The CalcVerter The Calculate and Convert Page! TheCalcVerter will calculate and convert using a variety of distance and temperature units.

This is especially useful for graphic artists since it understands picas and points. If you're working with programs like Adobe InDesign, Illustrator or Photoshop, you'll understand how important unit conversions can be!.

If you want to do simple math or a more complex equation using parenthesis, TheCalcVerter can help! Need to convert kilometers to miles? Or inches to feet? Or find out how many inches are in a mile? Or convert a fraction to its decimal equilvalent? Those types of problems are why TheCalcVerter was created.

You can enter your equation using units such as picas, ciceros, inches, feet, yards, miles, millimeters, centimeters, meters, kilometers, fahrenheit and celsius.

You can enter a mathematical equation using all the standard mathematical operators: +-*/. You can also use an "X" as a multiplication operator. And you can use the % to calculate a percentage.

Enter Your Equation Here:
Decimal Points: Include Thousands Separator:

Point (typography) From Wikipedia, the free encyclopedia Point, in typography, may also refer to a dot grapheme (e.g., full stop or interpunct) as in the expression, decimal point. For non-typographical uses, see Point (disambiguation). In typography, a point is the smallest unit of measure, being a subdivision of the larger pica. It is commonly abbreviated as pt. The point has long been the usual unit for measuring font size and leading and other minute items on a printed page. The original printer's point, from the era of foundry metal typesetting and letter press printing, varied between 0.18 and 0.4 mm. The defined length of a point varied over time and location until the late 1980s and early 1990s, when the traditional point was supplanted by the desktop publishing point (also called the PostScript point), which was defined as 1/72 of an inch. In either system, there are 12 points to the pica. In metal type, the point size of the font described the size (height) of the metal body on which the typeface's characters were cast. In digital type, letters of a font are designed around an imaginary space called an "em square". When a point size of a font is specified, the font is scaled so that its em square has a side length of that particular length in points. Although the letters of a font usually fit within the font's em square, there is not necessarily any size relationship between the two, so the point size does not necessarily correspond to any measurement of the size of the letters on the printed page. Notations A measurement in points can be represented in three different ways. For example, 14 points (1 pica plus 2 points) can be written: 1P?2p (12 points would be just "1P?") - traditional style 1p2 (12 points would be just "1p") - format for desktop publishing applications such as Adobe InDesign and QuarkXPress 14pt (12 points would be "12pt" or "1pc" since it is the same as 1 pica) - format used by Cascading Style Sheets defined by the World Wide Web Consortium French printer’s points A French law of 1799 defined the metre to be exactly 443.296 French lines—or 3 French feet, 0 French inches and 11.296 French lines, superseding extant definitions which exchanged the dependent and independent parameters. Since the meter is now the standard unit by statute law, this change to a derived unit implicitly defines the modern day Pied du Roi— literally: a French Royal foot— as exactly 9,000/27,706 meters (about 0.325 m). Like the English and Roman foot, the French foot also used twelve subdivisions—twelve French-inches. This value is used in the conversions below; also note 12 × 12=122=144—a dozen-dozen, and 12 (French inches) × 144=1728 used below or 123. Traditional American point system By the (Kasson) Metric Act of 1866 (Public Law 39-183), the U.S. (survey) foot is 1200/3937 m. This is 0.0002% more than 304.8 mm, which is the length of the 1959 foot, used below. A typographic foot contains 72 picas or 864 points. Nelson C. Hawks, in 1879, used a printer’s foot of a statute foot decreased by 0.375%. Therefore, the traditional ratio 7200/7227 (which reduces to 800/803) places Hawks’ point at 0.013 837 inch, or about 0.35146 mm. A second definition was proposed whereby there were exactly 996 printer’s points (= 83 picas) in 350 mm, which made the printer’s point about 0.013 848 867 inch ˜ 0.351405622 mm. Finally, Lawrence Johnson stated in a third definition of printer’s foot that it should be 249/250 (99.6%) English foot. This means that the Johnson’s typographical point was 0.01383 inch, and was then converted by the 1959 value to 0.35136 mm. In 1886, the Fifteenth Meeting of the Type Founders Association of the United States approved the so-called Johnson pica be adopted as the official standard. This makes the traditional American printer’s foot measure 11.952 inches (303.6 mm), or 303.5808 mm exactly, giving a point size of approximately 1/72.27 of an inch, or 0.3515 mm. This is the size of the point in the TeX computer typesetting system by Donald Knuth, which predates PostScript slightly. Thus the latter unit is sometimes called the TeX point. Like the French Didot point, the traditional American printer’s point was replaced in the 1980s by the current computer-based DTP point system. Current DTP point system The desktop publishing point (DTP point) is defined as 1/72 of the Anglo-Saxon compromise inch of 1959 (25.4 mm) which makes it 0.0138 inch or 0.3527 mm. Twelve points make up a pica, and six picas make an inch. This system was notably chosen by John Warnock and Charles Geschke when they created Adobe PostScript, by Apple as the screen resolution for the original Macintosh, and for the LaserWriter that launched the desktop publishing industry.[4][5] Therefore, the DTP point is sometimes called the PostScript point. Conversion of units From Wikipedia, the free encyclopedia Techniques Process[edit] The process of conversion depends on the specific situation and the intended purpose. This may be governed by regulation, contract, Technical specifications or other published standards. Engineering judgment may include such factors as: The precision and accuracy of measurement and the associated uncertainty of measurement The statistical confidence interval or tolerance interval of the initial measurement The number of significant figures of the measurement The intended use of the measurement including the engineering tolerances Some conversions from one system of units to another need to be exact, without increasing or decreasing the precision of the first measurement. This is sometimes called soft conversion. It does not involve changing the physical configuration of the item being measured. By contrast, a hard conversion or an adaptive conversion may not be exactly equivalent. It changes the measurement to convenient and workable numbers and units in the new system. It sometimes involves a slightly different configuration, or size substitution, of the item. Nominal values are sometimes allowed and used. Multiplication factors[edit] Conversion between units in the metric system can be discerned by their prefixes (for example, 1 kilogram = 1000 grams, 1 milligram = 0.001 grams) and are thus not listed in this article. Exceptions are made if the unit is commonly known by another name (for example, 1 micron = 10-6 metre). Table ordering[edit] Within each table, the units are listed alphabetically, and the SI units (base or derived) are highlighted. Tables of conversion factors[edit] This article gives lists of conversion factors for each of a number of physical quantities, which are listed in the index. For each physical quantity, a number of different units (some only of historical interest) are shown and expressed in terms of the corresponding SI unit. Calculator From Wikipedia, the free encyclopedia An electronic calculator is a small, portable, often inexpensive electronic device used to perform both basic and complex operations of arithmetic. The first solid state electronic calculator was created in the 1960s, building on the extensive history of tools such as the abacus, developed around 2000 BC, and the mechanical calculator, developed in the 17th century. It was developed in parallel with the analog computers of the day. Pocket sized devices became available in the 1970s, especially after the invention of the microprocessor developed by Intel for the Japanese calculator company Busicom. Modern electronic calculators vary from cheap, give-away, credit-card sized models to sturdy desktop models with built-in printers. They became popular in the mid-1970s as integrated circuits made their size and cost small. By the end of that decade, calculator prices had reduced to a point where a basic calculator was affordable to most and they became common in schools. Computer operating systems as far back as early Unix have included interactive calculator programs such as dc and hoc, and calculator functions are included in almost all PDA-type devices (save a few dedicated address book and dictionary devices). In addition to general purpose calculators, there are those designed for specific markets; for example, there are scientific calculators which include trigonometric and statistical calculations. Some calculators even have the ability to do computer algebra. Graphing calculators can be used to graph functions defined on the real line, or higher dimensional Euclidean space. In 1986, calculators still represented an estimated 41% of the world's general-purpose hardware capacity to compute information. This diminished to less than 0.05% by 2007.[1] Design Modern electronic calculators contain a keyboard with buttons for digits and arithmetical operations. Some even contain 00 and 000 buttons to make large numbers easier to enter. Most basic calculators assign only one digit or operation on each button. However, in more specific calculators, a button can perform multi-function working with key combination or current reckoning mode. Calculators usually have liquid crystal displays as output in place of historical vacuum fluorescent displays. See more details in technical improvements. Fractions such as 1/3 are displayed as decimal approximations, for example rounded to 0.33333333. Also, some fractions such as 1/7 which is 0.14285714285714 (to 14 significant figures) can be difficult to recognize in decimal form; as a result, many scientific calculators are able to work in vulgar fractions or mixed numbers. Calculators also have the ability to store numbers into memory. Basic types of these store only one number at a time. More specific types are able to store many numbers represented in variables. The variables can also be used for constructing formulae. Some models have the ability to extend memory capacity to store more numbers; the extended address is referred to as an array index. Power sources of calculators are batteries, solar cells or electricity (for old models) turning on with a switch or button. Some models even have no turn-off button but they provide some way to put off, for example, leaving no operation for a moment, covering solar cell exposure, or closing their lid. Crank-powered calculators were also common in the early computer era. Graphic design From Wikipedia, the free encyclopedia Graphic design is the art of communication, stylizing, and problem-solving through the use of type and image. The field is also often erroneously referred to as Visual Communication or Communication Design due to overlapping skills involved. Graphic designers use various methods to create and combine words, symbols, and images to create a visual representation of ideas and messages. A graphic designer may use a combination of typography, visual arts and page layout techniques to produce a final result. Graphic design often refers to both the process (designing) by which the communication is created and the products (designs) which are generated. Common uses of graphic design include identity (logos and branding), publications (magazines, newspapers and books), print advertisements, posters, billboards, website graphics and elements, signs and product packaging. For example, a product package might include a logo or other artwork, organized text and pure design elements such as images, shapes and color which unify the piece. Composition is one of the most important features of graphic design, especially when using pre-existing materials or diverse elements. History While Graphic Design as a discipline has a relatively recent history, with the term "graphic design" first coined by William Addison Dwiggins in 1922,[2] graphic design-like activities span the history of humankind: from the caves of Lascaux, to Rome's Trajan's Column to the illuminated manuscripts of the Middle Ages, to the dazzling neons of Ginza. In both this lengthy history and in the relatively recent explosion of visual communication in the 20th and 21st centuries, there is sometimes a blurring distinction and over-lapping of advertising art, graphic design and fine art. After all, they share many of the same elements, theories, principles, practices and languages, and sometimes the same benefactor or client. In advertising art the ultimate objective is the sale of goods and services. In graphic design, "the essence is to give order to information, form to ideas, expression and feeling to artifacts that document human experience."[3] The advent of printing During the Tang Dynasty (618–907) between the 7th and 9th century AD, wood blocks were cut to print on textiles and later to reproduce Buddhist texts. A Buddhist scripture printed in 868 is the earliest known printed book. Beginning in the 11th century, longer scrolls and books were produced using movable type printing making books widely available during the Song dynasty (960–1279).[4] Sometime around 1450, Johann Gutenberg's printing press made books widely available in Europe. The book design of Aldus Manutius developed the book structure which would become the foundation of western publication design. This era of graphic design is called Humanist or Old Style. Emergence of the design industry In late 19th-century Europe, especially in the United Kingdom, the movement began to separate graphic design from fine art. In 1849, Henry Cole became one of the major forces in design education in Great Britain, informing the government of the importance of design in his Journal of Design and Manufactures. He organized the Great Exhibition as a celebration of modern industrial technology and Victorian design. From 1891 to 1896, William Morris' Kelmscott Press published books that are some of the most significant of the graphic design products of the Arts and Crafts movement, and made a very lucrative business of creating books of great stylistic refinement and selling them to the wealthy for a premium. Morris proved that a market existed for works of graphic design in their own right and helped pioneer the separation of design from production and from fine art. The work of the Kelmscott Press is characterized by its obsession with historical styles. This historicism was, however, important as it amounted to the first significant reaction to the stale state of nineteenth-century graphic design. Morris' work, along with the rest of the Private Press movement, directly influenced Art Nouveau and is indirectly responsible for developments in early twentieth century graphic design in general.[5] Twentieth century design The name "Graphic Design" first appeared in print in the 1922 essay "New Kind of Printing Calls for New Design" by William Addison Dwiggins, an American book designer in the early 20th century.[6] Raffe's Graphic Design, published in 1927, is considered to be the first book to use "Graphic Design" in its title.[7] The signage in the London Underground is a classic design example[8] of the modern era and used a typeface designed by Edward Johnston in 1916. In the 1920s, Soviet constructivism applied 'intellectual production' in different spheres of production. The movement saw individualistic art as useless in revolutionary Russia and thus moved towards creating objects for utilitarian purposes. They designed buildings, theater sets, posters, fabrics, clothing, furniture, logos, menus, etc.[citation needed] Jan Tschichold codified the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy he espoused in this book as being fascistic, but it remained very influential.[citation needed] Tschichold, Bauhaus typographers such as Herbert Bayer and László Moholy-Nagy, and El Lissitzky have greatly influenced graphic design as we know it today. They pioneered production techniques[citation needed] and stylistic devices used throughout the twentieth century. The following years saw graphic design in the modern style gain widespread acceptance and application.[9] A booming post-World War II American economy established a greater need for graphic design, mainly advertising and packaging. The emigration of the German Bauhaus school of design to Chicago in 1937 brought a "mass-produced" minimalism to America; sparking a wild fire of "modern" architecture and design. Notable names in mid-century modern design include Adrian Frutiger, designer of the typefaces Univers and Frutiger; Paul Rand, who, from the late 1930s until his death in 1996, took the principles of the Bauhaus and applied them to popular advertising and logo design, helping to create a uniquely American approach to European minimalism while becoming one of the principal pioneers of the subset of graphic design known as corporate identity; and Josef Müller-Brockmann, who designed posters in a severe yet accessible manner typical of the 1950s and 1970s era. The growth of the professional graphic design industry has grown in parallel with the rise of consumerism. This has raised some concerns and criticisms, notably from within the graphic design community with the First Things First manifesto. First launched by Ken Garland in 1964, it was re-published as the First Things First 2000 manifesto in 1999 in the magazine Emigre 51[10] stating "We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication - a mindshift away from product marketing and toward the exploration and production of a new kind of meaning. The scope of debate is shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design."[11] Both editions attracted signatures from respected design practitioners and thinkers, for example; Rudy VanderLans, Erik Spiekermann, Ellen Lupton and Rick Poynor. The 2000 manifesto was also notably published in Adbusters, known for its strong critiques of visual culture. Page layout From Wikipedia, the free encyclopedia Page layout is the part of graphic design that deals in the arrangement and style treatment of elements (content) on a page. Whereas pagination alone can be a simple process (and thus today is mostly automated), page layout is a higher-level concept involving intelligence, sentience, and creativity. The term page makeup in its broadest sense is a synonym of page layout; in a narrower sense from before modern software, when all pagination (even the simplest) was done manually, page makeup could refer to any pagination, whether simple pagination done in the typesetting department and requiring no artistic skill (such as for a phone book interior) or higher-skill layout done by a graphic designer. Today the simple type is done by software, not people, so it is just called pagination. History and development Beginning from early illuminated pages in hand-copied books of the Middle Ages and proceeding down to intricate modern magazine and catalog layouts, proper page design has long been a consideration in printed material. With print media, elements usually consist of type (text), images (pictures), and occasionally place-holder graphics for elements that are not printed with ink such as die/laser cutting, foil stamping or blind embossing. Since the advent of personal computing, page layout skills have expanded to electronic media as well as print media. The electronic page is better known as a graphical user interface (GUI) when interactive elements are included. Page layout for interactive media overlaps with (and is often called) interface design. This usually includes interactive elements and multimedia in addition to text and still images. Interactivity takes page layout skills from planning attraction and eye flow to the next level of planning user experience in collaboration with software engineers and creative directors.[citation needed] Editors work on producing an issue of Bild, 1977 in West Berlin. Previous front pages are affixed to the wall behind them. Photo by George Garrigues A page layout may be designed in a rough paper and pencil sketch before producing, or produced during the design process to the final form. Both design and production may be achieved using hand tools or page layout software. Producing a web page may require knowledge of markup languages along with WYSIWYG editors to compensate for incompatibility between platforms. Special considerations must be made for how the layout of an HTML page will change (reflow) when resized by the end-user. Cascading style sheets are often required to keep the page layout consistent between web browsers. Grids versus templates Grids and templates are page layout design patterns used in advertising campaigns and multiple-page publications, including websites. A grid is a set of guidelines, able to be seen in the design process and invisible to the end-user/audience, for aligning and repeating elements on a page. A page layout may or may not stay within those guidelines, depending on how much repetition or variety the design style in the series calls for. Grids are meant to be flexible. Using a grid to lay out elements on the page may require just as much or more graphic design skill than that which was required to design the grid. In contrast, a template is more rigid. A template involves repeated elements mostly visible to the end-user/audience. Using a template to lay out elements usually involves less graphic design skill than that which was required to design the template. Templates are used for minimal modification of background elements and frequent modification (or swapping) of foreground content. Most desktop publishing software allows for grids in the form of a page filled with coloured lines or dots placed at a specified equal horizontal and vertical distance apart. Automatic margins and booklet spine (gutter) lines may be specified for global use throughout the document. Multiple additional horizontal and vertical lines may be placed at any point on the page. Invisible to the end-user/audience shapes may be placed on the page as guidelines for page layout and print processing as well. Software templates are achieved by duplicating a template data file, or with master page features in a multiple-page document. Master pages may include both grid elements and template elements such as header and footer elements, automatic page numbering, and automatic table of contents features. Front-end versus back-end With modern media content retrieval and output technology, there is much overlap between visual communications (front-end) and information technology (back-end). Large print publications (thick books, especially instructional in nature) and electronic pages (web pages) require meta data for automatic indexing, automatic reformatting, database publishing, dynamic page display and end-user interactivity. Much of the meta data (meta tags) must be hand coded or specified during the page layout process. This divides the task of page layout between artists and engineers, or tasks the artist/engineer to do both. More complex projects may require two separate designs: page layout design as the front-end, and function coding as the back-end. In this case, the front-end may be designed using an alternative page layout technology such as image editing software or on paper with hand rendering methods. Most image editing software includes features for converting a page layout for use in a "What You See Is What You Get" (WYSIWYG) editor or features to export graphics for desktop publishing software. WYSIWYG editors and desktop publishing software allow front-end design prior to back end-coding in most cases. Interface design and database publishing may involve more technical knowledge or collaboration with information technology engineering in the front-end.