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Desktop publishing

Desktop publishing is the creation of documents using page layout software on a personal computer. It was first used exclusively for print publications, but now it assists in the creation of various forms of online content. Desktop publishing software can generate layouts and produce typographic-quality text and images comparable to traditional typography and printing. Desktop publishing is the main reference for digital typography; this technology allows individuals and other organizations to self-publish a wide variety of content, from menus to magazines to books, without the expense of commercial printing. Desktop publishing requires the use of a personal computer and WYSIWYG page layout software to create documents for either large-scale publishing or small-scale local multifunction peripheral output and distribution — although a non-WYSIWYG system such as LaTeX could be used for the creation of highly-structured and technically-demanding documents as well. Desktop publishing methods provide more control over design and typography than word processing.

However, word processing software has evolved to include most, if not all, capabilities available only with professional printing or desktop publishing. The same DTP skills and software used for common paper and book publishing are sometimes used to create graphics for point of sale displays, infographics, business cards, promotional items, trade show exhibits, retail package designs and outdoor signs. Although what is classified as "DTP software" is limited to print and PDF publications, DTP isn't limited to print; the content produced by desktop publishers may be exported and used for electronic media. The job descriptions that include "DTP," such as DTP artist require skills using software for producing e-books, web content, web pages, which may involve web design or user interface design for any graphical user interface. Desktop publishing was first developed at Xerox PARC in the 1970s. A contradictory claim states that desktop publishing began in 1983 with a program developed by James Davise at a community newspaper in Philadelphia.

The program Type Processor One ran on a PC using a graphics card for a WYSIWYG display and was offered commercially by Best info in 1984. The Macintosh computer platform was introduced by Apple with much fanfare in 1984, but at the beginning, the Mac lacked DTP capabilities; the desktop publishing market took off in 1985 with the introduction in January of the Apple LaserWriter printer. This momentum was kept up by with the addition of PageMaker software from Aldus, which became the standard software application for desktop publishing. With its advanced layout features, PageMaker relegated word processors like Microsoft Word to the composition and editing of purely textual documents; the term "desktop publishing" is attributed to Aldus founder Paul Brainerd, who sought a marketing catchphrase to describe the small size and relative affordability of this suite of products, in contrast to the expensive commercial phototypesetting equipment of the day. Before the advent of desktop publishing, the only option available to most people for producing typed documents was a typewriter, which offered only a handful of typefaces and one or two font sizes.

Indeed, one popular desktop publishing book was entitled The Mac is not a typewriter, it had to explain how a Mac could do so much more than a typewriter. The ability to create WYSIWYG page layouts on screen and print pages containing text and graphical elements at crisp 300 dpi resolution was revolutionary for both the typesetting industry and the personal computer industry at the time. Desktop publishing was still in its embryonic stage in the early 1980s. Users of the PageMaker-LaserWriter-Macintosh 512K system endured frequent software crashes, cramped display on the Mac's tiny 512 x 342 1-bit monochrome screen, the inability to control letter-spacing and other typographic features, the discrepancies between screen display and printed output. However, it was a revolutionary combination at the time, was received with considerable acclaim. Behind-the-scenes technologies developed by Adobe Systems set the foundation for professional desktop publishing applications; the LaserWriter and LaserWriter Plus printers included high quality, scalable Adobe PostScript fonts built into their ROM memory.

The LaserWriter's PostScript capability allowed publication designers to proof files on a local printer print the same file at DTP service bureaus using optical resolution 600+ ppi PostScript printers such as those from Linotronic. The Macintosh II was released, more suitable for desktop publishing due to its greater expandability, support for large color multi-monitor displays, its SCSI storage interface. Macintosh-based systems continued to dominate the market into 1986, when the GEM-based Ventura Publisher was introduced for MS-DOS computers. PageMaker's pasteboard metaphor simulated the process of creating layouts manually, but Ventura Publisher automated the layout process through its use of tags and style sheets and automatically generated indices and other body matter; this made it suitable for the creation manuals and other long-format documents. Desktop p

Carol Edgarian

Carol Edgarian is an American author and publisher. She is known for her novels, Rise the Euphrates and Three Stages of Amazement, she is co-founder and publisher of Narrative Magazine, an online literary magazine. Edgarian was born in New Britain and grew up in the Hartford area in West Hartford and Glastonbury, she attended Phillips Academy in Andover, where she graduated cum laude, receiving the Kingsbury Prize and the Pamela Weidenman Prize in Art. She received her B. A. in English with High Honors from Stanford University in 1984. She moved to San Francisco soon after college and worked as a freelance copywriter, PR consultant for various high tech and retail companies, including Levi Strauss and the Mayfield Fund, she entered the national literary scene with a high-profile debut novel Rise the Euphrates. In its review, The Washington Post cited Rise the Euphrates as “a book whose generosity of spirit, intelligence and ambition are what literature ought to be and is today—daring and affirmative, giving order and sense to our random lives.”

The Miami Herald called the novel “a stunning debut” and Mademoiselle magazine called Edgarian’s writing “so good it can raise the hairs on your neck.” Set in San Francisco in 2009 and at the start of the financial crisis, Three Stages of Amazement is both a love story and social chronicle of turbulent America. The novel reached The New York Times Best Seller List in its first week of publication, O Magazine chose it as a Top Pick, Indiebound selected it as a Pick of the Month. Three Stages of Amazement was called “furiously compelling” by Janet Maslin at The New York Times, “superbly crafted, skillfully plotted” by The Washington Post, “generous and graceful and true” by O Magazine. Among her other works of fiction and non-fiction is The Writer’s Life: Intimate Thoughts on Work, Love and Fame which she co-edited with Tom Jenks. Edgarian has written for numerous publications including Vogue, Travel & Leisure, W. In 2003 Edgarian co-founded Narrative Magazine. 1994 ANC Freedom Award Bay Area Book Reviewers Best Fiction Prize Best Debut of the Year Rise the Euphrates The Writer’s Life: Intimate Thoughts on Work, Love and Fame Three Stages of Amazement CarolEdgarian.com "The Soul of San Francisco," Travel & Leisure, 2003 "The long and short of it," San Francisco Magazine, 2008 "Letters to a Young Writer," Narrative Magazine, 2010 "Acquired Taste", W, 2011 Interview on NPR's Forum, 2011

Pharaoh's Curse (film)

Pharaoh's Curse is a 1957 American horror film directed by Lee Sholem and written by Richard H. Landau; the film stars Mark Dana, Ziva Rodann, Diane Brewster, George N. Neise, Alvaro Guillot and Ben Wright; the film was released in February 1957 as a double feature with Voodoo Island. In 1902 Cairo Egypt, as a riot breaks out in the street, Captain Storm is assigned with a small contingent consisting of himself and Smolet to retrieve the members of an unsanctioned archeological expedition in the Valley of the Kings who are seeking the lost tomb of Rahateb. Storm's mission is compounded to escort the expedition leader's wife Sylvia Quentin as they take a planned route, the group encountering a strange woman named Simira whose brother Numar is helping the Rahateb expedition. Though Storm turns down Simara's offer to lead them on a more direct route, he relents after Sylvia is stung by a scorpion. By the time the group arrive to the site, Simira announces they are too late as Robert Quentin and his group have opened a sarcophagus with Numar collapsing to the floor.

Quentin is upset about learning he is return to Cairo and that Sylvia only came to end their relationship in person. Returning to the tomb with Storm following after him, they find the mummy is missing with cat footprints leading from the sarcophagus to a solid wall. Quentin storms off to confront Numar upon realizing something was off about the guide's joining the expedition, only to learn that Numar is aging with no pulse; that night, Numar enters the tomb complex as Gromley found one of the animals drained of its blood. Storm confines an unhelpful Simira to her tent as the group chase after Numar, the group splitting up and finding Gromley after Numar drained him of his blood. During Gromley's autopsy and Brecht had translated a stone tablet which details the sarcophagus belonging to Rahateb's high priest who executed ritualistic suicide to be bound by a three-thousand year curse to kill all intruders in the tomb after possessing another body. Storm leads another venture into the tomb before finding a dying Brecht emerging from the Chamber of Bastet where he was attacked by Numar.

Storm attempts to grab Numar when he falls back into Rahateb's chamber and unintentionally rips his arm off. As Farraday deduces that Numar's body had decomposed to the point of gradual disintegration, Simara warns Storm that the survivors must leave or be killed by Numar. A fearful Sylvia runs into the tomb complex after seeing a cat-like shadow prior to Simira's entering her tent. Sylvia is brought to Storm, convincing him and the others to find Simira, but Quentin forces Andrews at gunpoint to find a way to open the pathway to Rahateb's resting place, only to be let in by the decaying Numar and fall victim to a rigged cave-in. After Storm and Beauchamp confirm Quentin's death, Beauchamp finds Simira's amulet as the group proceed to leave the tomb complex, but they find the lid of the high priest's sarcophagus back in place, finding the mummy inside to be Numar. The group realize Numar was the reincarnation of the high priest while deducing that Simira is the goddess Bastet in human form. Everyone agrees to never divulge the tomb's existence.

Mark Dana as Capt. Storm Ziva Rodann as Simira Diane Brewster as Sylvia Quentin George N. Neise as Robert Quentin Alvaro Guillot as Numar Ben Wright as Walter Andrews Guy Prescott as Dr. Michael Farraday Terence De Marney as Sgt. Smolett Richard Peel as Sgt. Gromley Kurt Katch as Hans Brecht Robert Fortin as Claude Beauchamp Ralph Clanton as Col. Cross Pharaoh's Curse on IMDb Pharaoh's Curse at AllMovie Pharaoh's Curse at Rotten Tomatoes