Apolitically Incorrect

Capturing and Analyzing FTP Traffic

Rob Oakes — Mon, 31 Oct 2011 21:56:43 +0000

FTP is one of the oldest network protocols still in use. In its first iteration, it was created in 1971 as a way to quickly move files between computers and has been in continuous use ever since. It’s particularly common on the web, where it is responsible for moving files and data.

Unfortunately, while common, it is also insecure. FTP transmits user credentials, file contents, and other data in the clear. For that reason, anyone with a packet sniffer and a bit of patience is free to take a look at it.

This video looks at the security of FTP traffic. It covers:

How to set up an FTP server on Windows Server 2008 and configure a simple site
The use of a packet sniffer (Wireshark) on Ubuntu to monitor network traffic

You can watch the video here.

Securing a Network: Part 1

Rob Oakes — Wed, 26 Oct 2011 22:31:48 +0000

As difficult as it can be to secure individual computers, making sure that a network is secure is even more challenging. This because, instead of working with a single machine, you have an entire network of devices to worry about. It’s a classic case of, “if the security of one is threatened, we’re all threatened.”

Luckily, there are several tools that can be used to “harden” individual computers, thereby making the network as a whole more secure. This series of videos will explore a few of those, including the Windows Server Security Configuration Wizard, the Role of Security Templates, and some of the Linux/Unix Security best practices.

This first video kicks things off by looking at the Windows Server 2008 Security Configuration Wizard and shows you how to configure a simple firewall setting.

You can watch the video by going here.

Installing and Configuring DHCP on Windows Server Core

Rob Oakes — Wed, 26 Oct 2011 05:21:40 +0000

Note: This is a cross post from Apolitically Incorrect. If you would like to comment or remark, please consider stopping by.

Windows Server Core is a relatively new version of Windows Server. Like it’s slightly more mature sibling, the “full” version, it is tremendously powerful. Server Core allows you to set up Active Directory domains, DNS/DHCP, and web servers. It can help secure your infrastructure, and probably floss your teeth.

But that isn’t what makes it interesting. Server Core is interesting for what it doesn’t have: the Windows Server GUI. Like in the case of Linux servers, nearly all of the action happens in the command line. This makes Server Core light weight and an excellent candidate for network virtualization, as it can run all of the core networking services need to administer a domain.

In this video, we take a look at how a Server Core installation can be configured to run as a DHCP server. It will walk you through the process of installing the DHCP server role from the command line, registering the DHCP service with Active Directory, and configuring the first zone. When combined with the earlier Active Directory tutorial, this video describes a way to run the three core networking services needed for domain administration – DNS, DHCP, and Active Directory – on a single server.

This lays the groundwork for later networking and security tutorials by allowing us use the less resource intensive Server Core for simulation and exploration rather than the full Windows Server virtual machine.

To view the video, please visit blog.oak-tree.us.

“Creativity is Just Connecting Things”

Rob Oakes — Tue, 25 Oct 2011 15:03:24 +0000

Note: This is a cross post from Apolitically Incorrect. If you would like to comment or remark, please consider stopping by.

Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn’t really do it. They just saw something. It seemed obvious to them after a while.

That’s because they were able to connect experiences they’ve had and synthesize new things. And the reason they were able to do that was that they’ve had more experiences, or they have thought more about their experiences than other people.

Unfortunately, that’s too rare a commodity. A lot of people in our industry (technology) haven’t had very diverse experiences. So they don’t have enough dots to connect, and they end up with linear solutions without a broad perspective on the problem. The broader one’s understanding of the human experience, the better design we will have.

--- Steve Jobs, Wired, February 1995

via Swiss Miss via Brain Pickings

Moving to blog.oak-tree.us

Rob Oakes — Fri, 16 Apr 2010 02:25:09 +0000

When I first started this blog, I thought it would be an experiment. I was exploring WordPress as a platform and wanted to know how customizable it was. I wanted to know if it could grow and expand with my interests. I wanted it to be a place where I could post pictures and maybe experiment with podcasts and other internet stuff.

What I did not intend, however, was for it to become a full-fledged website. It was supposed to be a side project, and I figured that I would eventually tire of it and move on. That's why it was set up at oak-tree.us/blog rather than oak-tree.us. Oak-Tree.us was always meant to be something special. (Just to save you the trouble, there's still nothing there. I have yet to find the "something".)

Over the past two years, oak-tree.us/blog has become quite a bit more than an experiment. For a little hobby website, it gets a respectable amount of traffic (sometimes as many as 1,000 hits in a single day) and I think it's time that it have it's own respectable domain. For that reason, I am moving the website from the current address (http://www.oak-tree.us/blog) to something relatively unique. (For me, this almost counts as living dangerously.)

From here on out, the site's address will be:

http://blog.oak-tree.us

The good news, however, is that is where the changes end. I only have so much tolerance for change, and a different Url is about all I can handle. Everything else will remain the same. All of the content, comments and files have been migrated. I'm even using the same WordPress theme. The only thing that's different is the Url. Thus, please update your bookmarks and feedreaders and I hope to you over on the new site!

(Just so people and various search robots don't become confused, I'll keep a copy of the old stuff here. The archives will still work, and the file links will still be active; but comments are closed and the site will be unmaintained. For updates, releases of Time Drive, LyX-Outline news and book related material, please go to http://blog.oak-tree.us. Thanks.)

Temples and Timelines

Rob Oakes — Thu, 25 Feb 2010 21:55:14 +0000

Newsweek has a fascinating article about an archaeological site at Göbekli Tepe in Turkey that is well worth a look.

The site is the oldest religious temple ever discovered. Preliminary carbon dating has determined that some of the artifacts date from 9,400 BC, which makes the place about 11,500 years old. (Which, just to be clear, is 7000 years before the Great Pyramid and 6500 years before Stonehenge.) The article further explains:

The ruins are so early that they predate villages, pottery, domesticated animals and even agriculture – the first embers of civilization. … [It] may be the very first thing that human beings ever built.

And yet, the site is amazing. The pillars show beautiful stone carvings and there are examples of sophisticated engineering techniques. The stone circles are nearly 30 yards across with pillars that stand more than 17 feet tall. Many of the stones (some weighing up to 50 tons) were first quarried and then transported half a kilometer to the site, where they were erected. What staggers me, though, is that the stone circles were roofed.

This quote from Ian Hodder, head of archaeology at Stanford University, summarizes my response pretty well:

[Göbekli Tepe] is unbelievably big and amazing, at a ridiculously early date. The huge stones and fantastic, highly refined art [changes everything]. It overturns the whole apple cart. All our theories were wrong.

This doesn’t happen often. Scientists don’t admit mistakes and call for established theories to be overturned. But when faced with such a revolutionary piece of evidence, you have little choice.

Göbekli is literally an outlier in every way. It shows engineering, organization, and artistic sophistication that seems to materialize out of nowhere. The only other comparable examples won’t appear for five thousand years.

To really put this in perspective, consider the timeline below. Arrayed across the bottom axis are the reigns of several ancient civilizations: the Chinese, Romans, Egyptians and Mesopotamians. In addition to this information, I’ve also placed the approximate dates of the the ice age, stone age and examples of religious and cultural monuments (the oldest of which dates to about 3500 BC).

When compared with Göbekli, the great civilizations and monuments of the ancient world seem to to huddle in an upstart mob at the right of the chart. Even the very oldest of the examples, a Mesopotamian palace, is separated from Göbekli by the same span of time that divides the ancient age from the modern day.

Such an amazing and sophisticated example at such an early date, literally, boggles my mind. It's absolutely amazing. And, paradoxically, the amazement and wonder helps to explain why Göbekli has remained essentially unknown. A discovery of this magnitude demands enormous attention and dedication. It takes almost as much as it gives, particularly from those that discovered it; and not every scientist is willing to give that kind of commitment. Thus, I completely understand the response of the man who discovered the site.

[Unable to interpret what he saw], the [American] archeologist who stumbled on [on the site] in the 1960s simply walked away.

But, even so, the evidence at Göbekli has the potential to completely transform the history of civilization. And I, for one, look forward to seeing what emerges.

Note: You can view a high resolution PDF of the timeline by clicking on the image, or here.

Hannibal, Napoleon, and Joseph Charles Minard

Rob Oakes — Mon, 22 Feb 2010 21:49:11 +0000

No study of the history of scientific communication can be complete without mention of Joseph Charles Minard, a 19th Century French civil engineer and cartographer.

At the end of his life, Minard created two very famous examples of statistical charts, called flow maps, that every scientist, engineer and student should be familair with. The first showed Hannibal’s crossing of the Alps (218 BC, Second Punic War), and the second describes Napoleon’s disastrous invasion of Russia (1812-1813).

Both examples are beautiful works of art and masterful examples of evidence. But they are also more than that, they tell cohesive and interesting stories. In this post, I thought it might be interesting to take a closer look at the history of Hannibal and Napoleon, and highlight the ways which Minard’s charts help us to explain their eventual outcome.

(Note: High resolution, PDF versions of the two maps are available for download. These versions have been translated from the original French. To download, either click on the images, or here for the Hannibal invasion of Northern Italy, and here for the French Invasion of Russia.)

Hannibal Invasion of Italy (218 BC, Second Punic War)

Hannibal was perhaps the single greatest threat to Roman power to ever live. At the same time that Roman legions marched unopposed through most of the Mediterranean world, Hannibal lead a force of twenty-five thousand soldiers into the heart of Roman territory. He then spent the next fifteen years occupying portions of the Italian peninsula and generally wreaking havoc. But even though he ravaged the Roman countryside, Hannibal was never successful in subduing Rome. Ironically, this might be due to one of his greatest exploits: the overland crossing of the Alps.

Hannibal departed his home base in Spain with nearly 90,000 troops (one of the largest armies that had ever been fielded at that point in history) and had a number of early successes. He marched north over the Pyrenee mountains and into Gaul (modern day France). He subdued the Celtic tribes and crossed the Rhone River before the Romans could take measures to stop his advanced. He forged important alliances and found unexpected friends in his fight against the Romans.

After crossing the Rhone, however, Hannibal’s luck began to change. He received word that a large Roman force was marching from the Mediterranean coast to intercept and destroy him. As the force outnumbered him by a significant margin, Hannibal was faced with a difficult choice. Should he stay at his current location and engage the Roman army or retreat and prepare a defense?

Not content with either choice, Hannibal ultimately chose a third option; which, ironically, would have enormous consequences for his overall campaign. To evade the Romans, Hannibal took the unprecedented action of turning inland and marching over the Alps. (It is thought that he probably crossed over the valley of the Drome and south of the Col de Montgenevre or near the Col de Mont Cenis.) This had never been done before – indeed many thought it impossible – and has long been praised as a brilliant tactical decision.

Minard’s reconstruction of Hannibal’s journey shows the journey from Spain, through Transalpine Gaul and eventual arrival in Italy, allows it to be seen a slightly different light, however. Through use of a flow line, Minard shows how the strength of Hannibal’s army waned through the march, with a disastrous loss of twenty thousand men while passing over the Alps. This steady loss of strength, subtly reinforced by Minard’s map, helps to explain why Hannibal failed to subdue Rome.

Hannibal’s brilliant tactical decision was also a strategical disaster. It came at a dramatic loss of men, war elephants, and material with the most disastrous loss being the destruction of his siege engines. Without the siege engines, Hannibal was never able to successfully attack Rome. And eventually the Romans realized this and changed their tactics. Instead of engaging Hannibal directly, they instead fought a long-pitched war of attrition and eventually destroyed the one resource he couldn’t replace: his men. Thus, even though crossing the Alps helped Hannibal to win a few stunning victories, the decision eventually caused him to lose the war.

Napoleon’s Invasion of Russia (1812-1813)

Like in the case of the Hannibal, Minard’s depiction of the 1812-1813 invasion of Russia also tells an extraordinary story. It combines information about the size of the army, geography, sub-campaigns and temperature into a single narrative. This time, though, it is anything but subtle.

Note: Because of the elegant management of all this information – at any time showing the army’s direction, size, and loss relative to the start – some statisticians and data visualization experts (such as Edward Tufte, Etieene Jules Marey and Howard Wainer) have declared Minard’s depiction of Napoleon’s Invasion of Russia to be the greatest numerical graphic ever created.

From the very beginning, the army met with tremendous hardship. The cold temperatures and lack of available resources took an enormous toll. Napoleon had planned on scavenging for supplies to support his massive army, but the Russians had destroyed all of their crops and burned their villages so that Napoleon wouldn’t be able to make use of them. As a result, the army was heavily reliant on slow supply trains from Europe that were unable to keep pace with its quick advance. Hundreds of thousands died from starvation and exposure, greatly outnumbering those lost in combat.

Minard’s map shows this trend of devastating loss. Napoleon’s Grand Army starts out as a wide, brown line to the left of the map. As the army progresses across Russia, the number of men decreases dramatically. A few ribbons of men are dispatched to other targets, but by far the majority succumb to the elements.

Eventually, a substantially reduced force (100,000 men, about 20% of those who began the campaign) arrived in Moscow. What they found did little to improve their circumstances. The city had been abandoned and burned to the ground. No food was available. The only available option was to return to France.

Demoralized and broken, the Grand Army began a slow retreat to the west. Their progress is shown in the black. As they crossed the vast Russian wilderness, the temperature turned bitter cold (shown in the bottom third of the map). When the army arrived at the Niemen river, there were a scant 10,000 troops. More than 400,000 had died.

Such a devastating loss of life crippled Napoleon’s young empire and left him open to invasion by his enemies. He was defeated later in 1813 and exiled to the island of Elba.

Conclusion

Minard’s graphics are successful because they demonstrate powerful trends and place evidence within its proper context. In the case of Hannibal, it shows how he began in a position of strength and then undermined himself through a brilliant tactical innovation. In the case of Napoleon, it shows how distance and temperature ravaged an army and destroyed an emperor.

The clear evidence and thoughtful presentation define the story, they show where things are headed and help to foreshadow the inevitable conclusion. For this reason, they are powerful examples of clear communication.

____________________________________________________

Unrelated Thoughts: Re-Visioning Minard with Open Source Tools

Since first seeing these charts as part of an undergraduate statistics course, I’ve been obsessed with them. I even have a poster sized copy of the Russian invasion (available from Graphics Press) hanging in my office. Given this obsession, it should come as no surprise that I’ve wanted to include the maps in my book.

There is, however, just one problem; there is not anything new to say about them. Edward Tufte has held up Minard as a “Da Vinci of Data” for the better part of thirty years. Nearly every one of his books includes a copy of the maps (in the case of Beautiful Evidence, his most recent work, there is an entire chapter devoted to the graphics; including eight different reproductions). Other than, “They’re beautiful, study them carefully, read Tufte’s analysis,” there just isn’t that much to say.

That is, until I started looking for examples of scientific illustration that could be reproduced using the vector illustration program, Inkscape. Any such example should have simple lines and clean integration of text and images. I'm not sure that a better description of Minard's work exists.

The two images above (and attendant PDFs) were my first pass at re-drawing the maps. And I have to say, I’m rather happy with the result. For the most part, I was able to get a very faithful reproduction (with the exception of the type face, which I deliberately changed because I hate script fonts), and only required a couple of hours worth of work.

I think that I may have found my book examples. It allows me to include one of the best statistical charts of all time, talk about flow maps, and even include some interesting how-tos which show how the graphics can be built in an automated fashion. Which, come to think of it, might just count as a new contribution after all.

Acknowledgements and Further Reading

More information on the book can be found at the publisher’s website.

The source images for the two maps included “Re-Visions of Minard” by Michael Friendly (1999) and the reproductions in “Beautiful Evidence” by Edward Tufte. Translation for the Hannibal map was adapted from those available on Edward Tufte’s website (Dawn Finley) and sources available at Re-Visions of Minard. Translation for the Russian campaign map were taken from the reproduction in Edward Tufte’s “Beautiful Evidence”, Wikimedia Commons and sources available from Re-Visions of Minard.

Additionally, the Re-Visions of Minard Website include a number of interesting adaptations of the Napoleon graphic that might be of interest, including both Matlab and GGPlot2 reconstructions.

Working With Words, Numbers and Images: A Reading List

Rob Oakes — Sun, 14 Feb 2010 18:10:28 +0000

There are three tools that a professional, scientific or technical writer needs to make use of: words, numbers and images. In many cases, such as an effective illustration or chart, all three will be used.

The following books introduce principles and examples of how to use these tools to their fullest extent. Some of the titles are historical and others are academic. In every case, though, they highlight strategies that can be used to more effectively communicate ideas. Additionally, each one is also an interesting and fantastic read.

	Math and the Mona Lisa by Bulent Atalay. For more than 500 years, the name of Leonardo Da Vinci has been synonymous with brilliance. His careful observation of nature, collection and analysis of evidence, and use of mathematics to explain his observations represented a radical shift that foreshadowed the modern scientific method.In this book, Bulent Atalay explains why Leonardo was a remarkable artist, engineer and scientist. He looks at the hidden patterns, geometric concepts and impeccable perspective in order to probe the mind that dreamt of helicopters, unsinkable ships and underwater exploration.
	Leonardo’s Notebooks, edited by H. Anna Suh. To understand a man, you must read him in his own words. This volume provides an opportunity to sample Da Vinci’s writings on anatomy, botany, architecture, sculpture and the physical sciences. The key illustrations from his notebooks have also been reproduced.
	Galielo at Work: His Scientific Biography by Stillman Drake. Like Leonardo, Galileo was a scientific titan. As Stephen Hawking aptly summarized, “Galileo, perhaps more than any other single person, was responsible for the birth of modern science.”But why? What was it about his innovative combination of experiment and mathematics that was so important. How did he analyze data? How did he present it to others?This book attempts to answer those questions. It lays aside the philosophical implications of Galileo’s rift with the Catholic church and instead looks at how Galileo focused his mind on physical quantities and the mathematical relationships between them.
	The Visual Display of Quantitative Information by Edward Tufte. Communicating complex ideas is difficult. One of the most important tools in that struggle are charts, graphs and illustrations. Unfortunately, however, these important figures often receive less attention than other aspects of a manuscript.In this book, Tufte provides inspiring examples of graphics that are beautiful to behold and illuminating to ponder. He also includes shockingly bad examples and explains why they are so dangerous.
	Visual Explanations by Edward Tufte. In his earlier work, Tufte showed how important it is for numbers to be communicated clearly and without distracting ornamentation. In this volume, he turns his attention to a slightly different series of questions: What is the best way to show cause and effect? Or to demonstrate evolutionary change?But the most important question he asks is far more universal: How can an information display be be used to reveal the truth? To answer this, he analyzes a cholera epidemic in 19th century London and explains how poor communication contributed to the explosion of the Challenger space shuttle.
	Beautiful Evidence by Edward Tufte. Like in his previous books, Tufte again tackles the question of how to best reveal truth through the graphical display of information. But where earlier books focused on principles, Beautiful Evidence is about how seeing turns into showing. To explore that theme, this book is filled with hundreds of spectacular examples and thoughtful commentary on what makes them unique.
	Now You See It by Stephen Few. The human mind is amazingly adept at seeing and understanding patterns. An informed eye can distinguish between authentic and forgery and arrive at startlingly accurate calculations with minimal effort. But even though we are capable of recognizing the hidden influences in the world around us, we can also be mislead and exploited far too easily. We become awash in a sea of data of our own making.This book attempts to explain how the mind interprets and sees information. As the author explains in the introduction, “[This book] provides tools to dive into the ocean of information, net the best of it, bring it back to shore and sort it out.” In essence, it’s a book about seeing and distinguishing patterns on a conscious level.
	Visual Thinking by Rudolf Arnheim. It’s long been known that “seeing is believing.” This book explains why seeing is also synonymous with thinking.
	Maps and Civilization: Cartography in Culture and Society by Norman J.W. Thrower. The history of exploration and discovery is also the history of cartography. As mankind sailed out of sight of shore, he needed to learn techniques for representing his position and understanding the natural forces that he might encounter. This book tells the history of mapmaking and how advances in cartography impacted civilization.
	The Elements of Graphing Data by William S. Cleveland. In this book by William Cleveland, he presents the nuts and bolts (the how-to) of graphing data. Then he goes on to explore the science in which his principles are based..
	Visualizing Data by William S. Cleveland. Whereas The Elements of Graphing Data is primarily focused on the principles of quality display and exploration of many types of common statistical charts, Visualizing Data takes the next logical step. It introduces a number of new chart types and techniques for creating insightful and clear graphics.
	Fiasco: The American Military Adventure in Iraq, 2003 to 2005 by Thomas E. Ricks. Serious endeavors require careful forethought and nuanced planning; and few enterprises are more serious than the business of war. This controversial book looks at the missteps and mistakes of the American military as it justified, planned and executed the 2003 Iraq War.It contains haunting examples of how information can be distorted and obfuscated by both well-meaning individuals and those with insidious hidden agendas. It also explains how the adoption of American corporate culture and leadership by PowerPoint lead to serious miscommunication and early failure.
	The Challenger Launch Decision: Risky Technology, Culture and Deviance at NASA by Diane Vaughan. The Challenger explosion on January 28, 1986 changed the course of manned space flight forever. But how did it happen? What factors lead to it? Might it have been prevented?In The Challenger Launch Decision, Diane Vaughan attempts to answer those questions. In the process, she reveals that the Challenger explosion wasn’t the result of intentional wrongdoing but rather a slow-creeping definition of “normal” and comfort with the status quo.

Image Gallery: The Notebooks of Leonardo Da Vinci

Rob Oakes — Fri, 05 Feb 2010 04:31:37 +0000

When I graduated from college and had to choose between a career in industry or academics, I found it to be an easy decision: I stayed in academics. I like to have my head in the clouds and enjoy the intellectual lifestyle. (I actually consider the label of “absentminded” to be a compliment.)

It should come as no surprise, then, that one of the most enjoyable aspects of writing a book has been the opportunity to research my subject. My reading list has included books on analytic design, illustration, anatomy, typesetting, scientific communication, web technologies, LaTeX, the history of science, statistics and informational graphics. And as I worked my way through it, I took some extremely interesting side trips. One of the most intriguing, however, was an extended tangent through the notebooks of Leonardo Da Vinci.

Da Vinci died in the year 1519, nearly five hundred years ago. Yet, the modern world remains fascinated by him. His name adorns the side of best selling books and conspiracy fiction; and his drawings have become cultural icons. As an example of his popularity:

In October of 2009, Martin Kemp, a professor of art and history at the University of Oxford, found a portrait of an Italian girl. Up until Kemp took an interest, it was widely accepted that portrait had been painted sometime in the nineteenth century by an unknown artist. After a great deal of investigation and the use of a multispectral camera, however, Kemp discovered something startling. The painting had actually been done by Leonardo and nearly overnight, it went from a value of 19,000 British pounds to over 100 million.

I’m no different than the masses. Leonardo fascinates me. He had a very distinctive way of seeing the world and an engaging style. Maybe that’s why it’s so easy to lose yourself in the details of his work. Given my interest, a thorough study of Leonardo’s notebooks seemed only natural.

What I didn’t foresee, however, is that I would start to digitally collect his sketches; and in the past several months, I’ve put together a rather eclectic mix from across the internets. Earlier today, I realized that the images might be of interest to others as well; thus, I’ve created a special online gallery for them. It can be found under “Art and Photography” –> “The DaVinci Notebooks” To get there more quickly, you could also just click here.

Enjoy!

About This Book Thing

Rob Oakes — Thu, 28 Jan 2010 21:22:09 +0000

In the past few weeks, I’ve had several observant readers ask about one of my “secret” projects. They’ve wondered what I’m up to and why it’s detracting from other endeavors. After answering another query this morning, I decided that it’s probably time to speak openly about it. So, here’s my public confession: I’m writing a book.

It’s about scientific and professional writing and open source. Moreover, it will be interesting, intriguing and revolutionary. (Yes, I have an inflated sense of ego.)

Before really diving into the details, I’d like to give a bit of personal background. This might help you understand why I’m passionate about the subject.

Background

Ten years ago, had someone told me that I would end up a scientist and engineer, I would have laughed at them. At the time, I had just started at University and I was fully set on a career in either illustration, design or architecture. I was much too “visual” and “right-brained” to surround myself by geeks, freaks and nerds. It didn’t help that I spent a huge amount of time grooming myself to be an “artist”.

During high school, I had been cursed with moderate talent and highly indulgent instructors. They praised my artwork. They called it interesting and innovative. They encouraged me to refine my technique and to major in visual arts. So, I did.

But as time went on, I realized that I wasn’t very happy. I realized that I had other interests. I enjoyed art, I did well in it; but art classes weren’t my favorites. That honor, as it turned out, was reserved for mathematics and science.

There was also another problem, I found that I lacked the discipline required to systematically create an individual style and build a portfolio. I wanted create art for myself, not for other people; and that is a fatal flaw in an illustrator (the type of work that most interested me). Illustration, by definition, is work that has been requested for a particular use. I was more interested in my own whims than those of potential clients. Thus, not long after recognizing my problem, I decided to go a different direction and changed my major to engineering.

Analytic Design

But even though I condemned myself to a life of investigation and exploration, I remained very interested in art, photography, layout and design. This interest (and some substantial urging by the doctor I worked for at the time) resulted in a fascination with where science and art seemed to intersect.

And this is when I noticed, like many others, a strange trend. If you look at the work of those considered the greatest minds in history – Leonardo Da Vinci, Isaac Newton, Galileo Gallilei, Thomas Jefferson, Marie Curie, Albert Einstein, etc. – you find something intriguing. In nearly every case, those recognized as brilliant weren’t judged solely on the quality of their thinking, but also by how they presented and explained their insights. Indeed, the thing identified as “brilliance” was not merely exceptional thinking, but clear communication. After, all, clever thoughts and ingenious solutions mean nothing if they can’t be captured, understood and disseminated.

What is often overlooked, however, is just how much work is required to explain ideas which aren’t inherently simple, and that raises an important problem. Communication in general, and writing in particular, is very hard. To distill random and chaotic thought into a coherent and logical narrative requires energy, time and effort. This is especially true of scientific, technical or professional subjects.

Such documents contain an enormous amount of baggage: figures, theorems, mathematical equations, algorithms, cross references and indexes. And while such things simplify the life of a reader, they can positively drown a writer.

Tools and Technology

Luckily, however, there are tools and technologies that can simplify the organizational side of communication and allow for a writer to focus on the important parts: words, pictures and evidence. But finding these tools and making them work together can be a very daunting task. And that’s why I’m writing a book.

In its pages, I want to introduce principles and ideas that are characteristic of good communication. For example, why was Albert Einstein able to convince both scientists and the general public that E=MC^2? Why do we still read the scientific treatises of Isaac Newton or Charles Darwin – centuries after their ideas have been edited, amended, extended and restated? Why does scientific communication often fail and what can be done to prevent breakdowns or misunderstanding?

Then, I want to show how those principles can be applied. I’ll look at open source tools and how they work. What programs are available for capturing information and references, organizing thoughts, and eventually creating a cohesive manuscript? How can open source tools be used to create beautiful charts, maps, graphs and tables? How can the process of collaboration be simplified?

Finally, I want to show why open source is awesome. I want to demonstrate why it is functionally superior to proprietary alternatives; and I want to do this in a way that shows it to be accessible. (Far too often, I find that people are afraid of open source because they view at as “complicated”, which is very unfortunate.)

Conclusion

When I first switched from art to science, I found myself confused, lost and overwhelmed. Not only did I need to adjust to a completely new discipline and culture, but I also found that no one used the same computer programs! And while it took some time to understand why, once I did, I realized that I would never go back to the “old” way of doing things.

Thus, I’m writing the book I wish someone had given me as a new science student; a book that explained the functional bits of scientific and professional writing with lots of examples, code, and pretty pictures. This is what I’ve tried to put together, something that is part theoretical treatise but mostly instructional manual.

So, for those of you who have wondered where I’ve been and where I’ve wandered; that’s the answer. I’m writing book. The good news, however, is that it’s nearly finished. And it’s in a state where I can start to share thoughts and examples from its chapters. In the next few months, expect to see some of that information here.

But because I’m passionate about the subject, I would love to hear others have to say. What makes for a good piece of informative writing? What are examples of clear communication? What lessons might we in the sciences learn from others? And what tricks do you have for being more efficient?

Typeset Your Curriculum Vitae – Part 3: Automatically Generate a List of Publications

Rob Oakes — Wed, 02 Dec 2009 15:19:44 +0000

Publications are the currency of ideas. Through them the experts, thinkers and dreamers of this world can share their thoughts and insights. A good publication is not only influential, but it’s even capable of shifting the course of a whole society, as Martin Luther King demonstrated with his “Letter from a Birmingham Jail”.

Since publications are so important to the dissemination of knowledge, there is a rather high expectation that an academic author should publish prolifically. The mantra “Publish or Perish” is not just a clever quip, but a very serious way of life.

It is ironic, then, that the most prolific of academic writers can suffer from a surprising problem: it can be very difficult to keep track of all of their work. Yet, an up to date CV is very important. After all, publishing your work in influential journals is an important first step toward establishing tenure!

Members of a research team or those who collaborate outside of their institution experience this same problem, only more so. Such a person may work on many projects at once, but only have direct responsibility for one or two of them. This places the researcher in the unenviable position of trying to track the work of others. This situation becomes even more complicated if the collaborator refuses to play by the rules of common decency.

It would be nice, for example, if the primary author of a publication would notify the co-authors of its progress, or when it has been submitted. But … that doesn’t always happen. Academic researchers are busy people and soliciting feedback from all of your collaborators can be difficult … and there is a tendency for difficult things to go undone. Thus, if you don’t follow what your team mates are working on, it is quite possible that an abstract might have gotten submitted while your back was turned.

To stay on top of the “delightful chaos”, you need to have some kind of system. Personally, I keep my list of projects and publications in three places. The first (and perhaps most important) is the hand-written list in my experimental notebook. Any time I hear about a new project, it gets added to this list. I keep track of what I’ve contributed, what papers or abstracts have been created from the data, and what their status is. When I know that an abstract or paper has been accepted, I then create an entry for the item in my bibliography manager. Once in the bibliography manager, I can cite the reference in other documents such as proposals or related papers.

About once a year, I go through the tedious process of updating my CV. This typically involves manually sorting through both my project list and my reference database and account for new items or reconcile differences. Every time I do this, it's painful; and because I’ve historically formatted the reference list by hand, it's not uncommon for a typo to sneak its way in or for an author to accidentally get left off of a citation. These mistakes are never intentional, but they do happen.

When I find such an error in the reference database, I fix it. But since I often import these references from websites, the errors tend to be few and far between. Moreover, my reference database is something that I use every day; as a result, it gets a lot of scrutiny. My CV, on the other hand, gets updated much less frequently and errors tend to persist longer.

For a very long time, I've wanted to automate the process. Instead of keeping three separate lists – active projects, reference database, and CV – I’d prefer to keep only one (or two). But I've never found a really satisfactory way of doing so. Or at least I hadn’t found a system until quite recently.

In my last review of different ways to typeset a CV, I came across an interesting article by Dario Taraborelli. In it, he described how to create a CV based on the standard “article” document class. It was well designed, elegant, simple and attractive. From his work, I created the xetexCV document class. Additional research turned up an add-on module that makes it convenient to automatically generate a list of publications. So, for the first time in a great while, I have finally found a way to automatically generate a publications list in a simple and automated manner. In this article, I will demonstrate how that is done.

The Basic Requirements

For any automated solution to be successful, it needs to meet three primary criteria:

When generating a list of references, bibliographic details should be pulled from the database. This ensures that the information is always up to date.
The citation style must be customizable. I want the ability to specify whether my CV includes page numbers and hyperlinks. Not all citation styles do.
The publication list should be broken into different categories. Book chapters should not be listed with peer-reviewed journal articles, nor should abstracts be listed amongst the books.

cvsplitbib and xetexCV

All three of these requirements can be met by using the xetexCV document class and the cvsplitbib style (both are provided in this zipped directory). cvsplitbib is a version of regular splitbib, a package that makes it possible to create categories in your bibliography. While all of the main features work as described in the splitbib manual, the macros have been changed to use the \cvsection and \cvsubsection macros of the xetexCV document class. This ensures that formatting and indentation of the publications list is consistent with the rest of the document.

This combination also has an additional benefit. Because cvsplitbib works entirely through LaTeX, any bibtex citaiton style can be used. In the example below, I've used the the "plain" style, though it would have been just as easy to use ama, MLA, chicago or any other style in my distribution.

Note: There is an important difference between cvsplitbib and splitbib. In the standard version of splitbib, it is possible to create subsubcategories (a second level of nested references). Cvsplitbib does not support this as xetexCV does not define a \cvsubsubsection macro.

Creating a Categorized List

Creating different bibliography sections is achieved through the use of the “category” environment. The arguments of the environment define the title of the section while the \SBentries macro is used to specify the citation key of any reference that should be included in that particular list.

Note: Citation keys should be added as a list separated by commas, any spaces will result in an error.

The following example creates a categorized bibliography with three different sections (Novels, Children’s Literature and Comics, Graphic Novels). The bibliography data is pulled from the file “NeilGaiman-Publications.bib”, part of the xetexCV examples (see below):

\begin{category}[A]{Novels}
\SBentries{Gaiman2001-American-Gods,Gaiman2005-Anansi,
Gaiman1990-Good-Omens,Gaiman1996-Neverwhere,
Gaiman1999a-Stardust,Gaiman1985-Ghastly}
\end{category}

\begin{category}[B]{Children's Literature}
\SBentries{Gaiman1998a-Goldfish,Gaiman2008-Graveyard}
\end{category}

\begin{category}[C]{Comics and Graphic Novels}
\SBentries{Gaiman1994b-Angela,Gaiman1993-Angels,
Gaiman1989-Black-Orchid,Gaiman1993a-
Books-Magic,Gaiman1994a-Death-Living,Gaiman1997-Death-Time-Life,
Gaiman2000a-Green-Lantern,Gaiman2003-Marvel-1602,
Gaiman1999-Midnight-Days,Gaiman1994-Anthology-Virus,
Gaiman2000-End-World,Gaiman1992-Signal-to-Noise,
Gaiman1998b-Smoke-Mirrors,Gaiman1998-Inkeeper,
Gaiman1991-Sandman,Gaiman1987-Violent-Cases}
\end{category}

Any reference that is not included in a specified category will be added to a fourth category, titled: “Miscellaneous”.

Generating the Bibliography

Once the various references have been categorized, you can generate the bibliography as you would in any other document:

\nocite{*}\bibliographystyle{plain}
\bibliography{NeilGaiman-Publications}

Here the \nocite{*} command is used to list all of the publications in the .bib database. \bibliographystyle{plain} specifies the BibTeX style to use, and \bibliography{Database-Name} tells BibTeX which database file to pull the information from. Part of the formatted output from the example is shown below.

Examples and Class Files

Document Class and Examples (.zip). This file contains the document class, cvsplitbib package, examples and other supporting files.
Neil Gaiman (Automatic Bibliography). LaTeX Source, PDF Output, Reference Database
Albert Einstein. LaTeX Source, PDF Output
Isaac Newton. LaTeX Source, PDF Output

______________________________________________________

Acknowledgements and Further Reading

The xetexCV document style is based on work from Dario Taraborelli’s website. The cvsplitbib package is a modified version of splitbib, by Nicolas Markey.

This article is part 3 of a four part series. Part 1 introduces the xetexCV document class and describes its use. Part 2 dissects the code and explains how it works. Part 4 describes how to use the document class and a corresponding layout file with LyX

Typeset Your Curriculum Vitae – Part 2: Extending and Customizing an Existing Document Class

Rob Oakes — Mon, 30 Nov 2009 18:54:16 +0000

Many first-time users of LaTeX often mistakenly look at the language as a a type of glorified word processing software – albeit a particularly complicated one. While such an analogy may be apt in helping new users become acclimatized to the language, it suffers from a rather nasty problem: LaTeX isn’t a word processor.

If anything, LaTeX shares more in common with a programming languages than any type of application. In fact, the document processing system is really nothing more than a bunch of re-usable pieces of programming called macros. Everything is a macro. That includes the commands that every user is familiar with: \title{}, \section{}, \subsection{}; in addition to the internal formatting commands that allows LaTeX to function. (Most of the macros were originally created or packaged by Leslie Lamport as a way of making TeX – the typesetting system created by Donald Knuth – easier to work with.)

This has some rather practical consequence; because everything in LaTeX is a macro, it is far more extensible than a word processor could ever hope to be. If you require a feature that doesn’t yet exist, it typically isn’t all that difficult to add it. And when your extension is packaged inside a style or class, you can use those customizations in anything that you want to write.

But though creating macros isn’t particularly complicated, it is a different beast than just using the stock macros for writing. This is not surprising, the craft of design is inherently different than the craft of writing. There are different conventions to follow and different topics to obsess about. In the first article of this series, I introduced the xetexCV document class, which is one example of where I decided to don the designer hat.

But before you get too far down the road of customizing and extending, there are a some important things that you need to know. These include the general conventions used when working with document classes, their internal anatomy, an understanding of how macros are created, and how to handle formatting and layout challenges. In this article, I will look at these issues more in detail, particularly as they pertain to xetexCV. In the process of reviewing these topics, I will also explain some of my design choices.

Understanding Conventions

When trying to customize or extend a document class, perhaps the very first thing to understand is that there are certain conventions. The document “LateX 2E for class and package designers” describes them this way:

LaTeX has three types of commands.

There are the author commands, such as \section, \emph and \times: most of these have short names, all in lower case.

There are also the class and package writer commands. Most of these have long mixed-case names such as the following:

\InputIfFileExists \RequirePackage \PassOptionsToClass

Finally, there are the internal commands used in the LaTeX implementation, such as \@tempcnta, \@ifnextchar and \@eha: most of these commands contain @ in their names, which means they should not be used in documents, only in class and package files.

These conventions help to better separate procedural formatting from the descriptive tags used in writing a document. But it also makes it easier to identify what different sections of the code do. Sections that are responsible for importing and configuring packages will typically use mixed case names, while variables will contain the @ symbol, and user facing macros will be in lower case.

The Internal Anatomy of a Document Class

The next important thing to understand is that all document classes have a few well defined components. That is to say, they have an internal anatomy which contributes to their function and physiology. The internal bits include the class description and required statements, a block that imports and configures packages which new features will depend on, and a section where new macro commands are created or existing commands are redefined.

Class Description and Required Statements

\ProvidesClass

The very first such section gives the package name and description. Also included is a definition of the most recent version of LaTeX that the document class will work with. The relevant code from xetexCV is shown below:

\NeedsTeXFormat{LaTeX2e}
\ProvidesClass{xetexCV}[2009/11/30 – Modern looking résumé which uses
the xetex typesetting system]
…

Here, the \NeedsTeXFormat{LaTeX2e} command is the earliest version of LaTeX that the document class will work with. \ProvidesClass{xetexCV} identifies the class name (xeteCV) and everything in square brackets is the document description.

\LoadClassWithOptions

Generally speaking, there are two major types of LaTeX document classes: those that are free standing, and those that are variations of other document classes. The standard classes (article.cls, report.cls, and book.cls) are examples of the former. They contain all of the code needed to compile and work without additional extensions. xetexCV, is an example of the second type.

To load an existing class as the foundation, you can use the \LoadClassWithOptions macro:

…
\LoadClassWithOptions{article}
…

xetexCV uses “article” for its foundation. For that reason it is likely that other packages and styles will work without conflict.

Building on the Foundation

\RequirePackage

After the base class has been loaded, the new package is fully functional, if identical to the foundation class. The next step in the customization process, then, is to begin adding new features and modifying old ones. In the case of xetexCV, there were several changes which I wanted to make. First, I wanted to use an 8 1/2 inch by 11 inch paper (US letter) by default. I also wanted to set a 1 inch margin. Next, I wanted to use the XeTeX typesetting system and a pair of advanced OpenType fonts.

These changes are made through the use of other LaTeX packages. In a document class, add-on modules are loaded through the \RequirePackage command. Below is the related code from xetexCV:

…
\RequirePackage{fontspec}
\RequirePackage{xunicode}
\RequirePackage{xlxtra}

\RequirePackage{graphicx}
\RequirePackage[colorlinks]{hyperref}

\RequirePackage{ifthen}
…

The first three packages (fontspec, xunicode, and xlxtra) are used by XeTeX to set fonts and provide unicode support. fontspec, in particular, is very important. It provides convenience macros that make it easy to change the the various font families: \setmainfont{fontname}, \setromanfont, \setsansfont, and \setmonofont. It also provides a way to manipulate font mappings, color, scaling, and inter-word spacing. graphicx is used to add images to the document and manipulate their size.

hyperref makes it possible to add clickable hyperlinks and bookmarks. The [colorlinks] option specifies that these special links should be rendered in a different color than other text. The hyperref package is then configured using the \hypersetup{} macro. By default, I’ve configured xetexCV to use blue for urls and webpages and black for filenames:

\hypersetup{linkcolor=blue,citecolor=blue,filecolor=black,urlcolor=blue}

The ifthen package provides several macros that make it easier to apply conditional formatting. These will be discussed in more detail below.

Creating New Features and Modifying Old Ones

The last major section of a document class is where new macros are defined and old ones are modified. As might be expected, this section typically accounts for the majority of the code.

\def and \newcommand

There are two major commands used to define macros and variables: \def and \newcommand. \def is a TeX primitive while \newcommand is a LaTeX macro that checks for name clashes or other problems. In many cases, they may be used interchangeably or in concert. Consider the code block below which defines the \cvname macro:

…
\def\@cvname{\relax}
\newcommand{\cvname}[1]{\gdef\@cvname{#1}}
…

\@cvname (according to the LaTeX conventions) is a variable/macro which should only be used from inside the LaTeX document class. Consequently, it needs a user-facing macro that can be used to assign it a value. This is what \cvname does. In this example, the first line of code creates the variable and assigns it the LaTeX equivalent of a null value (\relax). The second line is a little more interesting. It defines a macro called \cvname with one argument [1]. Then, it takes the \cname argument and assigns it to \@cvname.

A second, related example can be seen in the definitions of \@cvimage and \cvimage:

…
\def\@cvimage{\relax}
\newcommand{\cvimage}[1]{\gdef\@cvimage{#1}}
…

Again, the first line of code creates a variable (\@cvimage) with a null value, and the second line creates the user facing macro (\cvimage). In later commands, the internal variables are used for layout and formatting (see below).

\renewcommand

If I need to modify a particular piece of code, those changes can be made using the \renewcommand macro. This is similar to over-riding a method in an object-oriented programming language like C++ or Python. Everything that hasn’t been changed continues to work as before. In xetexCV, I wanted to modify the \section and \subsection macros. To do so requires \@startsection and six arguments:

\@startsection {NAME}{LEVEL}{INDENT}{BEFORESKIP}{AFTERSKIP}{STYLE}

Generic command to start a section.

NAME : e.g., “subsection”
LEVEL : a number, denoting the depth of the section in the table of contents
INDENT : Indentation of the heading from the left margin
BEFORESKIP : Space to leave above the heading
AFTERSKIP : Space to leave after the heading
STYLE : Commands to set the font and style of the heading

I, therefore, copied over the definitions from article.cls and modified the spacing and fonts:

\renewcommand\section{\@startsection
{section}{1}{\z@}%
{-3.5ex \@plus –1ex
\@minus -.2ex \vspace{1mm}}%
{0.5mm}%
{\sffamily\large\bfseries}}

\renewcommand\subsection{\@startsection
{subsection}{1}{\z@}%
{-3.5ex \@plus -1ex \@minus -.2ex}%
{3.0mm}%
{\sffamily\mdseries}}

But while I chose to completely rewrite my section definitions, much the same thing could have been accomplished through the sectsty package. Despite the ease of sectsty, I felt that it would be better to define my styles from scratch. sectsty often throws errors when used with other document classes, like scrbook.

Rules for Creating New Macros

The third important thing to understand when writing a document class is when you should add new macros rather than modifying the behavior of old ones. In trying to make this decision, it is good to think about how changing a macro’s behavior will influence other document features. In cases where a change might cause other features to break, it is better to add a new macro.

Managing Complex Formatting - \cvsection and \cvsubsection

While I was redefining the \section and \subsection macros, I ran into one such difficulty. I wanted to set one indentation level for the header and another for the body text. Further, I wanted to include a decorative line following the header. Yet, no matter how I chose to define the STYLE or AFTERSKIP arguments, I couldn’t quite achieve the formatting I wished (shown below).

I finally decided that the formatting was too complex and required a new macro that could be used instead of \section and \subsection. These new additions became \cvsection and \cvsubsection:

\newcommand{\cvsection}[1]{\leftskip 0cm
\section*{#1}\decorativeline\marginpar{\vspace{0.3ex}}
\leftskip 116pt}

As in the previous examples, \newcommand was used to define a code block with a single argument – the text to be formatted). Then, I specified the procedure that I wanted to apply to the text

The left text margin is moved so that it is flush with the page margin (\leftskip 0cm)
A non-numbered section header is added (\section*{#1})
The decorative line is included (\decorativeline)
The text indentation is returned to the previous value (\leftskip 116pt).

The definition of \cvsubsection is similar, with two exceptions. First, the \cvsubsection style does not include a decorative life. The second major difference is more substantial. I found the vertical spacing preceding the \subsection definition to be too large, I therefore moved the entire text block up by 0.2 cm (\vspace{-0.2cm}). This was ultimately easier than trying to find a better value for the BEFORESKIP argument:

\newcommand{\cvsubsection}[1]{\leftskip 0cm \vspace{-0.2cm}
\subsection*{#1}\vspace{1.0mm} \leftskip 116pt}

Note: When given a negative value, \vspace moves up the block of text by the specified amount.

Layout and Formatting

One of the very best features of TeX is the automatic layout algorithm that it uses to position content. In nearly all cases, allowing for LaTeX to manage spacing and layout will result in a better looking document than if you try and do so yourself. There will be circumstances, however, where it is necessary to manually specify the position of photos or text in a more precise manner.

In xetexCV, there are two such cases. In the first, special handling is required so that the CV contact information is correctly labeled and typeset. Additional formatting commands are required so that the images and text of the title section have a “balanced” feel to them. All of this processing occurs in the \makecvtitle macro.

Conditional Formatting - \ifthenelse

While it may appear simple, the formatting of the xetexCV contact section (which includes the institution, address, phone, fax, email and website information) is rather involved. First, in order to simplify the use of the document class, I chose to add this information through the use of special macros (\email, \website\, \cvname, etc.). Because the information is added through tags, this means that logical rules must be set up to handle to handle the layout. What should happen, for example, if a fax number or website isn’t supplied?

The obvious answer is that the information should be left out of the contact details. That also means that the label (“Fax:”, “Phone:”, “Email:”) should be omitted. To accomplish this goal requires conditional formatting, better known to programmers as the “if, then, else” loop. “If” a condition exists, “then” do one thing, “else” do another.

In LaTeX, conditional formatting is performed by the “ifthen” package and uses the \ifthenelse macro.

\ifthenelse takes three arguments:

\ifthenelse{CONDITION}{IF TRUE}{ELSE}

CONDITION : The test condition, often expressed as \equals{VARIABLE}{VALUE}
IF TRUE : The code that should be executed if the condition is satisfied
ELSE : What to do if the condition is false

At several instances in xetexCV, \ifthenelse is used to test if there is a null (or empty) value for a particular tag. In the cases where it finds a null value, then no formatting commands are executed. If, however, there is a value, then text is added. A few of the simpler examples are shown below:

\ifthenelse{\equal{\@phonenumber}{\relax}}
{}{Phone: \texttt{\@phonenumber}\\}
\ifthenelse{\equal{\@faxnumber}{\relax}}
{}{Fax: \texttt{\@faxnumber}\

In each of these cases, the \equal macro is used to check if the pertinent variable (specified by the \@ symbol) still has a value of \relax (\equal{\@variablename}{relax}).

Note: \relax can be thought of as an equivalent to null in other language.

If the value is still set to \relax, then nothing is done (denoted by the empty diamond brackets).� If there is a non-null value, however, then the appropriate label and formatted text is added to the document.

While these examples are relatively simple, the same principle can be used to for very complicated formatting.� \makecvtitle, for example, uses a similar conditional statement to see if the user has specified an image.� If not, then it will use one formatting style for the entire title section.� If so, then it uses the layout shown in the examples.

Balancing Images and Text - \makecvtitle

In addition to the conditional formatting issues, \makecvtitle must also wrestle with the best way of creating a single, unified title block.� The CV name, contact information and photo should all be included.� Moreover, subsequent sections should be added after the end of the photo, rather than wrapping around it.� One of the easiest ways to create such a unified block of content is to use the minipage environment.

The minipage is extremely flexible.� It can have text, formatting and image within a self-enclosed space.� Furthermore, they can be embedded within one another.� By creating a series of embedded minipages (as shown below), you can group related content.� You can additionally specify how wide you want each minipage environment to be, or you can let the LaTeX engine make those determinations.

Note: An additional advantage of minipage is that any footnotes added to text within the minipage are� part of that environment instead of the main document.� This is useful for adding footnotes to figures or text.� Accomplishing the same thing in Microsoft Word without tedious manual formatting is impossible.

I?ve used this strategy to ensure that text containing the contact details is properly aligned against the cv photo.� The minipage environment from xetexCV is shown below:

\begin{minipage}{6in}
\begin{minipage}{114pt}
\resizebox*{100pt}{!}
{\includegraphics{\@cvimage}}
\end{minipage}
\begin{minipage}{4in}
\ifthenelse{\equal{\@institution}{\relax}}
{}{\bfseries\@institution\\}
\mdseries\@contactaddress\" />
!0.2cm]
\ifthenelse{\equal{\@phonenumber}{\relax}}
{}{Phone: \texttt{\@phonenumber}\\}
\ifthenelse{\equal{\@faxnumber}{\relax}}
{}{Fax: \texttt{\@faxnumber}\$$!0.2cm]}
\ifthenelse{\equal{\@email}{\relax}}
{}{Email: \href{mailto:\@email}{\@email}\\}
\ifthenelse{\equal{\@website}{\relax}}
{}{Website: \href{\@website}{\@website}\\}
\end{minipage}
\end{minipage}

As you may notice, there are three embedded minipages here (the main minipage and two sub pages). The main minipage is set to span the entire width of the text. However, the first embedded minipage is only 114 pt in width (about 1.6 inches). Within this first box, I place the cvphoto, resized to a width of 100 pt:

\resizebox*{100pt}{!}
{\includegraphics{\@cvimage}}

Note: The {!} argument in \resizebox allows the image to stretch proportionally in the vertical direction.

The second minipage is allowed to take up the rest of the paper width and includes the conditional formatting for the contact details.

Conclusion

Through the use of custom formatting, packages and macros, I’ve created a document that is substantially different from the foundation class (article.cls). Despite those differences, nearly every major customization was made using simple LaTeX macros which many users will be familiar with. Further, because it is built on a solid foundation, the ability to use other add-on packages is retained.

Extending an existing document class does not need to be difficult. It is possible to use many of the commands used for writing a document. Additionally, the modifications could be packaged as a style (.sty) and used to enhance any content that I might write in the future.

This flexibility is one of the reasons why LaTeX is such a good candidate for the typesetting of scientific and technical material. It’s also why LaTeX is a good candidate for creating design heavy documents, such as a curiculum vitae.

______________________________________________________

Acknowledgements and Further Reading

Additional information on the structure of document classes can be found in the article “Rolling your own Document Class: Using LaTeX to keep away from the Dark Side” by Peter Flynn of Silmaril Consultants.

A second article called “How to develop your own document class – our experience” describes additional techniques for documents that might have non-standard formatting. It outlines several common mistakes and ways to get avoid them.

This article is part 2 of a four part series. Part 1 introduces the xetexCV document class and describes its use. Part 3 shows how to generate a publications list through the use of a .bib database and custom BibTeX style. Part 4 describes how to use the document class and a corresponding layout file with LyX.

Typeset Your Curriculum Vitae – Part 1: The xetexCV Document Class

Rob Oakes — Wed, 25 Nov 2009 04:02:27 +0000

Very few documents are more personal than a curriculum vitae (CV). A CV lists a person’s educational history, who they’ve worked for and what they’ve accomplished. Moreover, a CV is frequently used to judge a person’s inherent worth and value (or at least exploitability). A quality curiculum vitae matters, a lot.

For that reason, a CV not only needs to include all the pertinent information of a person’s life, but it also needs to look good. An attractive CV with good spacing and contrast leaves a positive impression and makes it easier to find information. When laid out correctly, a reviewer might just find themselves scouring past accomplishments for interesting tidbits: “I didn’t realize that this applicant organized a lecture series with Patch Adams and other notables, that’s interesting!”

There are many dedicated CV classes which can be used to typeset a CV with LaTeX. Unfortunately, they all share one thing in common: they’re complicated. To ensure that the spacing and fonts are correct, far too often a document based on these classes will devolve into a jumbled mess of tags and obscure page layout commands.

I’ve tried to typeset my CV with LaTeX a number of times, and in nearly every case, I’ve been unhappy with the output. Sure, the end product is attractive enough; but it doesn’t quite match the CV that I have in my head. To really arrive at my coveted ideal of perfection, I would need to manually specify the font and position of nearly every element on the page; which is why I’ve normally used a dedicated layout program (such as Adobe InDesign) for the job.

This is unfortunate, however, since a CV based on LaTeX would be much easier to keep current. Additionally, a well designed document class and corresponding BibTeX style would allow me to use my existing bibliographic database to automate the process.

Thus, any time that I need to make major updates, I always check the internet for information and new LaTeX classes. While conducting one such review a few days ago, I came across a very interesting article and set of examples by Dario Taraborelli of the University of Surrey. In his write-up, Dr. Taraborelli expresses frustrations which are similar to my own; but instead of complaining and throwing his hands up in exasperation, he went on to solve the problems in an elegant way.

Rather than use or modify one of the existing CV classes (as I would have done), Taraborelli opted to extend the article class by adding additional features. Perhaps the most important addition was the use of XeTeX and the \fontspec package, which allows for OpenType or expert fonts to be used and other advanced features. The end result of this work is an attractive and flexible document template.

Dr. Taraborelli’s example also shows how easy it can be to extend an existing document class to meet a more specific need. As I read through the example code, I realized that it would be straightforward to build upon his work and create something that would suit my particular aesthetic.

So … I did, and this series is the result of my efforts.

In the remainder of this article, I will introduce the new CV document class I created (called xetexCV) and provide a few examples of how to work with it. In part 2, I will dissect the class code and explain how it works. I will also provide hints on how it might be modified. In part 3, I will show how to generate a publications list through the use of a .bib database and custom BibTeX style. In Part 4, I will describe how the document class and corresponding layout file can be used with LyX.

xetexCV – An Attractive and Easy to Use CV Document Class

Downloads and Installation

All of the files needed to use the class (including xetexCV.cls, examples and supporting files) can be found here. To install, copy to an appropriate folder in your tex path and refresh the tex database:

sudo texhash

Package Requirements

XeTeX Typesetting Engine. For users of Mac OS X and Windows, XeTeX is included in the MacTeX and MikTeX distributions (respectively). Users of Linux, however, will need to install the texlive-xetex package
Fontspec package (included with MacTeX, MikTeX or texlive-xetex)
OpenType Expert Fonts. By default, the document class uses Fontin and Fontin sans.

Curiculum Vitae Examples

Albert Einstein. LaTeX Source, PDF Output
Isaac Newton. LaTeX Source, PDF Output

xetexCV Class Usage

To use the xetexCV class, there are a few important macros. These include:

The \makecvtitle macro and title block tags
The \cvsection and \cvsubsection macros
The \years tag for hanging notes

\makecvtitle

The title block is created through the use of the \makecvtitle macro. The name, institution and contact information are all specified by descriptive tags. The example below shows what these are and how they are used:

\documentclass{xetexCV}

\cvname{Albert Einstein}
\cvimage{Albert-Einstein.jpg}
\institution{Institute for Advanced Study}

\contactaddress{Einstein Drive\\
Princeton, New Jersey 08450
United States of America}

\phone number{609-734-8000}
\faxnumber{609-924-8399}
\email{a.einstein@ias.edu}
\website{http://www.ias.edu/spfeatures/einstein}

\makecvtitle

\cvsection and \cvsubsection

Sections and subsections can be added through the \cvsection{section name} and \cvsubsection{subsection name} macros. The following codeblock creates the “Publications” section header and “Peer Reviewed Journals” subhead seen at right:

\cvsection{Publications}
\cvsubsection{Journal Articles}

…

Hanging Notes

Hanging notes can be specified through the use of the \years macro. This is helpful for typesetting education, employment history, and awards. The following example produces the output seen below:

\cvsection{Appointments Held}

University of Bern \years{1908-1911}\\
University of Zurich \years{1911-1912}\\
Charles University of Prague \years{1912-1914}\\
Prussian Academy of Sciences, Berlin \years{1914-1932}\\
University of Leiden \years{1920-1930}\\
Institute for Advanced Study, Princeton \years{1932-1955}

Choosing a Font

To change the font, use the \fontspec package and appropriate \settext macro. The example below shows how to change the main font and sans font to Warnock Pro and Frutiger LT Std (commercial fonts available as part of the Adobe Font Folio 11):

\setmainfont[Ligatures={Common}, Numbers={OldStyle}]{Warnock Pro}
\setsansfont{Frutiger LT Std}

All of the examples shown here were typeset with Warner Pro and Frutiger. By default, however, the document class uses Fontin and Fontin sans, which are available as free downloads. Another excellent font alternative is Gentium Basic. Because XeTeX can use OpenType fonts, however, you can use any font installed on your computer.

Other Features

Font features such as ligatures and glyph variants can be accessed through the fontspec package
The examples and class are unicode compatible. This means means that you can write in Chinese, Cyrillic or Greek without additional packages

______________________________________________________

Acknowledgements and Further Reading

As noted above, this document class is based on a similar example available from Dario Taraborelli’s website. Other examples of how to create a resume or CV are available from Matthew Boedicker and Kamil Wójcicki.

Customizing LyX: Character Styles and the LyX Local Layout

Rob Oakes — Sat, 14 Nov 2009 21:00:00 +0000

Imagine for a minute that you’re writing a book or technical manual. Let’s say it’s a book on technology, maybe the open source tools used for scientific writing (to randomly pick an example). As you write this book, you realize that you need some way to cue the reader into different parts of the text.

For instance, you might want all definitions to appear in bolded text so that a reader pick out key terms quickly. Or you might want code examples to appear in a different font than the regular text, again, so they’re easy to find. What’s the best way to do this?

Sure, you could just bold the definitions, or manually change the font for the code examples. But that’s painful! Changing typeface and size every time that you have a section of code will eventually result in a lot of lost time. Moreover, you might make a mistake, which destroys your consistency and makes your writing look unprofessional. There must be a better way!

Thankfully, there is. It’s through the consistent use of styles.

Styles Defined

A style is a collection of formatting commands with a meaningful name. Examples in Microsoft Word include “Heading 1”, “Body”, and “Figure”. When you use them consistently, styles allow for “logical markup” of a document. That is to say, you tell the computer what the section, paragraph or text corresponds to and then it handles the formatting. For this reason, styles form the basis of the “What You See Is What You Mean (WYSIWYM)” philosophy used by LyX and other “document processors".

There are three major types of styles: section styles, paragraph styles and character styles. You are likely familiar with section and paragraph styles, as they populate the main drop down box of LyX’s main toolbar. The most common section styles are: chapter, section, subsection. Examples of paragraph styles include: standard text, quotations, and code. But the third main type of style, “a character style” may be a stranger. It isn’t as common as it’s two older brethren and easier to lose track of; which is a huge shame, because it is just as important.

Character styles, as the name implies, work on individual characters within the text of a paragraph. To extend the examples given in the introduction, the most efficient way to bold a definition would be to use a pre-defined character style called “definition”. Ditto for an in-paragraph sample of code.

“Now wait a minute,” you’re probably saying, “I’m not sure that I follow the difference between character styles and other text formatting commands like ‘bold’, ‘italic’, or ‘underline’!”

That is perfectly alright, the distinction can be a bit hazy. Nonetheless, it is still key in understanding the difference between “logical markup” and formatting. Let me see if I can clear it up.

As described above, a style is typically used to describe what a part of the document is, rather than how it should look. Subsequently, you are unlikely to see a style called “bold”, “italic” or “center”. Those terms describe how the text should appear; which is to say, they are formatting commands. Bolded text uses a heavier line stroke and centered text appears in the middle of the page. A style, on the other hand, is used to describe a “definition”. You then associate that style with how you want “definition” to look. It could be numbered, bolded and centered; or it might be larger than the surrounding text and italicized. The appearance is determined by a “style sheet”.

Note: Since the use and customization of section and paragraph styles is well explained in the LyX help documentation, this article will focus on character styles.

Using Character Styles in LyX

LyX provides some common character styles through the use of its “Logical Markup” module. These include styles for nouns, emphasizing text, and code – which may be useful for highlighting filenames or programming syntax within the body of the paragraph.

The character styles are not loaded by default, however. Instead, they come as part of an optional module. You can use them by going to the “Document->Settings->Modules” pane and adding “Logical Markup” to your document.

Once the “Logical Markup” module has been loaded, you use of apply a particular character style through the “Edit->Text Styles” menu, or by first highlighting a block of text and selecting “Text Style” from the right click context menu.

Note: The emphasize style is distinct in that it can also be toggled on and off through the “Ctrl+E” keyboard shortcut.

After you’ve formatted a block of text with character style, it will appear differently from the surrounding text. It will not only use a different font, but will also be surrounded by a set of hash marks. The example below shows a document with two instances of the “Code” character style. Optionally, character styles have a label which you be toggled on and off. The screen shot below shows what this looks like. The first instance, “TEXMFLOCAL”, has the label toggled off while the instance, “/var/lib/texmf/tex/latex”, shows the same character style with the label visible.

Customizing Character Styles

But what if you need access to other character styles? Perhaps you’re writing a novel and would like to have a dedicated style for specifying when a character is talking to himself (called internal dialogue)? Or you’d finally get back to working on your textbook with bolded definitions. Such styles aren’t defined by the “Logical Markup” module, or any module at all for that matter. Nor are they likely to be used so frequently that it is worth trying to modify the built-in modules or create a new one to support them.

Luckily, there is a solution to this problem. In the first article in this series, I looked at how to create a template for an NIH grant proposal from an existing LaTeX document class. In that article, the secret to using the “nih.cls” document class lay in its corresponding LyX layout file ("nih.layout"). Also in that article, I explained how LyX layout files primarily contain information concerned with on-screen presentation.

Note: For more detail, see: Customizing LyX – Part 1, Understanding the Big Picture.

As a first approximation, what I said in that article is mostly true. But, naturally, the reality is more complex. LyX layout files can also contain information about character styles. This includes both information about how they should be presented on-screen and how the underlying LaTeX typesetting language should process them. Moreover, that information can either live in a global layout file (like nih.layout) or in the .lyx file you are working on (meaning that it can be conveniently added to a template). In the remainder of this post, I will show how to create custom character styles by modifying the local layout.

Example: Creating a “User Interface” Character Style

As you might have guessed, the example introduced above isn’t so random. For the past several weeks, I have been working on a book about scientific and technical writing. The book will cover a number of programs and technologies including LyX, LaTeX, BibTeX, Mendeley, Scribus and Kile.

Since it is geared to a somewhat technical audience, it includes both instructions on how to use program's UI and code samples. For my code examples, I can use the internal LyX character style. But I’ve found that I would also like to highlight references to the UI. There isn't a pre-defined UI character style.

Fortunately, I not the first person writing a book with UI references. If you look at the LyX user manuals, you will see that the LyX documentation team created a character style specifically for highlighting LyX menu commands. It uses a sans serif font and I think it is rather attractive. But, how do you go about adding it to another document?

It’s actually pretty straightforward:

Since there isn’t a UI to modify the local layout in LyX, open your document in a text editor
Create a local_layout section
Define how you want your character style to appear (both on screen and in the LaTeX output)

Step 1: Open your document in a text editor

As explained above, custom character styles live in the local_layout section (enclosed with the “\begin_local_layout” and “\end_local_layout”) near the beginning of a LyX document. Unfortunately, there is not currently a user interface pane within LyX to edit this section. As a result, open the document in your favorite text editor. The figure shows what this looks like for a file called “Book Chapter – Technical.lyx”.

Note: There is nothing to be afraid of, LyX’s file format is relatively easy to parse; even for human beings.

“Book Chapter – Technical.lyx” has three major sections:

Document: enclosed by “\begin_document” and “\end_document” (off-screen)
LaTeX Preamble: enclosed by “\begin_preamble” and “\end_preamble”
Local Layout: enclosed by “\begin_local_layout” and “end_local_layout” (off-screen)

I have added some text to the LateX preamble in this example. The command tells LyX to use the “Latin Modern” fonts instead of the LaTeX default fonts, which I find to be rather ugly:

% set fonts for nicer pdf view
\IfFileExists{\lmodern.sty}{\usepackage{lmodern}}{}

Step 2: Create a Local Layout Section

If it doesn’t already exist, insert a local_layout section. For organizational purposes, I like for it to appear following the preamble. Below is the full text of the layout section for “Book Chapter – Technical.lyx”:

\begin_local_layout
    Format 7
        InsetLayout    CharStyle:UserInterface
        LyxType               charstyle
        LabelString           userinterface
        LatexType             command
        LatexName             userinterface
        Font
            Family              Sans
        EndFont
        Preamble
            \newcommand*{\userinterface}[1]{{\sffamily #1}}
        EndPreamble
    End
\end_local_layout

In the example, there is some template code (also known as boilerplate), and values that you can modify in order to better customize the appearance of your character style. The boilerplate includes “Format 7”, LyXType charstyle”, and “LatexType command”. These values will be constant for all character styles, but everything else can be customized.

Step 3: Define how you want the character style to look

When customizing the appearance of your character style, the first thing to do is to decide what you want to call your style. This is done by modifying the “InsetLayout” argument. Since my book project covers many different programs, I’ve decided that I will use this character style for any reference to the ui. That includes menus, button names, or dialog box text. As a result, I’ve called it “CharStyle:UserInterface”. This is what appears when I go to the “Edit->Text Style” menu and in the dialog box that appears when I right click.

Next, you need to decide what you would like the “label” to be. The label appears when the “show label” option is toggled on. In this example, it’s “userinterface”.

I also need to associate my character style with a LaTeX name. Again, I’ve opted to call it “userinterface”.

The next block of options, “Font”, specify how the text will look on screen. You could be extremely ornate specifying text size, typeface, and font weight. In this case, however, I want to go with something simple. I'm just going to use the “Sans” font family for on-screen to display. Boring, but functional.

Note: A complete list of available options can be found in the LyX help documentation: “Customizing LyX: Features for the Advanced User”. See section 5.3.6.

The Preamble block tells LaTeX how it should process the character style. Again, I don’t want to do anything fancy, so I'm just going to use the “Sans Serif” font family. This is accomplished by the following LaTeX command:

\newcommand*{\userinterface}[1]{{\\sffamily #1}}

The “\newcommand” syntax tells LaTeX about my custom style, while everything after is specifying the text and the font family. “\ssfamily” refers to the sans serif font family. Other options I could have used include the roman font family (“\rmfamily”), the typewriter family (“\ttfamily”), medium text (“\mdseries”), italic ("\itshape”), or small caps (“\scshape”).

Note: For a more complete list with sample output, see here (Table 4.5).

When finished, save your document and exit the text editor. When you load the document back into LyX, your style should appear in the “Edit->Text Style” menu. The screenshot below shows how the “User Interface” character style looks in use.

Miscellaneous Things and Conclusion

Like the example in the previous article, I like to save documents with custom character styles as templates. This means that I can create additional documents very easily by going to the “File” menu and choosing the “New from template” option. The new document will have all of the template’s settings, including the LaTeX preamble and the custom character styles. It also means that I can keep separate templates for technical documents, scientific articles, book chapters and fiction. Each has character styles defined that make sense for that type of publication.

Character styles make writing long documents much easier. It’s so much better to label a piece of text as “code” or “userinterface” than it is to remember the exact formatting specifications. Moreover, it makes the document more consistent and provides an easy path to change formatting at a later date. As a first time author, I have no complaints about anything that makes my writing easier, more organized, and flexible.

Patronage in the Digital Age

Rob Oakes — Tue, 10 Nov 2009 18:20:22 +0000

As wonderful as the internet may be, it causes a lot of problems. For starters, it is putting newspapers out of business. It’s also radically changing how artists, writers and musicians make their living. And in case you weren’t paying attention, it’s starting to look like a crisis.

Different groups have responded to the impending collapse of publishing in different ways. Some writers sell sponsorships for their books and then offer an acknowledgement when it is printed. Many musicians have adopted the self-publishing and distribution tools long available to authors, leading to experiments like Amazon’s CreateSpace. And there are those who have gone the route of directly asking for contributions and donations to support their work; the digital equivalent of a performer passing the hat, you might say.

The problem is that some of these experiments are running head-long into good old American sensibility and propriety. There are even people saying that some of the new content generation schemes are inappropriate; including that old bastion of American common sense, Ms. Manners. Manners has even gone so far as to say that for a novelist to ask for a contribution is the same as begging, or panhandling.

She says it like it’s a bad thing. The simple truth is that artists, musicians and storytellers have long been beggars. The content industry of the 20 industry is a tremendously new invention, and as I noted above, it’s running into another time tested American value: frugality and a love of private property.

In fact, there seems to be this attitude that, “After I’ve purchased the novel or CD, I own the work and ideas. I’ve invested in its creation.” This little nugget rears it’s head most commonly when discussing music. Even the great Steve Jobs has been known to say, “People don’t want to rent music, they want to own it.”

Except … that’s bullshit. An interesting idea, or a well written book, or a beautiful piece of music isn’t like paying for a hamburger. You aren’t reimbursing someone for providing you a good or service. And I’m frankly shocked that anyone would think that Beethoven’s 9th Symphony or Antonio Vivaldi’s “Four Seasons” is only worth the price that paid on iTunes. The true worth is far greater than the price of admission. Would you seriously think yourself exploited for buying a second recording, or for paying to hear it at a concert?

Of course, that’s when people can be bothered to pay for content at all. An exacerbating factor is that many people expect ideas to be free or very inexpensive. How many times have you heard a variant of this argument, “I would buy more music (or books) if it wasn’t so expensive! Nine dollars for an album is just out of my budget!” Ironically, these same people don’t blanch at dropping hundreds or thousands of dollars for an iPod or iPhone.

While bad, this attitude can further devolve into something much more poisonous: “The artist owes me for reading, viewing or listening to their work. My piracy is helpful! After all, I am promoting them and making them famous!” But being famous doesn’t pay the bills. There have been many authors, artists or musicians who lived in squalor while enjoying enormous fame and prestige.

A music or literature pirate might even justify their position by saying, “I’m sticking it to the music industry (or publishing industry), they’re a bunch of greedy pigs!” And the pirate might have a point, if he weren’t doing far more damage to the creator of the content than to its distributor. Big businesses like record labels and big publishing houses don’t respond to that attitude by lowering prices or dealing fairly with their customers. Rather, they become more draconian in how that content is disseminated. Ever wonder why Digital Rights Management (DRM) and related technologies were born? It might just have something to do with the American sense of entitlement.

Clearly, something needs to change. Artists and musicians can continue to experiment with different pricing and distributions schemes, but I remain rather unconvinced that it will have a lasting effect. What we really need is a return to the patronage system of old, with a few major modifications. Certainly, artists should continue to sell recordings, books and other tangible goods. But the public should also undergo a shift in our attitudes and ideas about what the arts are and how we support them. That might mean that we transform our understanding of what a “donation” is.

When buying a book or donating to a writer, it’s foolish to think that you are somehow providing a fair compensation for the ideas and entertainment that you receive. Instead, it is much healthier to view your contribution as a support so that the artist can continue to create future content. This notion actually fits in pretty well with the concept of Fair Trade.

We also need to understand that the price we pay for a book or CD isn’t about the value of the materials. Textbooks aren’t expensive because they are printed on beautiful paper with artwork and in color; they’re expensive because researching and writing their content is hard. For example, the “Contributors and Reviewers” page for Gray’s Anatomy (the anatomical guide, not the television show) lists sixty different authors and content reviewers, though only the editor and chief is credited on the cover.

Except, how do you actually bring about the needed shift in attitudes and culture?

…

That’s an excellent question, and I’m not sure that I can offer any insight. The Europeans have tried to shape public perception through generous subsidies. But direct governmental support of news agencies and publishers is controversial for good reason. As a cure, it might even be worse than the illness. If you’ve got any ideas, let’s hear ‘em!

Apolitically Incorrect

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About This Book Thing

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cvsplitbib and xetexCV

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Class Description and Required Statements

\ProvidesClass

\LoadClassWithOptions

Building on the Foundation

\RequirePackage

Creating New Features and Modifying Old Ones

\def and \newcommand

\renewcommand

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Customizing LyX: Character Styles and the LyX Local Layout

Styles Defined

Using Character Styles in LyX

Customizing Character Styles

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Step 1: Open your document in a text editor

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Step 3: Define how you want the character style to look

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