Re: Download Dark Data: Why What You Don T Know Matters By David J. Hand (.ePUB)
Fe Gillenwaters
It will usually open in ADE (depending on what you have installed on your computer). Proof it carefully. Redo as necessary. If your computer is like mine, the graphics will be very poor in ADE. Basically ADE is very crude.
META-INF folder: You do not have to worry about this either. It works and that is all we care about. Coding purists like Liz Castro suggest some possible changes, but they are not necessary. InDesign 7.5 writes a file that works fine.
Download Dark Data: Why What You Don t Know Matters by David J. Hand (.ePUB)
Download File >>> https://urllio.com/2yM52J
These are the files generated upon export. There is a new HTML file for every chapter break headline you used. As you recall, one of the choices you made on the Contents page of the EPUB Export Options dialog was which paragraph style to use to break your document. As you can see below, I used 6-Head.
The result of that was a new HTML file for each use of the chosen style. We did this because it is the only practical way to make page breaks in a variable media like an ePUB. The good news is that the resulting HTML documents are good, clean code.
Before I can do that, I need to change the font lists in Dreamweaver. The DW default font lists give us no real choices of any good-looking fonts [except for Palatino]. My suggestion is that you build your font lists out of fonts available to the iPad plus the Web-safe fonts.
We must remember that at this point, the big 3 ereaders [iPad/iPhone, Nook, & Kindle] do not support embedded fonts. In fact, as you recall the Nook and Kindle basically have only serif and sans-serif. But the iPad has 33 fonts available in a reasonably versatile set.
Helvetica & Helvetica Neue: Both of these families are available in regular, italic, bold and bold italic. There is nothing really wrong with these fonts for heads and subheads. But readability is a real issue. The main problem is the bureaucratic overtones that these fonts share with Arial.
Times New Roman: This family has regular, italic, bold and bold italic. Though the bold pair tend to be too narrow and ugly with plugged counters, the real problem is the bureaucratic associations.
The real problem is that non-professionals who use nothing but software defaults are the only people who use these fonts. In fact, most bureaucracies have standardized them and require their use. The result is that they trigger our bureaucratic drivel filter.
So, almost everyone simply tosses obvious Word output without reading it. Beyond that, default Word and Publisher output is barely readable. There are simply too many really bad associations with these fonts to use them.
The iPad gives us several quite good choices here. These are font families that are relatively easy to read and comfortable for the reader. There are several fine serif choices, and a lesser selection of sans serif families. However, there are enough choices for you to be able to make your ePUBs unique, stylish and very readable.
An early iPad bug: When the iPad first came out you were required to use Palatino to make the rest of the CSS work. Liz Castro even suggested an empty paragraph to begin with at one point.
Finally we have a group of fonts that are quite stylized and really only usable for larger headlines. They are usually too hard to read in smaller sizes. They make excellent style statements for various demographics.
As you know, these lists give the browser or ereader font choices to make in order of priority. For example, in the Palatino default above (as set up by DW), I only get Palatino on my computer because I do not have Palatino Linotype or Book Antiqua installed.
Always include a Web-safe font: depending on the ereader used, you may well be on either a Mac or a PC. If you are using a browser-based ereader like Ibis (one of the best) then your choices will be governed by the fonts installed on your computer.
Always include a generic choice: Remember, Nook and Kindle (and other dedicated ereaders) only have two choices, serif and sans-serif. So even if you use cursive or fantasy for your generic I would always add the sans/serif choice last.
The first thing to do is decompress your ePUB and take a look at the rules defined by InDesign upon export. As you are looking, remember that you can fix much of this by going back and adjusting the Export All Tags dialog box and reexporting your ePUB. This is a long process as you begin to get control over your ePUBs.
My goal is to make it more simple for you. But there will be many thing you try that do not work in actual practice. Do not be discouraged, Eventually, our goal is to have a standard set of files in InDesign with consistent remapping to the exported tags and a standardized template.css you can use in the Export ePUB dialog box in InDesign. But that will take a little bit of time and effort.
If you are like me and use your sans choice for numbered lists and your serif choice for your bulleted lists then you might want to map your exports to an li with a class of serif or sans. However, I am finding that this may be better handled with the ol and ul tags also.
If you know CSS this is pretty straight forward. However, my books assume that you do not know a lot about coding so I will go through some simple explanations of some things the more advanced among you may find tedious.
You need to define them pretty tightly, but there is a difference here. We are talking about ePUBs, not Websites. You really need to be concerned with allowing enough reader freedom to modify the copy as they read.
Type size: This is a variable for the person who is reading. But more than that, it varies by device. The actual size of the type will differ a lot between, iPhone, iPad, Blackberry, laptop and desktop. So, you need to use ems for sizing & leading.
All you can use are Float: Left, and Float: Right. Div widths need to be in percentages again. Divs are essential for images and many types of sidebars. You have to add them by hand to the HTML docs with one exception. InDesign defines a div for a group, as in an image with a caption..
This is very easy to do in CSS. Set up a style in InDesign that you can map to one of the headers, say h3. Map it as h3.sidebar. Set up your indents, a background, margins and so forth. Make sure you set the padding to keep the type from getting too close to the edges.
Mainly, you need to remember that while you have a fair amount of real estate on the iPad and similar tablets, for smart phones the width is a lot narrower. The iPhone Retina display helps a lot, but there is still very limited screen width.
Then you need to have a standard set of mapping choices so that the exported styles are converted to CSS rules that are already defined in your CSS template. You nest hope for production speed is a personal common usage that you can remember habitually.
It should validate. If it does not, all I can do is pray you will be given information that will enable you to figure it out. The failure messages tend to be very cryptic. But both Lulu and threepress are getting much better about this and letting you know what is causing the problem.
All of this is much more pain and time spent than most designers are willing to put up with. You can sub-contract these conversions. But that costs money as well as time. My suggestion is that while we are waiting for transparent software solutions, these techniques mentioned here will get you by.
Keep current: These things are changing all the time. I try to mention new changes at my blog: The Skilled Workman. Liz Castro does the same at hers: Pigs, Gourds, and Wikis. A List Apart, Joel at the Book Designer, and many others are good also.
An artist, illustrator, graphic designer, art director, typographer, author and publisher [in that order] since 1967. Radiqx Press is an independent Christian on-demand publisher pushing the envelope for Kingdom as we have experienced it.
I rarely use phones.
Email is best: david at bergsland dot org
275 Sandalwood Dr, Rochester, NY 14616
This site uses the pseudonyms of Bergsland Design for design work; and Radiqx Press for publishing. Both of these have been used for some time beginning in the past millennium. The Skilled Workman was begun in 2011 dealing with spiritual teachings about our Messiah and the Holy Spirit he sent to us to help us.If you want to meet Jesus, click here.
Now we do talk first about the disease in cases of bodily breakdown; and that for an excellent reason. Because, though there may be doubt about the way in which the body broke down, there is no doubt at all about the shape in which it should be built up again. No doctor proposes to produce a new kind of man, with a new arrangement of eyes or limbs. The hospital, by necessity, may send a man home with one leg less: but it will not (in a creative rapture) send him home with one leg extra. Medical science is content with the normal human body, and only seeks to restore it.
But this new cloudy political cowardice has rendered useless the old English compromise. People have begun to be terrified of an improvement merely because it is complete. They call it utopian and revolutionary that anyone should really have his own way, or anything be really done, and done with. Compromise used to mean that half a loaf was better than no bread. Among modern statesmen it really seems to mean that half a loaf is better than a whole loaf.
It is exactly the same with politics. Our political vagueness divides men, it does not fuse them. Men will walk along the edge of a chasm in clear weather, but they will edge miles away from it in a fog. So a Tory can walk up to the very edge of Socialism, if he knows what is Socialism. But if he is told that Socialism is a spirit, a sublime atmosphere, a noble, indefinable tendency, why, then he keeps out of its way; and quite right too. One can meet an assertion with argument; but healthy bigotry is the only way in which one can meet a tendency. I am told that the Japanese method of wrestling consists not of suddenly pressing, but of suddenly giving way. This is one of my many reasons for disliking the Japanese civilization. To use surrender as a weapon is the very worst spirit of the East. But certainly there is no force so hard to fight as the force which it is easy to conquer; the force that always yields and then returns. Such is the force of a great impersonal prejudice, such as possesses the modern world on so many points. Against this there is no weapon at all except a rigid and steely sanity, a resolution not to listen to fads, and not to be infected by diseases.
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