Commit ba950f6d authored by julientaq's avatar julientaq

initial commit with previous style

parents
node_modules
\ No newline at end of file
module.exports = function(grunt) {
require('time-grunt')(grunt);
require('load-grunt-tasks')(grunt);
grunt.loadNpmTasks('grunt-contrib-copy');
grunt.loadNpmTasks('grunt-contrib-pug');
grunt.initConfig({
pkg: grunt.file.readJSON('package.json'),
// Pug Build
pug: {
compile: {
options: {
pretty: true,
doctype: 'html'
},
files: {
"dist/index.html": "src/content/index.pug"
}
}
},
// CSS Build
postcss: {
options: {
map: {
// inline: false,
// annotation: 'dist/css/maps/'
},
processors: [
// require('postcss-font-pack')({packs: require('./font-packs.json')}),
// require('postcss-font-magician')({
// display: 'swap'
// }),
require('postcss-import')(),
require('postcss-css-variables')(),
require('pixrem')(),
require('postcss-color-function')(),
// require('postcss-color-rgba-fallback')(),
// require('postcss-simple-extend')(),
require('postcss-nested')(),
require('postcss-merge-rules')(),
// require('postcss-center')(),
// require('autoprefixer-core')('last 1 version'),
// require('postcss-discard-comments')({ removeAll: true }),
// require('cssnano')()
]
},
dist: {
src: 'src/css/main.css',
dest: 'dist/css/main.css'
}
},
copy: {
main: {
expand: true,
cwd: 'src/js',
src: '**',
dest: 'dist/js/',
},
img: {
expand: true,
cwd: 'src/img',
src: '**',
dest: 'dist/img/',
},
},
// Server Run
connect: {
server: {
options: {
port: 9000,
// base: 'www-root'
}
}
},
livereload: {
options: {
port: 9000,
base: 'index.html'
},
},
watch: {
css: {
files: 'src/css/**/*.css',
tasks: ['postcss'],
options: {
livereload: true
},
},
copy: {
files: 'src/content/**/*',
tasks: ['copy'],
options: {
livereload: true
},
},
pug: {
files: 'src/content/**/*',
tasks: ['pug'],
options: {
livereload: true
},
}
}
// serve: {
// options: {
// port: 9000,
// base: '/'
// },
// },
});
//'serve',
grunt.registerTask('default', ['pug', 'copy','postcss' , 'connect', 'watch']);
};
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# Print styles for the lumino collection using Book.js
This repo contains all the source file for the pubsweet book, from the html exported from editoria, to the css needed for paged.js to render the book.
## to test the book
1. clone the repo using git clone,
2. run `npm install` inside the cloned folder
3. run `grunt` in the terminal and browse the `localhost:9000` in chrome or chromium.
## later
This will be a tool to build styles for the books made with [Editoria](www.editoria.pub)
This source diff could not be displayed because it is too large. You can view the blob instead.
{
"name": "bookStyler-lumino",
"version": "0.0.1",
"description": "",
"main": "Gruntfile.js",
"dependencies": {
"grunt": "^1.0.3"
},
"devDependencies": {
"autoprefixer-core": "^6.0.1",
"grunt-contrib-connect": "^1.0.2",
"grunt-contrib-copy": "git+https://github.com/gruntjs/grunt-contrib-copy.git",
"grunt-contrib-pug": "^1.0.0",
"grunt-contrib-watch": "^1.1.0",
"grunt-postcss": "^0.9.0",
"load-grunt-tasks": "^4.0.0",
"pixrem": "^4.0.1",
"postcss-center": "^1.1.0",
"postcss-color-function": "^4.0.1",
"postcss-color-rgba-fallback": "^3.0.0",
"postcss-css-variables": "^0.9.0",
"postcss-discard-comments": "^4.0.0",
"postcss-font-magician": "^2.2.1",
"postcss-import": "^11.1.0",
"postcss-merge-rules": "^4.0.0",
"postcss-nested": "^3.0.0",
"postcss-simple-extend": "^1.0.0",
"postcss-simple-vars": "^4.1.0",
"time-grunt": "^1.4.0"
},
"scripts": {
"test": "echo \"Error: no test specified\" && exit 1"
},
"keywords": [],
"author": "Coko Foundation",
"license": "MIT"
}
doctype html
html
head
meta(charset='UTF-8')
meta(lang='en-US')
link(rel='stylesheet', href='css/main.css')
script(src="js/paged.polyfill.js")
body
#cover
//- include sources/chapter-00-grid.pug
.break
include sources/chapter-00-fullPage.pug
//- include sources/chapter-start.pug
//- include sources/chapter-start-epigraph.pug
//- include sources/chapter-start-epigraphDouble.pug
//- include sources/chapter-start-epigraphPoetry.pug
//- include sources/chapter-headings.pug
//- include sources/full-text.pug
//- include sources/bulletList.pug
//- include sources/numbering.pug
//- include sources/huge.pug
//- include sources/table.pug
//- .frontmatter
//- include parts/subvention.pug
//- include parts/copyright.pug
//- include parts/halftitle.pug
//- include parts/title.pug
//- include parts/dedication.pug
//- include parts/toc.pug
//- include parts/aknowledgment.pug
//- include parts/introduction.pug
//- include parts/chapter-1.pug
//- include parts/chapter-2.pug
//- include parts/chapter-3.pug
//- include parts/chapter-4.pug
//- include parts/chapter-5.pug
//- include parts/part-2.pug
//- include parts/chapter-6.pug
//- include parts/chapter-7.pug
//- include parts/chapter-8.pug
//- include parts/chapter-9.pug
//- include parts/chapter-10.pug
//- include parts/chapter-11.pug
//- include parts/notes.pug
<div class="numbering">
<ul>
<li> 1</li>
<li> 2</li>
<li> 3</li>
<li> 4</li>
<li> 5</li>
<li> 6</li>
<li> 7</li>
<li> 8</li>
<li>9 </li>
<li>10 </li>
<li>11 </li>
<li>12 </li>
<li>13 </li>
<li>14 </li>
<li>15 </li>
<li>16 </li>
<li>17 </li>
<li>18 </li>
<li>19 </li>
<li>20 </li>
<li>21 </li>
<li>22 </li>
<li>23 </li>
<li>24 </li>
<li>25 </li>
<li>26 </li>
<li>27 </li>
<li>28 </li>
<li>29 </li>
<li>30 </li>
<li>31 </li>
<li>32 </li>
<li>33 </li>
<li>34 </li>
<li>35 </li>
<li>36 </li>
<li>37 </li>
<li>38 </li>
<li>39 </li>
<li>40 </li>
<li>41</li>
<li>lol</li>
</ul>
</div>
<div class="numbering">
<ol>
<li> 1</li>
<li> 2</li>
<li> 3</li>
<li> 4</li>
<li> 5</li>
<li> 6</li>
<li> 7</li>
<li> 8</li>
<li>9 </li>
<li>10 </li>
<li>11 </li>
<li>12 </li>
<li>13 </li>
<li>14 </li>
<li>15 </li>
<li>16 </li>
<li>17 </li>
<li>18 </li>
<li>19 </li>
<li>20 </li>
<li>21 </li>
<li>22 </li>
<li>23 </li>
<li>24 </li>
<li>25 </li>
<li>26 </li>
<li>27 </li>
<li>28 </li>
<li>29 </li>
<li>30 </li>
<li>31 </li>
<li>32 </li>
<li>33 </li>
<li>34 </li>
<li>35 </li>
<li>36 </li>
<li>37 </li>
<li>38 </li>
<li>39 </li>
<li>40 </li>
<li>41</li>
</ol>
</div>
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.numbering
ol
li 1
li 2
li 3
li 4
li 5
li 6
li 7
li 8
li 9
li 10
li 11
li 12
li 13
li 14
li 15
li 16
li 17
li 18
li 19
li 20
li 21
li 22
li 23
li 24
.numbering
ol
li 1
li 2
li 3
li 4
li 5
li 6
li 7
li 8
li 9
li 10
li 11
li 12
li 13
li 14
li 15
li 16
li 17
li 18
li 19
ol(start="20")
li 20
li 21
li 22
li 23
li 24
li 25
li 26
li 27
li 28
li 29
li 30
li 31
li 32
li 33
li 34
li 35
li 36
li 37
li 38
li 39
li 40
li 41
li 42
li 43
li 44
li 45
li 46
li 47
li 48
li 49
li 50
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section(data-type='chapter')
p We can now see these factors as limiting conditions with their own historical boundaries. They no longer shape our perception of Deren as forcefully as they once did. For filmmakers and scholars seeking new formal models, alternative approaches to issues of gender and identity, and distinctive experimental and ethnographic practices, Deren is once again a figure of considerable importance. (Catherine Russell’s Experimental Ethnography: The Work of Film in the Age of Video (Durham: Duke University Press, 1999) and the exhibition entitled Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman, published as a catalogue of the same name and edited by Shelley Rice (Cambridge: M.I.T. Press, 1999) are prime examples of the type of renewed interest in Deren that shifts the previous grounds of discussion significantly.
p It is possible to summarize some of the radical transformations that Maya Deren sought to inspire: (1) in film form, which for her possesses both an inviolate link to questions of ethics and responsibility and a fundamental obligation to reshape the realist elements comprising it in ways that alter or transfigure them; (2) in our understanding of techniques that work to modify our perception, sensibility, and self-conception in historically and culturally distinct ways (a position that has yet to be compared extensively to Walter Benjamin’s pronouncements on this topic); (3) in alternative film practices, for which her exemplary acts of self-promotion, distribution, and exhibition served as a vivid model; (4) in our understanding of the woman artist as a figure distinct from but in no wise less than the prevailing model of the male artist; and (5) in our regard for the self, or subject, with her efforts to understand hysteria, trance, and ritual as socially situated acts of collective association rather than as personal dysfunction. Each of these gestures went against the grain of dominant practices; each incurred resistance and misunderstanding. Each remains an emblem of Deren’s extraordinary willingness to transgress boundaries and reformulate their contours.The emotion of the person, or the emotion with which our attitude appropriately invests the person, is never lost or diminished, is always preserved entire, but is modified by the position assigned to the person in the eternal scheme, is coloured by the atmosphere of that person’s residence in one of the three worlds. About none of Dante’s character is there that ambiguity which affects Milton’s Lucifer. The damned preserve any degree of beauty or grandeur that ever rightly pertained to them, and this intensifies and also justifies their damnation.
p It is possible to summarize some of the radical transformations that Maya Deren sought to inspire: (1) in film form, which for her possesses both an inviolate link to questions of ethics and responsibility and a fundamental obligation to reshape the realist elements comprising it in ways that alter or transfigure them; (2) in our understanding of techniques that work to modify our perception, sensibility, and self-conception in historically and culturally distinct ways (a position that has yet to be compared extensively to Walter Benjamin’s pronouncements
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section(data-type='chapter')
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//- this section is exactly 41 lines with the lunmino styling. Add words to test widows and orphans.
section(data-type="chapter")
p Lorem ipsum dolor sit amet consectetur adipisicing elit. Quos ullam tempore repudiandae expedita molestias quam alias ipsum, sint delectus quisquam accusantium doloribus architecto
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p et totam ipsam officiis quis obcaecati eius in reprehenderit ipsum! Nostrum iusto accusantium quibusdam fugit quam? Officiis, illo quasi porro pariatur et ipsa nisi necessitatibus
h4 Third level heading Run-in is possible when the line is less
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p Reiciendis dolorem sit temporibus velit modi tempore, non delectus veritatis unde voluptas corporis eos, tempora in? Cupiditate quod quaerat deserunt cum omnis debitis non tempora, obcaecati nobis quis odit expedita distinctio? Harum similique placeat praesentium, voluptate qui esse repudiandae fugiat eveniet accusantium quibusdam cum perferendis hic quis assumenda incidunt facilis mollitia sunt sapiente rerum sit quo? Ab, nulla voluptatum enim autem iure perferendis expedita unde voluptatibus veritatis asperiores similique! Perferendis dolore quam beatae corrupti impedit! Ut, earum sint! Beatae similique sequi libero officia, officiis maiores iste necessitatibus reiciendis blanditiis eaque assumenda, tempore voluptates excepturi veniam neque id repellat nulla perferendis, ex quidem earum incidunt laudantium! Amet hic quam sunt voluptatem rerum? Accusantium quisquam mollitia at. Blanditiis ea porro odit. Unde accusamus hic dolorem eaque veniam aliquid consequatur dolorum, exercitationem deserunt esse nobis saepe commodi quasi possimus. Accusantium repellendus pariatur fuga quas suscipit excepturi sit praesentium quaerat quibusdam. Optio illum, quasi itaque, suscipit saepe eius minima, explicabo ad laboriosam perspiciatis beatae totam sapiente quibusdam officia facere aliquid iusto ducimus fuga. Iste vel, neque deleniti eligendi tenetur veritatis saepe, nobis veniam soluta debitis quo eos. Amet earum vel nam reiciendis! Possimus delectus odio error quod a eligendi et reprehenderit officia illum culpa consectetur perferendis, dolorem ab. Modi nulla quaerat dolorem quod, iure inventore eos nisi nemo ut aliquid quae architecto tenetur laboriosam quis. Esse similique praesentium modi nemo beatae libero quibusdam iste ullam doloribus! Ullam, doloribus nesciunt. Consequuntur vero non quod facere, sequi, provident placeat voluptatem dolore id neque vel voluptas nostrum suscipit, sapiente amet odio at. Minus at incidunt accusantium vero, quae facere quaerat aperiam. At consequuntur, ducimus incidunt porro earum quibusdam animi omnis autem optio similique enim assumenda pariatur cum quam culpa laudantium voluptatibus? Saepe non, ad inventore debitis alias, a eum doloremque ratione consectetur beatae minima deleniti molestias magni? Quaerat accusantium nulla natus quasi dolor ex adipisci ullam sed dignissimos suscipit consequuntur, dolorum aut quia quam vitae unde pariatur sunt animi. Fugiat vero eveniet autem? Tempore distinctio omnis voluptates vitae. Tempora, atque similique velit at laudantium repellendus sint! Porro a sunt id eos magni quod, doloremque.
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section.chapter(data-type='chapter' contenteditable="true")
hgroup
.cn 15
h1.ct Of the Bookshelf
p.cst
| A few of my own
blockquote.cep
p
| I began printing books with the hope of producing some which would have a difinite claim to beauty, while at the same time they should be easy to read and should not dazzle the eye, or trouble the intellect of the reader by eccentricity of form in the letters.
cite.cepsn — william morris,
em aims in founding the kelmscott press
p
| At the most general level, comparison is not a special method, or in any way unique to anthropology. Comparison is implicit in any method of deriving understanding through
em explanation.
\ No newline at end of file
section.chapter(data-type='chapter' contenteditable="true")
hgroup
.cn 15
h1.ct Of the Bookshelf
p.cst
| A few of my own
blockquote.cep
p
| I began printing books with the hope of producing some which would have a difinite claim to beauty, while at the same time they should be easy to read and should not dazzle the eye, or trouble the intellect of the reader by eccentricity of form in the letters.
cite.cepsn — william morris,
em aims in founding the kelmscott press
blockquote.cep
p
| I began printing books with the hope of producing some which would have a difinite claim to beauty, while at the same time they should be easy to read and should not dazzle the eye, or trouble the intellect of the reader by eccentricity of form in the letters.
cite.cepsn — william morris,
em aims in founding the kelmscott press
p
| At the most general level, comparison is not a special method, or in any way unique to anthropology. Comparison is implicit in any method of deriving understanding through
em explanation.
\ No newline at end of file
section.chapter(data-type='chapter' contenteditable="true")
hgroup
.cn 15
h1.ct Of the Bookshelf
p.cst
| A few of my own
blockquote.cepo
<p>I began printing</p>
<p>books with the hope of producing some which would </p>
<p>have a difinite claim to beauty, while at the same </p>
<p>time they should be easy to read and should not </p>
<p>dazzle the eye, or trouble the intellect of the</p>
<p>reader by eccentricity of form in the letters. and it runs on multiple lines again and again. Again and again</p>
cite.cepsn — william morris,
em aims in founding the kelmscott press
p
| At the most general level, comparison is not a special method, or in any way unique to anthropology. Comparison is implicit in any method of deriving understanding through
em explanation.
\ No newline at end of file