Setting Tables and Illustrations with Style CONTENTS Ά1 Introduction Ά2 Document Composition Ά3 Graphical Style Ά4 Tabular Composition Ά5 New Framework for Tabular Composition Ά6 Future Directions Ά7 Glossary Ά8 References Ά9 Index -- Ά1 Introduction to Document Composition Ά1 INTRODUCTION TO DOCUMENT COMPOSITION CONTENTS Ά1.1 What this thesis contributes? Ά1.1.1 What is a document? Ά1.1.2 Difficult Problems in Document Production Ά1.1.3 Concept of Document Style Ά1.1.4 Graphical Style and Table Formatting Ά1.2 Roadmap to this thesis -- Ά1.1 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 Ά1.1.1 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 Ά1.1.2 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 Ά1.1.3 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 Ά1.1.4 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 -- Ά1.2 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 Ά2 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 Ά3 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 Ά4 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 Ά5 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 Ά6 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 Ά7 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 -- Ά2 Document Composition Ά2 DOCUMENT COMPOSITION CONTENTS Ά2.1 Survey of Document Production Techniques Ά2.1.1 Traditional graphic arts techniques Ά2.1.2 How do books get produced? Ά2.1.3 Roles involved in producing a book Ά2.2 Concept of Style Ά2.3 Early typesetting systems that used computers Ά2.4 Document compilers Ά2.4.1 Troff Ά2.4.2 Scribe Ά2.4.3 TEX Ά2.5 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? Ά2.6 Document models and views of documents (mumble ...) Ά2.7 How to control complexity? -- Ά2.1 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 Ά2.1.1 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 . . . -- Ά2.1.2 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 -- Ά2.1.3 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 -- Ά2.2 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! -- Ά2.3 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 -- Ά2.4 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] -- Ά2.4.1 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 Ά2.4.2 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 Ά2.4.3 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) -- Ά2.5 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 -- Ά2.6 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 -- Ά2.7 How to control complexity? document production laying out 2-dimensional information how far can we push style mechanism? to illustrations? -- Ά3 Graphical Style Ά3 GRAPHICAL STYLE CONTENTS Ά3.1 Problems Ά3.2 Examples Ά3.3 TiogaArtwork Ά3.4 Results Ά3.5 Questions -- Ά3.1 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 -- Ά3.2 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 -- Ά3.3 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 Ά3.4 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 Ά3.5 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 -- Ά4 Tabular Composition Ά4 TABULAR COMPOSITION CONTENTS Ά4.1 Early table formatting systems Ά4.2 What is a table? Ά4.3 Why are tables hard? Ά4.4 Previous approaches Ά4.4.1 The Typewriter Tab Stop Model Ά4.4.2 tbl Ά4.4.3 TEX Ά4.4.4 TABLE Ά4.5 Samples of tables formatted -- Ά4.1 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] -- Ά4.2 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] Ά4.3 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 typesetmuch 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 typewriterwhere you can actually visualize what you are settingis 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! -- Ά4.4 Previous approaches Ά4.4.1 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 Ά4.4.2 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 Ά4.4.3 TEX LaTEX and "dirty tricks" section of the TeXBook imply that tables are done with macros that emulate the facilities of tbl Ά4.4.4 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 -- Ά4.5 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) -- Ά5 New Framework for Tabular Composition by Computer Ά5 NEW FRAMEWORK FOR TABULAR COMPOSITION BY COMPUTER CONTENTS Ά5.1 Grid & Constraint system for tables Ά5.1.1 Graphic Arts References to Grid Systems Ά5.1.2 Constraint Systems Ά5.2 Objects within table Ά5.3 Alignment & breaking algorithms Ά5.3.1 Complexity of table layout algorithms Ά5.3.2 Storage costs of these algorithms Ά5.4 Table data structure Ά5.5 Constraints -- Ά5.1 Grid & Constraint system for tables Ά5.1.1 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 Ά5.1.2 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 -- Ά5.2 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 -- Ά5.3 Alignment & breaking algorithms Ά5.3.1 Complexity of table layout algorithms Random Pack Stub Pack Lattice Pack Constraint Solver algorithm Ά5.3.2 Storage costs of these algorithms How to count table entries? r X c versus n2 Formatting attributes indirected by style name -- Ά5.4 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 -- Ά5.5 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 -- Ά6 Future Directions Ά6 FUTURE DIRECTIONS Ά6.1 Extensions of Table Formatting Algorithms Extend tables to math notation (small) and pages (large) Several algorithm problems Ά6.2 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) Ά6.3 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 -- Ά7 Glossary Ά7 GLOSSARY see Glossary.Tioga -- Ά8 References Ά8 REFERENCES annotated bibliography, if I can get my references out of Squirrel in a formatted fashion -- Ά9 Index Ά9 INDEX don't forget this . . . perhaps I shall have to revive my IndexTool to do the indexing job properly -- Ά10 Deliverables Ά10 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 -- VThesisOutline.Tioga Last edited by Rick Beach, October 11, 1984 9:39:18 pm PDT Κζ•StyleDefͺBeginStyle (Cedar) AttachStyle (Nest) "display nesting level" { nestingLevel 1 .gt { BasicSize bigger leftIndent } .cvx .if } PrintRule (BasicSize) {12 bp} .cvx .def (BasicLeading) {16 pt} .cvx .def (look.w) "things to do" { "CREAM" family 10 bp size bold face } ScreenRule (look.w) "things to do" { "CREAM10" family 10 bp size bold face } PrintRule (head4) "a list of items heading" { head3 } StyleRule (root) "document layout" { docStandard .5 in topMargin .8 in headerMargin .5 in footerMargin .5 in bottomMargin 1.25 in leftMargin 1.25 in rightMargin 6 in lineLength 24 pt topIndent 24 pt topLeading 0 leftIndent 0 pt rightIndent } StyleRule EndStyle˜J™J•Mark centerFooter™:ItitlešΟs+˜+Icontentsšœ˜LšœΟb˜Lšœ˜Lšœ˜Lšœ˜Lšœ(˜(Lšœ˜Lšœ ˜ Lšœ ˜ Lšœ˜I pagebreak˜headšœž&˜'Iunleaded– centerHeaderš œžΠbs žŸžŸžŸ ˜'Lšœ˜šœ"˜"Lšœ˜Lšœ0˜0Lšœ ˜ Lšœ+˜+—Lšœ˜M˜šœ"˜"block˜BP˜IP˜4P˜DPšΟw!˜!—šœ˜P˜ΜPšœV œ”˜όPšœΜ '˜σPšœΟiœω L˜γP˜§˜4P˜IP˜JP˜I——šœ7˜7˜5P˜MP˜D—˜P˜;˜JP˜OPšœpΟkœ ˜€P˜P˜G—˜TPšœ%’œ’œ ˜O—Pš œp’œ’œ’œ’ œ!˜°P˜AP˜‘Pšœͺ ˜ΐ—˜˜#Pšœ’œ 9œ“˜έ—˜P˜»—˜8P˜Ρ—P˜žP˜΅—˜)P˜[PšœφΠqw˜…P˜βP˜‘Pšœ½ œT˜™——šœ ˜ ˜SPšœ’œ+˜CP˜&P˜(—˜h˜YIquotešβΠis˜€—P˜BQš„€˜ —˜EQšΟd΅Πdi₯#¦₯˜‚—P˜z—šœ+˜+˜TP˜P˜+P˜P˜ P˜2—PšœV˜V˜pP˜YP˜^—P˜<—M˜—šœ˜˜P˜0P˜MP˜,P˜P˜8P˜O—˜P˜5P˜K—˜P˜WPšœw’œ’˜†——šœ˜P˜cPš E˜E——M˜—šœ˜O– centerHeaderšœžŸžŸ ˜Lšœ˜šœ-˜-Lšœ*˜*Lšœ!˜!Lšœ)˜)—Lšœ˜Lšœ2˜2šœ˜Lšœ ˜ Lšœ ˜ Lšœ ˜ —šœ#˜#L˜L˜L˜L˜L˜EL˜#—Lšœ8˜8Lšœ˜M˜šœ-˜-˜/P˜8P˜8Pš r˜r—šœ!˜!Pšœ(‘˜:˜6P˜€P˜P˜P˜ P˜ P˜P˜ —Pš  œΠiw §˜6˜P˜w—˜P˜‰Qš&€ €€γ˜€Qš‘€˜―—˜'P˜P˜"—˜2P˜=˜Pš }˜}——Pš \˜\M˜—šœ*˜*˜GP˜.—šœΟn œ˜7Pšœ,˜,Pšœ#˜#PšœB˜B—šœ¨ œ˜*Pšœ˜PšœC˜CPšœ= )œ˜gPšœ3˜3—Pš %˜%Pš &˜&Pš F˜FM˜—šœ)˜)˜=Pš |˜|P˜;P˜Pš 1˜1Pš 9˜9—˜P˜0PšœΟeœ ˜&Pšœ©œ©œ˜TPšœ ©œ˜4Pšœ  œ@˜kP˜8—˜Pšœ©œ%˜I—˜$Pšœ<© œ3˜x—˜Pšœ©œ%˜DP˜,Pš©œ©œ˜8P˜GP˜,—˜P˜OPšœ ©œ6˜GPšœA˜A—˜P˜KP˜«—˜ P˜€P˜C˜3P˜:P˜#P˜;——˜P˜AP˜AP˜ZP˜P˜5Pšœ 1˜I—˜&P˜ ˜DPšœJ +˜u—˜P˜&P˜(˜&P˜Q——P˜CPš Δ˜ΔM˜—šœ2˜2˜P˜BPšœ; ˜T—˜Pšœ œ˜Pš 3˜3——˜&P˜.P˜mP˜M—˜P˜AP˜‚P˜²—˜'˜–P˜"Pšœr‘œ˜—˜!Pšœk‘œ˜‰—P˜LP˜,˜,PšœI‘œ˜gP˜;Pšœ.‘œ˜H——˜(˜…Pšœά‘œ˜ϊPšœm‘œ˜‹—˜P˜Pšœ, ˜H—P˜‹P˜f—M˜——…—δπ,