Replace three dots with ellipsis.

Author: daninfpj

components/rss.xml

@@ -1,4 +1,4 @@
-<?xml version="1.0" encoding="UTF-8"?><rss xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title><![CDATA[Tachyons Recent Components]]></title><description><![CDATA[Tachyons. Functional CSS for humans.]]></description><link>http://tachyons.io</link><generator>RSS for Node</generator><lastBuildDate>Tue, 26 Dec 2017 23:23:16 GMT</lastBuildDate><atom:link href="http://tachyons.io/components/rss.xml" rel="self" type="application/rss+xml"/><ttl>60</ttl><category><![CDATA[CSS]]></category><category><![CDATA[Functional CSS]]></category><item><title><![CDATA[Tables | Basic]]></title><description><![CDATA[
+<?xml version="1.0" encoding="UTF-8"?><rss xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title><![CDATA[Tachyons Recent Components]]></title><description><![CDATA[Tachyons. Functional CSS for humans.]]></description><link>http://tachyons.io</link><generator>RSS for Node</generator><lastBuildDate>Tue, 26 Dec 2017 23:54:18 GMT</lastBuildDate><atom:link href="http://tachyons.io/components/rss.xml" rel="self" type="application/rss+xml"/><ttl>60</ttl><category><![CDATA[CSS]]></category><category><![CDATA[Functional CSS]]></category><item><title><![CDATA[Tables | Basic]]></title><description><![CDATA[
     <p>Tachyons. Functional CSS for humans.</p>
     <a href="http://tachyons.io/components/tables/basic/index.html"><img src="http://tachyons.io/components/tables/basic/screenshot.jpg?version=d963dfa4cefd78b2fee53838b0ff7ae1"></a>
     <p><small>Component by mrmrs &lt;[email protected]&gt;</small></p>

docs/typography/font-family/avenir/index.html

@@ -341,7 +341,7 @@ <h3 class="f6 ttu fw4">Italic</h3>
               The word avenir is French for “future”. The font takes inspiration from the early geometric sans-serif typefaces Erbar (1922), designed by Jakob Erbar, and Futura (1927), designed by Paul Renner. Frutiger intended Avenir to be a more organic, humanist interpretation of these highly geometric types. While similarities can be seen with Futura, the two-story lowercase a is more like Erbar, and also recalls Frutiger’s earlier namesake typeface, Frutiger.
             </p>
             <p class="f5 lh-copy measure-narrow dib mt0 v-top">
-              Frutiger considers Avenir his finest work. ‘The quality of the draughtsmanship – rather than the intellectual idea behind it – is my masterpiece. (...) It was the hardest typeface I have worked on in my life. Working on it, I always had human nature in mind. And what’s crucial is that I developed the typeface alone, in peace and quiet – no drafting assistants, no-one was there. My personality is stamped upon it. I’m proud that I was able to create Avenir.’
+              Frutiger considers Avenir his finest work. ‘The quality of the draughtsmanship – rather than the intellectual idea behind it – is my masterpiece. (…) It was the hardest typeface I have worked on in my life. Working on it, I always had human nature in mind. And what’s crucial is that I developed the typeface alone, in peace and quiet – no drafting assistants, no-one was there. My personality is stamped upon it. I’m proud that I was able to create Avenir.’
             </p>
             <p class="f5 lh-copy measure-narrow dib mt0 v-top">
               The current set of weights is therefore ultra light, thin, light, regular, medium, demi bold, bold and heavy, in four styles each (two widths and italics for each width). The installation on OS X does not include the thin and light weights, but does include Greek and Cyrillic glyphs in the regular width.

docs/typography/font-family/georgia/index.html

@@ -340,7 +340,7 @@ <h3 class="f6 ttu fw4">Italic</h3>
 As a transitional serif design, Georgia shows a number of traditional features of ‘rational’ serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an italic taking inspiration from calligraphy. Its figure (numeral) designs are lower-case or text figures, designed to blend into continuous text; this was at the time a rare feature in computer fonts.
             </p>
             <p class="f5 lh-copy measure-narrow dib mt0 v-top">
-              Georgia’s bold is also unusually bold, almost black. Carter noted that, “Verdana and Georgia...were all about binary bitmaps: every pixel was on or off, black or white...The bold versions of Verdana and Georgia are bolder than most bolds, because on the screen, at the time we were doing this in the mid-1990s, if the stem wanted to be thicker than one pixel, it could only go to two pixels. That is a bigger jump in weight than is conventional in print series.”
+              Georgia’s bold is also unusually bold, almost black. Carter noted that, “Verdana and Georgia… were all about binary bitmaps: every pixel was on or off, black or white… The bold versions of Verdana and Georgia are bolder than most bolds, because on the screen, at the time we were doing this in the mid-1990s, if the stem wanted to be thicker than one pixel, it could only go to two pixels. That is a bigger jump in weight than is conventional in print series.”
             </p>
             <p class="f5 lh-copy measure-narrow dib mt0 v-top">
               The Georgia typeface is similar to Times New Roman, another revival of transitional serif designs, but with many subtle differences: Georgia is larger than Times at the same point size, and has a much larger x-height at the same actual size.

docs/typography/measure/index.html

@@ -93,7 +93,7 @@ <h3 class="f6 ttu tracked mt0 fl w-100">Measure</h3>
           of readability.
         </p>
         <p class="measure f5 lh-copy athelas pl4-l bn bl-l bw2 b--black-40">
-          “Anything from 45 to 75 characters is widely regarded as a satisfactory length of line for a single-column page...the 66-character line (counting both letters and spaces) is widely regarded as ideal. For multiple-column work, a better average is 40-50 characters.”
+          “Anything from 45 to 75 characters is widely regarded as a satisfactory length of line for a single-column page… the 66-character line (counting both letters and spaces) is widely regarded as ideal. For multiple-column work, a better average is 40-50 characters.”
           <span class="db f6 mt4">Robert Bringhurst - <i>The Elements of Typographic Style</i></span>
         </p>
         <p class="measure f5 lh-copy mt4 mb2">

docs/typography/scale/index.html

@@ -111,7 +111,7 @@ <h3 class="w-100 f6 ttu tracked mt0">Type Scale</h3>
         <div class="mw9 center">
           <blockquote class="f5 f4-m f2-l black-70 lh-copy mh0 pv4 ph3 bt bb bw1 b--black-05 mv4 mv5-ns db">
             <p class="baskerville fw1 measure center">
-              “The simplest scale is a single note, and sticking with a single note draws more attention to other parameters, such as rhythm and inflection... In the sixteenth century, a series of common sizes developed among European typographers, and the series survived with little change and few additions for 400 years... This is the typographic equivalent of the diatonic scale.”
+              “The simplest scale is a single note, and sticking with a single note draws more attention to other parameters, such as rhythm and inflection… In the sixteenth century, a series of common sizes developed among European typographers, and the series survived with little change and few additions for 400 years… This is the typographic equivalent of the diatonic scale.”
             </p>
             <p class="dark-gray f5 f4-m f2-l center measure"><span class="f6">Robert Bringhurst - <b>The Elements of Typographic Style</b></span></p>
           </blockquote>

docs/typography/vertical-align/index.html

@@ -138,7 +138,7 @@ <h4 class="f6 mt4">Align to the top</h4>
 </p>
 <p class="f6 measure-narrow dib v-top mr4 outline">
   You can say, “I love you,” in Helvetica. And you can say it with Helvetica
-  Extra Light...
+  Extra Light…
 </p>
 <p class="f6 measure-narrow dib v-top outline">
   if you want to be really fancy. Or you can say it with the Extra
@@ -159,7 +159,7 @@ <h4 class="f6 mt5">Mix and match</h4>
 </p>
 <p class="f6 measure-narrow dib v-btm mr4 outline">
   You can say, “I love you,” in Helvetica. And you can say it with Helvetica
-  Extra Light...
+  Extra Light…
 </p>
 <p class="f6 measure-narrow dib v-top outline">
   if you want to be really fancy. Or you can say it with the Extra
@@ -180,7 +180,7 @@ <h4 class="f6 mt5">Align to the middle</h4>
 </p>
 <p class="f6 measure-narrow dib v-mid mr4 outline">
   You can say, “I love you,” in Helvetica. And you can say it with Helvetica
-  Extra Light...
+  Extra Light…
 </p>
 <p class="f6 measure-narrow dib v-mid outline">
   if you want to be really fancy.
@@ -200,7 +200,7 @@ <h4 class="f6 mt5">Align to the bottom</h4>
 </p>
 <p class="f6 measure-narrow dib v-btm mr4 outline">
   You can say, “I love you,” in Helvetica. And you can say it with Helvetica
-  Extra Light...
+  Extra Light…
 </p>
 <p class="f6 measure-narrow dib v-btm outline">
   if you want to be really fancy.

src/templates/docs/avenir/index.html

@@ -289,7 +289,7 @@ <h3 class="f6 ttu fw4">Italic</h3>
               The word avenir is French for “future”. The font takes inspiration from the early geometric sans-serif typefaces Erbar (1922), designed by Jakob Erbar, and Futura (1927), designed by Paul Renner. Frutiger intended Avenir to be a more organic, humanist interpretation of these highly geometric types. While similarities can be seen with Futura, the two-story lowercase a is more like Erbar, and also recalls Frutiger’s earlier namesake typeface, Frutiger.
             </p>
             <p class="f5 lh-copy measure-narrow dib mt0 v-top">
-              Frutiger considers Avenir his finest work. ‘The quality of the draughtsmanship – rather than the intellectual idea behind it – is my masterpiece. (...) It was the hardest typeface I have worked on in my life. Working on it, I always had human nature in mind. And what’s crucial is that I developed the typeface alone, in peace and quiet – no drafting assistants, no-one was there. My personality is stamped upon it. I’m proud that I was able to create Avenir.’
+              Frutiger considers Avenir his finest work. ‘The quality of the draughtsmanship – rather than the intellectual idea behind it – is my masterpiece. (…) It was the hardest typeface I have worked on in my life. Working on it, I always had human nature in mind. And what’s crucial is that I developed the typeface alone, in peace and quiet – no drafting assistants, no-one was there. My personality is stamped upon it. I’m proud that I was able to create Avenir.’
             </p>
             <p class="f5 lh-copy measure-narrow dib mt0 v-top">
               The current set of weights is therefore ultra light, thin, light, regular, medium, demi bold, bold and heavy, in four styles each (two widths and italics for each width). The installation on OS X does not include the thin and light weights, but does include Greek and Cyrillic glyphs in the regular width.

src/templates/docs/georgia/index.html

@@ -288,7 +288,7 @@ <h3 class="f6 ttu fw4">Italic</h3>
 As a transitional serif design, Georgia shows a number of traditional features of ‘rational’ serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an italic taking inspiration from calligraphy. Its figure (numeral) designs are lower-case or text figures, designed to blend into continuous text; this was at the time a rare feature in computer fonts.
             </p>
             <p class="f5 lh-copy measure-narrow dib mt0 v-top">
-              Georgia’s bold is also unusually bold, almost black. Carter noted that, “Verdana and Georgia...were all about binary bitmaps: every pixel was on or off, black or white...The bold versions of Verdana and Georgia are bolder than most bolds, because on the screen, at the time we were doing this in the mid-1990s, if the stem wanted to be thicker than one pixel, it could only go to two pixels. That is a bigger jump in weight than is conventional in print series.”
+              Georgia’s bold is also unusually bold, almost black. Carter noted that, “Verdana and Georgia… were all about binary bitmaps: every pixel was on or off, black or white… The bold versions of Verdana and Georgia are bolder than most bolds, because on the screen, at the time we were doing this in the mid-1990s, if the stem wanted to be thicker than one pixel, it could only go to two pixels. That is a bigger jump in weight than is conventional in print series.”
             </p>
             <p class="f5 lh-copy measure-narrow dib mt0 v-top">
               The Georgia typeface is similar to Times New Roman, another revival of transitional serif designs, but with many subtle differences: Georgia is larger than Times at the same point size, and has a much larger x-height at the same actual size.

src/templates/docs/measure/avenir-next/index.html

@@ -54,7 +54,7 @@ <h5 class="f4 mv0 fw6 dib black-90">Avenir Next</h5>
       </div>
       <div class="ph3 ph4-ns pvm">
         <p class="measure f3 lh-copy">
-          Measure is...<br>
+          Measure is…<br>
           Measure impacts the readability of text.
           An appropriate line length for single column text is 45-75 characters including spaces.
           66 characters is regarded as the most ideal line length.

src/templates/docs/measure/garamond/index.html

@@ -37,7 +37,7 @@ <h4 class="f4 mv0 fw6 dib mr4"><%= name %></h4>
             </dl>
         </div>
         <p class="measure f4 f3-ns lh-copy">
-          Measure is...<br>
+          Measure is…<br>
           Measure impacts the readability of text.
           An appropriate line length for single column text is 45-75 characters including spaces.
           66 characters is regarded as the most ideal line length.