenOffice.org suite.
The Gimp sports a sophisticated, well-designed color selection dialog. This document argues that attention should now be placed on bringing the font selection dialog in this and other programs up to the same level of excellence.
It is interesting to note that many of these same programs have sophisticated color selection dialogs and widgets that allow users to choose colors in several different ways and to remember a palette of recently used colors. For example, the Gimp allows users to choose colors in four different ways and maintains a palette of the most recently used colors. Programs like the Gimp will become even better when the same degree of thought and attention to detail has been engineered into the corresponding font selection widgets. In this document I will argue that current font selection dialogs and widgets are either not right, or only half-right, and I will outline what I believe to be the right solution.
In the research phase which preceded this written treatise, I decided to evaluate how a number of currently-available programs handle font selection. Below, I present the results of this investigation.
Without further ado, let's first take a look at what is clearly not the right solution. Adobe Illustrator version 10 is a program for graphic design professionals. As shown below in the screenshot of the Windows version of the program, font selection requires choosing a font from a series of pop-out lists. If a user has hundreds or thousands of fonts on his machine, getting to the right font can be an annoyingly slow process. The fonts are shown in alphabetical order, except that for some reason the highlighted "Aharoni" font appears after the Chinese and other non-Latin Unicode fonts! Also note that the non-Latin Unicode font names appear as gibberish after the two Chinese fonts (AR PL ShanHeiSun Uni and AR PL ZenKai Uni). In this day and age, this is an unacceptably bad design. Perhaps Adobe's newer InDesign product redresses these shortcomings, but I have not had an opportunity to find out.
The font selection mechanism in Adobe Illustrator 10 on the Windows platform is completely unacceptable for a professional graphics design package.
Note also that in Illustrator 10 there is no font preview. This is like choosing colors by name or hex-value without getting to see a preview of the color. Of course other programs do get the font preview part right. For example, both Microsoft Word on OS X and OpenOffice.org Writer (on all platforms) give the user a preview by displaying font names in the font itself, as shown below.
The font selection widget in MS Word on OS X displays font names using the font itself, but does not handle Unicode names properly (square rectangles in the middle of the list).
The font selection widget in OpenOffice.org also displays font names using the font itself, but the preview is uninformative for non-Latin fonts such as the Arabeyes.org "ae_" fonts for Arabic at the top of the list, and the two Arphic Chinese fonts (AR PL ...) at the bottom of the list.
But what is wrong with these font previews? First, in the case of MS Word on OS X, non-Latin Unicode font names are not handled correctly: we see a series of empty rectangles for two fonts in the middle of the list. This is one problem that can occur.
Another problem that occurs even more frequently is that the font preview is uninformative, as illustrated in the OpenOffice.org screenshot. The "ae_" fonts at the top of the list are Open Source Arabic fonts released by Arabeyes.org. The style of the Arabic glyphs is different in each one of these fonts, but as is often the case with non-Latin fonts, the Latin glyphs contained in these fonts are just "fillers". In the case of the Arabeyes.org fonts, the Latin glyphs do not change at all among most of the "ae_" fonts shown, and in any case give one no clue about the shape of the Arabic glyphs.
At the bottom of the OpenOffice.org font selection list, two Arphic Chinese fonts are shown -- one for traditional Chinese (Big 5), and another one for Simplified Chinese (GB). Although the glyphs in both font files are in the same "KaiTi" style, the Latin glyph preview is completely uninformative. Also, one has to have arcane knowledge about computer encodings to realize that the first font listed is for the "Big5" encoding used in Taiwan for traditional Chinese, and the second is in the "Guo Biao" (i.e., GB-2312 or GB-18030) encoding used for simplified Chinese in mainland China. Would it not be a lot easier and more intuitive to simply show the Chinese font names in Chinese where it would be obvious to the reader which contained simplified and which contained traditional glyphs?
Let's investigate two of the world's favorite Open Source graphics programs, the Gimp and Inkscape. We can argue that it is especially important for graphics design programs to "get it right." Do they?
The Gimp version 2.2 has chosen to display just the first letter of the alphabet in upper- and lower-case forms. At first glance, this seems like a very reasonable compromise which insures that the name of the font remains very legible since it is displayed in the standard user interface font while still providing the user an idea of what the glyphs look like. But wait a minute -- the fonts shown here are for Indic languages and Thai, so a preview using the letters "Aa" is once again completely uninformative. The intuitive answer would be to show DEVANAGARI LETTER A U+0905 "अ" for the Hindi font, THAI CHARACTER KO KAI U+0E01 "ก" for the Thai Loma font, etc. Even though the Gimp is now completely capable of handling Unicode fonts for non-Latin scripts, the font selection dialog has not yet evolved to the next logical step.
Font selection in the Gimp appears initially to be a good compromise between maintaining consistency in font name readability while still providing a preview. The only problem is that the letter "A" preview tells the user nothing about the Indic and Thai fonts shown!
In Inkscape, the font names are similarly displayed using the standard user interface font, but there is a separate window showing the text rendered in the selected font. This requires the user to click on a font in the list in order to see a preview of the text displayed in that font. One ends up clicking a lot in order to find the font that is "just right" in a given situation.
Inkscape displays the font list using the standard user interface font but has a separate box where a preview of the text appears.
The verdict? I had been using both the Gimp and Inkscape quite a lot recently when I began thinking about this font selection dialog issue, and I felt neither one provided the kind of font selection I was really hoping for. There was one more place to look: Mac OS X. I figured that if anybody were to "get it right", it would most likely be Apple.
Below is a screen shot from a program called TexEdit Plus which has an option to use Apple OS X's font dialog. One immediate improvement here is the concept of font collections, the idea that fonts should be grouped together. It makes a lot of sense that "fixed width" or "sans serif" fonts should be automatically grouped together by the operating system without the user having to create such a collection, and OS X does that.
At the same time, font collections also need to be user-definable. For example, if you were working on a new graphics project, say a new computer game called "Goth", you would want to choose a collection of "goth" fonts and group them into a collection for your game project. Of course OS X also allows you to do this.
Apple OS X's font selection dialog gets one very important thing right that we haven't seen prior to this: fonts need to be categorized and presented in collections or related groupings. Apple's font selection dialog is being used here in a program called TexEdit Plus.
While Apple got it right by grouping fonts into collections, I still felt that it would be better if I could see glyph samples without having to click on each font name in a list. In other words, I felt that OpenOffice's drop down showing font names rendered in each font was intuitive and effective.
At this point I felt I had done enough research to put forward a solution which combines both of these ideas, as described in the The Solution.
Note bene: Additions to the original proposal based on feedback I have received are printed in brown.
Note bene: New additions related to the the Gnome Live! 2006 Text Layout Summit are in this green color.
Solution for a font selection widget combines displaying font names using the fonts themselves, hierarchal font categorization including nesting, and proper handling of non-Latin Unicode font names, including font name aliases and RTL scripts like Arabic.
The solution that I envision uses a drop-down selection widget with the font names displayed using the fonts themselves similar to the drop-down font selection widget used in OpenOffice.
However, this drop-down selection widget goes beyond OpenOffice's solution by presenting a hierchical menu of font groupings or "collections," to borrow Apple's terminology. Nested groupings would be permitted.
In addition, this widget will handle non-Latin font names correctly, will allow the user to assign aliases for existing fonts, and will handle right-to-left scripts like Arabic and Hebrew properly.
The hierarchical drop down menu should at the very minimum have the following default top-level font groups defined a priori by the operating system:
All Fonts would simply be a list of all of the fonts, no different than what OpenOffice.org's current font selection drop down provides. Other would list remaining fonts that were not classified into the Sans, Serif, or Monospace categories.
Recently Used would maintain a list of the last n (defaulting to 5, the number n would be user-settable) fonts used on either a local (program specific) or global (user specific, but across all aware programs) basis.
Remember, the above merely represents the minimal classification of the fonts. It represents a reasonable classification for users in what we traditionally would call a "Latin 1" environment. (Do not confuse the idea of a Latin-1 environment with the locale. In the brave new Unicode world, everyone (on Linux) should be using a Unicode UTF-8 locale ... ).
Most modern Linux distributions will ship with and by default install fonts that cover many different blocks of Unicode, not just Latin and extended Latin. If distributors utilize information from sites like my Unicode Font Guide For Free/Libre Open Source Operating Systems , they will be able to supply users with a selection of legally-unencumbered, high-quality fonts covering an ever-widening swath of the Unicode code space.
In such an environment, the above scheme needs to be expanded. Ideally, fonts should be automagically classified into appropriate Unicode script categories without requiring manual user intervention.
For example, if a user has Chinese, Arabic, and Thai fonts, the automatically-generated top-level menu categories might now look like this:
Note that in addition to Arabic, Chinese, and Thai, I have added a "Pan Unicode" category to hold fonts like Bitstream Cyberbit, James Kass' Code 2000, MS Arial Unicode, and Michael Everson's Everson Mono Unicode.
The following paragraph and classification of Chinese fonts into Unicode/Simplified/Traditional is now clearly obsolete. A more natural default ordering for CJK fonts is by style. Individual fonts can then be marked with additional icons if the user has chosen to highlight specific orthographies, such as simplified (简体), traditional (繁體), or Hong Kong (香港).
Top-level Unicode-block-based categorizations for fonts covering scripts like Arabic, Japanese, Korean, and Thai should be sufficient in most cases. However Chinese fonts should be automatically sub-categorized as follows:
The same menu in Chinese is:
Unicode (统一码) refers to modern Chinese fonts like Debian Taiwan's Arphic-derived "AR PL ZenKai Uni" and "AR PL ShanHeiSun Uni" fonts which contain both simplified and traditional characters together. Simplified (简体) refers to fonts that contain simplified characters for use in mainland China. These fonts usually use the "GB" (国标 --i.e., GB-2312 or GB-18030) encoding standard of mainland China. Traditional (繁體) refers to fonts that contain traditional characters for use in Taiwan, Hong Kong, Singapore, and overseas Chinese communities. These fonts are usually (but not always) encoded using the "Big 5" standard. As many existing Chinese fonts in widespread use cover only one of the two categories, simplified or traditional, these sub-categories are necessary for Chinese.
Also, it is important to note that in mainland China there are a large number of fonts encoded using the "GB" standard for simplified characters but actually containing glyphs for traditional characters! On first principles, you might say this is "wrong," but that's the reality. This is another reason why the categories should be simply shown as Simplified (简体) and Traditional (繁體) and never as "GB" and "Big 5". Also, requiring computer users to know about arcane encoding systems like "GB" and "Big 5" is an extremely bad practice.
CORRECTION: After thinking about this some more and reflecting on some other comments I received from Yu-ching Chen 陳育青 and others, it might be better to *not* split Chinese fonts into Simplified (简体) versus Traditional (繁體) categories, but rather to just use little icons after the font names to indicate which character sets are supported: 简,繁,or 香港. (香港 would of course refer to fonts that have the additional glyphs of the Hong Kong Supplemental Character Set (HKSCS)). Using informational icons would be consistent with the idea expressed below in the section entitled Icons for Displaying Special Types of Font Information, and would make it possible to group Chinese fonts based on style first instead of on Unicode coverage first, as the following section suggests.
Now a days, amateurs may have hundreds of fonts on their computers, while graphics professionals may have thousands. Western graphics professionals will very likely want to be able to arrange fonts into stylistic categories like script, black letter, modern, ornamental, and so on (as the mockup suggests).
East Asian graphics professionals will likewise wish to categorize their CJK font collections into appropriate stylistic subcategories. Yu-ching Chen 陳育青 has suggested the following classification scheme as a possibility for users with extensive Chinese font collections:
Based on the excellent information at sci.lang.japan FAQ on Shotai (書体), we can classify Japanese fonts as follows:
The following classification is still incomplete, as only calligraphic font styles are treated at present, and even the calligraphic classifications may be incomplete. Nevertheless, something along these lines will apply. This initial classification is based on information from http://www.islamicart.com/main/calligraphy/styles/index.html
An XML schema should be used for storing the user's font selection hierarchical menu. A centralized XML file could be easily used and shared by implementations of the font selection widget on different platforms and programs, i.e., Gnome, KDE, OpenOffice, Gimp, Inkscape, Scribus, etc. This would help provide an additional degree of standardization to the Linux desktop which, as it currently stands, remains an incredible mish-mash with little cohesiveness.
The XML schema might look something like the following:
<fontmenu> <category> Chinese <category> Unicode <font> AR PL ZenKai Uni </font> <font> AR PL ShanHei Uni </font> </category> </category> </fontmenu>
... which would specify the following:
As you can see, sub categories are simply specified using
nested "
<category>" tags.
As previously mentioned, displaying a font preview of a Chinese or Arabic font using the English name of that Chinese or Arabic font is highly uninformative.
Some TrueType and OpenType fonts are distributed with TTF names in languages other than English. For example, many CJK fonts will have TTF names in East Asian languages (i.e., Chinese, Japanese, or Korean) stored in the font file itself. In these cases, an intelligent font selection widget could automatically make use of a non-English name when displaying the font name preview.
Most non-Latin fonts however only have romanized names in the Latin script and lack names in the native script. For example, the Open Source Arabic fonts distributed by Arabeyes.org currently only have romanized names in the font files.
A good solution to this problem is to allow for fonts to assume aliases:
<fontmenu> <category> Arabic <font> ae_AlArabiya <!-- THIS ENTRY LACKS AN ALIAS --> </font> <font> ae_arab <alias> عرب </alias> </font> <font> ae_khalid <alias> خلد </alias> </font> <font> ae_tholoth <alias> ثلث </alias> </font> </category> </fontmenu>
This snippet of XML would produce the Arabic font sub-menu exactly as shown at the bottom of the mockup widget illustrated at the top of this page.
As shown in the mockup at the top of this page, font names or font aliases in right-to-left (RTL) scripts such as Arabic and Hebrew should automagically cause the menu bullets and category arrow-heads to appear on the right side instead of on the left side. The category arrow-heads and bullets would also be indented to the proper nesting level now starting from the right instead of from the left, just as shown above for the Arabic example.
Of course the Arabic example above shows a "mixed" case where some entries like "ae_AlArabiya" are in Latin script, and thus the bullet is on the left, while the remaining are in Arabic script with bullets on the right.
Some will object and say this looks bad and that the decision to have a consistently left-handed or right-handed menu should come from the system LOCALE setting. I say that is not necessary and that it actually looks better to have the Latin-script names in a left-handed menu and the Arabic names in a right-handed menu. And if you don't like having the word "Arabic" and the font name "ae_AlArabiya" in a left-handed menu, then just type in the Arabic aliases for all entries in the Arabic submenu, including the category title itself --and voila! You will get a completely right-handed menu just for the Arabic subsection. And it will look fantastic.
The only aspect of the font selection widget that should change depending on locale is the handed-ness of the drop-down button, "", which should appear on the left side in Arabic and Hebrew locales.
Some might ask what should the menu behaviour be in the case of a font name or font alias written in a mix of Arabic and Latin or Hebrew and Latin? This can be considered an extremely rare edge case in which case the default LTR behaviour would be sufficient. Most people will be consistent and create font aliases using only one script or another, not a mix of two. I don't think it will be an issue.
Type icons indicate font file type.
As shown in the mockup, icons can be used to display whether a given font is a TrueType, OpenType, Postscript, or bitmap font:
Displaying type weight and style iconically. One could optionally display font weight and style (normal, bold, italic, bold italic) as shown in the top row. Other weights such as extra light (XL) and extra bold (XB) may be of interest to professional graphic artists (bottom row).
An option might be made available to show iconically whether a given font is available in other weights (such as bold or extra light), condensed form, or italic/oblique form.
Fonts for Western scripts like Latin and Cyrillic are often produced in the four common variants of normal, bold, italic (or oblique) and bold italic (or bold oblique) and it would not be difficult to display the available font weights and styles iconically (top row in figure on the left).
Professional graphic artists might additionally like to be able to find out which fonts were available in "extra light" or "extra bold" forms. Perhaps this could be an additional display option (second row in figure on the left). I am not sure whether such information is encoded in font files in a consistent manner or not. Other font styles such as "condensed" also exist, but again I am not sure whether such information is encoded in font files in a consistent manner that could be enumerated by software reading the files.
The mockup below provides an idea of how the font selection drop-down might appear with this additional information displayed. Also note how much better looking and more effective the Arabic sub-menu is now that Arabic font name aliases have been used to replace all of the original romanized font names.
Font selection Drop-down showing optional information about available font weights and styles. The Arabic sub-menu has now also been completely converted to Arabic by using aliases to replace the original romanized font names.
Special Type Icons could be used to display vertical layout capabilities in CJK fonts (left) or extended orthographic capabilities in Arabic fonts for Farsi and other languages (right).
Besides being able to iconically display whether a font has bold or italic variants, other more specialized information could be shown for certain audiences of users:
CJK fonts: Some CJK fonts have vertical advance information required for vertical layout, and some do not. CJK fonts with vertical layout capabilities could perhaps be shown with an iconic "垂".
Arabic fonts: Some Arabic fonts have glyphs for additional letters like pe U+067E پ and gaf U+06AF گ needed to write Farsi, Dari, Tajiki and other languages. An iconic gaf گ could perhaps be used to display Arabic fonts with these extended orthographic capabilities.
The previous description of how special icons should be used is almost but not quite right. It is true that the user should have the option of highlighting special font capabilities using additional icons. Highlighting CJK fonts with vertical layout capabilities by using an iconic form of "垂" is a good example of this capability.
But the example for Arabic fonts needs to be revised and extended to a more general case. In general, the user should be given the opportunity, in a management panel, to specify an ordered set of orthographies which he or she would like to highlight. Fonts capable of rendering these orthographies would then be marked in selection widgets. Little icons would be required for highlighting. In regional markets where politics was not an issue, little national flags could be used (i.e., just as the KDE desktop by default uses little national flags to display the active keyboard when multiple keyboard layouts have been enabled). In some markets politically-neutral icons would be required.
For example, using the Arabic script again, an Urdu user could choose to highlight the subset of fonts that are capable of displaying Urdu. Moreover, the display of Arabic fonts would then be automagically ordered within the selection widget to display Urdu-capable fonts first --unless, of course, our Urdu user had placed some other Arabic orthography first in his ordered set of highlighted orthographies.
Let's add just a little to this to make it perfectly clear how I imagine this would work. The previous section entitled Arabic Font Styles suggests that Arabic fonts would, to the extent possible, be placed into categories like Diwani, Kufi, Naskh, etc. (Such categorization would be done automatically if possible, and manually as otherwise required). Indeed, this would apply in the case of our Urdu user's desktop too. So, when our Urdu user drilled down into, say, the Naskh category, he would find that the Urdu-capable Naskh fonts would be at the top of his list. Which is most likely exactly what he would like.
We can imagine however that the above description of our Urdu user's font selection widget represents only the default arrangement. Other arrangements would be possible too. In fact, the whole list of fonts should be sortable by any arbitrary set of available keys.
What is meant by available keys? The available keys would be any of the bits of metadata
collected on each font as represented in the implementation of the
FontInformation class object.
For example, the
FontInformation class should have a member for
_license as well
as, say, a boolean member called
_hasAlternateForms. So, if the user wanted to see his OFL
fonts which contained optional alternate glyph forms, he could have these sorted at the top of the selection
It helps here to think of the collection of fonts as belonging to a structured database where all the meta-information
is stored in
FontInformation objects. The default arrangement of fonts is more-or-less what one
would get, in an SQL system, by executing
select * from fontDatabase order by script, style, orthography.
That query would give our Urdu user his Urdu-orthography fonts listed first within each style category (Diwani,
Kufi, etc.) nested within the script category for Arabic. That represents the default.
In order to see OFL fonts with alternate glyph forms, the query would be along the lines of
select *
from fontDatabase order by license, hasAlternateForms instead.
Modern graphic designers will have thousands of fonts on their machines. While the default arrangement of fonts in the font selection widget should be designed to meet most needs in a very natural and intuitive way, finding just the right font as quickly as possible would be easier to do if the user always had the option of sorting by any set of arbitrary keys. How to make that possible within the confines of a drop-down selection list, even one as capable as suggested here, will require some additional creativity in GUI design.
Although a font preview using the name or alias of a font as shown in the drop-down list provides a nice initial view of a font, one often also desires to see a preview of an actual snippet of text from the document formatted in the selected font. Alternatively, one might want to use a pangram like "The quick brown fox jumped over the lazy dog" to get a better idea of all of the glyphs in a font.
In programs like Inkscape, a snippet of the document text is styled in a preview window in the Text and Font dialog when one clicks to select a font.
Here I would like to advocate an approach that will work more successfully with the proposed drop-down widget: a "tooltip"-style popup preview. Hovering the mouse over any font in the list long enough would automatically pop-up the preview.
The text used in the "tooltip"-style popup could be from one of two sources:
1. By default, the beginning snippet of the document text selected for formatting would be used. For example, as illustrated below, the beginning of the document quote from Thomas Jefferson, "The light which has been shed on mankind by the art of printing ..." is shown.
2. An alternative could be provided to show a pangram like "The quick brown fox jumped over the lazy dog". This could also be used in cases where no text in the document had been selected. (Note that the software needs to be smart about internationalization when using a pangram. If the user hovers over a Chinese font, a Chinese "pangram" should be used. I stand corrected: it is kind of difficult to make a Chinese pangram. A representative Chinese phrase or sentance should be used. Pangrams for different scripts could be defined in the XML config file, and by default a number of stock pangrams for common scripts should be supplied.)
"Tooltip"-style popup font preview provides the opportunity to view a longer, more complete sample of text formatted in a selected font when one simply hovers the mouse over a font long enough.
Akkana Peck has pointed out that tooltips over menu entries can be annoying when they pop-up and inadvertantly obscure other items in the menu. There are several possible solutions to this problem:
1. Control the x coordinate of the popup to insure that it always occurs sufficiently to the right of the drop-down menu (or to the left in Arabic, Hebrew, and other RTL script locales) so as to never obscure the other menu entries.
2. Make sure the timer on the pop-up is long enough to not be annoying, regardless of where the popup is placed.
Or, my new favorite solution:
3. Simply allow the user to RIGHT-CLICK to request an extended preview. This functionality could exist in addition to a timer-based popup with a fairly long delay (say a 5 second delay). Users would have the option of turning off the timer-based behaviour, in which case RIGHT-CLICK would be the only way to get an extended preview. Both timer delay and the option to turn off timer-based pop-ups would be set in the XML file. The default would be to have timer-based extended preview pop-ups set to ON.
As noted earlier, pangrams do not exist for Chinese, but one can use a representative phrase or sentance instead. However, another problem is that Chinese can be written using either simplified characters (简体字 used in mainland China and in Singapore) or traditional characters (繁體字 used in Taiwan, Hong Kong, and overseas Chinese communities everywhere). With the huge increase in global communication in recent years, mainland and overseas Chinese alike have an increasing need to access and use both styles of characters.
Yu-Ching Chen 陳育青 has come up with a good solution which addresses the font preview aspect of both of these issues:
The character "永" (U+6C38 "forever") is a "pan-stroke" character often used in teaching Chinese calligraphy. It contains the eight basic Chinese stroke forms (point 點, horizontal line 橫, vertical line 豎, hook 鈎, kick 挑, long slash 撇, short slash 短撇, and long backslash 捺) and thus provides a good idea of the visual forms that may appear in the glyphs in a Chinese font.
For the pop-up font preview, an enlarged character "永" can be combined with a sample sentance or phrase printed in both simplified and traditional forms, as shown below.
"Tooltip"-style popup font preview for Chinese displays the model calligraphic character "永" in enlarged form along with an example displayed in both simplified (简) and traditional (繁) forms. The example shown here is a short poem from the fifth chapter of Dream of the Red Chamber (紅樓夢第五回).
The hierarchical drop down font list may be quite long, possibly even when completely "collapsed" and showing only top-level categories in the event that there are many top-level categories defined. The traditional solution, used by both OpenOffice and the Gimp, for example, is to display a subset of somewhere between 8 to 15 entries in the drop-down pane with a vertical scrollbar.
Perhaps the number of entries to display at one time, n, could be another user-settable parameter in the XML configuration file. A default value of 12 seems reasonable to me.
Some users are very fond of being able to type just the first few letters of a font name in order to have the selector jump to the first matching font. This should be supported. Developers would need to insure that matching occurred on Unicode strings using either the font names or font name aliases, either of which could be in non-Latin scripts like Arabic, Chinese, or Thai.
Modern fonts with Unicode CMAPs ("Unicode fonts") cover various blocks of Unicode, and one or more blocks of Unicode provide coverage for a "script".
A couple of problems may occur. First, earlier I suggested that the software automatically categorize Thai fonts as Thai, Chinese fonts as Chinese, Arabic fonts as Arabic, and so on. But what happens when a "Chinese" font also provides complete coverage for Latin, extended Latin, Greek, Cyrillic, Hiragana, and Katakana? This is one problem.
A related problem might occur when we want to have the proposed widget display an extended font preview using a pangram, example sentance, or other appropriate example string that would highlight glyphs from the font. If a font covers multiple scripts, how does the software decide which script pangram or other appropriate example string to use for displaying the font preview?
Let's examine how we might get some meaningful answers to this problem that will at least help guide us in the right direction, even if final answers remain as yet shrouded in mist.
First, we can group Unicode fonts based on script coverage as follows:
Grouping Unicode fonts by script coverage.
Starting from the right side of the above chart, let's examine the
easy cases first. There are of course fonts that
cover a single script. In the chart, I have shown a few
Indic and Indic-derived Unicode fonts. These fonts do not have Latin
glyphs. They basically cover a single block of Unicode, maybe with
some Western punctuation or other diacritical marks thrown in, and are
easy to classify. For example, fontconfig's
utility would (presumably) show that the MalithiWeb font is
good for Sinhala and nothing else. Thus, MalithiWeb could be automatically
placed into a "Sinhala" font category, UniBurma into a "Burmese"
category, and Kalimati into a "Devanagari" category.
What about Latin fonts? Latin fonts run the gamut from the typical ASCII-only art font to more sophisticated modern fonts with coverage of ASCII, extended Latin blocks, and maybe even the IPA. How should these fonts be handled? I suggest that, in all cases where the user's locale uses the Latin script, a pangram appropriate to the user's locale be used to display the extended font preview. (This is just the standard software localization practice, nothing new here ...).
For example, suppose a you live in a french locale. A nice french pangram is "Voix ambiguë d'un cœur qui au zéphyr préfère les jattes de kiwis." If a font preview of this pangram showed a few rectangular boxes or missing glyphs like "Voix ambigu[] d'un c[]ur" --well, this obviously tells you right away that the font will be of limited use for high-quality french typography. This is probably exactly what you wanted to find out.
A huge number of fonts have been designed to cover a non-Latin script but also provide Latin and in some cases extended Latin glyphs too. Some relevant Open Source examples are the Arabeyes.org fonts for Arabic, the Tibetan and Himalayan Digital Library (THDL) Tibetan Machine Unicode font, and NECTEC's Loma font for Thai. What is most important about these fonts is not that they cover Latin at all, but rather that they cover Arabic, Tibetan, Thai, or some other script.
These fonts should be appropriately categorized based on the non-Latin script that they cover. Intelligently-designed software should be able to handle this case without difficulty.
Pan-Unicode fonts like Bitstream Cyberbit cover a large number of scripts encoded in Unicode. At first glance, these fonts should not be difficult to classify. However, a problem may occur with CJK fonts being mis-classified as "Pan Unicode" fonts. Many CJK fonts provide fairly good coverage of not only the unified CJK characters, but also of Latin, Greek, Cyrillic, Hiragana, and Katakana. Other blocks like BoPoMoFo may also be covered. As humans, we can see that the glyphs in the Latin, Greek, and Cyrillic blocks of these fonts are often of poor quality compared to the CJK glyphs. But software cannot make this kind of distinction. Such fonts may easily be misclassified, or perhaps we should say "less than ideally classified" as Pan-Unicode fonts.
A possible solution to this problem may be to examine the TTF Names in the font. If a potential "Pan Unicode" font contains TTF names in Chinese, it is very likely a Chinese font. This would be useful for another reason too: If a Chinese TTF name string contains the character "繁", then it must be a font containing traditional Chinese glyphs even if the encoding is GB-xxxx for simplified Chinese.
When a user has fonts for different scripts installed on their machine, the font management and selection system proposed here categorizes those fonts into their respective script categories at the top level. Japanese fonts go into the Japanese category, Arabic fonts into the Arabic category, and Thai fonts into the Thai category. In fact, in order to be completely consistent, let's not forget that Latin fonts themselves need to appear in a top-level "Latin" category.
However an annoying problem occurs with Pan Unicode fonts. Fonts like MS Arial Unicode, Bitstream Cyberbit, and Code 2000 appear repeatedly in almost every script category. The solution I propose is to forcibly relegate all Pan-Unicode fonts into a single special "Pan Unicode" script category by default.
A GUI font management panel would allow a user to selectively control whether such fonts to appear in all script categories for which the fonts satisfy orthographies or not. The font management panel is really a necessity here. For example, by default certainly MS Arial Unicode and Code 2000 would only appear in the "Pan Unicode" category, having been forcibly removed by an appropriate algorithm from the other script categories. But then some other font such as Gentium might also end up in the "Pan Unicode" category -- it all depends on one's definition of pan unicode, doesn't it? Suppose that the algorithm works by saying "any font covering five or more script categories is a pan unicode font." That can easily relegate a lot of the larger fonts into the "Pan Unicode" category. So the user should have an option to check or uncheck individual "Pan Unicode" fonts, thus allowing or disallowing their display in individual script categories.
Implementation of the font selection widget described in this document would greatly improve GTK+, KDE, and similar GUI toolkits and programs derived from these toolkits. Use of a standardized XML configuration file that would span across different toolkit implementations would help to increase uniformity in the look, feel, and font selection behaviour of important Open Source programs such as Open Office, the Gimp, Inkscape, Konqueror, and Firefox on Linux and related Open Source platforms.
This document currently fails to describe how users would customize their font groupings or define font name aliases. In the absence of some additional GUI font management screen, users might be forced to resort to editing the XML configuration file by hand. Perhaps existing font management tools like KDE's KFontInst could be modified to provide the additional support that a more sophisticated font selection widget would require.
I welcome comments and criticisms on this proposal. I would especially welcome hearing from developers who might be interested in implementing this widget, especially in the GTK+ and KDE toolkits.
-- Ed Trager, 2005.09.25
After announcing this proposal, a number of comments began to appear on the mailing lists. For the benefit of those who may not have had an opportunity to see the original posting and responses, I am collecting them here. Corrections and additions based on this feedback are being incorporated back into the original proposal.
The following is a copy of the original announcement sent on 2005.09.27:
=== ORIGINAL ANNOUNCEMENT POSTING === Date: 2005.09.27 From: Edward H. Trager <ehtrager --at-- umich.edu> Hi, everyone, This message is an open letter to: - Gnome Desktop developers - KDE Desktop developers - OpenOffice.org developers - Gimp developers - Inkscape developers ... regarding a proposal for an improved font selection drop-down widget that would be ideal for use in professional-quality Open Source word processing, desktop publishing, and graphic design programs such as OpenOffice.org, Gimp, Inkscape, and similar programs. The proposal suggests a design that is particularly applicable where users require a streamlined and intuitive interface for selecting multiple fonts from large font collections present on the user's machine. The proposal also attempts to fully address aspects of internationalization related to font selection that I believe have been largely overlooked until now. Finally, the proposal suggests using a common XML configuration file which for storing font collection information. To see the full proposal, please see: http://eyegene.ophthy.med.umich.edu/unicode/fontdialog/ The rest of this email provides a synopsis of the proposal. Synopsis ======== Although important Open Source desktop software has advanced rapidly in the last few years and now easily rivals and in many cases surpasses commercial equivalents in terms of functionality and ease of use, the font selection drop-down widgets and font selection dialog boxes in many programs still lack a number of important features. (This is also true among commercial software too, but that is not our concern here). First, many programs do not provide adequate font previews at the stage where the user is choosing from a (now-a-days usually very long) drop-down list of available fonts. Even when font previews are provided, they are often limited to a preview of Latin glyphs and thus provide no information about the appearance of non-Latin glyphs for, say, Chinese, Thai, or Arabic users trying to pick fonts for their language. Secondly, a very long list of alphabetically-sorted font names is not ideal. Fonts need to be organized and presented to the user in logical groups, as is done in Apple OS X (where they are called "collections"). These groups can and should be both system-defined and user-defined. System-defined groups would include font categories like "Sans", "Serif", "Monospace", "Recently Used", and "Chinese". User-defined groups might include categories like "Script", "Black Letter", "Funky", or "Fonts for the new company brochure". The proposal at http://eyegene.ophthy.med.umich.edu/unicode/fontdialog/ addresses how these goals can be met. Implementation of the proposed font selection widget at the GUI toolkit level (i.e., in GTK+ and in KDE) along with an XML-based configuration scheme standardized across toolkits and desktops would do much to help create a more intuitive and more uniform user experience on Linux and related Open Source platforms. I welcome the community's suggestions and criticisms -- -- Ed Trager maintainer of "Unicode Font Guide For Free/Libre Open Source Operating Systems" http://eyegene.ophthy.med.umich.edu/unicode/fontguide/ === ORIGINAL ANNOUNCEMENT POSTING ===
The following are responses that I have collected so far:
From: PLinnell <mrdocs --at-- scribus.info> Date: Tue, 27 Sep 2005 22:02:41 +0200 On Tuesday 27 September 2005 21:01, gimp-developer-request --at-- lists.xcf.berkeley.edu wrote: > http://eyegene.ophthy.med.umich.edu/unicode/fontdialog/ <snipped> We on the Scribus Team have struggled with this too and with the changes in our 1.3.x series to enhance non-Latin support and complex glyphs will make this even more important. We have made some improvements vis a vis 1.2.x, but its not a 100% solution. I would recommend you bring this to xdg --at-- freedesktop.org as well, as well as the Scribus mailing list. I am sure this will be considered carefully. Your site is an excellent resource and already on our links page on www.scribus.net Cheers, Peter
From: Sven Neumann <sven --at-- gimp.org> Date: Tue, 27 Sep 2005 23:04:58 +0200 Hi, "Edward H. Trager" <ehtrager --at-- umich.edu> writes: > ... regarding a proposal for an improved font selection drop-down > widget that would be ideal for use in professional-quality Open Source > word processing, desktop publishing, and graphic design programs > such as OpenOffice.org, Gimp, Inkscape, and similar > programs. Interesting. The GIMP font selection scheme does certainly leave a lot to desire. There are some good suggestions in Bugzilla, just waiting to be implemented: http://bugzilla.gnome.org/show_bug.cgi?id=137624 http://bugzilla.gnome.org/show_bug.cgi?id=150500 and somewhat related but more technical: http://bugzilla.gnome.org/show_bug.cgi?id=168102 > The proposal also attempts to fully address aspects of > internationalization related to font selection that I believe have > been largely overlooked until now. I don't think they've been overlooked. At least for the GIMP font selection, the reason for the fact that the font selection is still that simple, is lack of developer resources. Providing a common framework might help to overcome this problem. > Finally, the proposal suggests using a common XML configuration file > which for storing font collection information. Could this perhaps become part of fontconfig? We already have XML font configuration there. Loading another XML file would slow down startup further. Sven
Date: Tue, 27 Sep 2005 17:22:16 -0400 From: michael chang <thenewme91 --at-- gmail.com> On 9/27/05, Edward H. Trager <ehtrager --at-- umich.edu> wrote: > ... regarding a proposal for an improved font selection drop-down > widget that would be ideal for use in professional-quality Open Source > word processing, desktop publishing, and graphic design programs > http://eyegene.ophthy.med.umich.edu/unicode/fontdialog/ As a user, this sounds like a very awesome proposal, and if implemented, would revolutionize font GUIs for users. I don't know whether it could cause a problem with Usability (e.g. Text to Speech systems) though... Just a note (and yes, I'm nit-picking), but there is no such thing as 'a Chinese pangram'. Chinese uses individual characters for every word (AFAIK), so you'll just have to choose some sample text that is representative of the language, or make some up. IIRC, Japanese has an alphabet, though, and Chinese has a sort of 'proununciation' alphabet (but that's seperate). -- ~Mike - Just my two cents - No man is an island, and no man is unable.
From: "Robin Rowe" <rower --at-- MovieEditor.com> Date: Tue, 27 Sep 2005 14:24:12 -0700 FYI. Interesting proposal below. Seems like a good idea. What's the status of font selection in FLTK 1 and 2? Robin
From: Craig Bradney <cbradney --at-- zip.com.au> Date: Wed, 28 Sep 2005 00:50:04 +0200 On Tuesday 27 September 2005 22:02, PLinnell wrote: > On Tuesday 27 September 2005 21:01, > > gimp-developer-request --at-- lists.xcf.berkeley.edu wrote: > > http://eyegene.ophthy.med.umich.edu/unicode/fontdialog/ > > <snipped> > > We on the Scribus Team have struggled with this too and with the > changes in our 1.3.x series to enhance non-Latin support and complex > glyphs will make this even more important. We have made some > improvements vis a vis 1.2.x, but its not a 100% solution. > > I would recommend you bring this to xdg --at-- freedesktop.org as well, as > well as the Scribus mailing list. I am sure this will be considered > carefully. > > Your site is an excellent resource and already on our links page on > www.scribus.net > > Cheers, > > Peter Please remember to consider the case where a user might legitimately have 2000 fonts on their system. In any case, this is a hard thing to handle, but its not an unreasonable thing to expect. Very interesting pages! Craig
From: Akkana Peck <akkana --at-- shallowsky.com> Nice proposal. A lot of apps could benefit from a good shared font selector -- it's not just an issue of one app, as you point out. I love the idea of font groupings. I don't mind editing an XML file, but I'm sure it wouldn't take much to whip up an app to help people customize their downloaded fonts, compared with the rest of the work involved in the proposal. Tooltips over menus can be really annoying, because while they're showing more information about one entry they're preventing you from scanning all the other entries. You can move the mouse outside the menu, but it's a shame to have to mouse in to scroll, then quickly mouse out before the tooltip blocks the list you're trying to read. Please consider making that part optional, or skipping it. One more UI issue you don't address: the length of the font list can be a problem, especially if you have a lot of fonts installed. The current GIMP font list (and your proposal looks similar) pops up as a combobox that shows, on my system, 9 fonts at a time. Exploring the whole list through this small window takes a long time and a lot of clicking. Sometimes I really miss having a font selector dialog which I could resize to show a long list, so that I could scan through more quickly without needing to scroll so many times. ...Akkana
Date: Wed, 28 Sep 2005 01:42:32 +0100 From: "Alastair M. Robinson" <blackfive --at-- fakenhamweb.co.uk> Hi, Edward H. Trager wrote: > I welcome the community's suggestions and criticisms -- One easily overlooked feature which I consider to be most important is keyboard support. In many Windows apps (and OpenOffice), I can type the first few characters into the font selector combo and that's usually enough to narrow it down to the font I'm going to use. This feature makes an *incredible* difference to working efficiency. All the best, -- Alastair M. Robinson
Date: Wed, 28 Sep 2005 11:01:50 +0900 From: mpsuzuki --at-- hiroshima-u.ac.jp Hi I think your proposal is a propose of "localized font name" (like Microsoft Windows fontmenu, or classic QuickDraw based fontmenu on MacOS) or "localized sample text" (like recent fontpanel on MacOS X). If I'm misunderstanding, please correct. There are a few problem: 1) font name in font file is localized? internationalized? ---------------------------------------------------------- >For example, many CJK fonts will have TTF names in East Asian >languages (i.e., Chinese, Japanese, or Korean) stored in the >font file itself. This is correct for commercial fonts, but incorrect for free font. Most CJK free font developers don't assume as the font handler is capable to handle non-ASCII font name, and often use US-ASCII font name or UTF16-ed ASCII font name. For example, Japanese free TTF, Sazanami Gothic and Sazanami Mincho has their name in ASCII. [NOTE] BTW, I'm afraid that Mac OS X changes the script to display fontname by language environment. Traditional QuickDraw system uses localized fontname always, but ATSUI does not. See http://www.gyve.org/~mpsuzuki/ats_benchmark.html 2) a font object knows its best script? --------------------------------------- This is accurate for commercial fonts designed for Microsoft Windows, MacOS, and traditional X window system, but inaccurate for recent Unicode-oriented desktop environment for Linux, Solaris, AIX etc. In such systems, to avoid from handling various font files for various scripts, there is a tendency to push everything into single font file. Unfortunately, the separation of the script and UCS-2 codepoint separation is badly-designed. Parsing traditional TTF header (OS/2 etc) is not sufficient to detect the best script of a given UCS-2 font. I think, the scripts which requires special OpenType layout features (like South Asian and African scripts) won't be merged in near future, because development is ongoing, but the unification tendency is clear for CJK scripts. If a given font insists as "I have all character for UCS-2 codepoint", how proposed fontmenu displays it? [NOTE] The glyph shape for Hanzi is dependent on Simpl. C, Trad.C, J and K, in reality (you can find OpenType categorizes all Hanzi into single "hani" script class, but divide it into sub-categories by language class: JAN, KOR, ZHS, ZHT). In the other words, OpenType thinks traditional TTF mechanism is insufficient to specify the best script, and introduced new mechanism. 3) menu for fontset? -------------------- Microsoft Windows and Mac OS X have a feature to lap over multiple TTFs. The font menu of Microsoft Windows don't have menu to control that, but fontpanel of Mac OS X provide to edit "font collection". How do you think about the requirement of such features? 4) heaviness ------------ I think proposed fontmenu must access all font contents to render its fontname. I suppose both of Microsoft Windows and MacOS/Mac OS X uses kernel space font cache maximumly, but how about UNIX platforms? Thinking about the situation using xfs at remote server, scanning all font contents can be heavy work and users may be forced to wait. There's any proposal about that? Regards, mpsuzuki P.S. > http://eyegene.ophthy.med.umich.edu/unicode/fontdialog/ BTW, proposal of a few terminology fixes of your hard-worked web page. > and the second is in the "Guo Biao" encoding... "Guo Biao" means just National Standard. Possibly you don't want to call ISO-10646 as "ISO encoding" :-). The encoding should be noted as GB-2312, GB-18030, etc. In fact, legacy PC encoding of TrueType fonts designed for Chinese script on Microsoft platform was based on GB-2312.
From: Keith Packard <keithp --at-- keithp.com> Date: Wed, 28 Sep 2005 05:28:54 +0300 On Wed, 2005-09-28 at 11:01 +0900, mpsuzuki --at-- hiroshima-u.ac.jp wrote: > Hi >=20 > I think your proposal is a propose of "localized font name" > (like Microsoft Windows fontmenu, or classic QuickDraw based > fontmenu on MacOS) or "localized sample text" (like recent > fontpanel on MacOS X). If I'm misunderstanding, please correct. >=20 > There are a few problem: >=20 > 1) font name in font file is localized? internationalized? An ASCII name is (almost) always present; localized names are more often present in commercial fonts. Fontconfig tags each name with the language and territory so you can search for an appropriate name even if the font provides multiple localized names (which TTF does support). > 2) a font object knows its best script? Fontconfig automatically detects language support by measuring coverage against an approximate orthography for the language. This means that even incorrect OS/2 tables will not accidentally mark a font as supporting additional languages. Fontconfig does use the OS/2 table to disambiguate among hanzi languages -- a font covering all of GB18030 but which does not include Japanese in the OS/2 code page range bits is not marked as supporting Japanese, even though GB18030 includes all of the codepoints needed for Japanese support. This does rely on the fonts not setting code page range bits for the wrong language; so far, that's been reasonably successful. > 3) menu for fontset? > -------------------- > Microsoft Windows and Mac OS X have a feature to lap over > multiple TTFs. The font menu of Microsoft Windows don't have > menu to control that, but fontpanel of Mac OS X provide to > edit "font collection". How do you think about the requirement > of such features? Fontconfig also has this support, and Qt and Pango both avail themselves of it. Unlike Windows or Mac OS X, it is entirely automatic so that fontsets are constructed from available fonts to provide as complete a coverage as the available fonts can provide. > 4) heaviness > ------------ > I think proposed fontmenu must access all font contents to > render its fontname. I suppose both of Microsoft Windows and > MacOS/Mac OS X uses kernel space font cache maximumly, but > how about UNIX platforms? Thinking about the situation using > xfs at remote server, scanning all font contents can be heavy > work and users may be forced to wait. There's any proposal > about that? Client side fonts are quite efficient in this regard, rendering and caching only glyphs which are actually used. This permits efficient use of the actual font for the font menu. It's not as fast as using a single font for all menu entries, but the benefit to the user is probably worth the cost in most environments. -keith
Date: Wed, 28 Sep 2005 13:09:06 +0100 From: "MacArthur, Ian (SELEX) (UK)" <ian.macarthur --at-- selex-sas.com> Mr Trager (Ed?) Excuse the interruption... Was reading you note on "Designing a Better Font Selection Widget." Seems= like a sound idea. Unfortunatley I don't have the skills to help. And I *know* I don't have the skills, because I tried to do this in the= past... One thing that occurs to me, though: I tried using the fonts to render= their own names, so you could see what they looked like. This was= generally a Good Thing. But... in the case that the font is one of these "dingbats" type fonts, the= result can be, erm, variable, as these seem to have non-letter glyphs in= the "usual" latin code places... So, you can render the name, but not actually read it... Minor point, probably doesn't matter. And I'm probably missing the point totally anyway! Cheers, --=0D Ian MacArthur
Edward G.J. Lee 發表於星期日 十月 23, 2005 2:55 pm Re: 選擇字型的新建議 >車藹 寫到: >你們大家好, >2005年09月27日我發表了一件"Designing a Better Font Selection Widget"的英文建議而送到下面的 mailing lists: 的確,能顯示中文字的「形」是最佳的方式,有中文的例句更好(tooltip)。 但這除了應用軟體支援外,字型本身在設計時也是要有提供才行。 引言回覆: >我最想要知道: > -中國人想怎麼分中文的字型最好? 這個可能不太容易有統一的分類法。因為中文字型的發展是歷史演進而來的, 並不是字型設計之初就有這種分類,所以,不容易使用 serif/san serif 的 分類方法。不過,在: http://eyegene.ophthy.med.umich.edu/unicode/fontdialog/#theSolution 中關於: Chinese 中文 * Typographic fonts o 明體/宋體 o 仿宋體 o 楷書 (standard style only) o 黑體 o 圓體 * Calligraphic fonts o 篆書 o 隸書 o 楷書 (include all styles) o 行書 o 草書 * Stylized o Other fonts ... 似乎是不錯的分法。 引言回覆: > -中文沒有"pangram",就應該用什麼為 tooltip 上的列句? 中文非由字母組成,是由部首、筆畫組成,如果把部首、筆畫比擬成字母的話, 光部首就有 214 個,所以,實際上的 "pangram" 恐怕也會非常龐大。 或許,可以由中文字的組合及造形種類上來達成類似的 "pangram"?例如: 『春朝暫衝國,自小今申年』 分別代表: 1. 上下組合成的字。 2. 左右兩邊組合。 3. 左右和上下組合。 4. 左右或上下三分組合。 5. 造形為正方形的字。 6. 長方形的字。 7. 三角形的字。 8. 菱形的字。 9. 六角形的字。 10. 五角形的字。 _________________ L.G.J.


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PRINCETON, N.J. – The Yale women's swimming and diving team held on to its third-place overall standing on the second day of competition at Ivy's on Friday. The Bulldogs went to work in the morning preliminaries, earning spots in four of the evening's individual A finals. Three third-place finishes out of these four individual events brought in a great deal of points for the Bulldogs. The team wrapped up the day with its best finish of the meet thus far, taking second in the 800-yard freestyle relay and sending the Princeton Tigers into day three with their first relay loss. After 14 events Princeton still sits in first with 1054.5 points. Harvard is in second at 955, with Yale behind them in third with an even 600 points.
Morning Prelims
Courtney Randolph started off the day for the Bulldogs, finding the sweet spot in the finishing order of the 400 IM and earning a spot in the A final by 0.12 seconds. Randolph finished eighth with a time of 4:25.77. Abigail Nunn was not far behind in 4:26.75, headed to the B final. Angela Lee finished 19th (4:29.32) and Kristin Darwin finished 22nd (4:31.63), both headed to the C final. Margaret Brown qualified as an alternate.
Following on her sixth-place finish in the 200 IM on Thursday, Hayes Hyde finished third in the heats of the 100-yard butterfly, clocking in at 54.43 just below the NCAA B cut. Allison West finished in a dead heat for 21st (57.62) and Erica Kao finished 24th (58.47) to put themselves in the C final.
Prospects looked great for the Bulldogs after a very quick 200 free preliminary. Ileana Lucos took fourth in a time of 1:48.86, with Molly Albrecht close behind in seventh in a time of 1:49.08. Only 0.69 seconds separated Albrecht in seventh from first place, so the stage was set for a very competitive A final. Yale was also poised to rack up some points in the B final of the same event, with Cynthia Tsay finishing ninth (1:50.37) and Joan Weaver 13th (1:51.71).
After posting the second-fastest breaststroke split in the 400 medley relay Thursday night, Athena Liao finished fourth in the 100 breaststroke prelims Friday morning with a time of 1:02.69. Chelsea Dunlap also got a second race with her time of 1:06.38, which put her in 22nd place. In the 100 back, Michelle Huang finished 17th with a time of 57.63, seeded fastest for the C final.
Evening Finals
The Bulldogs had another top-three relay finish in the 200-yard medley relay early Friday evening. The relay team of Cynthia Tsay, Athena Liao, Hayes Hyde and Ileana Lucos finished third in a time of 1:42.98, a few seconds back from first-place Princeton who set a new Ivy League record with its time of 1:39.80.
In the 1650-yard freestyle, the longest event of the weekend, Abigail Nunn took 12th in a time of 17:02.82. This is a huge improvement over Nunn's time of 17:18.30 from the Terrier Invitational back in November. Joan Weaver and captain Annie Killian brought in a combined 20 points for their 16th and 17th place finishes, clocking in at 17:10.09 and 17:12.59, respectively.
Courtney Randolph really showed up in the 400 IM, placing sixth. The freshman out of Davie, Fla., was a junior national qualifier in the event in high school, and brought this experience to Friday's final where she shaved nearly two seconds off her time from the morning to touch in 4:23.92. Abigail Nunn finished right in the middle of the pack in the B final, placing 13th with a time of 4:27.70. Angela Lee finished 18th (4:27.48) and Kristin Darwin 22nd (4:32.12) in the C final. Despite Yale having four swimmers earn points in the event, the Bulldogs dropped back to fourth place temporarily after the 400 IM.
Yale then had three third-place finishes in the following three individual events. Hayes Hyde matched her preliminary swim to take the third spot on the podium in the 100 butterfly. Hyde went out at 25.67, consistent with her butterfly split from the 200-yard medley relay earlier in the evening. Her final 50 was a 28.86 to make for a time of 54.53. Hyde's finish put the Bulldogs back into third place where they would remain for the rest of the day. Allison West finished 22nd (57.33) and Erica Kao 24th (58.59) in the same event.
The Bulldogs found their best individual event in the 200-yard freestyle. Molly Albrecht took third with a time of 1:48.43, over half a second faster than her time from the morning heats. Ileana Lucos finished fifth in a time of 1:49.23, though she sat in third place for the first half of the race. Yale also made moves in the B final, with Cynthia Tsay earning points for 10th place with her time of 1:50.82, and Joan Weaver touching in 1:53.91 to take 16th.
Athena Liao then made it three when she took third in the 100-yard breaststroke. After breaking the threshold in the morning prelims, Liao distanced herself even further below the NCAA B cut of 1:02.98, finishing in a time of 1:02.13. Chelsea Dunlap finished in 20th position (1:06.76).
The final event of the night was the 800 free relay. The Yale squad of Ileana Lucos, Molly Albrecht, Cynthia Tsay and Joan Weaver posted a time of 7:20.23, solidly below the NCAA B cut. Princeton led the Bulldogs for the first 350 yards, but Yale moved into second towards the end of Albrecht's leg. Princeton's time was 7:21.28, making for the Tigers' first relay loss of the meet.
The third and final day of competition at Ivy's will begin Saturday morning at 11:00 a.m. with the heats of the 200-yard backstroke.
Report filed by Tom Lynam '13, Yale Sports Publicity


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There is little interest in Belgium in today's GM plants. However, public discussion has covered co-existence as well, since most conventional farmers are not generally opposed to GMOs.
The Farmers Union (Boerenbond) wishes to keep all technological options open for farmers, and finds that a GMO should be made available if it can solve a farmer's particular problem. With regards to co-existence, the union stresses that the rights and choices of farmers should be respected. A further demand is for administrative simplicity.
Organisations of organic farmers share the view of most consumer and environmental NGOs that GM plants should not be introduced in Belgian agriculture.
In 2004, the Belgian feed industries associated in BEMEFA have set up a policy together with the Belgian food industries (FEVIA) and the retail sector (FEDIS) on how to implement the European GMO labelling and traceability legislation. For the feed industries themselves they have created a manual for the manufacture and distribution of GMO controlled feedstuffs. Feed manufacturers respond to the requirements of their buyers. Today about 20 percent of Belgian feedstuffs are produced as certified GMO-free. The rest of the feedstuffs contains GMOs to some degree. BEMEFA has calculated that the production of certified GMO-free feedstuff costs the sector about five million euros annually (based upon 2004 figures).
Food manufacturers in Belgium follow a pragmatic approach. They do not have an opinion against the use of GMOs but simply answer to retailer and consumer demand. Together with the feed industries and the retail sector they have set up a guide on how to implement the GMO legislation.
The Belgian distribution and retail sectors have worked together with food manufacturers and feed manufacturers on guidance with regard to the GMO legislation. Retailers are not inclined to put GM labelled products on their shelves. Carrefour has had GM labelled frying oil on their shelves for some time. This was their white label product which is composed of cheaply bought ingredients for which it was not possible to say whether they where free of GMOs. There has been some protest and media attention to this product.
Consumer organisations are opposed to GM foods in general, and consider the co-existence debate to be a debate for or against GMOs. These organisations state that, due to the potential admixture of all foods to a certain extent with GMOs, allowing GM plants would end, effectively, consumer choice.
There are different NGOs that have an opinion concerning GMOs in general and on co-existence. Many environmental NGOs and organic farming organisations criticise the fact that the co-existence legislation only covers economic liability, and not environmental liability. In the implementation of the environmental liability directive 2004/35/EC they seek to bring in this environmental liability for GMOs for entire Belgium, and not restricted to certain protected habitats, or certain protected forms of wildlife. For GMO issues a number of NGOs have formed a platform which they use to voice their concerns about GMOs.
The platform consists of:
There is a separate opinion specific on co-existence produced jointly by BBL, Velt, Wervel and Greenpeace Belgium.
In the Walloon region especially, Nature & Progrès is active in the debate about GMOs and co-existence. Their view is that there is no place for GMOs in the Walloon agriculture. They have lobbied firmly for very stringent co-existence legislation.
In connection with the development of a legal framework on co-existence, there have been consultation activities in both Flanders and Wallonia. In Flanders, only relevant farmers' organisations have been involved. In Wallonia, there has been a broader consultation, in which industries and the scientific community also have participated.
In recent years, there has been a broad initiative to encourage municipalities to declare themselves GM-free. This initiative follows examples from other European countries.


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Catherine K.,We got in free with your service. Thanks so much!Date published: 03/04/2019
Hakkasan Nightclub Grid
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Welcome to the Western Rite Vicariate, a part of the Antiochian Orthodox Christian Archdiocese in America. Effective May 18, 2012, by appointment of His Eminence Metropolitan Philip of Blessed Memory, His Grace Bishop John serves as the only Auxiliary Bishop to oversee the Western Rite Vicariate. Assisting His Grace is the V. Rev. Edward Hughes, Vicar General of the Western Rite Vicariate. The Vicariate includes more than 20 churches and missions located throughout the United States.
The Western Rite Vicariate announces the publication of ORDO 2017. This booklet is the official liturgical guide for all Western Rite parishes in the Vicariate. It contains directions for reciting the Divine Office and celebrating the Mass according to the calendar and use of the Western Rite Vicariate of the Antiochian Orthodox Christian Archdiocese of North America. It contains rubrics for both the Rite of St. Gregory with the Monastic Diurnal, and the Rite of St. Tikhon with The English Office.
The ORDO 2017 is available in both print and electronic formats. Copies may be purchased at the St. Luke's Priory Press Store on Lulu: www.lulu.com/spotlight/frfenton


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Tri Cities Events, Coupons, Reviews!
Subscribe to KidsScoop! The monthly family event and savings newsletter.
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New for 2011 there will be a half marathon option that has 635ft of loss, 188 ft of gain and a net loss of 447ft.
By the way, I looked to see how the 2010 Winthrop Marathon's 24.5% Boston Qualifier rate compared to the the fastest races in country and little ol' Winthrop is right up there with the very best! 24.5% is better than Foot Traffic Flat(Portland,or), Eugene and any other marathon in the northwest and if it qualified for the list it 24.5% would have placed it 12th in country! To qualify for the list compiled by marathon guide the race must have at least 250 finishers . Anyhow great job to all the finishers of the inaugural Winthrop Marathon-- I think we got off to a pretty good start!


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March 11, 2010
NCAA Indoor Championship Information
The Schedule
Friday, March 12, 2010
Jane Doolittle Competes in the NCAA high jump championship
at Randall Tyson Track Center, Fayetteville, Ark.
at 2:45 p.m. local time (12:45 p.m. Pacific Time)
What's Happening
Jane Doolittle will be competing in the high jump at the 2010 NCAA Indoor Track and Field Championships. Doolittle is the first UCSB athlete to qualify for the Indoor Championships, in the program's second season competing indoors. She will be competing on Friday, March 12, at 2:45 p.m. local time (12:45 p.m. Pacific Time).
How She Got There
Doolittle cleared 5-11.5 (1.82m) in the high jump at the Husky Classic on Feb. 14, setting a new personal best and meeting the NCAA provisional qualifying standard. She took two attempts to clear that height and improve upon her personal best by four centimeters. She also performed well two weeks earlier at the UW Invitational, where she cleared 5-9.75 (1.77m) on her second attempt to finish second overall and first amongst collegiate athletes.
What Will It Take?
The leader of the descending order list is Elizabeth Patterson of Arizona, who has cleared 6'3.50" (1.92m). There are then three athletes who have cleared between 1.87 and 1.89m, and eight athletes who have cleared between 1.83 and 1.85m. Doolittle and five others are at 1.82m. The UCSB record in the high jump is 6'0.50" (1.84m), set by Tara Fairfield in 1990.
The NCAA Championships will be held Friday - Saturday, March 12-13, at Fayetteville's Randal Tyson Track Center. ESPN360.com will stream the championships live beginning at 6 p.m. PST on Fri., March 12 and 4:10 p.m. CST on Sat., March 13. NCAA.com and ArkansasRazorbacks.com will stream supplemental coverage as available when ESPN360.com is not live. Live results can be found at ArkansasRazorbacks.com.
- UCSBgauchos.com -


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Since 1952, Earhart Petroleum has been 'fueling' Ohio – delivering fuel, propane products and services to residential customers and businesses throughout the Buckeye State. Over time, the company has grown to become one of Ohio's most reliable and respected energy suppliers and has even expanded to provide wholesale fuels to Kentucky, Indiana, and southern Michigan as well. Its commitment to customer service and maintaining competitive prices has remained unmatched in the industry.
The Need for Automation
Earhart Petroleum had several goals they hoped to achieve as a result of the technology investment. They looked to improve delivery efficiency (as measured by gallons delivered per truck/per day) by 20 percent, minimize inventory shrinkage, reduce staff overtime and improve invoice turnaround time by three business days.
Under the old system, orders were printed at the company's regional offices, where drivers would meet each morning to arrange their routes for the day – this system lacked basic route optimization and instead required drivers to create their own routes.
Additionally, same-day orders caused major issues – they were all manually communicated from the office to the drivers via phone, often resulting in key details being lost in the translation. This caused an increase in drivers making simple errors, such as missing a delivery window. Additionally, same-day orders were communicated without the office knowing what product was available on each truck, causing drivers to make smaller delivery quantities with what they had available, but at an increased cost.
Download this case study below to read more.


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Jon Bon Jovi is singing for freedom in Iran, but the New Jersey rocker's protest song may be a lost cause.
Bon Jovi teamed up with exiled Iranian singer Andy Madadian to record a cover of Ben E. King's classic "Stand By Me" as "a message of worldwide solidarity" to the protesters who massed in the streets after the disputed June 12 election. Hardliner Mahmoud Ahmadinejad was returned to office over his reformist opponent, in an election protesters believe was rigged by the nation's theocratic regime.
But the video comes more than two weeks after the controversial election, and several days after the regime's brutal crackdown appears to have ended protests. Ahmadinejad's re-election was officially affirmed by Iranian officials last week, according to the Washington Post.
Don Was, who produced the song, told billboard.com that he and Madadian came up with the idea after wondering "if there was something we could do just to send out a little message of solidarity, remembering the 60's believing music can change things."
Madadian, who is known as the "Persian Elvis" and has lived in exile in the U.S. since Iran's 1979 revolution, was going into an L.A. studio with Was to record a song inspired by his countrymen when they ran into Bon Jovi and his band. Was says that the incidental meeting between the two quickly turned Madadian's solo effort into a duet.
"They asked what we were doing, I told them, and Jon said, 'Look, man, if you do it right now we'll do it with you,'" said Was. "So we did."
Madadian and Bon Jovi sang the first verse in Farsi, the Persian language widely spoken in Iran. They were backed by Richie Sambora on guitar, Patrick Leonard on keyboards, Jeff Rothchild on drums and Was on bass.
A video of the session, which ends with Bon Jovi and Madadian standing side by side holding a sign in Farsi that translates into "We are one" quickly went viral, spreading on social networking sites like MySpace, Facebook, Twitter, and others. The page has been viewed 76,926 times.
"It wasn't intended to be on the Billboard charts, wasn't meant to be a hit record or even pressed on a CD. It's intended to be downloaded and shared by the Iranian people," Was said. "The whole idea was to get it into Iran and tell them...to carry on, that the world is watching and we're with you."


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The Raelian Movement has a "Message" to give to the public, a vast array of information regarding our origin and our future, given to its spiritual leader, RAEL, more than 45 years ago by the scientists who created all life on Earth. Stories about the Movement and its members appear in newspapers, magazines and on radio and television around the world on a regular basis. It is important to us to give to media the most up-to-date information and materials to portray us right as this "Message" is important to us. We hope that this website will provide you with the information you are looking for. If not, our media relations staff will have pleasure in helping you.
The Raelian Movement was founded in 1974, a few months after the encounter between RAEL, its founder, and one of the Elohim, the scientists who created us. Since its founding it has grown steadily and now counts more than 130,000 members in over 120 countries and about 300 Guides who lead the activities of the Movement under the direction of the Prophet RAEL.
Raelians come from all walks of life. They have in common a strong desire to make this planet a paradise where Science is a priority and can be freely developed for the benefit of all and where violence is treated as a disease and finally, completely eradicated. They are atheists and practice meditation. They are dreamers and believe in their dreams and this is why they are so active and a subject of significant public and media interest.
Their passion to spread the "Message" received by Rael is described every week or so in our Newsletter "Contact". Their actions to change the world are documented there as well. Whether they help African Women to get their sense of pleasure back after clitoris circumcision, or denounce the fatwa against homosexuals in some countries, or design a global pollution index to help segregate between polluting products and services, or promote the use of cloning to beat aging and ultimately beat death, you will always find Raelian actions ahead of their time. For our vision of the News, articles are regularly posted on www.raelianews.org and you may listen to talks of the Prophet Rael on www.youtube.com/raeltv and www.raelacademy.org
This Media Information site gives you all the latest press releases as well as images that you may want to use. Please do not hesitate to ask our media relation staff for any additional information you may want about the Raelian Movement.
The Prophet RAEL is also available for interviews. He is touring the world, spending time on each continent each year in order to train the hundreds of Guides who are leading our activities. His assistants around the World will be happy to facilitate your request or will direct you to a competent spokesperson who will be delighted to give you a better insight of who we are and of what our role is in the world today.
Brigitte Boisselier, Ph.D.
Official Spokesperson of the Raelian Movement


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U.S. women hold off Peru challenge, 4-0, at Pan Am
Bill Kauffman
Manager, Media Relations and Publications
Phone: 719-228-6800
E-Mail: firstname.lastname@example.com
MIAMI, Fla. (June 29, 2009) – The United States (4-0) defeated Peru (2-2) 25-22, 25-21, 26-24 on Monday evening during the Eighth Women's Pan American Cup at the University of Miami's BankUnited Center.
The victory sets up a key match between undefeated USA and Puerto Rico on the final day of pool play. The USA-Puerto Rico winner will automatically advance to the tournament's second round and have two days to prepare as July 1 is an off day in the schedule and pool winners receive a bye on July 2.
Five Team USA players reached double-digit scoring in a balanced offense. Jordan Larson (Hooper, Neb.) led the U.S. with a match-high 14 points that included 12 kills and two aces. Kristin Richards (Orem, Utah) added 13 points on 12 kills and an ace, while Nancy Metcalf (Hull, Iowa) chipped in 13 points. Danielle Scott-Arruda (Baton Rouge, La.) was credited with five blocks as part of an 11-point night, while Christa Harmotto (Aliquippa, Pa.) contributed 10 points with three blocks.
"We expected a tough match from Peru and that is what we got," U.S. Head Coach Hugh McCutcheon said. "Some of our problems tonight are my fault as we are putting in a lot of changes to this team, both in technique and system. I was happy that we found a way to win and battle through the challenge."
Patricia Soto paced Peru with 11 points, while Yulissa Zamudio added nine points. Leyla Chihuan tacked on eight points in the loss, while teammate Jessenia Uceda put down seven points.
U.S. absorbed every rally from Peru to take the hard-fought three-set match. The Americans held a slim 23-20 lead in the opening set only to have Peru close to one at 23-22. However, Richards and Larson put down back-to-back kills for the set victory.
Team USA led 20-13 in the second set and held off the Peru come back for a 25-21 victory.
Peru led the third set with scores of 5-2, 11-5 and 20-14 only to have the U.S. come back. Larson served during a stretch of seven unanswered points to give the U.S. a 21-20 lead on a Metcalf kill. Metcalf and Harmotto scored consecutive kills giving the U.S. a 24-22 advantage. After Peru held off two match points when down 24-22, the Americans finished off the rally at 26-24 with a Harmotto kill and Peru error.
"Congratulations to the Peru team," Scott-Arruda said. "Peru presented us with some challenges, and I think it allowed our team to build some character in coming back. We stayed together in the tough moments and found a way to win."
U.S. out-paced Peru on offense with a 50-31 kill advantage and kept the visitors off-balance with a 4-0 ace margin. However, Peru's block came alive in the match as part of a 14-8 block advantage.
"We showed a new level of play tonight and limited our errors," Peru Assistant Coach Natalia Malaga Dibos said. "Tonight's effort and performance will help our team progress toward the classification round. The U.S. is obviously a strong team at the net, but they played well when needed. We obviously need to fix some areas to get to the next level that they are at."
United States concludes Pool A action on Tuesday at 8 p.m. ET, the fifth consecutive pool play match before the classification round starts on July 2. Peru challenges Guatemala (0-4) on Tuesday at 3 p.m. to complete pool play.
Earlier in the day, Mexico (1-3) defeated Guatemala (0-4) 25-23, 25-12, 25-21 for its first win in Pool A, while Puerto Rico (4-0) downed Costa Rica (1-3) 25-21, 25-18, 25-11 to maintain pace with the U.S. in Pool A. Brazil (3-0) handled Trinidad & Tobago (0-3) 25-11, 25-14, 25-9 in Pool B to move into a virtual tie with Dominican Republic (3-0), which was idle tonight. Brazil faces Dominican Republic in the final match of preliminary play to determine Pool B's automatic berth into the semifinals. Argentina (2-2) edged Canada (0-3) 25-16, 25-22, 23-25, 25-17 to secure a quarterfinal spot.
Pan American Cup pool play, scheduled for June 26-30, is a five-day, round robin preliminary to determine classification round matches. The U.S. Women's National Team, part of Pool A at University of Miami with matches at BankUnited Center, will compete against Costa Rica, Guatemala, Mexico, Peru and Puerto Rico in pool action. All U.S. pool matches are scheduled to begin at 8 p.m. ET.
A Pan American Cup tournament pass, good for all matches at both venues, is $75 for adults and $60 for children. Tickets for each date of competition at the specific venue (either University of Miami or Florida International University) are $20 for reserved general admission, $12 for adult general admission and $10 for child general admission. Tickets can be purchased online at www.miamisports.org.
After the preliminary pool round, the Pan American Cup quarterfinal and classification matches are set for July 2, followed by semifinal matches and additional classification matches on July 3. The championship match and final classification round matches are scheduled for July 4. All non-pool matches will be played at University of Miami. Classification round matches will be played on July 2 at 1 p.m., 3 p.m., 5:30 p.m. and 8 p.m. (all ET). Matches on July 3 and final classification matches on July 4 will be played at 11 a.m., 1 p.m., 3 p.m., 5:30 p.m. and 8 p.m. (all ET).
The Women's Pan American Cup is a qualifying tournament into the 2010 FIVB World Grand Prix and the 2009 Women's Final Four. The top three NORCECA teams and top team from South America receive berths into next year's FIVB World Grand Prix. The top two teams from NORCECA, Brazil and the top remaining team from South America qualify for the Final Four to be hosted by Brazil.
Miami will be a busy location for volleyball the last week of June and first week of July. The 2009 USA Junior Olympic Girls' Volleyball Championships is being played June 26-July 5 at the Miami Beach Convention Center. Typically, the tournament attracts 788 teams and approximately 9,500 athletes in addition to parents and relatives. A total of 19 championships are contested in age groups ranging from 12 to 18.
U.S. Women's National Team Preliminary Roster for Eighth Women's Pan American Cup
# - Name (Pos, Ht, Hometown, College)
2 – Danielle Scott-Arruda (MB, 6-2, Baton Rouge, La., Long Beach State)
3 – Tayyiba Haneef-Park (OH/OPP, 6-7, Laguna Hills, Calif., Long Beach State)
4 – Angie Pressey (OH, 5-8, Lake Mary, Fla., California)
5 – Stacy Sykora (L, 5-10, Burleson, Texas, Texas A&M)
6 – Nicole Davis (L, 5-6, Stockton, Calif., Southern California)
7 – Heather Bown (MB, 6-3, Yorba Linda, Calif., Hawaii)
8 – Cynthia Barboza (OH, 6-0, Long Beach, Calif., Stanford)
10 – Kristin Richards (OH, 6-1, Orem, Utah, Stanford)
11 – Jordan Larson-Burbach (OH, 6-2, Hooper, Neb., Nebraska)
12 – Nancy Metcalf (OPP, 6-1, Hull, Iowa, Nebraska)
15 – Courtney Thompson (S, 5-7, Kent, Wash., Washington)
16 – Christa Harmotto (MB, 6-2, Aliquippa, Pa., Penn State)
17 – Nellie Spicer (S, 5-9, Barrington, Ill., UCLA)
19 – Jane Collymore (OH, 5-11, Seattle, Wash., Florida)
Head Coach: Hugh McCutcheon (Christchurch, New Zealand)
Assistant Coaches: Karch Kiraly (San Clemente, Calif.), Paula Weishoff (Irvine, Calif.)
Technical Coordinator: Jamie Morrison (Dana Point, Calif.)
Athletic Trainer: Jill Wosmek
Women's Pan American Cup Schedule (all times Eastern Time)
Pool A
(at University of Miami)
Standings: USA 4-0, Puerto Rico 4-0, Peru 2-2, Costa Rica 1-3, Mexico 0-4, Guatemala 0-4
June 26: #1 Puerto Rico def. Guatemala 25-9, 25-15, 25-18
June 26: #2 Peru def. Mexico 25-13, 25-15, 25-10
June 26: #4 United States def. Costa Rica 25-7, 25-6, 25-16
June 27: #6 Peru def. Costa Rica 25-14, 25-10, 25-11
June 27: #7 Puerto Rico def. Mexico 25-18, 25-15, 15-21
June 27: #9 United States def. Guatemala 25-7, 25-12, 25-7
June 28: #11 Costa Rica def. Guatemala 25-16, 25-17, 25-11
June 28: #12 Puerto Rico def. Peru 25-17, 25-19, 25-23
June 28: #14 United States def. Mexico 25-19, 25-14, 25-11
June 29: #16 Mexico def. Guatemala 25-23, 25-12, 25-21
June 29: #17 Puerto Rico def. Costa Rica 25-21, 25-18, 25-11
June 29: #19 United States def. Peru 25-22, 25-21, 26-24
June 30: #21 Guatemala vs. Peru, 3 p.m.
June 30: #22 Mexico vs. Costa Rica, 5:30 p.m.
June 30: #24 United States vs. Puerto Rico, 8 p.m.
Pool B
(at Florida International University)
Standings: Brazil 3-0, Dominican Republic 3-0, Argentina 2-2, Canada 0-3, Trinidad & Tobago 0-3
June 26: #3 Dominican Republic def. Argentina 24-26, 25-13, 25-18, 27-25
June 26: #5 Brazil def. Canada 25-11, 25-12, 25-13
June 27: #8 Argentina def. Trinidad & Tobago 25-6, 25-15, 25-8
June 27: #10 Dominican Republic def. Canada 23-25, 25-17, 25-21, 25-21
June 28: #13 Dominican Republic def. Trinidad & Tobago 25-6, 25-7, 25-14
June 28: #15 Brazil def. Argentina 26-24, 18-25, 25-13, 25-18
June 29: #18 Brazil def. Trinidad & Tobago 25-11, 25-14, 25-9
June 29: #20 Argentina def. Canada 25-16, 25-22, 23-25, 25-17
June 30: #23 Canada vs. Trinidad & Tobago, 5:30 p.m.
June 30: #25 Brazil vs. Dominican Republic, 8 p.m.
July 1: Off Day
Classification Rounds
(at University of Miami)
July 2: #26 Pool B 4th vs. Pool A 5th, 1 p.m. (class 5-10)
July 2: #27 Pool A 4th vs. Pool B 5th, 3 p.m. (class 5-10)
July 2: #28 Pool B 2nd vs. Pool A 3rd, 5:30 p.m. (quarterfinals)
July 2: #29 Pool A 2nd vs. Pool B 3rd, 8 p.m. (quarterfinals)
July 3: #30 Loser #26 vs. Loser #27, 11 a.m. (class 9-10)
July 3: #31 Winner #26/#27 vs. Loser #28/#29, 1 p.m. (class 5-8)
July 3: #32 Winner #26/27 vs. Loser #28/#29, 3 p.m. (class 5-8)
July 3: #33 Pool B Winner vs. Winner #28/#29, 5:30 p.m. (semi)
July 3: #34 Pool A Winner vs. Winner #28/#29, 8 p.m. (semi)
July 4: #35 Loser #30 vs. Pool B 6th, 11 a.m. (class 11-12)
July 4: #35 Loser #31 vs. Loser #32, 1 p.m. (class 7-8)
July 4: #36 Winner #31 vs. Winner #32, 3 p.m. (class 5-6)
July 4: #37 Loser #33 vs. Loser #34, 5:30 p.m. (class 3-4)
July 4: #38 Winner #33 vs. Winner #34, 8 p.m. (Final)