ThesisOutline.Tioga
Last edited by Rick Beach, October 11, 1984 9:39:18 pm PDT
Setting Tables and
Illustrations with Style
CONTENTS
1 Introduction
¶2 Document Composition
¶3 Graphical Style
¶4 Tabular Composition
¶5 New Framework for Tabular Composition
¶6 Future Directions
¶7 Glossary
¶8 References
¶9 Index
--
1 Introduction to Document Composition
1 INTRODUCTION TO DOCUMENT COMPOSITION
CONTENTS
¶1.1 What this thesis contributes?
¶1.1.1 What is a document?
¶1.1.2 Difficult Problems in Document Production
¶1.1.3 Concept of Document Style
¶1.1.4 Graphical Style and Table Formatting
¶1.2 Roadmap to this thesis
--
¶1.1 What this thesis contributes?
this thesis deals with the problems of complex document formatting
electronic environment for composing, formatting, and producing documents
problems in particular with illustrations and tables
refines the concept of style to manage the complexities of this task
define what I mean by style early
¶1.1.1 What is a document?
a document communicates information; author collects the information and organizes its presentation; various relationships with the reader; documents that inform, that persuade, that argue, that entertain
historically: documents were written works, produced in handwritten form by scribes, nonmovable type?, early printing with movable type; lots of illustration and ornamentation; hand-drawn or engraved images (i.e. illustrations haven't been mechanized)
traditionally in the Graphic Arts: document are manuscripts that contain all the text, illustrations, reference material; process is designed for a writer to guide the reader in his exploration of knowledge; tables of contents and indices are the major means for reader to explore on his own; electronic tools to produce documents (this is the area this thesis explores)
electronic document: a corpus of knowledge, communication by words and images, technology exists for the reader to guide his own exploration of knowledge; active documents that respond to queries posed by the reader; fulfilling the Engelbart vision of augmented human intellect (this is the area future research will realize) [Engelbart, Nelson, van Dam]
all documents require production and presentation of information; textual, mathematical, tabular, illustrative material; this thesis concentrates on tools that simplify the complexity of the document presentation problem which ensuring a full gamut of choices; assumes an integrated environment
this thesis surveys document composition techniques:
both traditional graphic arts techniques and electronic composition tools
to better understand the traditional process and where difficulties remain
to determine where we are in solving the problems in document composition
¶1.1.2 Difficult Problems Remain in Document Production
some difficult problems remain in document production
from personal experience of the author producing scholarly books and articles
these problems exist despite the presence and use of electronic aids
good solutions exist
for collecting and editing text, even large volumes of text
for ensuring accuracy when incorporating computer programs or numeric data
typographers are unfamiliar with monospaced fonts with special computer symbols
especially the treatment of quote marks: opening and closing quotes may be gratuitously inserted instead of the ASCII quote mark
treatment of white space in a monospaced font may be crucial; wordspaces are typically more narrow than a monospaced letter width
accuracy in small details is crucial to the successful compilation and
for ensuring some editorial consistency through global search and replace techniques
for example reference citations, the UNIX REFER package, various macro packages
for handling editorial revisions of drafts or subsequent editions (one book on introductory computing went from WATFIV-S to PASCAL to FORTRAN77 using the same manuscript files)
for handling families of documents with similar design and layout
for typography of text, using typographic fonts available on graphic arts typesetters; we know how to hyphenate if sufficient resources available
for including some forms of math, illustrations and tables (with considerable work and it is not always easy or possible), and other notation systems, for example Benesh [reference to Benesh?]
difficulties remain
mathematical notation is still hard
lack of WYSIWYG, eqn is close but loses the math content because of this, lack of interactive editing tools in many systems forces manuscript author/editor to use an abstract language; always need to accommodate new notations invented by authors; cannot incorporate math uniformly in all places in a document due to lack of uniform document structure (stream oriented processors require us to save math as a stream): tables of math, section headings, table of contents, index;
tables are awkward
each table tends to be designed as a unique formatting problem; document style does not apply to tables as easily as for text style; many special requirements not easily handled; large volume tables are awkward or consume significant resources; simple tables are straightforward: spreadsheets or mathematical tables
illustrations either done by hand or crudely by computer
quality of graphic arts standards rarely met; wide range of illustration requirements: sketches, engineering drawings, design art, shaded or continuous tone images, graphical highlights (lines on text or math)
lack of uniform techniques for integrating these into documents, mainly because of an inadequate document structure (presently most often it is a text stream representation and the representations are not recursive to permit math in illustrations in tables in all possible permutations)
pagination solved for simple cases and generic text documents; difficult to accommodate perturbed solutions for special cases; footnotes still awkward; placement of figures awkward
batch processing and the "pregnant pause"
reproduction quality output is delayed until the right moment when everything is just right
draft cyles reprocess much of what has not changed (thereby wasting resources and introducing delays in the process) this is necessary to get the cross references, index entries, page numbers, etc. for the whole collection of text being processed [Reid, Brader]
drafts are better quality than with traditional production techniques yet yield no confidence that the final output will eventually appear (evidence the need to comfort wary publishers hoping that you will meet their deadline)
reliance on adequate quality output devices (laser printers or typesetters) with sufficient capacity to handle the completed chapter or document in toto; surge of load when the document is about to deliver; lack of parallelism in the process since sequential order of formatting and output
yet we still need cut and paste at the last minute; illustrations we can not process by output device (photographs or reductions); corrections after the main processing cycles are complete [Brader]; how to feed the corrections automatically into any future versions of the document
¶1.1.3 Concept of Document Style
observe where we have been successful with electronic aids for document production
model - streams of ASCII characters and editors, e.g. runoff et al.
control - separating form from content
integration - tools using the same model
the concept of style controls and specifies a mechanism to address the complexity of document production
styles deal with the issues of appearance, aesthetics, and understandability in documents
"The processes of book design may be classified as editorial planning (in which the text may be locally re-arranged if necessary in preparation for composition, for the benefit of author and reader), visual planning (which determines the appearance of the printed image), and technical planning (which is concerned with the structure of the book and the methods of its manufacture). The editorial and visual aspects of the design derive most of their effectiveness from technical planning. Success in one process or in one aspect alone is never enough; failure at one is more than enough." [Hugh Williamson, Methods of Book Design, p 353]
these are the issues of the efficient communication of information
"To lay down rules of style would be easy enough — we need only consider how things were done yesterday, or how they are done today, or how we prefer to do them ourselves, and to elevate these practices or preferences to the status of dogma" [Hugh Williamson, Methods of Book Design, p 2]
we are interested in furthering the efficiency of that communication:
"The practice of typography, if it be followed faithfully, is hard work — full of detail, full of petty restrictions, full of drudgery, and not greatly rewarded as men now count rewards. There are times when we need to bring to it all the history and art and feeling that we have, to make it bearable. But in the light of history, and of art, and of knowledge, and of man's achievement, it is as interesting a work as exists — a broad and humanizing employment which can indeed be followed merely as a trade, but which if perfected into an art, or even broadened into a profession, will perpetually open new horizons to our eyes and new opportunities to our hands." [Daniel Berkeley Updike, Printing Types, 1922, quoted by Hugh Williamson, Methods of Book Design, p 4]
the concept of style will be central in this thesis to extending the control on the appearance of illustrations and tables
¶1.1.4 Graphical Style and Table Formatting
observe that the table formatting problem extends down to math and up to page layout
eqn uses boxes model
provides a concentrated focus of the issues
two-dimensional layout
alignment
many degrees of freedom for typographic parameters
the thesis presents an experiment in providing style for illustrations and the results
presents an experiment with table layout using an underlying grid system and a constraint satisfaction mechanism
these grid systems are the same as those used by graphic designers to layout book designs
grids provide a discipline for creative expression; sort of like bringing "order out of chaos"
outlines further research in interactive document formatting
--
¶1.2 Roadmap to this thesis
The plan
review the state of computer composition systems
outline some remaining difficulties of mathematics, tables, and illustrations
attack the problem of style in illustrations
observe that layout remains in both illustrations and tables
attack the table formatting problem
suggest some future directions for this research
Chapter ¶2 Document Composition
present a survey of traditional graphic arts production process
how books get published
roles involved in producing a book
who has done or built typesetting systems before
early typesetting systems
document compilers
integrated document systems
document models that reflect these purposes
document compilers accept streams of codes and manuscript text
integrated document systems require structured documents
object-oriented programming styles and structures that apply to document models
we are left with questions:
how to control the complexity of document production?
how to tackle the difficult problem of laying out 2-dimensional information
style mechanisms are present in the systems described so far
they abstract the specification of typographic detail
how far can we push this idea of style?
Chapter ¶3 Graphical Style
extend style mechanism to illustrations
same separation of form vs content
present the material published in "Graphical Style ...", Computer Graphics, v16, n3, 1983
however, its not sufficient
we need contraints to make the system useful
observe that constraints deal with the layout problem
where is there a concentrated layout problem we could tackle?
Chapter ¶4 Tabular Composition
this is a hard problem
show early solutions and their limitations
no style, few typographic features
identify and survey lots of typographic features required for tables
perhaps prioritize these features
examine current solutions in tbl, TEX, Star, and some new integrated document systems
Chapter ¶5 New Framework for Tabular Composition
introduce the notions of grid design systems
graphic designers have used them for years
typesetting systems use the dimensions they provide
tbl topology based on such an implicit grid
introduce the use of a constraint solver for tables
demonstrate the prototype for laying out complex tables
is this enough: do I need to also solve the table breaking problem? Kelly's comment: "no, but mention it" and "how hard is it? complexity results?"
Chapter ¶6 Future Directions
recall the observation that tables are page layout problems in minature
show how the page layout problems are attacked by these techniques
make the observation that math notation is a table in minature
show how math notation would benefit from constraint satisfaction applied to the layout
propose just such a math typography project for Tioga; explain how this would incorporate symbolic algebra system like VAXIMA or MAPLE
Chapter ¶7 Glossary
provide this glossary to explain the terms used by typographic specialists when producing documents
assumes a computer scientist background, so it won't include CS terms
--
¶2 Document Composition
2 DOCUMENT COMPOSITION
CONTENTS
¶2.1 Survey of Document Production Techniques
¶2.1.1 Traditional graphic arts techniques
¶2.1.2 How do books get produced?
¶2.1.3 Roles involved in producing a book
¶2.2 Concept of Style
¶2.3 Early typesetting systems that used computers
¶2.4 Document compilers
¶2.4.1 Troff
¶2.4.2 Scribe
¶2.4.3 TEX
¶2.5 Integrated composition systems
Etude (became Interleaf)
Janus (became IBM product)
Star
Tioga
WYSIWYG or WYSIAlmostWYG or WYSIAllThatYG (anything else is too hard)
How to control all this complexity?
¶2.6 Document models and views of documents (mumble ...)
¶2.7 How to control complexity?
--
¶2.1 Survey of Document Production Techniques
this section will survey how books get produced
describe briefly the traditional graphic arts techniques
outline the roles involved in producing a scholarly book
write this section for a computer scientist, explain why its appropriate to pause and reflect on traditional roles
¶2.1.1 How do books get produced?
an interesting project is documented in One Book/Five Ways
five university presses compared publishing procedures
University of Chicago Press, MIT Press, University of North Carolina, University of Texas Press, and University of Toronto Press
Chicago Manual of Style
MIT editorial style guidelines
editing style
copy editing
design dummies
page samples
reference One Book/Five Ways, and Scholarly Publishing
parallelism in the process
manuscript from the author gets split (copied): production editor, copy editor, designer (for layout and illustrations)
What are the difficult parts?
e.g. tables, math, illustrations, administration, back matter (index, reference appendix), front matter (tables of contents, title pages)
"Mathematics is known in the trade as difficult, or penalty, copy because it is slower, more difficult and more expensive to set in type than any other kind of copy normally occurring in books and journals." [Manual of Style, Chicago, 1969, p 295] [something similar appears in the EQN paper]
"A good composing room can translate almost any tablular copy in a reasonably clear and presentable example of tabular composition" [Williamson, Methods of Book Design, p 160]
How do these parts get produced easily?
skill of the practitioner
procedural steps among specialists
How do designers specify and control this process?
design guidelines communicate between designer and compositor
rules for authors
reference various style books: Manual of Style, AMS guide to authors, APA, McGraw-Hill, Handbook to Scholars, Words into Type
Include at least one horror story from the GPO as an example of how terrible it can be . . .
--
¶2.1.2 Traditional graphic arts techniques
craft skills in the traditional graphic arts; learned by apprenticeship
worked with metal, subtle lines, small sizes,
skills of the copy editor who marked up the manuscript:
identify consistent parts of the manuscript;
enforced "house rules" for writing;
established the "logical" to "physical" mapping for the manuscript
skills of the compositor who set the type:
mechanics of hot metal;
the many adjustments possible with furniture, spacebands, pi sorts;
who deals with mathematics, table setting, accented letters, find more neat things the compositor used;
the goal of aesthetics and the absence of economics
take some excerpts from Phillips tome
find some "History of Type" references
find "Goodbye Gutenberg" reference, perhaps AVFilm at watdcs will know
--
¶2.1.3 Roles involved in producing a book
Anthropomorphism benefits an understanding of the the process
reference Dyment paper, Booth & Gentleman paper on anthropomorphic design, paint paper on design of interactive paint system
defining roles provides understanding of the problem domain
design of computer roles have to accomplish at least those functions, although electronic or automated environment may provide "insurmountable opportunities"
should tools be described here or somewhere else?
would a picture make this any clearer? or more confusing?
author of the manuscript
creates original manuscript and artwork sketches
cycles manuscript to typist for drafts
submits manuscript to acquisitions editor or journal editor for publication decision
deals with production editor for publication process
makes use of writers workbench [reference?] for editorial changes, structured editor for moving text around
may provide electronic copy of the document to publisher
typist
prepares draft manuscript for author using a typewriter or word processor
acquisition editor or journal editor
acquires new manuscripts from authors, solicits opinions of reviewers to determine if the manuscript should be published
reviewer or referee
provides opinions to the editor; market review; comprehensive review
reviews content, not usually format or style
reviewer for book publisher; referee for journal article
may use typeset quality (but ephemeral) to capture the complex notation
may use electronic means to transport report
production editor
supervises the production process that turns a manuscript into a published form
deals with author about the manuscript; deals with variety of suppliers
may use database to track parts of the process (process control)
graphic designer
1) provides design scheme for the entire book after manuscript is available
2) provides custom designs for difficult situations not covered in the overall book design, such as specific tables, illustrations, or difficult portions of the manuscript
copy editor
1) ensures manuscript meets publisher's "house style" for grammar, spelling, citations, references, illustrations, tables, headings, lists of items, etc. ad nauseum
2) marks up manuscript into logical parts for coder and keyboarding
can make good use of global edits to enforce styles
e.g. enforcing elided digits (900-1, 1066-68, 912-13, etc)
lexicons for foreign language words
searching for cross references; split views; indexing tools
indexer
prepares index entries, sorts them, and prepares index manuscript
frequently not the author, although author may revise index terms
works from proofs of the composed pages to determine the page numbers for each index entry
late in the stage traditionally
electronically can capture location of the references
index tool complexities [reference Winograd and Paxton's Tugboat article]
illustrator, draftsman, graphic artist
creates original artwork from the author's ideas or sketches
draftsman may trace sketches to produce final artwork
graphic artist may do more fine art
illustrator may do more technical art
electronic tools for business graphics; requirements to accommodate creativity; inclusion of engineering drawings annotated
graphic designer may do this job, or establish guidelines on size, reduction factors, typography, shading textures, etc.
keyboarder, coder, inputter
transcribes the marked up original manuscript to create a machine-readable manuscript that can be automatically composed or typeset
typesetter / compositor
takes the machine-readable version of the manuscript and produces type
paste-up artist
takes the type, mechanical art, photographs, etc., cuts out the parts that are to be placed on each page, and pastes them on page forms
graphic designer may do some or all of this job, especially if the manuscript requires frequent design decisions
stripper
produces film negatives from the page forms
strips in negatives of photographs and line art if special photographic processing was necessary for them
strips in pages into imposition format for printing plates, such as printing two-up, four-up, or eight-up
produces device dependent pages in printable format
similar goal of the device independent imaging models Interscript [reference] and PostScript [Seybold report? Alice has ordered copy]
printer
makes plates from the negatives and runs the printing press
several passes from separate plates if color
color separations from outside source working from slide transparency
binder
takes printed pages, folds them if larger than a single page, collates the folds into sequence, and binds them into a cover designed by graphic designer or jacket designer
--
¶2.2 Concept of Style
style: a dictionary definition
style is a way to communicate between the stages in the above processes
what a designer communicates to the illustrator [Scientific American does it iteratively and subjectively]; or designer to a compositor; or a copy editor to a keyboarder
what is traditional style?
style manuals
publisher's "house style"
what makes a book look like something from a particular publisher?
university press style manuals [Oxford, Chicago, Toronto]
style is a way of doing things
a system
procedural guidelines
disciplined usage
sources of style
graphic designer
provides the logical structure specified in terms of physical composition parameters
publisher
guidelines to authors
sample pages from compositor
compositor
composition craftsmen determine final parameters according to iterative learning process (sic!) with publisher critiquing the results
editor
style applies to grammar, numbering, cross refernces, illustration content
Difference between preparer/author and designer
prepare using style system or guidelines
design provides disciplined guidelines, an identity scheme, consistency
with sufficient flexibility to handle the range of design problems in a document: illustrations, textual things, etc.
style affect both substance and appearance
separation [Scribe] of typographic design is only slice of style
editing grammar usage is a style issue, Canadian vs American spelling is a style issue; both affect substance
can I use the lexical, syntactic and semantic notions to describe the various style attributes? Kelly's comment: when this is properly done, the substance is not affected, i.e. it remains the same, but in a different form.
arrangement of authors names in a bibliography: is this an appearance issue only?
perhaps I need to be much more precise in thinking about what style is and how to describe it...
Media specific styles
contrary to a simple notion of "view", or device-independence [Shaw]
device and media affect readability, which should imply a different style [this relates to Cargill's notion of views]
Style rules on tables
many parameters supplied by compositor
table entries often broken by compositor
design guidelines on visual highlights
e.g. rules or extra vertical space every 5 rows, separating digits in math tables
Provide some glossary terms. Refer to glossary appended to thesis.
Example of lack of style: TOG reviewer complaint about "Artificial Intelligence" citation two places in text and in caption both appearing with different typography — so much for consistent style!
--
¶2.3 Early typesetting systems that used computers
Graphic arts heritage
typographic coding represented the manual actions of a typographer
TTS coding implied a stream of codes and text intermingled [Phillips, Berg, Seybold]
Runoff macro processor
reference review given in [Brader], An Incremental Formatter
another review in [Futura, Schofield and Shaw] Computing Surveys article
coded manuscript as a stream of characters parsed by a macro processor
macro library applied when called out
conditional execution and state enquiry provides lots of flexibility [Brader]
WYSIWYG
concrete presentation of appearance [Englebart]
structured documents, objects of several types including graphics
need to see the style and structure explicitly
Note that tables appeared very early [Barnett, NBS]
computers were generating numeric data presented in tabular form
paper tape and mag tape provided computer to typesetter connection
Pagination
macros, compilers like Page-1 [Pierson]
my pagination with TTS coded macro processors, like Proff [Beach]
my pagination with Typeset macros, using a more programming language model [Beach]
early pagination with troff ?
problems with exceptions; Penta's try tables; Seybold's photocomposition tome contains references
--
¶2.4 Document compilers
Compilation implies massive connotations
monolithic documents, document hierarchies, compilers
high level to machine language, debugging, optimization implies approximation
experts in document compilation
refer to years of experience in traditional
Electronic cut and paste still necessary
timeliness of last minute revisions
corrections to the algorithmic results (widows, hyphenations, rivers, things too costly to program)
propagating changes to whole document, e.g. change in chapter title implies contents and running heads
remembering changes if made at different stages (remembering octal patches)
Problem not solved, going bite part of it again
why is the problem not easy?
solutions do not accommodate all parts of a document such as illustrations and tables [reference Scribe thesis]
lack of integraton means that different tools or languages to code different things
Comment on Style, Math, Illustrations, Tables, Page Layout
coded manuscript implies document compilers
separation of function: design vs content editing
leverage from multiple uses of contents
reference Bell Labs early experience with troff: 3 forms of document as internal memo, tech report, and journal article. Kelly's comment: this is a notion of style, of course!
JACM copyeditor felt threatened when Bell Labs was trying to prepare camera-ready pages. First samples came back all covered with red marks. The copyeditor retired shortly thereafter and the situation improved. Mike Lesk built several macro packages for JACM, CACM, and conference paper formats. Papers were often published three times as an internal memorandum, an technical report and then in a journal. Noted the project for American Physical Review Letters. [Steve Johnson, Bell Labs]
--
¶2.4.1 Troff
Document formatting machine language
Style mechanism
Macro packages provide style
slide different macro definitions to create different effects
parameterize the macros
Document tools implemented as preprocessors:
tbl, eqn, pic, ideal, refer
Filter/pipe model, sequential only, one pass only (?)
Creating your own toolets
Style mechanism
Macro packages provide style
slide different macro definitions to create different effects
parameterize the macros
Layout mechanism
diversions implied multiple streams
recombine diversions as big boxes
pipe model limitations
Implementation limitations influence view of document formatting
collision of number register names, space limitations
author built system to alleviate many of the shortcomings of troff
TYPE, macros, math, tables, pagination
list of users: publishers (PH, Reston, UT Press, UW Press, UW CS Dept, SIAM, SIGGRAPH, Honeywell, UW Solid Mechanics Division)
macro programming language
register names
data structures grow dynamically
¶2.4.2 Scribe
form vs content made explicit, and rather difficult to override separation
document compilation made explicit
global solution to document composition, perhaps involving interative solutions and symbol table
lack of preprocessors
check with Brian about tbl clone
¶2.4.3 TEX
Knuth made document formatting legitimate computer science topic
global solution in one pass
can do everything although language is complex
penalties are indirect specification of desired results
Check out LaTeX and other preprocessors (macro packages)
--
¶2.5 Integrated composition systems
Etude (became Interleaf)
[MIT Reports, Shaw, Brader]
Janus (became IBM product)
now IBM product
[IBM Systems Journal article]
Star
office documents major focus [Xerox reports on Star, Seybold Report]
integrated several classes of objects
property sheets vs style sheets (attribute specifications, lack of indirection or naming, lack of scoping)
interactive user interface
Tioga
interactive, structured documents, WYSIWYG for display or printer
limited typesetting services (no footnotes, no floating figures)
extensible: user interface, client objects (artwork, photographs, tables)
WYSIWYG or WYSIAlmostWYG or WYSIAllThatYG (anything else is too hard)
Kelly's comment: how do I change style here?
How to control all this complexity?
Style specifications
abstract the attributes and parameterize the algorithsm
supply extensible specifications
future rule specifications could provide algorithms
--
¶2.6 Document models and views of documents (mumble ...)
flat vs structured
similar to batch versus integrated dicotomy
tree versus DAG
Engelbart NLS, Nelson Xanadu, van Dam Hypertext
distributed documents
data files
column order, sort row values to provide organization
my query formatter idea
rewriting rules for query matches to provide structure and formatting information
index generator
extract index entries and positions during formatting pass
Scribe symbol table approach
troff index file approach
my index tool for Tioga approach
node properties for index entry, additional properties for location and formatted location
operations on structured documents
replicate columns for finding things/viewing purposes [Phillips, Tabular Composition]
tick mark problem, adding finders (rules or space) every so many rows or entries [Malcolm, tick mark problem]
Cargill's notions of views
multiple views of information stored in one structure [Cargill]
providing redundant information (lister) for finding things (headers, contents, cross reference)
program visualization
Baecker & Marcus typesetting of C programs
other pretty printing examples
--
¶2.7 How to control complexity?
document production
laying out 2-dimensional information
how far can we push style mechanism?
to illustrations?
--
¶3 Graphical Style
3 GRAPHICAL STYLE
CONTENTS
3.1 Problems
3.2 Examples
3.3 TiogaArtwork
3.4 Results
3.5 Questions
--
3.1 Problems
revisit TOG reviews
changes in media: display — print — project
consistency among a set of figures for varying sources
"Every item in the book gains in appeal to the reader's eye from its relationship with all the other items. Something of a family resemblance, an appearance of being a set of pictures rather than a collection from disparate sets, may confer this advantage on the illustrations of any edition." [Hugh Williamson, Methods of Book Design, p 256]
"When the author's contract stipulates that he is to supply illustration copy, he may choose to draw it himself or get it drawn by somebody else whose main qualification for the task is that he will make no charge for it, or next to none. The resulting material may be clear enough to explain its meaning but incapable of adequate reproduction or too irregular in drawing to appear in a well-produced book." [Hugh Williamson, Methods of Book Design, p 258]
extended life of pictures
editing operations on illustrations similar to formatted documents
push on the style to control illustrations
Revisit section 1 discussion of illustrations, house style
Separation of form & content for illustrations
extend the document model to accommodate illustrations
--
3.2 Examples
PICTURE [Beatty, et al.]
PIC & IDEAL troff preprocessors
DRAW
no style
Griffin
explicit style
no indirection
STAR
idiomatic graphics, no extensions by graphic designer
ISSCO/TELAGRAF
business graphics package
subroutine package and design language
where is style in all this?
JUNO/GOB
constrained illustrators
interesting for the table formatting part of the thesis later on
no style in JUNO/GOB
--
3.3 TiogaArtwork
extend Tioga document model to illustrations
styles come along with that document model, extend style attributes to display primitives [GKS workstation attributes]
prototype text interaction only
3.4 Results
styles okay if tools for managing them were better {property sheets, style tool}
property sheet interface needed
layout/constraints necessary to permit changing geometry due to style changes or aspect ratio
detail suppression when scale changes or aspect ratio
3.5 Questions
How do you achieve consistency?
What tools make a graphic artist more effective?
Note: tools change the way a job is done
"if the only tool you have is hammer, the whole world tends to look like a nail" [Abraham Maslow]
Media requirements:
color, line weights, endings, intersections, shadows
. . . all the small details that become style parameters
--
¶4 Tabular Composition
4 TABULAR COMPOSITION
CONTENTS
4.1 Early table formatting systems
4.2 What is a table?
4.3 Why are tables hard?
4.4 Previous approaches
¶4.4.1 The Typewriter Tab Stop Model
¶4.4.2 tbl
¶4.4.3 TEX
¶4.4.4 TABLE
4.5 Samples of tables formatted
--
4.1 What is a table?
form of communication
"Tables offer authors and editors a useful means of presenting large amounts of detailed information in small space. A simple table . . . can often give information that would require several paragraphs to present textually and can do so with greater clarity. Tabular presentation is not simply the best but usually the only way that large quantities of individual, similar facts can be arranged." [A Manual of Style, Chicago, 1969, p 273]
"ta-ble n. 13. An orderly written, typed, or printed display of data, especially a rectangular array exhibiting one or more characteristics of designated entities or categories. 14. An abbreviated list, as of contents; a synopsis. [Am. Her. Dictionary]
table typography is hard
"The principles of table making involve matters of taste, convention, typography, aesthetics, and honesty, in addition to the principles of quantification." [Tabular Presentation, p 497]
"Tabular setting has proved both the easiest and the most difficult form of composition to bring under computer control. Because tabular setting is mainly for numeric data, it might seem strange that there should be any difficulty in providing computer-generated drive-tapes for photoset tables." [Arthur H. Phillips, Handbook of Computer-Aided Composition, p 189]
more than just computed data
"While many tables of physical and scientific data are being compiled by computer, there is still a requirement to include these data in technical publications because they are considered of interest to the reader who may not have access to the generating algorithms even if he is a computer user. The publication of such data in printed form may also be considered necessary to establish the status of the author! It would appear that the need for tabular composition in general bookwork will continue for some time." [Arthur Phillips, Tabular Composition, Seybold Report, August 1979, v8, n23, pg. 23-15]
--
4.2 Early table formatting systems
early typesetting systems did tables
[Barnett 1965, Reid 1979, NBS 1962, Phillips 1979]
simple problems led to simple solutions
"But there are really two very different categories of tabular composition: One comprises a book of similar tables in which the values shown can be calculated by program algorithms from the minimum of data input, and the other consists of the tables appearing in technical texts. In the first case the style is similar for many consecutive pages, but in the second case each table, and there are sometimes several tables on the same page, has different column widths, different numbers of columns, and also ranges the entries differently, both vertically and horizontally; in addition, each table may have different complex box headings." [Arthur H. Phillips, Handbook of Computer-Aided Composition, p 189]
data generated by computer presented in tables
why were the solutions simple?
"The significance of this early work in tabular composition is that all the typographic parameters were defined by program." [Arthur H. Phillips, Handbook of Computer-Aided Composition, p 195]
4.3 Why are tables hard?
tables are complicated
"These complications will tend to keep interactive terminals employed for page make-up and with soft-copy proofs on page view terminals." [Arthur Phillips, Tabular Composition, Seybold Report, August 1979, v8, n23, pg. 23-11]
Tables are two-dimensional: rows and columns
In galleys, text words become lines and lines become pages. Constraint is line length and H&J algorithms break lines appropriately.
In tables, text words become table entries, entries are aligned simultaneously into rows and columns. Constraints are page width and entry alignment both horizontally and vertically.
Table entries may flow from one to another (especially when treating free form grid designs as a table, where pictures and captions are placed on a grid and text flowed around those elements).
US Government Printing Office defines tables
Style manual for tabular material.
Parts of a table [GPO, page 216-217 written out in English]
Some computer program support for this (batch only I believe). I read a later assessment of GPO composition tools but have lost the reference when Paxton moved.
Typeset tables require fine resolution in placement. (sounds kind of weak)
normal text use line measure, rather long; tables deal with multiple columns and centering and small spaces between them
Spreadsheets have it easy with a matrix format.
Typewriters have it easy with fixed width characters and fixed escapments for tab stops.
Typesetters have variable width fonts on various fine resolutions (e.g. 1/10th of a point or 1/720 of an inch).
block of type model: treat table entry as an area, furniture in layout
"Tabular material is always difficult to typeset—much more so than to compose on the typewriter. This is true even though figures have a "monospaced" value. Letters do not, and therefore it is more difficult to align material or even to determine what will fit in a given space . . . The monospaced typewriter—where you can actually visualize what you are setting—is certainly the simplest way for the novice to proceed. And it will not be an easy task for the typesetter to imitate what the typist has done." [Seybold, Fundamentals of Photocomposition, p 14]
Table structure
entry, row, column, table hierarchy
spanned columns or rows, nested ownership
why is this hard? editing maybe? spreading attributes to siblings in row or column?
Row and column alignment:
Align table entries within its row or column.
Headings may span several rows or columns.
Equally spaced rows or columns independent of content.
Foldable columns (or sets of columns) continued in adjacent columns and balanced.
Alignment choices:
Horizontal alignment:
flush left, flush right,
center,
align on character (for example, decimal point, multiplication sign)
Vertical alignment:
flush top, flush bottom,
top baseline, bottom baseline,
center, center on top baseline, center on bottom baseline
GPO sample table, page 189, avoid the use of scabbards
Style treatment of tables may be grouped:
Table may have different type attributes than surrounding text.
A row or column may be distinguished with different type attributes.
A table entry may have different attributes.
A table entry might contain any text or illustration permissible by the formatter.
Whitespace allowances:
Bearoff distances above, below, to left, to right of table entry.
Intrusions permitted for footnote marks or glosses.
Rules and decorations:
Rules along row or column boundaries
"Ruled tables, for example, are usual in the publications of this press, in part because Monotype composition has always been readily available. For a publisher who is restricted to Linotype, open tables or tables with horizontal rules alone may be the only practical way tabular matter can be arranged." [Manual of Style, Chicago, 1969, p 273] [it would be interesting to compare the 13th edition on this suggestion!]
Rule patterns, such as double rules, thick-thin pairs, etc.
rules of different weights; medium rule between table heading and table, and below table; fine rule between column headings and columns [Williamson, Methods of Book Design, p 159]
Various weights and patterns or rules or borders
Background tints for table entries or whole rows or columns.
Rules within boxes, for example, for total of a column of entries.
Braces to group entries horizontally or vertically in a column
GPO page 193 has a sample table with lots of braces
Leaders (the dots that lead your eye):
Leaders may be replicated characters or rules.
Congruence which arranges that replication pattern aligns. Congruence of several different sizes of leaders.
Leaders run from one column into another and possible across several columns.
Footnotes within tables:
Footnote may be included with table entry, if the entry is large.
Footnotes may be collected at the bottom of the table, outside the table layout but within the space allocated in the page layout.
Footnotes at the bottom of the same page (?) as the table formatting. That is the footnotes are continued in the stream of footnotes within the text. (Sounds a bit hokey to me.)
Special treatments to make a table fit.
Rotate headings to typeset vertically to reduce column width. Possibly set text vertically with characters horizontally (vertical stack arrangement).
table orientation normally upright
column headings that are much wider than rest of column turned sideways with descenders to the right [Williamson, Methods of Book Design, p 159]
Reduce size of type within table.
tables in smaller type, although majority in text size and minority in smaller size preferred [Williamson, Methods of Book Design, p 159]
Compress text horizontally to make characters narrower (reduce the set size)
Reduce whitespace bearoff to make table fit.
transpose columns and rows to make table fit
transpose table if table consists of more columns than rows [Williamson, Methods of Book Design, p 159]
Phillips also fantasizes about computer programs to do this
mention concerns of statistical data [Leisel, Say It With Figures, p 41]
Tables may be larger than a single page:
Wide tables may be printed broadside, rotated 90 degrees (either way), so the long table dimension is along the long paper dimension.
tables wider than page turned sideways so rows read to the right, column headings that are much wider than rest of column turned sideways with descenders to the LEFT otherwise they would appear UPSIDE DOWN! [Williamson, Methods of Book Design, p 159]
recto pages are preferred since a turned book will present the recto page closer to the reader. [Williamson, Methods of Book Design, p 271]
Tables may be laid out as facing pages in a two-page spread.
tables spread across facing pages (opening) need some form of linking; table too big printed as a folded plate! [Williamson, Methods of Book Design, p 159]
Tables may be continued on several subsequent pages.
"It would be asking rather a lot of a page make-up program to insert carried forward and brought-forward totals automatically at a table break, and indeed these were often omitted when tables were made-up by the hand compositor" [Arthur Phillips, Tabular Composition, Seybold Report, August 1979, v8, n23, pg. 23-11] [referring to the introduction of continued lines at points where table columns are broken]
split tables may not split within a column or row
perhaps column or row is repeated for readability
columns may be folded to make them fit.
Boxheads (set of column headings) or Stubs (set of row headings) may need to be repeated if table is continued. Continued headings (add the text "continued") may be necessary for such tables.
scrolling horizontally or vertically when displaying them on screens
Readability concerns are well known to those who make mathematical tables.
Grouping rows or columns by adding whitespace or rules every so many entries.
Provide eye guides, for example, thin rules between rows, thick rules every fifth row, background tints every so many rows.
Various sources of tabular materical:
Financial spreadsheets from calculator program.
Financial reports.
Program generates voluminous data.
Extracts from a database.
author composes a simple table.
Unfortunately, almost anything can be a table!
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4.4 Previous approaches
¶4.4.1 The Typewriter Tab Stop Model
fixed pitch characters lends itself to measurements as character counts
typewriters: tabs at marked points
computer terminals: every n characters
specifying line wrap arounds, where do lines resume after wrap around?
specifying column formatting attributes, e.g. font, size, indenting? only locally
different semantics of tab characters
set in this column versus set to this measure
Scribe centers within a pair of tab stops but flushes left or right to a tab stop
troff centers on a tab stop
¶4.4.2 tbl
whats a nice typographic touch to distinguish references to tbl?
general preprocessor for troff
can set most every layout of table
topology from row/col entry layout
anomaly: col span in topology, row span in data
geometry simple solver using Troff registers
limitations
number/string registers 2 chars
no algorithm for folded lines; requires column measure to be supplied
recursion impossible: table within a table, equation — table — equation
¶4.4.3 TEX
LaTEX and "dirty tricks" section of the TeXBook imply that tables are done with macros that emulate the facilities of tbl
¶4.4.4 TABLE
[Biggerstaff, et al] front end to tbl
object-oriented representation
study editing complex structures, tables are complex structures
layout of idiomatic graphical structures
editing primitives
cursor movements within structure
workspaces - general purpose sharing of data
selection granularity
table to characters, movement in/out granularity
TABLE lacks logical structure of table, only topology
provides no operations on logical structure
perhaps induced by tbl
data structure alternatives
1) tree; asymmetric
2) matrix: symmetric, sizing must analyze all entries in row/column
--
4.5 Samples of tables formatted
the perfect table example (or series of examples)
tbl
inlcude the standard tbl manual examples
TEX, Scribe, Star, Janus
Government printing office style manual
Simultaneous translation as a table
[Tabular Presentations, pg 502]
two-dimensional array of percentages
Grid 7 Rows 7 Columns ByRowThenColumn GridOverlay 0.5 bp 0.0 0.0 0.5 EmptyNodeTemplate RowConstraints ColConstraints
empty
RowConstraint 2.0*gy2 - 1.0*gy1 - 1.0*gy3 = 0
RowConstraint 2.0*gy4 - 1.0*gy3 - 1.0*gy5 = 0
RowConstraint 2.0*gy6 - 1.0*gy5 - 1.0*gy7 = 0
ColConstraint 2.0*gx2 - 1.0*gx1 - 1.0*gx3 = 0
ColConstraint 2.0*gx4 - 1.0*gx3 - 1.0*gx5 = 0
ColConstraint 2.0*gx6 - 1.0*gx5 - 1.0*gx7 = 0
Box (0,0) (1,1) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xxxxx
Box (0,1) (1,3) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xxxxx
Box (0,3) (1,5) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xxxxx
Box (0,5) (1,7) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xxxxx
Box (1,0) (2,1) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xxxxx
Box (1,1) (2,2) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (1,3) (2,4) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (1,5) (2,6) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (2,2) (3,3) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx%)
Box (2,4) (3,5) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx%)
Box (2,6) (3,7) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx%)
Box (3,0) (4,1) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xxxxx
Box (3,1) (4,2) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (3,3) (4,4) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (3,5) (4,6) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (4,2) (5,3) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx%)
Box (4,4) (5,5) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx%)
Box (4,6) (5,7) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx%)
Box (5,0) (6,1) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xxxxx
Box (5,1) (6,2) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (5,3) (6,4) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (5,5) (6,6) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (6,2) (7,3) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx%)
Box (6,4) (7,5) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx%)
Box (6,6) (7,7) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx%)
[Tabular Presentations, pg 505]
spanned table headings
Grid 6 Rows 7 Columns ByRowThenColumn GridOverlay 0.5 bp 0.0 0.0 0.5 EmptyNodeTemplate RowConstraints ColConstraints
empty
RowConstraint 2.0*gy3 - 1.0*gy2 - 1.0*gy4 = 0
RowConstraint 2.0*gy5 - 1.0*gy4 - 1.0*gy6 = 0
ColConstraint 2.0*gx4 - 1.0*gx3 - 1.0*gx5 = 0
ColConstraint 2.0*gx6 - 1.0*gx5 - 1.0*gx7 = 0
Box (0,3) (1,7) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (1,3) (2,5) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (1,5) (2,7) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (2,0) (6,1) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (2,1) (4,2) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (4,1) (6,2) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (2,2) (3,3) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (2,3) (3,4) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx%
Box (2,4) (3,5) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx)
Box (2,5) (3,6) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx%
Box (2,6) (3,7) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx)
Box (3,2) (4,3) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (3,3) (4,4) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx%
Box (3,4) (4,5) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx)
Box (3,5) (4,6) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx%
Box (3,6) (4,7) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx)
Box (4,2) (5,3) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (4,3) (5,4) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx%
Box (4,4) (5,5) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx)
Box (4,5) (5,6) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx%
Box (4,6) (5,7) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx)
Box (5,2) (6,3) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx
Box (5,3) (6,4) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx%
Box (5,4) (6,5) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx)
Box (5,5) (6,6) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
xx%
Box (5,6) (6,7) Center Center 3.0 bp 6.0 bp 3.0 bp 3.0 bp
(xx)
--
¶5 New Framework for Tabular Composition by Computer
5 NEW FRAMEWORK FOR TABULAR COMPOSITION BY COMPUTER
CONTENTS
5.1 Grid & Constraint system for tables
¶5.1.1 Graphic Arts References to Grid Systems
¶5.1.2 Constraint Systems
5.2 Objects within table
5.3 Alignment & breaking algorithms
¶5.3.1 Complexity of table layout algorithms
¶5.3.2 Storage costs of these algorithms
5.4 Table data structure
5.5 Constraints
--
¶5.1 Grid & Constraint system for tables
¶5.1.1 Graphic Arts References to Grid Systems
Hurburt's book, The Grid
Muller-Brockman, Grid Systems in Graphic Design
Williamson, Methods of Book Design
Section 9-10: Vertical position
typical text page offers different vertical levels for alignment:
1) headline, 2) first line of text, 3) chapter number, 4) first line of chapter title, 5) first line of text in a chapter, 6) last text line, 7) footline
illustration often aligned to these levels
Tilbrook's A Newspaper Pagination System
grid system, graphic arts references
¶5.1.2 Constraint Systems
what we are going to use them for?
specify layout of table rows, columns, and entries by satisfying constraints
inequality constraints
Greg Nelson's constraint solver from his thesis
Borning's Thinglab examples
--
5.2 Objects within table
represent objects by boxes
define boxes to have 4 dimensions: left, right, up, down
multiple line boxes okay, might wish to access baseline within box
topBaseline, bottomBaseline, centerTopBaseline, centerBottomBaseline
TiogaArtwork Graphical Style reference
general document model extended to include tables
recursion potential from boxes model for layout
--
¶5.3 Alignment & breaking algorithms
¶5.3.1 Complexity of table layout algorithms
Random Pack
Stub Pack
Lattice Pack
Constraint Solver algorithm
¶5.3.2 Storage costs of these algorithms
How to count table entries? r c versus n2
Formatting attributes indirected by style name
--
5.4 Table data structure
grid promotes rectangular structure
corner stitching data structure [Ousterhout]
linear algorithms [Shand?]
coordinates of grid mapped onto coordinates of the corner stitched rectangles
operations
enumerate area: act on each entry enumerated by call-back procedure
overlapping planes
how are they handled?
rules and entries
rule intersections provide corner capabilities (rounded, butt, mitred, multiple rule, border patterns and ornaments)
backgrounds kept separately
--
5.5 Constraints
assume independence of horizontal and vertical constraints
not true when balancing white space (perhaps described later in the thesis)
implies that horizontal and vertical constraints can be solved separately, thereby reducing the size of the tableau
linear inequalities needed
slack for various sizes of boxes and spanned headings
illustration showing slack possibilities, set of decimal aligned boxes, set of spanned column headings over short and long column entries
constraint equations
diagram the various possibilities and identify the equations for each
alignment within grid lines: horizontal and vertical
position within grid lines: center
equal size columns or rows as constraints
ordering columns or rows to force a solution (I think this is necessary but I haven't thought through when yet)
handling large tables
constraint tableau is (rows)x(columns)
observe structure of the constraint equations:
grid1 + box.width >= grid0; for each box between grid0 and grid1
search for maximum constant value and replace the set of equations with:
grid1 + MAX[box.width for each box] >= grid0
constraint tableau is banded, since constraints generally affected locally
maybe win by solving equations with sparse matrix techniques
maybe win by solving for some variables first
cleavages are places to break tables
where a grid line does not cross a table entry
for example a row or a column grid line
notion of kerfs from Plass or Knuth
kerf is how to get repeated boxheads or stubs
--
¶6 Future Directions
6 FUTURE DIRECTIONS
¶6.1 Extensions of Table Formatting Algorithms
Extend tables to math notation (small) and pages (large)
Several algorithm problems
¶6.2 User Interface Issues
Interaction and user interface issues
Newswhole paradigms [Tillbrook]
Summary of points in Phillip's article:
— specifying nil entry contents (editing operation)
— interactive skip between column entries (table property: enumerate entries by row or column major order)
¶6.3 Document Structure Issues
Objects (pictures) that size themselves
replicating scan lines, programmed variations of synthetic images
control over scaling, aspect ratio, dot size, maximums of these values
--
¶7 Glossary
7 GLOSSARY
see Glossary.Tioga
--
¶8 References
8 REFERENCES
annotated bibliography, if I can get my references out of Squirrel in a formatted fashion
--
¶9 Index
9 INDEX
don't forget this . . . perhaps I shall have to revive my IndexTool to do the indexing job properly
--
¶10 Deliverables
10 DELIVERABLES
Typeset
formatter, macro package, math package, table macros
provided the basis for an operating company to typeset scholarly books and journal articles
I could list a bibliography of such typeset materials to demonstrate the range of complexity:
1977 ICCH-3 proceedings: 7 week wonder going from manuscripts to case bound book in advance of the conference; foreign languages (French and Greek), mathematics, statistics tables)
1978 WATFIV-S Introduction to Computing: computer programs included from machine readable files
1979 Sparse Matrix book: matrix algebra notation
1981 Techn
TiogaArtwork
prototype demonstrated in the 1982 videotape "Graphical Styles"
prototype functionality:
convert Griffin illustrations to TiogaArtwork text-based format
define graphical extensions to the Tioga style machinery
required changes to the Tioga formatter as well as extensions to the style attributes supported by Tioga
extended the typesetting software to accommodate client-supplied classes of document content
including TiogaArtwork, scanned images, preformated printer image files (Press)
this class concept permits recursive inclusion of illustrations with text that might contain other illustrations, ad nauseum, in the Tioga document structure
provide rendering software that produced images from the Griffin geometry according to the graphical style parameters
lines, areas, colors, text, shadows
borders, defined by parametric mapping prototype software, were not integrated with the TiogaArtwork prototype
but they explored the concept of defining more complex line styles
used to prepare the illustrations for the 1983 SIGGRAPH paper "Graphical Style — Towards High Quality Book Illustrations"
concept to be integrated with current revisions to the Tioga formatter used in Cedar
style machinery will be reworked to provide better user interface to define new styles and families of styles
TableTool
prototype used to prepare all the tables in this thesis
prototype functionality:
accepts artwork class for formatting tables
defines a text-based table description
provides an explicit grid topology for the table entries
accepts constraint equations on the placement of grid lines
accepts any class of document content supported by Tioga (text, TiogaArtwork potentially, scanned images, other tables)
provides for rules and other "along the grid line" decorations
provides for tinted backgrounds
a proptype user interface has been designed (but it is currently broken)
concept will be integrated with current revisions to the Tioga formatter used in Cedar for passive display of tables within Tioga documents
interactive user interface will be developed to permit editing of table structures, styles, and layout
--