@HEAD 60 L/A = <M%-6>V<D%0>i<M%-2>s<D%0>u<M%-5>a<D%0>l

@HEAD 60 L/A = <M%-14>V<%-3>e<D%0>r<M%-3>b<%-5>a<D%0>l-<M%-9>S<D%0>y<M%-2>n<%-3>er<D%0>g<M%-5>y<D%0>:

@HEAD 60 L/A = <M%-11>W<%-2>o<%-3>r<D%0>ds

@HEAD 60 L/A = In <M%-4>S<%-1>pa<D%0>ce

@HEAD 18 L/AB = By: Nancy Bargine, May 1992<R>
Course: Principles of Design<R>
Professor: Steven Charrier

@HEAD 13 = TABLE OF CONTENTS

@TOC HEAD 11 = 	2	How To Use This Design

@TOC 11 = 	2	How To Type A Ventura Tag

@TOC 11 = 	3	How To Create Footnotes <196>Effortlessly

@TOC 11 = 	3	How To Change Headers And Footers

@TOC 11 = 	4	How To Create A Professional Cover Page

@TOC 11 = 	5	How To Become Famous

@PAGE BREAK = 

@HEAD 13 = HOW TO USE THIS DESIGN

If you are a graduate student, you could use this design for your 
thesis or dissertation. Complete with a basic array of text styles, 
you'll find ready-made tags for your cover page, table of contents, 
headings, footnotes, main body, bullets, and bibliography. Best of 
all, you can <169>design<170> your paper <196> by embedding Ventura 
tags in your text file <196> from your word processor.

A Ventura tag is a surprisingly easy, but extremely powerful design 
tool. Simply put, a Ventura tag is the name of a corresponding text 
style within a design. This is so straightforward it's almost difficult 
to explain. To save time, here's a quick course.

Print this design from Ventura (if Ventura is installed on drive C, 
you'll want to load <MI>C:\Corel40\Typeset\Vpstyle\thesis.chp<D>). 
Access the <MI>File<D> menu and click on <MI>To Print<D>. You should 
receive a print menu. Adjust the first print setting <196> <MI>Which 
Pages<D> <196> to <169><MI>All<D>.<170> In a few moments, you should 
receive six sample pages of assorted text.

To familiarize yourself with the style attributes of the design, change 
to Ventura's tag mode by pressing Ctrl+I. Use your mouse to click 
(and highlight) the various text styles. As you do this, read the 
<169>tag assignment<170> box in the lower left corner of your screen; 
you'll see the active tag name of the highlighted style.

@INDENT #1 = As you click on the various text styles, write the tag 
names on your paper copy. You'll find it handy as you type and pre-format 
your book using your word processor.

Once your acquaint yourself with the tags, use your word processor 
to produce your thesis. Because of Ventura's efficient file-overwriting 
process, you can easily <169>create<170> Ventura designs from your 
word processor.

@SUBHEAD 11 = How To Type A Ventura Tag

When you look at this text file in your word processor (<MI>C:\Corel40\Typeset\Vpstyle\thesis.txt<D>) 
you'll learn a lot. As you can see, a proper Ventura tag looks like 
this: <B>@HEAD 13 = A paragraph of words<D> (followed by Return or 
Enter). You'll even find tags with no text and text with no tags. 
Study these things: you're looking at the essence of Ventura.

With the file on-screen in your word processor, re-type or re-use 
the tags, delete the sample text and insert your own. Finally, save 
the file under the original name. When you open the chapter in Ventura 
you'll find <MI>your paper<D> ready to print. A few good points to 
remember:

@BULLET 11 = Always include a space before and after the equal sign 
of a word processor tag.

@BULLET 11 = To control how a page or column breaks, use the break 
tags (if you're looking at the sample text in your word processor, 
you'll see a couple of examples).

@BULLET 11 = Untagged text is treated as <MI>Body Text;<D> the most 
frequently used body style of a design.

@SUBHEAD 11 = How To Create Footnotes

Again, this is almost too simple for words. Ventura will take care 
of the footnote placement if you enter your footnote with a special 
code next to the paragraph for which it was intended. A footnote, 
then, for this paragraph, is typed like this: <$FThis is a sample 
footnote for the sample paragraph above.>

In your word processor, the footnote and the corresponding paragraph 
are one and the same. From Ventura's point of view, however, you'll 
find the coded footnote text (typed <MI>next<D> to the paragraph in 
the word processor!) at the bottom of each page. Brilliant.

@SUBHEAD 11 = On Changing Headers and Footers

Headers and footers, as you can see, repeat themselves automatically. 
Further, they appear with special attributes <196> their own style 
tag <196> which produces the ruling lines at the top and bottom of 
the page.

To change the words of your header and footer, use Ventura's <MI>Header 
and Footer<D> function available through the Chapter menu. Click your 
mouse on the <MI>Left Header<D> function box, and again on the line 
to be changed. Press the Escape key to clear the line. Now, enter 
your own text. Repeat this procedure for the right header, and left 
and right footers as well. Click on OK (or press Enter) to accept 
your choices.

@INDENT #1 = You can turn a header or footer off for certain pages 
(like the cover page). Just access the Chapter menu; you'll see two 
header and footer <169>toggle<170> switches: <MI>Turn Header Off<D> 
or <MI>Turn Footer Off<D>. Click on either setting accordingly to 
disable the settings for that page.

@SUBHEAD 11 = One Last Important Note

In Ventura, the thesis <169>cover title<170> appears in large 60 point 
type. In your word processor though, you'll barely be able to recognize 
it. Why? Because the text was <MI>kerned<D> in Ventura. Why? Because 
at large type sizes, some letters appear to have too much space between 
them. For a professional appearance you'll want to fine-tune the letterspacing 
of your title.

To kern a letter, change to Ventura's text mode. Click your mouse 
in front of the letter to be made tighter or looser. Hold down the 
Shift key and click again <MI>after<D> the letter. With the letter 
highlighted, press Ctrl+2. You should receive a <MI>Font Setting<D> 
dialog box. In the lower right hand corner you'll find the kerning 
function. Adjust the setting to <MI>Looser<D> or <MI>tighter<D> and 
assign a value (a range in the neighborhood of 0.04 to 0.15 is usually 
sufficient). Click on OK or press Enter to activate the settings.

Good luck, and good writing: <169>It took me fifteen years to discover 
I had no talent for writing, but I couldn't give it up, because by 
that time I was too famous.<170> <197><MI>Robert Benchley<D>

@PAGE BREAK = 

@HEAD 13 = BIBLIOGRAPHY

@BODY TEXT C/W = Adams, James L. <MI>Conceptual Blockbusting: A Guide 
to Better Ideas<D>, 3d ed. Reading, MA: Addison-Wesley, 1986.

@BODY TEXT C/W = Arnheim, Rudolf. <MI>Art and Visual Perception.<D> 
Berkeley: University of California Press, 1974.

@BODY TEXT C/W = Banham, Reyner. <MI>Theory and Design in the First 
Machine Age, <D>2d ed. Cambridge, MA: MIT Press, 1981.

@BODY TEXT C/W = Ivins, William M. <MI>Art and Geometry: A Study in 
Space Intuitions.<D> Cambridge, MA: Harvard University Press, 1946.

@BODY TEXT C/W = Shannon, C.E., and Weaver, W. <MI>Mathematical Theory 
of Communication.<D> Champaign-Urbana: University of Illinois Press, 
1949.

@BODY TEXT C/W = Adams, James L. <MI>Conceptual Blockbusting: A Guide 
to Better Ideas<D>, 3d ed. Reading, MA: Addison-Wesley, 1986.

@BODY TEXT C/W = Arnheim, Rudolf. <MI>Art and Visual Perception.<D> 
Berkeley: University of California Press, 1974.

@BODY TEXT C/W = Banham, Reyner. <MI>Theory and Design in the First 
Machine Age, <D>2d ed. Cambridge, MA: MIT Press, 1981.

@BODY TEXT C/W = Ivins, William M. <MI>Art and Geometry: A Study in 
Space Intuitions.<D> Cambridge, MA: Harvard University Press, 1946.

@COLUMN BREAK = 

@BODY TEXT C/W = Shannon, C.E., and Weaver, W. <MI>Mathematical Theory 
of Communication.<D> Champaign-Urbana: University of Illinois Press, 
1949.

@BODY TEXT C/W = Adams, James L. <MI>Conceptual Blockbusting: A Guide 
to Better Ideas<D>, 3d ed. Reading, MA: Addison-Wesley, 1986.

@BODY TEXT C/W = Arnheim, Rudolf. <MI>Art and Visual Perception.<D> 
Berkeley: University of California Press, 1974.

@BODY TEXT C/W = Banham, Reyner. <MI>Theory and Design in the First 
Machine Age, <D>2d ed. Cambridge, MA: MIT Press, 1981.

@BODY TEXT C/W = Ivins, William M. <MI>Art and Geometry: A Study in 
Space Intuitions.<D> Cambridge, MA: Harvard University Press, 1946.

@BODY TEXT C/W = Shannon, C.E., and Weaver, W. <MI>Mathematical Theory 
of Communication.<D> Champaign-Urbana: University of Illinois Press, 
1949.

@BODY TEXT C/W = Adams, James L. <MI>Conceptual Blockbusting: A Guide 
to Better Ideas<D>, 3d ed. Reading, MA: Addison-Wesley, 1986.

@BODY TEXT C/W = Arnheim, Rudolf. <MI>Art and Visual Perception.<D> 
Berkeley: University of California Press, 1974.

@BODY TEXT C/W = Banham, Reyner. <MI>Theory and Design in the First 
Machine Age, <D>2d ed. Cambridge, MA: MIT Press, 1981.