Commits

Vedran Miletić committed 0706bb3

More documentation fixes. Fix non-TeX doc files that come with beamer.

  • Participants
  • Parent commits 5791bac

Comments (0)

Files changed (14)

 Main development:
 
 Till Tantau <tantau@users.sourceforge.net>
+Joseph Wright <joseph.wright@morningstar2.co.uk>
 Vedran Mileti\'c <vmiletic@inf.uniri.hr>
 
 
-Installing the beamer class
+Installing the Beamer class
 ===========================
 
-TeX stuff:
+* TeX stuff:
 
-+ For the impatient: 
+  + For the impatient:
 
-  Put all files somewhere where TeX can find them. Also install the
-  following packages somewhere where TeX can find them:  
+    Put all files somewhere where TeX can find them. Also install the following
+    packages somewhere where TeX can find them:
 
-  - pgf, version >= 1.00
-  - xcolor, version >= 2.00
+    - pgf, version >= 1.00
+    - xcolor, version >= 2.00
 
-+ Long version:
+   + Long version:
 
-  In the user's guide, which you find in the file
-  doc/beameruserguide.pdf, you will find a detailed explanation on how
-  to install the beamer class.
+     In the users guide, which you can find in the file doc/beameruserguide.pdf,
+     you will find a detailed explanation on how to install the beamer class.
 
+* LyX Stuff:
 
-LyX Stuff:
+  The LyX documentation is part of the users guide doc/beameruserguide.pdf. It
+  also explains how to install the LyX-related files.
 
-The LyX documentation is also in the main documentation file
-doc/beameruserguide.pdf. It also explains how to install the LyX
-related files.
+* Emacs Stuff:
 
-
-Emacs Stuff:
-
-There is a file emacs/beamer.el that adds some beamer stuff to emacs'
-AucTeX mode. Read the instructions in that file on how to install it.
+  There is a file emacs/beamer.el that adds some beamer stuff to emacs' AucTeX
+  mode. Read the instructions in that file on how to install it.
-beamer -- A LaTeX class for producing presentations
-===================================================
+Beamer---A LaTeX class for producing presentations
+==================================================
 
 * See the documentation in doc/beameruserguide.pdf for a user manual.
-* See the information in doc/LICENSE for information on licensing.
+* See the information in doc/licenses/LICENSE for information on licensing.
 * Read the INSTALL file for installing the class on your system.
 
-Please go to http://bitbucket.org/rivanvx/beamer/ to submit bug reports,
+Please go to http://bitbucket.org/rivanvx/beamer to submit bug reports,
 request new features, etc.
- 1) Some commands for creating a lecture title page.
- 2) Perhaps add an way of showing photos of the authors and the institutes
-    in a convenient way.
- 3) Add more artwork.
- 4) Add an faq section.
- 5) Add miniframes and list of frames.
- 6) Add commands for creating toc entries without nav entries.
- 8) Make beamer compatible with bibentry.
- 9) Make beamer compatible with caption package.
-10) Make beamer compatible with acrotex.
-11) Make label= create a special label for the last slide of a frame.
-12) Perhaps add the option of creating "slide labels" for overlay specs.
-13) Add options for absolute and relative positioning the logo.
-14) Make \part create entries in toc, if desired.
-15) Add poster support, 16:10 support, 16:9 support. Contact beamerposter
-    authors about integrating it with beamer.
-16) Make beamer compatible with ntheorem.
-17) Reset color mixin after group.
-18) Make \label work accross lectures.
-19) Show short forms of (sub)sections on notes.
-20) Add debug mode for finding errors more easily in TeX and LyX.
-21) Throw away textpos boxes after suppressed pages.
-22) Make pgfpages work together with everyshipout.
-23) Make \emph work inside \section commands.
-24) Make beamer work with biblatex in a nicer way.
-25) Make all strings use translator and extend translator if necessary.
+ToDo list
+=========
+
+* Some commands for creating a lecture title page.
+* Make \label work accross lectures.
+* Perhaps add an way of showing photos of the authors and the institutes in a convenient way.
+* Add more artwork.
+* Add an faq section to users guide.
+* Add miniframes and list of frames.
+* Add commands for creating toc entries without nav entries.
+* Make beamer compatible with bibentry.
+* Make beamer compatible with caption package.
+* Make beamer compatible with acrotex.
+* Make beamer work with biblatex in a nicer way.
+* Make beamer more compatible with XeLaTeX.
+* Make label= create a special label for the last slide of a frame.
+* Perhaps add the option of creating "slide labels" for overlay specs.
+* Add options for absolute and relative positioning the logo.
+* Make \part create entries in toc, if desired.
+* Add poster support. Maybe even contact beamerposter authors about integrating it with beamer.
+* Make beamer compatible with ntheorem.
+* Reset color mixing after group.
+* Show short forms of (sub)sections on notes.
+* Add debug mode for finding errors more easily in TeX and LyX.
+* Throw away textpos boxes after suppressed pages.
+* Make pgfpages work together with everyshipout.
+* Make \emph work inside \section commands.
+* Make all strings use translator and extend translator if necessary.

File doc/beamerug-emulation.tex

   This package takes the following options:
   \begin{itemize}
     \item
-    \declare{|accumulate|} causes overlays to be accumulated. The original behaviour of the \seminar\ package is that in each overlay only the really ``new'' part of the overlay is shown. This makes sense, if you really print out the overlays on transparencies and then really stack overlays on top of each other. For a presentation with a video projector, you rather want to present an ``accumulated'' version of the overlays. This is what this option does: When the new material of the $i$th overlay is shown, the material of all previous overlays is also shown.
+    \declare{|accumulate|} causes overlays to be accumulated. The original behaviour of the \seminar\ package is that in each overlay only the really ``new'' part of the overlay is shown. This makes sense, if you really print out the overlays on transparencies and then really stack overlays on top of each other. For a presentation with a video projector, you rather want to present an ``accumulated'' version of the overlays. This is what this option does: When the new material of the $i$-th overlay is shown, the material of all previous overlays is also shown.
   \end{itemize}
 
   \example

File doc/beamerug-graphics.tex

 
 \label{section-graphics}
 
-In the following, the advantages and disadvantages of different
-possible ways of creating graphics for \beamer\ presentations are
-discussed. Much of the information presented in the following is not
-really special to \beamer, but applies to any other document class as well.
+In the following, the advantages and disadvantages of different possible ways of creating graphics for \beamer\ presentations are discussed. Much of the information presented in the following is not really special to \beamer, but applies to any other document class as well.
 
 
 \subsection{Including External Graphic Files Versus Inlines Graphics}
 
-There are two principal ways of creating \TeX-documents that include
-graphics: Either the graphic resides in an external file that is
-\emph{included} or the graphic is \emph{inlined}, which means that
-\TeX-file contains a bunch of commands like ``draw a red line from
-here to there.'' In the following, the advantages and disadvantages of
-these two approaches are discussed.
+There are two principal ways of creating \TeX-documents that include graphics: Either the graphic resides in an external file that is \emph{included} or the graphic is \emph{inlined}, which means that \TeX-file contains a bunch of commands like ``draw a red line from here to there.'' In the following, the advantages and disadvantages of these two approaches are discussed.
 
-You can use an external program, like |xfig| or the Gimp, to create a
-graphic. These programs have an option to \emph{export} graphic files
-in a format that can then be inserted into the presentation.
+You can use an external program, like |xfig|, GIMP or Inkscape, to create a graphic. These programs have an option to \emph{export} graphic files in a format that can then be inserted into the presentation.
 
 The main advantage is:
 \begin{itemize}
 The main disadvantages are:
 \begin{itemize}
 \item
-  You  have to worry about many files. Typically there are at least
-  two for each presentation, namely the program's graphic data file and the
-  exported graphic file in a format that can be read by \TeX.
+  You  have to worry about many files. Typically there are at least two for each presentation, namely the program's graphic data file and the exported graphic file in a format that can be read by \TeX.
 \item
-  Changing the graphic using the program does not automatically change
-  the graphic in the presentation. Rather, you must reexport the
-  graphic and rerun \LaTeX.
+  Changing the graphic using the program does not automatically change the graphic in the presentation. Rather, you must reexport the graphic and rerun \LaTeX.
 \item
-  It may be difficult to get the line width, fonts, and font sizes
-  right.
+  It may be difficult to get the line width, fonts, and font sizes right.
 \item
-  Creating formulas as part of graphics is often difficult or
-  impossible.
+  Creating formulas as part of graphics is often difficult or impossible.
 \end{itemize}
 
-You can use all the standard \LaTeX\ commands for inserting graphics,
-like |\includegraphics| (be sure to include the package
-|graphics| or |graphicx|). Also, the |pgf| package offers commands for
-including graphics. Either will work fine in most situations, so
-choose whichever you like. Like |\pgfdeclareimage|,
-|\includegraphics| also includes an image only once in a |.pdf| file,
-even if it used several times (as a matter of fact, the |graphics|
-package is even a bit smarter about this than |pgf|). However,
-currently only |pgf| offers the ability to include images that are
-partly transparent.
+You can use all the standard \LaTeX\ commands for inserting graphics, like |\includegraphics| (be sure to include the package |graphics| or |graphicx|). Also, the |pgf| package offers commands for including graphics. Either will work fine in most situations, so choose whichever you like. Like |\pgfdeclareimage|, |\includegraphics| also includes an image only once in a |.pdf| file, even if it used several times (as a matter of fact, the |graphics| package is even a bit smarter about this than |pgf|). However, currently only |pgf| offers the ability to include images that are partly transparent.
 
-At the end of this section you will find notes on how to include
-specific graphic formats like |.eps| or |.jpg|.
+At the end of this section you will find notes on how to include specific graphic formats like |.eps| or |.jpg|.
 
 \lyxnote
 You can use the usual ``Insert Graphic'' command to insert a graphic.
 
-The commands |\includegraphics|, |\pgfuseimage|, and |\pgfimage| are
-overlay-specification-aware in \beamer. If the overlay specification
-does not apply, the command has no effect. This is useful for creating
-a simple animation where each picture of the animation resides in a
-different file:
+The commands |\includegraphics|, |\pgfuseimage|, and |\pgfimage| are overlay-specification-aware in \beamer. If the overlay specification does not apply, the command has no effect. This is useful for creating a simple animation where each picture of the animation resides in a different file:
 
 \begin{verbatim}
 \begin{frame}
 \end{frame}
 \end{verbatim}
 
-
-A different way of creating graphics is to insert
-graphic drawing commands directly into your \LaTeX\ file. There are numerous
-packages that help you do this. They have various degrees of
-sophistication. Inlining graphics suffers from none of the
-disadvantages mentioned above for including external graphic files,
-but the main disadvantage is that it is often hard to use
-these packages. In some sense, you ``program'' your graphics, which
-requires a bit of practice.
+A different way of creating graphics is to insert graphic drawing commands directly into your \LaTeX\ file. There are numerous packages that help you do this. They have various degrees of sophistication. Inlining graphics suffers from none of the disadvantages mentioned above for including external graphic files, but the main disadvantage is that it is often hard to use these packages. In some sense, you ``program'' your graphics, which requires a bit of practice.
 
 When choosing a graphic package, there are a few things to keep in
 mind:
 \begin{itemize}
 \item
-  Many packages produce poor quality graphics. This is especially true
-  of the standard |picture| environment of \LaTeX.
+  Many packages produce poor quality graphics. This is especially true of the standard |picture| environment of \LaTeX.
 \item
-  Powerful packages that produce high-quality graphics often do not
-  work together with |pdflatex|.
+  Powerful packages that produce high-quality graphics often do not work together with |pdflatex|.
 \item
-  The most powerful and easiest-to-use package around, namely
-  |pstricks|, does not work together with |pdflatex| and
-  this is a fundamental problem. Due to the fundamental differences
-  between \pdf\ and PostScript, it is not possible to write a
-  ``|pdflatex| back-end for |pstricks|.''
+  The most powerful and easiest-to-use package around, namely |pstricks|, does not work together with |pdflatex| and this is a fundamental problem. Due to the fundamental differences between \pdf\ and PostScript, it is not possible to write a ``|pdflatex| back-end for |pstricks|.'' Regardless, \textsc{pst-pdf} and \textsc{pdftricks} package can help here and simplify things from user's perspective.
 \end{itemize}
 
-A solution to the above problem (though not necessarily the best) is
-to use the \textsc{pgf} package. It produces high-quality graphics and
-works together with |pdflatex|, but also with normal
-|latex|. It is not as powerful as |pstricks| (as pointed
-out above, this is because of rather fundamental reasons) and not as
-easy to use, but it should be sufficient in most cases.
+A solution to the above problem (though not necessarily the best) is to use the \textsc{pgf} package. It produces high-quality graphics and works together with |pdflatex|, but also with normal |latex|. It is not as powerful as |pstricks| (as pointed out above, this is because of rather fundamental reasons) and not as easy to use, but it should be sufficient in most cases.
 
 \lyxnote
-Inlined graphics must currently by inserted in a large \TeX-mode
-box. This is not very convenient.
+Inlined graphics must currently be inserted in a large \TeX-mode box. This is not very convenient.
 
 
 \subsection{Including Graphic Files Ending \texttt{.eps} or \texttt{.ps}}
 
-External graphic files ending with the extension |.eps| (Encapsulated
-PostScript) or |.ps| (PostScript) can be included if you use |latex|
-and |dvips|, but \emph{not} when using |pdflatex|. This is true
-both for the normal |graphics| package and for |pgf|. When using
-|pgf|, do \emph{not} add the extension |.eps|. When using
-|graphics|, do add the extension.
+External graphic files ending with the extension |.eps| (Encapsulated PostScript) or |.ps| (PostScript) can be included if you use |latex| and |dvips|, but \emph{not} when using |pdflatex|. This is true both for the normal |graphics| package and for |pgf|. When using |pgf|, do \emph{not} add the extension |.eps|. When using |graphics|, do add the extension.
 
-If you have a |.eps| graphic and wish to use |pdflatex|, you can use
-the program |ps2pdf| to convert the graphic to a |.pdf| file. Note,
-however, that it is often a better idea to directly generate a |.pdf|
-if the program that produced the |.eps| supports this.
+If you have a |.eps| graphic and wish to use |pdflatex|, you can use the program |ps2pdf| to convert the graphic to a |.pdf| file. Note, however, that it is often a better idea to directly generate a |.pdf| if the program that produced the |.eps| supports this.
 
 
-\subsection{Including Graphic Files Ending \texttt{.pdf},
-  \texttt{.jpg}, \texttt{.jpeg} or \texttt{.png}}
+\subsection{Including Graphic Files Ending \texttt{.pdf}, \texttt{.jpg}, \texttt{.jpeg} or \texttt{.png}}
 
-The four formats |.pdf|, |.jpg|, |.jpeg|, and |.png| can only be
-included by |pdflatex|. As before, do not add these extension when
-using |pgf|, but do add them when using |graphics|. If your graphic
-file has any of these formats and you wish/must use |latex| and
-|dvips|, you  have to convert your graphic to |.eps| first.
+The four formats |.pdf|, |.jpg|, |.jpeg|, and |.png| can only be included by |pdflatex|. As before, do not add these extension when using |pgf|, but do add them when using |graphics|. If your graphic file has any of these formats and you wish/must use |latex| and |dvips|, you  have to convert your graphic to |.eps| first.
 
 
 \subsection{Including Graphic Files Ending \texttt{.mps}}
 
-A graphic file ending |.mps| (MetaPost PostScript) is a special kind
-of Encapsulated PostScript file. Files in this format are produced by
-the MetaPost program. As you know, \TeX\ is a program that converts
-simple plain text into beautifully typeset documents. The MetaPost
-program is similar, only it converts simple plain text into beautiful
-graphics.
+A graphic file ending |.mps| (MetaPost PostScript) is a special kind of Encapsulated PostScript file. Files in this format are produced by the MetaPost program. As you know, \TeX\ is a program that converts simple plain text into beautifully typeset documents. The MetaPost program is similar, only it converts simple plain text into beautiful graphics.
 
-The MetaPost program converts a plain text file ending |.mp|
-into an |.mps| file (although for some unfathomable reason the
-extension is not added). The |.mp| file
-must contain text written in the MetaFont programming language. Since
-|.mps| files are actually also |.eps| files, you can use the normal
-|\includegraphics| command to include them.
+The MetaPost program converts a plain text file ending |.mp| into an |.mps| file (although for some unfathomable reason the extension is not added). The |.mp| file must contain text written in the MetaFont programming language. Since |.mps| files are actually also |.eps| files, you can use the normal |\includegraphics| command to include them.
 
-However, as a special bonus, you can \emph{also}
-include such a file when using |pdflatex|. Normally, |pdflatex| cannot
-handle |.eps| files, but the |.mps| files produced by MetaPost have
-such a simple and special structure that this is possible. The |graphics|
-package implements some filters to convert such PostScript output to
-\pdf\ on-the-fly. For this to work, the file should end |.mps| instead
-of |.eps|. The following command can be used to make the |graphics|
-package just \emph{assume} the extension |.mps| for any file it knows
-nothing about (like files ending with |.1|, which is what MetaPost
-loves to produce):
+However, as a special bonus, you can \emph{also} include such a file when using |pdflatex|. Normally, |pdflatex| cannot handle |.eps| files, but the |.mps| files produced by MetaPost have such a simple and special structure that this is possible. The |graphics| package implements some filters to convert such PostScript output to \pdf\ on-the-fly. For this to work, the file should end |.mps| instead of |.eps|. The following command can be used to make the |graphics| package just \emph{assume} the extension |.mps| for any file it knows nothing about (like files ending with |.1|, which is what MetaPost loves to produce):
 \begin{verbatim}
 \DeclareGraphicsRule{*}{mps}{*}{}
 \end{verbatim}
 
-This special feature currently  only works with the |graphics|
-package, not with |pgf|.
-
+This special feature currently only works with the |graphics| package, not with |pgf|.
 
 
 \subsection{Including Graphic Files Ending \texttt{.mmp}}
 
-The format |.mmp| (Multi-MetaPost) is actually not a format that can be
-included directly in a \TeX-file. Rather, like a |.mp| file, it first
-has to be converted using the MetaPost program. The crucial difference
-between |.mp| and |.mmp| is that in the latter multiple graphics
-can reside in a single |.mmp| file (actually, multiple graphics can
-also reside in a |.mp| file, but by convention such a file is called
-|.mmp|). When running MetaPost on a |.mmp| file, it will create not a
-single encapsulated PostScript file, but several, ending |.0|, |.1|,
-|.2|, and so on. The idea is that |.0| might contain a main graphic
-and the following pictures contain overlay material that should be
-incrementally added to this graphic.
+The format |.mmp| (Multi-MetaPost) is actually not a format that can be included directly in a \TeX-file. Rather, like a |.mp| file, it first has to be converted using the MetaPost program. The crucial difference between |.mp| and |.mmp| is that in the latter multiple graphics can reside in a single |.mmp| file (actually, multiple graphics can also reside in a |.mp| file, but by convention such a file is called |.mmp|). When running MetaPost on a |.mmp| file, it will create not a single encapsulated PostScript file, but several, ending |.0|, |.1|, |.2|, and so on. The idea is that |.0| might contain a main graphic and the following pictures contain overlay material that should be incrementally added to this graphic.
 
-To include the series of resulting files, you can use the command
-|\multiinclude| from the |mpmulti| or from the |xmpmulti| package. How
-this program works is explained in Section~\ref{section-mpmulti}.
+To include the series of resulting files, you can use the command |\multiinclude| from the |mpmulti| or from the |xmpmulti| package. How this program works is explained in Section~\ref{section-mpmulti}.

File doc/beamerug-guidelines.tex

 % $Header$
 
 \section{Guidelines for Creating Presentations}
-
 \label{section-guidelines}
 
-In this section I sketch the guidelines that I try to stick to when I
-create presentations. These guidelines either arise out of experience,
-out of common sense, or out of recommendations by other people or
-books. These rules are certainly not intended as commandments that, if
-not followed, will result in catastrophe. The central rule of
-typography also applies to creating presentations: \emph{Every rule
-  can be broken, but no rule may be ignored.}
-
-
+In this section I sketch the guidelines that I try to stick to when I create presentations. These guidelines either arise out of experience, out of common sense, or out of recommendations by other people or books. These rules are certainly not intended as commandments that, if not followed, will result in catastrophe. The central rule of typography also applies to creating presentations: \emph{Every rule can be broken, but no rule may be ignored.}
 
 
 \subsection{Structuring a Presentation}
-
 \label{section-structure-guidelines}
 
-
-
 \subsubsection{Know the Time Constraints}
 
-When you start to create a presentation, the very first thing you
-should worry about is the amount of time you have for your
-presentation. Depending on the occasion, this can
-be anything between 2 minutes and two hours.
+When you start to create a presentation, the very first thing you should worry about is the amount of time you have for your presentation. Depending on the occasion, this can be anything between 2 minutes and two hours.
 
 \begin{itemize}
-\item
-  A simple rule for the number of frames is that you should have at
-  most one frame per minute.
-\item
-  In most situations, you will have less time for your presentation
-  that you would like.
-\item
-  \emph{Do not try to squeeze more into a presentation than time
-  allows for.} No matter how important some detail seems to you, it is
-  better to leave it out, but get the main message across, than
-  getting neither the main message nor the detail across.
+  \item
+  A simple rule for the number of frames is that you should have at most one frame per minute.
+  \item
+  In most situations, you will have less time for your presentation that you would like.
+  \item
+  \emph{Do not try to squeeze more into a presentation than time allows for.} No matter how important some detail seems to you, it is better to leave it out, but get the main message across, than getting neither the main message nor the detail across.
 \end{itemize}
 
-In many situations, a quick appraisal of how much time you have will
-show that you won't be able to mention certain details. Knowing this can
-save you hours of work on preparing slides that you would have to remove
-later anyway.
-
-
+In many situations, a quick appraisal of how much time you have will show that you won't be able to mention certain details. Knowing this can save you hours of work on preparing slides that you would have to remove later anyway.
 
 \subsubsection{Global Structure}
 
-To create the ``global structure'' of a presentation, with the time
-constraints in mind, proceed as follows:
+To create the ``global structure'' of a presentation, with the time constraints in mind, proceed as follows:
 \begin{itemize}
-\item
-  Make a mental inventory of the things you can reasonably talk about
-  within the time available.
-\item
+  \item
+  Make a mental inventory of the things you can reasonably talk about within the time available.
+  \item
   Categorize the inventory into sections and subsections.
-\item
-  For very long talks (like a 90 minute lecture), you might also
-  divide your talk into independent parts (like a ``review of the
-  previous lecture part'' and a ``main part'') using the |\part|
-  command. Note that each  part has its own table of contents.
-\item
-  Do not feel afraid to change the structure later on as you work on
-  the talk.
+  \item
+  For very long talks (like a 90 minute lecture), you might also divide your talk into independent parts (like a ``review of the previous lecture part'' and a ``main part'') using the |\part| command. Note that each  part has its own table of contents.
+  \item
+  Do not feel afraid to change the structure later on as you work on the talk.
 \end{itemize}
 
-
-
 \paragraph{Parts, Section, and Subsections.}
 
 \begin{itemize}
-\item
-  Do not use more than four sections and not less than two per
-  part.
+  \item
+  Do not use more than four sections and not less than two per part.
 \end{itemize}
-Even four sections are usually too much, unless they follow
-a very easy pattern. Five and more sections are simply too hard to
-remember for the audience. After all, when you present the table of
-contents, the audience will not yet really be able to grasp the
-importance and relevance of the different sections and will most
-likely have forgotten them by the time you reach them.
+Even four sections are usually too much, unless they follow a very easy pattern. Five and more sections are simply too hard to remember for the audience. After all, when you present the table of contents, the audience will not yet really be able to grasp the importance and relevance of the different sections and will most likely have forgotten them by the time you reach them.
 
 \begin{itemize}
+  \item
+  Ideally, a table of contents should be understandable by itself. In particular, it should be comprehensible \emph{before} someone has heard your talk.
+  \item
+  Keep section and subsection titles self-explaining.
+  \item
+  Both the sections and the subsections should follow a logical pattern.
+  \item
+  Begin with an explanation of what your talk is all about. (Do not assume that everyone knows this. The \emph{Ignorant Audience Law} states: Someone important in the audience always knows less than you think everyone should know, even if you take the Ignorant Audience Law into account.)
 \item
-  Ideally, a table of contents should be understandable by itself. In
-  particular, it should be comprehensible \emph{before} someone has
-  heard your talk.
+  Then explain what you or someone else has found out concerning the subject matter.
 \item
-  Keep section and subsection titles self-explaining.
+  Always conclude your talk with a summary that repeats the main message of the talk in a short and simple way. People pay most attention at the beginning and at the end of talks. The summary is your ``second chance'' to get across a message.
 \item
-  Both the sections and the subsections should follow a logical
-  pattern.
-\item
-  Begin with an explanation of what your talk is all about. (Do
-  not assume that everyone knows this. The \emph{Ignorant Audience
-  Law} states: Someone important in the audience always knows less
-  than you think everyone should know, even if you take the Ignorant
-  Audience Law into account.)
-\item
-  Then explain what you or someone else has found out concerning the
-  subject matter.
-\item
-  Always conclude your talk with a summary that repeats the main
-  message of the talk in a short and simple way. People pay most
-  attention at the beginning and at the end of talks. The summary is
-  your ``second chance'' to get across a message.
-\item
-  You can also add an appendix part using the |\appendix| command. Put
-  everything into this part that you do not actually intend to talk
-  about, but that might come in handy when questions are asked.
+  You can also add an appendix part using the |\appendix| command. Put everything into this part that you do not actually intend to talk about, but that might come in handy when questions are asked.
 \item
   Do not use subsubsections, they are evil.
 \end{itemize}
 
-
-
 \paragraph{Giving an Abstract}
 
-In papers, the abstract gives a short summary of the whole paper in
-about 100 words. This summary is intend to help readers appraise
-whether they should read the whole paper or not.
+In papers, the abstract gives a short summary of the whole paper in about 100 words. This summary is intend to help readers appraise whether they should read the whole paper or not.
 \begin{itemize}
-\item
-  Since your audience is unlikely to flee after the first slide, in
-  a presentation you usually do not need to present an abstract.
-\item
-  However, if you can give a nice, succinct statement of your
-  talk, you might wish to include an abstract.
-\item
-  If you include an abstract, be sure that it is \emph{not} some long
-  text but just a very short message.
-\item
-  \emph{Never, ever} reuse a paper abstract for a presentation,
-  \emph{except} if the abstract is ``We show $\operatorname{P} =
-  \operatorname{NP}$'' or ``We show $\operatorname{P} \neq
-  \operatorname{NP}$''
-\item
-  If your abstract is one of the above two, double-check whether
-  your proof is correct.
+  \item
+  Since your audience is unlikely to flee after the first slide, in a presentation you usually do not need to present an abstract.
+  \item
+  However, if you can give a nice, succinct statement of your talk, you might wish to include an abstract.
+  \item
+  If you include an abstract, be sure that it is \emph{not} some long text but just a very short message.
+  \item
+  \emph{Never, ever} reuse a paper abstract for a presentation, \emph{except} if the abstract is ``We show $\operatorname{P} = \operatorname{NP}$'' or ``We show $\operatorname{P} \neq \operatorname{NP}$''
+  \item
+  If your abstract is one of the above two, double-check whether your proof is correct.
 \end{itemize}
 
-
-
-
-
 \paragraph{Numbered Theorems and Definitions.}
 
-A common way of globally structuring (math) articles and books is to
-use consecutively numbered definitions and theorems. Unfortunately,
-for presentations the situation is a bit more complicated and I would
-like to discourage using numbered theorems in presentations. The
-audience has no chance of remembering these numbers. \emph{Never} say
-things like ``now, by Theorem~2.5 that I showed you earlier, we have
-\dots'' It would be much better to refer to, say, Kummer's Theorem
-instead of Theorem~2.5. If Theorem~2.5 is some obscure theorem that
-does not have its own name (unlike Kummer's Theorem or Main Theorem or
-Second Main Theorem or Key Lemma), then the audience will have
-forgotten about it anyway by the time you refer to it again.
+A common way of globally structuring (math) articles and books is to use consecutively numbered definitions and theorems. Unfortunately, for presentations the situation is a bit more complicated and I would like to discourage using numbered theorems in presentations. The audience has no chance of remembering these numbers. \emph{Never} say things like ``now, by Theorem~2.5 that I showed you earlier, we have \dots'' It would be much better to refer to, say, Kummer's Theorem instead of Theorem~2.5. If Theorem~2.5 is some obscure theorem that does not have its own name (unlike Kummer's Theorem or Main Theorem or Second Main Theorem or Key Lemma), then the audience will have forgotten about it anyway by the time you refer to it again.
 
-In my opinion, the only situation in which numbered theorems make
-sense in a presentation is in a lecture, in which the students can read
-lecture notes in parallel to the lecture where the theorems are
-numbered in exactly the same way.
+In my opinion, the only situation in which numbered theorems make sense in a presentation is in a lecture, in which the students can read lecture notes in parallel to the lecture where the theorems are numbered in exactly the same way.
 
-If you do number theorems and definition, number everything
-consecutively. Thus if there are one theorem, one lemma,
-and one definition, you would have Theorem~1, Lemma~2, and
-Definition~3. Some people prefer all three to be numbered~1. I would
-\emph{strongly} like to discourage this. The problem is that this
-makes it virtually impossible to find anything since Theorem~2 might
-come after Definition~10 or the other way round. Papers and, worse,
-books that have a Theorem~1 and a Definition~1 are a pain.
+If you do number theorems and definition, number everything consecutively. Thus if there are one theorem, one lemma, and one definition, you would have Theorem~1, Lemma~2, and Definition~3. Some people prefer all three to be numbered~1. I would \emph{strongly} like to discourage this. The problem is that this makes it virtually impossible to find anything since Theorem~2 might come after Definition~10 or the other way round. Papers and, worse, books that have a Theorem~1 and a Definition~1 are a pain.
 \begin{itemize}
-\item
+  \item
   Do not inflict pain on other people.
 \end{itemize}
 
-
 \paragraph{Bibliographies.}
 
-You may also wish to present a bibliography at the end of your talk,
-so that people can see what kind of ``further reading'' is possible.
-When adding a bibliography to a presentation, keep the following in mind:
+You may also wish to present a bibliography at the end of your talk, so that people can see what kind of ``further reading'' is possible. When adding a bibliography to a presentation, keep the following in mind:
 
 \begin{itemize}
-\item
-  It is a bad idea to present a long bibliography in a
-  presentation. Present only very few references. (Naturally, this
-  applies only to the talk itself, not to a possible handout.)
-\item
-  If you present more references than fit on a single slide you can be
-  almost sure that none of them will be remembered.
-\item
-  Present references only if they are intended as ``further reading.''
-  Do not present a list of all things you used like in a paper.
-\item
-  You should not present a long list of all your other great papers
-  \emph{except} if you are giving an application talk.
-\item
-  Using the |\cite| commands can be confusing since the audience
-  has little chance of remembering the citations. If you cite the
-  references, always cite them with full author name and year like
-  ``[Tantau, 2003]'' instead of something like ``[2,4]'' or
-  ``[Tan01,NT02]''.
-\item
-  If you want to be modest, you can abbreviate your name when citing
-  yourself as in ``[Nickelsen and T., 2003]'' or ``[Nickelsen and T,
-  2003]''. However, this can be confusing for the audience since it is
-  often not immediately clear who exactly ``T.'' might be. I recommend
-  using the full name.
+  \item
+  It is a bad idea to present a long bibliography in a presentation. Present only very few references. (Naturally, this applies only to the talk itself, not to a possible handout.)
+  \item
+  If you present more references than fit on a single slide you can be almost sure that none of them will be remembered.
+  \item
+  Present references only if they are intended as ``further reading.'' Do not present a list of all things you used like in a paper.
+  \item
+  You should not present a long list of all your other great papers \emph{except} if you are giving an application talk.
+  \item
+  Using the |\cite| commands can be confusing since the audience has little chance of remembering the citations. If you cite the references, always cite them with full author name and year like ``[Tantau, 2003]'' instead of something like ``[2,4]'' or ``[Tan01,NT02]''.
+  \item
+  If you want to be modest, you can abbreviate your name when citing yourself as in ``[Nickelsen and T., 2003]'' or ``[Nickelsen and T, 2003]''. However, this can be confusing for the audience since it is often not immediately clear who exactly ``T.'' might be. I recommend using the full name.
 \end{itemize}
 
-
-
-
 \subsubsection{Frame Structure}
-
 \label{section-frame-guidelines}
 \label{section-guidelines-local}
 
-Just like your whole presentation, each frame should also be
-structured. A frame that is solely filled with some long text is very
-hard to follow. It is your job to structure the contents of each frame
-such that, ideally, the audience immediately seems which information
-is important, which information is just a detail, how the presented
-information is related, and so on.
-
-
+Just like your whole presentation, each frame should also be structured. A frame that is solely filled with some long text is very hard to follow. It is your job to structure the contents of each frame such that, ideally, the audience immediately seems which information is important, which information is just a detail, how the presented information is related, and so on.
 
 \paragraph{The Frame Title}
 
 \begin{itemize}
-\item
-  Put a title on each frame. The title explains the contents of the
-  frame to people who did not follow all details on the slide.
-\item
-  The title should really \emph{explain} things, not just give a
-  cryptic summary that cannot be understood unless one has understood
-  the whole slide. For example, a title like ``The Poset'' will have
-  everyone puzzled what this slide might be about. Titles like
-  ``Review of the Definition of Partially Ordered Sets (Posets)'' or
-  ``A Partial Ordering on the Columns of the Genotype Matrix'' are
-  \emph{much} more informative.
-\item
-  Ideally, titles on consecutive frames should ``tell a story'' all by
-  themselves.
-\item
-  In English, you should \emph{either} \emph{always} capitalize all words in
-  a frame title except for words like ``a'' or ``the'' (as in a
-  title), \emph{or} you \emph{always} use the normal lowercase
-  letters. Do \emph{not} mix this; stick to one rule. The same is true
-  for block titles. For example, do not use titles like ``A short
-  Review of Turing machines.'' Either use ``A Short Review of Turing
-  Machines.'' or ``A short review of Turing machines.'' (Turing is
-  still spelled with a capital letter since it is a name).
-\item
-  In English, the title of the whole document should be
-  capitalized, regardless of whether you capitalize anything else.
-\item
-  In German and other languages that have lots of capitalized words,
-  always use the correct upper-/lowercase letters. Never capitalize
-  anything in addition to what is usually capitalized.
+  \item
+  Put a title on each frame. The title explains the contents of the frame to people who did not follow all details on the slide.
+  \item
+  The title should really \emph{explain} things, not just give a cryptic summary that cannot be understood unless one has understood the whole slide. For example, a title like ``The Poset'' will have everyone puzzled what this slide might be about. Titles like ``Review of the Definition of Partially Ordered Sets (Posets)'' or ``A Partial Ordering on the Columns of the Genotype Matrix'' are \emph{much} more informative.
+  \item
+  Ideally, titles on consecutive frames should ``tell a story'' all by themselves.
+  \item
+  In English, you should \emph{either} \emph{always} capitalize all words in a frame title except for words like ``a'' or ``the'' (as in a title), \emph{or} you \emph{always} use the normal lowercase letters. Do \emph{not} mix this; stick to one rule. The same is true for block titles. For example, do not use titles like ``A short Review of Turing machines.'' Either use ``A Short Review of Turing Machines.'' or ``A short review of Turing machines.'' (Turing is still spelled with a capital letter since it is a name).
+  \item
+  In English, the title of the whole document should be capitalized, regardless of whether you capitalize anything else.
+  \item
+  In German and other languages that have lots of capitalized words, always use the correct upper-/lowercase letters. Never capitalize anything in addition to what is usually capitalized.
 \end{itemize}
 
-
-
 \paragraph{How Much Can I Put On a Frame?}
 
 \begin{itemize}
-\item
-  A frame with too little on it is better than a frame with too much
-  on it. A usual frame should have between 20 and 40 words. The
-  maximum should be at about 80 words.
-\item
-  Do not assume that everyone in the audience is an expert on the
-  subject matter. Even if the
-  people listening to you should be experts, they may last have heard
-  about things you consider obvious several years ago. You should
-  always have the time for a quick reminder of what exactly a
-  ``semantical complexity class'' or an ``$\omega$-complete partial
-  ordering'' is.
-\item
-  Never put anything on a slide that you are not going to explain
-  during the talk, not even to impress anyone with how
-    complicated your subject matter really is. However, you may
-  explain things that are not on a slide.
-\item
-  Keep it simple. Typically, your audience will see a slide for less
-  than 50 seconds. They will not have the time to puzzle through long
-  sentences or complicated formulas.
-\item
-  Lance Forthnow claims: PowerPoint users give better talks. His
-  reason: Since PowerPoint is so bad at typesetting math, they use
-  less math, making their talks easier to understand.
+  \item
+  A frame with too little on it is better than a frame with too much on it. A usual frame should have between 20 and 40 words. The maximum should be at about 80 words.
+  \item
+  Do not assume that everyone in the audience is an expert on the subject matter. Even if the people listening to you should be experts, they may last have heard about things you consider obvious several years ago. You should always have the time for a quick reminder of what exactly a ``semantical complexity class'' or an ``$\omega$-complete partial ordering'' is.
+  \item
+  Never put anything on a slide that you are not going to explain during the talk, not even to impress anyone with how complicated your subject matter really is. However, you may explain things that are not on a slide.
+  \item
+  Keep it simple. Typically, your audience will see a slide for less than 50 seconds. They will not have the time to puzzle through long sentences or complicated formulas.
+  \item
+  Lance Fortnow, a professor of computer science, claims: PowerPoint users give better talks. His reason: Since PowerPoint is so bad at typesetting math, they use less math, making their talks easier to understand.
 
-  There is some truth in this in my opinion. The great
-  math-typesetting capabilities of \TeX\ can easily lure you into
-  using many more formulas than is necessary and healthy. For example,
-  instead of writing {\catcode `|=12``Since $\left|\{x \in \{0,1\}^*
-  \mid x \sqsubseteq y\}\right| < \infty$}, we have\dots''\ use ``Since
-  $y$ has only finitely many prefixes, we have\dots''
+  There is some truth in this in my opinion. The great math-typesetting capabilities of \TeX\ can easily lure you into using many more formulas than is necessary and healthy. For example, instead of writing {\catcode `|=12``Since $\left|\{x \in \{0,1\}^* \mid x \sqsubseteq y\}\right| < \infty$}, we have\dots''\ use ``Since $y$ has only finitely many prefixes, we have\dots''
 
-  You will be surprised how much mathematical text can be reformulated
-  in plain English or can just be omitted. Naturally, if some
-  mathematical argument is what you are actually talking about, as in
-  a math lecture, make use of \TeX's typesetting capabilities to your
-  heart's content.
+  You will be surprised how much mathematical text can be reformulated in plain English or can just be omitted. Naturally, if some mathematical argument is what you are actually talking about, as in a math lecture, make use of \TeX's typesetting capabilities to your heart's content.
 \end{itemize}
 
-
-
 \paragraph{Structuring a Frame}
 
 \begin{itemize}
-\item
-  Use block environments like |block|, |theorem|, |proof|, |example|,
-  and so on.
-\item
+  \item
+  Use block environments like |block|, |theorem|, |proof|, |example|, and so on.
+  \item
   Prefer enumerations and itemize environments over plain text.
-\item
+  \item
   Use |description| when you define several things.
-\item
-  Do not use more than two levels of ``subitemizing.'' \beamer\
-  supports three levels, but you should not use that third
-  level. Mostly, you should not even use the second one. Use good
-  graphics instead.
-\item
+  \item
+  Do not use more than two levels of ``subitemizing.'' \beamer\ supports three levels, but you should not use that third level. Mostly, you should not even use the second one. Use good graphics instead.
+  \item
   Do not create endless |itemize| or |enumerate| lists.
-\item
+  \item
   Do not uncover lists piecewise.
-\item
-  Emphasis is an important part of creating structure. Use |\alert| to
-  highlight important things. This can be a single word or a whole
-  sentence. However, do not overuse highlighting since this will negate
-  the effect.
-\item
+  \item
+  Emphasis is an important part of creating structure. Use |\alert| to highlight important things. This can be a single word or a whole sentence. However, do not overuse highlighting since this will negate the effect.
+  \item
   Use columns.
-\item
-  \emph{Never} use footnotes. They needlessly disrupt the flow of
-  reading. Either what is said in the footnote is important and should
-  be put in the normal text; or it is not important and should be
-  omitted (\emph{especially} in a presentation).
-\item
+  \item
+  \emph{Never} use footnotes. They needlessly disrupt the flow of reading. Either what is said in the footnote is important and should be put in the normal text; or it is not important and should be omitted (\emph{especially} in a presentation).
+  \item
   Use |quote| or |quotation| to typeset quoted text.
-\item
-  Do not use the option |allowframebreaks| except for long
-  bibliographies.
-\item
+  \item
+  Do not use the option |allowframebreaks| except for long bibliographies.
+  \item
   Do not use long bibliographies.
 \end{itemize}
 
-
-
-
 \paragraph{Writing the Text}
 
 \begin{itemize}
-\item
+  \item
   Use short sentences.
-\item
-  Prefer phrases over complete sentences. For example,
-  instead of ``The figure on the left shows a Turing machine, the
-  figure on the right shows a finite automaton.''\ try ``Left: A Turing
-  machine. Right: A finite automaton.'' Even better, turn this into an
-  itemize or a description.
-\item
-  Punctuate correctly: no punctuation after phrases, complete
-  punctuation in and after complete sentences.
-\item
-  \emph{Never} use a smaller font size to ``fit more on a frame.''
-  \emph{Never ever} use the \emph{evil} option |shrink|.
-\item
-  Do not hyphenate words. If absolutely necessary, hyphenate words
-  ``by hand,'' using the command~|\-|.
-\item
-  Break lines ``by hand'' using the command~|\\|. Do not rely on
-  automatic line breaking. Break where there is a logical pause. For
-  example, good breaks in ``the tape alphabet is larger
-  than the input alphabet'' are before ``is'' and before the second
-  ``the.'' Bad breaks are before either ``alphabet'' and before
-  ``larger.''
-\item
-  Text and numbers in figures should have the \emph{same} size as
-  normal text. Illegible numbers on axes usually ruin a chart and its
-  message.
+  \item
+  Prefer phrases over complete sentences. For example, instead of ``The figure on the left shows a Turing machine, the figure on the right shows a finite automaton.''\ try ``Left: A Turing machine. Right: A finite automaton.'' Even better, turn this into an itemize or a description.
+  \item
+  Punctuate correctly: no punctuation after phrases, complete punctuation in and after complete sentences.
+  \item
+  \emph{Never} use a smaller font size to ``fit more on a frame.'' \emph{Never ever} use the \emph{evil} option |shrink|.
+  \item
+  Do not hyphenate words. If absolutely necessary, hyphenate words ``by hand,'' using the command~|\-|.
+  \item
+  Break lines ``by hand'' using the command~|\\|. Do not rely on automatic line breaking. Break where there is a logical pause. For example, good breaks in ``the tape alphabet is larger than the input alphabet'' are before ``is'' and before the second ``the.'' Bad breaks are before either ``alphabet'' and before ``larger.''
+  \item
+  Text and numbers in figures should have the \emph{same} size as normal text. Illegible numbers on axes usually ruin a chart and its message.
 \end{itemize}
 
-
-
-
 \subsubsection{Interactive Elements}
 
-Ideally, during a presentation you would like to present your
-slides in a perfectly linear fashion, presumably by pressing the
-page-down-key once for each slide. However, there are different
-reasons why you might have to deviate from this linear order:
+Ideally, during a presentation you would like to present your slides in a perfectly linear fashion, presumably by pressing the page-down-key once for each slide. However, there are different reasons why you might have to deviate from this linear order:
 \begin{itemize}
-\item
-  Your presentation may contain ``different levels of detail'' that
-  may or may not be skipped or expanded, depending on the audience's
-  reaction.
-\item
+  \item
+  Your presentation may contain ``different levels of detail'' that may or may not be skipped or expanded, depending on the audience's reaction.
+  \item
   You are asked questions and wish to show supplementary slides.
-\item
-  You present a complicated picture and you have to ``zoom out''
-  different parts to explain details.
-\item
-  You are asked questions about an earlier slide, which forces you to
-  find and then jump to that slide.
+  \item
+  You present a complicated picture and you have to ``zoom out'' different parts to explain details.
+  \item
+  You are asked questions about an earlier slide, which forces you to find and then jump to that slide.
 \end{itemize}
-You cannot really prepare against the last kind of questions. In this
-case, you can use the navigation bars and symbols to find the slide
-you are interested in, see \ref{section-navigation-bars}.
+You cannot really prepare against the last kind of questions. In this case, you can use the navigation bars and symbols to find the slide you are interested in, see \ref{section-navigation-bars}.
 
-Concerning the first three kinds of deviations, there are several
-things you can do to prepare ``planned detours'' or ``planned
-short cuts''.
+Concerning the first three kinds of deviations, there are several things you can do to prepare ``planned detours'' or ``planned short cuts''.
 \begin{itemize}
-\item
-  You can add ``skip buttons.'' When such a button
-  is pressed, you jump over a well-defined part of your talk. Skip
-  button have two advantages over just pressing the forward key
-  is rapid succession: first, you immediately end up at the correct
-  position and, second, the button's label can give the audience a
-  visual feedback of what exactly will be skipped. For example, when
-  you press a skip button labeled ``Skip proof'' nobody will start
-  puzzling over what he or she has missed.
-\item
-  You can add an appendix to your talk. The appendix is kept
-  ``perfectly separated'' from the main talk. Only once you ``enter''
-  the appendix part (presumably by hyperjumping into it), does the
-  appendix structure become visible. You can put all frames that you
-  do not intend to show during the normal course of your talk, but
-  which you would like to have handy in case someone asks, into this
-  appendix.
-\item
-  You can add ``goto buttons'' and ``return buttons'' to create
-  detours. Pressing a goto button will jump to a certain part of the
-  presentation where extra details can be shown. In this part, there
-  is a return button present on each slide that will jump back to the
-  place where the goto button was pressed.
-\item
-  In \beamer, you can use the |\againframe| command to ``continue''
-  frames that you previously started somewhere, but where certain
-  details have been suppressed. You can use the |\againframe| command
-  at a much later point, for example only in the appendix to show
-  additional slides there.
-\item
-  In \beamer, you can use the |\framezoom| command to create links to
-  zoomed out parts of a complicated slide.
+  \item
+  You can add ``skip buttons.'' When such a button is pressed, you jump over a well-defined part of your talk. Skip button have two advantages over just pressing the forward key is rapid succession: first, you immediately end up at the correct position and, second, the button's label can give the audience a visual feedback of what exactly will be skipped. For example, when you press a skip button labeled ``Skip proof'' nobody will start puzzling over what he or she has missed.
+  \item
+  You can add an appendix to your talk. The appendix is kept ``perfectly separated'' from the main talk. Only once you ``enter'' the appendix part (presumably by hyperjumping into it), does the appendix structure become visible. You can put all frames that you do not intend to show during the normal course of your talk, but which you would like to have handy in case someone asks, into this appendix.
+  \item
+  You can add ``goto buttons'' and ``return buttons'' to create detours. Pressing a goto button will jump to a certain part of the presentation where extra details can be shown. In this part, there is a return button present on each slide that will jump back to the place where the goto button was pressed.
+  \item
+  In \beamer, you can use the |\againframe| command to ``continue'' frames that you previously started somewhere, but where certain details have been suppressed. You can use the |\againframe| command at a much later point, for example only in the appendix to show additional slides there.
+  \item
+  In \beamer, you can use the |\framezoom| command to create links to zoomed out parts of a complicated slide.
 \end{itemize}
 
-
-
-
-
 \subsection{Using Graphics}
 
-Graphics often convey concepts or ideas much more efficiently than
-text: A picture can say more than a thousand words. (Although,
-sometimes a word can say more than a thousand pictures.)
+Graphics often convey concepts or ideas much more efficiently than text: A picture can say more than a thousand words. (Although, sometimes a word can say more than a thousand pictures.)
 
 \begin{itemize}
-\item
-  Put (at least) one graphic on each slide, whenever
-  possible. Visualizations help an audience enormously.
-\item
-  Usually, place graphics to the left of the text. (Use the
-  |columns| environment.) In a left-to-right reading culture, we look
-  at the left first.
-\item
-  Graphics should have the same typographic parameters as the
-  text: Use the same fonts (at the same size) in graphics as in the
-  main text. A small dot in a graphic should have exactly the same
-  size as a small dot in a text. The line width should be the same as
-  the stroke width used in creating the glyphs of the font. For
-  example, an 11pt non-bold Computer Modern font has a stroke width of
-  0.4pt.
-\item
-  While bitmap graphics, like photos, can be much more colorful than the
-  rest of the text, vector graphics should follow the same ``color
-  logic'' as the main text (like black~= normal lines, red~= highlighted
-  parts, green~= examples, blue~= structure).
-\item
-  Like text, you should explain everything that is shown on a
-  graphic. Unexplained details make the audience puzzle whether this
-  was something important that they have missed. Be careful when
-  importing graphics from a paper or some other source. They usually
-  have much more detail than you will be able to explain and should be
-  radically simplified.
-\item
-  Sometimes the complexity of a graphic is intentional and you
-  are willing to spend much time explaining the graphic in great
-  detail. In this case, you will often run into the problem that fine
-  details of the graphic are hard to discern for the audience. In this
-  case you should use a command like |\framezoom| to create
-  anticipated zoomings of interesting parts of the graphic, see
-  Section~\ref{section-zooming}.
+  \item
+  Put (at least) one graphic on each slide, whenever possible. Visualizations help an audience enormously.
+  \item
+  Usually, place graphics to the left of the text. (Use the |columns| environment.) In a left-to-right reading culture, we look at the left first.
+  \item
+  Graphics should have the same typographic parameters as the text: Use the same fonts (at the same size) in graphics as in the main text. A small dot in a graphic should have exactly the same size as a small dot in a text. The line width should be the same as the stroke width used in creating the glyphs of the font. For example, an 11pt non-bold Computer Modern font has a stroke width of 0.4pt.
+  \item
+  While bitmap graphics, like photos, can be much more colorful than the rest of the text, vector graphics should follow the same ``color logic'' as the main text (like black~= normal lines, red~= highlighted parts, green~= examples, blue~= structure).
+  \item
+  Like text, you should explain everything that is shown on a graphic. Unexplained details make the audience puzzle whether this was something important that they have missed. Be careful when importing graphics from a paper or some other source. They usually have much more detail than you will be able to explain and should be radically simplified.
+  \item
+  Sometimes the complexity of a graphic is intentional and you are willing to spend much time explaining the graphic in great detail. In this case, you will often run into the problem that fine details of the graphic are hard to discern for the audience. In this case you should use a command like |\framezoom| to create anticipated zoomings of interesting parts of the graphic, see Section~\ref{section-zooming}.
 \end{itemize}
 
 
-
 \subsection{Using Animations and Transitions}
 
 \begin{itemize}
-\item
+  \item
   Use animations to explain the dynamics of systems, algorithms, etc.
-\item
-  Do \emph{not} use animations just to attract the attention of your
-  audience. This often distracts attention away from the main topic of the
-  slide. No matter how cute a rotating,
-  flying theorem seems to look and no matter how badly you feel your
-  audience needs some action to keep it happy, most people in the
-  audience will typically feel you are making fun of them.
-\item
-  Do \emph{not} use distracting special effects like ``dissolving''
-  slides unless you have a very good reason for using them. If you use
-  them, use them sparsely.
-  They \emph{can} be useful in some situations: For example, you might
-  show a   young boy on a slide and might wish to dissolve this slide
-  into   slide showing a grown man instead. In this case, the
-  dissolving  gives the audience visual feedback that the young boy
-  ``slowly becomes'' the man.
+  \item
+  Do \emph{not} use animations just to attract the attention of your audience. This often distracts attention away from the main topic of the slide. No matter how cute a rotating, flying theorem seems to look and no matter how badly you feel your audience needs some action to keep it happy, most people in the audience will typically feel you are making fun of them.
+  \item
+  Do \emph{not} use distracting special effects like ``dissolving'' slides unless you have a very good reason for using them. If you use them, use them sparsely. They \emph{can} be useful in some situations: For example, you might show a young boy on a slide and might wish to dissolve this slide into slide showing a grown man instead. In this case, the dissolving  gives the audience visual feedback that the young boy ``slowly becomes'' the man.
 \end{itemize}
 
 
-
-
 \subsection{Choosing Appropriate Themes}
 
-\beamer\ comes with a number of different themes. When choosing a
-theme, keep the following in mind:
+\beamer\ comes with a number of different themes. When choosing a theme, keep the following in mind:
 
 \begin{itemize}
 \item
-  Different themes are appropriate for different occasions. Do not
-  become too attached to a favorite theme; choose a
-  theme according to occasion.
+  Different themes are appropriate for different occasions. Do not become too attached to a favorite theme; choose a theme according to occasion.
 \item
-  A longer talk is more likely to require navigational hints
-  than a short one. When you give a 90 minute lecture to students, you
-  should choose a theme that always shows a sidebar with the current
-  topic highlighted so that everyone always knows exactly what's the
-  current ``status'' of your talk is; when you give a ten-minute
-  introductory speech, a table of contents is likely to just seem
-  silly.
+  A longer talk is more likely to require navigational hints than a short one. When you give a 90 minute lecture to students, you should choose a theme that always shows a sidebar with the current topic highlighted so that everyone always knows exactly what's the current ``status'' of your talk is; when you give a ten-minute introductory speech, a table of contents is likely to just seem silly.
 \item
-  A theme showing the author's name and affiliation is appropriate in
-  situations where the audience is likely not to know you (like during
-  a conference). If everyone knows you, having your name on each slide
-  is just vanity.
+  A theme showing the author's name and affiliation is appropriate in situations where the audience is likely not to know you (like during a conference). If everyone knows you, having your name on each slide is just vanity.
 \item
-  First choose a presentation theme that has a layout that is
-  appropriate for your talk.
+  First choose a presentation theme that has a layout that is appropriate for your talk.
 \item
-  Next you might wish to change the colors by installing a different
-  color theme. This can drastically change the appearance of your
-  presentation. A ``colorful'' theme like |Berkeley| will look much
-  less flashy if you use the color themes |seahorse| and |lily|.
+  Next you might wish to change the colors by installing a different color theme. This can drastically change the appearance of your presentation. A ``colorful'' theme like |Berkeley| will look much less flashy if you use the color themes |seahorse| and |lily|.
 \item
-  You might also wish to change the fonts by installing a different
-  font theme.
+  You might also wish to change the fonts by installing a different font theme.
 \end{itemize}
 
 
-
 \subsection{Choosing Appropriate Colors}
 
 \begin{itemize}
-\item
-  Use colors sparsely. The prepared themes are already quite
-  colorful (blue~= structure, red~= alert, green~= example). If you
-  add more colors for things like code, math text, etc., you should
-  have a \emph{very} good reason.
-\item
-  Be careful when using bright colors on white background,
-  \emph{especially} when using green. What looks good on your monitor
-  may look bad during a presentation due to the different ways
-  monitors, beamers, and printers reproduce colors. Add lots of black
-  to pure colors when you use them on bright backgrounds.
-\item
-  Maximize contrast. Normal text should be black on white or at least
-  something very dark on something very bright. \emph{Never} do things
-  like ``light green text on not-so-light green background.''
-\item
-  Background shadings decrease the legibility without increasing the
-  information content. Do not add a background shading just because it
-  ``somehow looks nicer.''
-\item
-  Inverse video (bright text on dark background) can be a problem
-  during presentations in bright environments since only a small
-  percentage of the presentation area is light up by the
-  beamer. Inverse video is harder to reproduce on printouts and on
-  transparencies.
+  \item
+  Use colors sparsely. The prepared themes are already quite colorful (blue~= structure, red~= alert, green~= example). If you add more colors for things like code, math text, etc., you should have a \emph{very} good reason.
+  \item
+  Be careful when using bright colors on white background, \emph{especially} when using green. What looks good on your monitor may look bad during a presentation due to the different ways monitors, beamers, and printers reproduce colors. Add lots of black to pure colors when you use them on bright backgrounds.
+  \item
+  Maximize contrast. Normal text should be black on white or at least something very dark on something very bright. \emph{Never} do things like ``light green text on not-so-light green background.''
+  \item
+  Background shadings decrease the legibility without increasing the information content. Do not add a background shading just because it ``somehow looks nicer.''
+  \item
+  Inverse video (bright text on dark background) can be a problem during presentations in bright environments since only a small percentage of the presentation area is light up by the beamer. Inverse video is harder to reproduce on printouts and on transparencies.
 \end{itemize}
 
 
-
-
-
-
 \subsection{Choosing Appropriate Fonts and Font Attributes}
 
-Text and fonts literally surround us constantly. Try to think of the
-last time when  there was no text around you within ten
-meters. Likely, this has never happened in your life!
-(Whenever you wear clothing, even a swim suit, there is a lot of text
-right next to your body.) The history of fonts is nearly as long as
-the history of civilization itself. There are tens of thousands of fonts
-available these days, some of which are the product of hundreds of
-years of optimization.
+Text and fonts literally surround us constantly. Try to think of the last time when there was no text around you within ten meters. Likely, this has never happened in your life! (Whenever you wear clothing, even a swim suit, there is a lot of text right next to your body.) The history of fonts is nearly as long as the history of civilization itself. There are tens of thousands of fonts available these days, some of which are the product of hundreds of years of optimization.
 
-Choosing the right fonts for a presentation is by no means
-trivial and wrong choices will either just ``look bad'' or, worse,
-make the audience have trouble reading your slides.
-This user's guide cannot replace a good book on typography, but in the
-present section you'll find several hints that should help you setup
-fonts for a \beamer\ presentation that look good.
-A font has numerous attributes like weight, family, or size. All of
-these have an impact on the usability of the font in
-presentations. In the following, these attributes are described and
-advantages and disadvantages of the different choices are sketched.
-
+Choosing the right fonts for a presentation is by no means trivial and wrong choices will either just ``look bad'' or, worse, make the audience have trouble reading your slides. This user's guide cannot replace a good book on typography, but in the present section you'll find several hints that should help you setup fonts for a \beamer\ presentation that look good. A font has numerous attributes like weight, family, or size. All of these have an impact on the usability of the font in presentations. In the following, these attributes are described and advantages and disadvantages of the different choices are sketched.
 
 \subsubsection{Font Size}
-
 \label{section-sizes}
 
-Perhaps the most obvious attribute of a font is its size. Fonts are
-traditionally measured in ``points.'' How much a point is depends on
-whom you ask. \TeX\ thinks a point is the 72.27th part of an inch,
-which is 2.54 cm. On the other hand, PostScript and Adobe think a
-point is the 72th part of an inch (\TeX\ calls this a big point). There
-are differences between American and European points. Once it is
-settled how much a point is, claiming that a text is in ``11pt'' means
-that the ``height'' of the letters in the font are 11pt. However, this
-``height'' stems from the time when letters where still cast in lead
-and refers to the the vertical size of the lead letters. It thus does
-not need to have any correlation with the actual height of, say, the
-letter x or even the letter M. The letter x of an 11pt Times from
-Adobe will have a height that is different from the height of the
-letter x of an 11pt Times from UTC and the letter x of an 11pt
-Helvetica from Adobe will have yet another height.
+Perhaps the most obvious attribute of a font is its size. Fonts are traditionally measured in ``points.'' How much a point is depends on whom you ask. \TeX\ thinks a point is the 72.27th part of an inch, which is 2.54 cm. On the other hand, PostScript and Adobe think a point is the 72th part of an inch (\TeX\ calls this a big point). There are differences between American and European points. Once it is settled how much a point is, claiming that a text is in ``11pt'' means that the ``height'' of the letters in the font are 11pt. However, this ``height'' stems from the time when letters where still cast in lead and refers to the the vertical size of the lead letters. It thus does not need to have any correlation with the actual height of, say, the letter x or even the letter M. The letter x of an 11pt Times from Adobe will have a height that is different from the height of the letter x of an 11pt Times from UTC and the letter x of an 11pt Helvetica from Adobe will have yet another height.
 
-Summing up, the font size has little to do with the actual size of
-letters. Rather, these days it is a convention that 10pt or 11pt is
-the size a font should be printed for ``normal reading.'' Fonts are
-designed so that they can optimally be read at these sizes.
+Summing up, the font size has little to do with the actual size of letters. Rather, these days it is a convention that 10pt or 11pt is the size a font should be printed for ``normal reading.'' Fonts are designed so that they can optimally be read at these sizes.
 
-In a presentation the classical font sizes obviously lose their
-meaning. Nobody could read a projected text if it were actually
-11pt. Instead, the projected letters need to be several centimeters
-high. Thus, it does not really make sense to specify ``font sizes''
-for presentations in the usual way. Instead, you should try to think
-of the number of lines that will fit on a slide if you were to fill
-the whole slide with line-by-line text (you are never going to do that
-in practice, though). Depending on how far your audience is removed
-from the projection and on how large the projection is, between 10 and
-20 lines should fit on each slide. The less lines, the more readable
-your text will be.
+In a presentation the classical font sizes obviously lose their meaning. Nobody could read a projected text if it were actually 11pt. Instead, the projected letters need to be several centimeters high. Thus, it does not really make sense to specify ``font sizes'' for presentations in the usual way. Instead, you should try to think of the number of lines that will fit on a slide if you were to fill the whole slide with line-by-line text (you are never going to do that in practice, though). Depending on how far your audience is removed from the projection and on how large the projection is, between 10 and 20 lines should fit on each slide. The less lines, the more readable your text will be.
 
-In \beamer, the default sizes of the fonts are chosen in a way that
-makes it difficult to fit ``too much'' onto a slide. Also, it will
-ensure that your slides are readable even under bad conditions like a
-large room and a small only a small projection area. However, you may
-wish to enlarge or shrink the fonts a bit if you know this to be more
-appropriate in your presentation environment.
+In \beamer, the default sizes of the fonts are chosen in a way that makes it difficult to fit ``too much'' onto a slide. Also, it will ensure that your slides are readable even under bad conditions like a large room and a small only a small projection area. However, you may wish to enlarge or shrink the fonts a bit if you know this to be more appropriate in your presentation environment.
 
-Once the size of the normal text is settled, all other sizes are
-usually defined relative to that size. For this reason, \LaTeX\ has
-commands like |\large| or |\small|. The actual size these commands
-select depends on the size of normal text.
+Once the size of the normal text is settled, all other sizes are usually defined relative to that size. For this reason, \LaTeX\ has commands like |\large| or |\small|. The actual size these commands select depends on the size of normal text.
 
-In a presentation, you will want to use a very small font for text in
-headlines, footlines, or sidebars since the text shown there is not
-vital and is read at the audience's leasure. Naturally, the text should
-still be large enough that it actually \emph{can} be read without
-binoculars. However, in a normal presentation environment the audience
-will still be able to read even |\tiny| text when necessary.
+In a presentation, you will want to use a very small font for text in headlines, footlines, or sidebars since the text shown there is not vital and is read at the audience's leasure. Naturally, the text should still be large enough that it actually \emph{can} be read without binoculars. However, in a normal presentation environment the audience will still be able to read even |\tiny| text when necessary.
 
-However, using small fonts can be tricky. Many PostScript fonts are
-just scaled down when used at small sizes. When a font is
-used at less than its normal size, the characters should actually be
-stroked using a slightly thicker ``pen'' than the one resulting from
-just scaling things. For this reason, high quality
-multiple master fonts or the Computer Modern fonts use different
-fonts for small characters and for normal characters. However, when
-you use a normal Helvetica or Times font, the characters are just
-scaled down. A similar problem arises when you use a light font on a
-dark background. Even when printed on paper in high resolution,
-light-on-dark text tends to be ``overflooded'' by the dark
-background. When light-on-dark text is rendered in a presentation this
-effect can be much worse, making the text almost impossible to read.
+However, using small fonts can be tricky. Many PostScript fonts are just scaled down when used at small sizes. When a font is used at less than its normal size, the characters should actually be stroked using a slightly thicker ``pen'' than the one resulting from just scaling things. For this reason, high quality multiple master fonts or the Computer Modern fonts use different fonts for small characters and for normal characters. However, when you use a normal Helvetica or Times font, the characters are just scaled down. A similar problem arises when you use a light font on a dark background. Even when printed on paper in high resolution, light-on-dark text tends to be ``overflooded'' by the dark background. When light-on-dark text is rendered in a presentation this effect can be much worse, making the text almost impossible to read.
 
-You can counter both negative effects by using a bold versions for
-small text.
+You can counter both negative effects by using a bold versions for small text.
 
-In the other direction, you can use larger text for titles. However,
-using a larger font does not always have the desired effect. Just
-because a frame title is printed in large letters does not
-mean that it is read first. Indeed, have a look at the cover of your
-favorite magazine. Most likely, the magazine's name is the typeset in the
-largest font, but you your attention will nevertheless first go to the
-topics advertised on the cover. Likewise, in the table of contents you
-are likely to first focus on the entries, not on the words ``Table of
-Contents.'' Most likely, you would not spot a spelling mistake there
-(a friend of mine actually managed to misspell \emph{his own name} on
-the cover of his master's thesis and nobody noticed until a year
-later). In essence, large text at the top of a page signals
-``unimportant since I know what to expect.'' So, instead of using a
-very large frame title, also consider using a normal size frame title
-that is typeset in bold or in italics.
-
-
-
-
+In the other direction, you can use larger text for titles. However, using a larger font does not always have the desired effect. Just because a frame title is printed in large letters does not mean that it is read first. Indeed, have a look at the cover of your favorite magazine. Most likely, the magazine's name is the typeset in the largest font, but you your attention will nevertheless first go to the topics advertised on the cover. Likewise, in the table of contents you are likely to first focus on the entries, not on the words ``Table of Contents.'' Most likely, you would not spot a spelling mistake there (a friend of mine actually managed to misspell \emph{his own name} on the cover of his master's thesis and nobody noticed until a year later). In essence, large text at the top of a page signals ``unimportant since I know what to expect.'' So, instead of using a very large frame title, also consider using a normal size frame title that is typeset in bold or in italics.
 
 \subsubsection{Font Families}
-
 \label{section-guidelines-serif}
 
-The other central property of any font is its family. Examples of font
-families are Times or Helvetica or Futura. As the name suggests, a lot
-of different fonts can belong to the same family. For example, Times
-comes in different sizes, there is a bold version of Times, an
-italics version, and so on. To confuse matters, font families like
-Times are often just called the ``font Times.''
+The other central property of any font is its family. Examples of font families are Times or Helvetica or Futura. As the name suggests, a lot of different fonts can belong to the same family. For example, Times comes in different sizes, there is a bold version of Times, an italics version, and so on. To confuse matters, font families like Times are often just called the ``font Times.''
 
-There are two large classes of font families: serif fonts and
-sans-serif fonts. A sans-serif font is a font in
-which the letters do not have serifs (from French \emph{sans}, which
-means ``without''). Serifs are the little hooks at the ending of the
-strokes that make up a letter. The font you are currently reading is a
-serif font. \textsf{By comparison, this text is in a sans-serif font.}
-Sans-serif fonts are (generally considered to be) easier to read
-when used in a presentation. In low resolution rendering, serifs
-decrease the legibility of a font. However, on projectors with very
-high resolution serif text is just as readable as sans-serif text. A
-presentation typeset in a serif font creates a more conservative
-impression, which might be exactly what you wish to create.
+There are two large classes of font families: serif fonts and sans-serif fonts. A sans-serif font is a font in which the letters do not have serifs (from French \emph{sans}, which means ``without''). Serifs are the little hooks at the ending of the strokes that make up a letter. The font you are currently reading is a serif font. \textsf{By comparison, this text is in a sans-serif font.} Sans-serif fonts are (generally considered to be) easier to read when used in a presentation. In low resolution rendering, serifs decrease the legibility of a font. However, on projectors with very high resolution serif text is just as readable as sans-serif text. A presentation typeset in a serif font creates a more conservative impression, which might be exactly what you wish to create.
 
-Most likely, you'll have a lot of different font families preinstalled
-on your system. The default font used by \TeX\ (and \beamer) is the
-Computer Modern font. It  is the original font family designed by Donald
-Knuth himself for the \TeX\ program. It is a mature font that comes
-with just about everything you could wish for: extensive mathematical
-alphabets, outline PostScript versions, real small caps, real oldstyle
-numbers, specially designed small and large letters, and so on.
+Most likely, you'll have a lot of different font families preinstalled on your system. The default font used by \TeX\ (and \beamer) is the Computer Modern font. It  is the original font family designed by Donald Knuth himself for the \TeX\ program. It is a mature font that comes with just about everything you could wish for: extensive mathematical alphabets, outline PostScript versions, real small caps, real oldstyle numbers, specially designed small and large letters, and so on.
 
-However, there are reasons for using font families other than Computer
-Modern:
+However, there are reasons for using font families other than Computer Modern:
 \begin{itemize}
-\item
-  The Computer Modern fonts are a bit boring if you have seen them too
-  often. Using another font (but not Times!) can give a fresh look.
-\item
-  Other fonts, especially Times and Helvetica, are sometime rendered
-  better since they seem to have better internal hinting.
-\item
-  The sans-serif version of Computer Modern is not nearly as
-  well-designed as the serif version. Indeed, the sans-serif version
-  is, in essence, the serif version with different design parameters,
-  not an independent design.
-\item
-  Computer modern needs much more space than more economic fonts like
-  Times (this explains why Times is so popular with people who need
-  to squeeze their great paper into just twelve pages). To be fair,
-  Times was specifically designed to be economic (the newspaper
-  company publishing The Times needed robust, but space-economic font).
+  \item
+  The Computer Modern fonts are a bit boring if you have seen them too often. Using another font (but not Times!) can give a fresh look.
+  \item
+  Other fonts, especially Times and Helvetica, are sometime rendered better since they seem to have better internal hinting.
+  \item
+  The sans-serif version of Computer Modern is not nearly as well-designed as the serif version. Indeed, the sans-serif version is, in essence, the serif version with different design parameters, not an independent design.
+  \item
+  Computer modern needs much more space than more economic fonts like Times (this explains why Times is so popular with people who need to squeeze their great paper into just twelve pages). To be fair, Times was specifically designed to be economic (the newspaper company publishing The Times needed robust, but space-economic font).
 \end{itemize}
 
 A small selection of alternatives to Computer Modern:
 \begin{itemize}
-\item
-  Helvetica is an often used alternative. However, Helvetica also
-  tends to look boring (since we see it everywhere) and it has a very
-  large x-height (the height of the letter~x in comparison to a letter
-  like~M). A large x-height is usually considered good for languages
-  (like English) that use uppercase letters seldomly and not-so-good
-  for languages (like German) that use uppercase letters a lot. (I
-  have never been quite convinced by the argument for this, though.)
-  Be warned: the x-height of Helvetica is so different from the
-  x-height of Times that mixing the two in a single line looks
-  strange. The packages for loading Times and Helvetica provide
-  options for fixing this, though.
-\item
-  Futura is, in my opinion, a beautiful font that is very well-suited
-  for presentations. Its thick letters make it robust against
-  scaling, inversion, and low contrast. Unfortunately, while it is
-  most likely installed on your system somewhere in some form, getting
-  \TeX\ to work with it is a complicated process.
-\item
-  Times is a possible alternative to Computer Modern. Its main
-  disadvantage is that it is a serif font, which requires a
-  high-resolution projector. Naturally, it also used very often, so we
-  all know it very well.
+  \item
+  Latin Modern is a Computer Modern derivate that provides more characters, so it's not considered a real alternative. It's recommended over Computer Modern, though.
+  \item
+  Helvetica is an often used alternative. However, Helvetica also tends to look boring (since we see it everywhere) and it has a very large x-height (the height of the letter~x in comparison to a letter like~M). A large x-height is usually considered good for languages (like English) that use uppercase letters seldom and not-so-good for languages (like German) that use uppercase letters a lot. (I have never been quite convinced by the argument for this, though.) Be warned: the x-height of Helvetica is so different from the x-height of Times that mixing the two in a single line looks strange. The packages for loading Times and Helvetica provide options for fixing this, though.
+  \item
+  Futura is, in my opinion, a beautiful font that is very well-suited for presentations. Its thick letters make it robust against scaling, inversion, and low contrast. Unfortunately, while it is most likely installed on your system somewhere in some form, getting \TeX\ to work with it is a complicated process.
+  \item
+  Times is a possible alternative to Computer Modern. Its main disadvantage is that it is a serif font, which requires a high-resolution projector. Naturally, it also used very often, so we all know it very well.
+  \item
+  DejaVu, a derivate of Bitstream Vera is also a very good and free alternative. TrueType version that comes with OpenOffice.org is complicated to get to work with \TeX, but |arev| \LaTeX\ package provides an easy way to use Type 1 version named Bera. It has both sans-serif and serif versions; |arev| provides both.
 \end{itemize}
 
 Families that you should \emph{not} use for normal text include:
 \begin{itemize}
-\item
+  \item
   All monospaced fonts (like Courier).
-\item
-  Script fonts (which look like handwriting). Their stroke width is
-  way too small for a presentation.
-\item
-  More delicate serif fonts like Stempel and possibly even Garamond
-  (though Garamond is really a beautiful font for books).
-\item
-  Gothic fonts. Only a small fraction of your audience will be able to
-  read them fluently.
+  \item
+  Script fonts (which look like handwriting). Their stroke width is way too small for a presentation.
+  \item
+  More delicate serif fonts like Stempel and possibly even Garamond (though Garamond is really a beautiful font for books).
+  \item
+  Gothic fonts. Only a small fraction of your audience will be able to read them fluently.
 \end{itemize}
 
-There is one popular font that is a bit special: Microsoft's Comic
-Sans. On the one hand, there is a website lobbying for banning the use
-of this font. Indeed, the main trouble with the font is that it is not
-particularly well-readable and that math typeset partly using this
-font looks terrible. On the other hand, this font \emph{does} create
-the impression of a slide ``written by hand,'' which gives the
-presentation a natural look. Think twice before using this font, but
-do not let yourself be intimidated.
+There is one popular font that is a bit special: Microsoft's Comic Sans. On the one hand, there is a website lobbying for banning the use of this font. Indeed, the main trouble with the font is that it is not particularly well-readable and that math typeset partly using this font looks terrible. On the other hand, this font \emph{does} create the impression of a slide ``written by hand,'' which gives the presentation a natural look. Think twice before using this font, but do not let yourself be intimidated.
 
-One of the most important rules of typography is that you should use
-as little fonts as possible in a text. In particular, typographic
-wisdom dictates that you should not use more than two different
-families on one page. However, when typesetting
-mathematical text, it is often necessary and useful to use different
-font families. For example, it used to be common practice to use
-Gothic letters to denote vectors. Also, program texts are often
-typeset in monospace fonts. If your audience is used to a certain font
-family for a certain type of text, use that family, regardless of what
-typographic wisdom says.
+One of the most important rules of typography is that you should use as little fonts as possible in a text. In particular, typographic wisdom dictates that you should not use more than two different families on one page. However, when typesetting mathematical text, it is often necessary and useful to use different font families. For example, it used to be common practice to use Gothic letters to denote vectors. Also, program texts are often typeset in monospace fonts. If your audience is used to a certain font family for a certain type of text, use that family, regardless of what typographic wisdom says.
 
-A common practice in typography is to use a sans serif fonts for
-titles and serif fonts for normal text (check your favorite
-magazine). You can \emph{also} use two different sans serif fonts or
-two different serif fonts, but you then have to make sure that the
-fonts look ``sufficiently different.'' If they look only slightly
-different, the page will look ``somehow strange,'' but the audience
-will not be able to tell why. For example, do not mix Arial and
-Helvetica (they are almost identical) or Computer Modern and
-Baskerville (they are quite similar). A combination of Gills Sans and
-Helvetica is dangerous but perhaps possible. A combination like Futura
-and Optima is certainly ok, at least with respect to the fonts being
-very different.
-
-
-
+A common practice in typography is to use a sans-serif fonts for titles and serif fonts for normal text (check your favorite magazine). You can \emph{also} use two different sans-serif fonts or two different serif fonts, but you then have to make sure that the fonts look ``sufficiently different.'' If they look only slightly different, the page will look ``somehow strange,'' but the audience will not be able to tell why. For example, do not mix Arial and Helvetica (they are almost identical) or Computer Modern and Baskerville (they are quite similar). A combination of Gills Sans and Helvetica is dangerous but perhaps possible. A combination like Futura and Optima is certainly OK, at least with respect to the fonts being very different.
 
 \subsubsection{Font Shapes: Italics and Small Capitals}
-
 \label{section-italics}
 \label{section-smallcaps}
 
-\LaTeX\ introduces the concept of the \emph{shape} of a font. The only
-really important ones are italic and small caps.
-An \emph{italic} font is a font in which the text is slightly slanted
-to the right \emph{like this}. Things to know about
-italics:
+\LaTeX\ introduces the concept of the \emph{shape} of a font. The only really important ones are italic and small caps. An \emph{italic} font is a font in which the text is slightly slanted to the right \emph{like this}. Things to know about italics:
 \begin{itemize}
-\item
-  Italics are commonly used in novels to express emphasis. However,
-  especially with sans-serif fonts, italics are typically not ``strong
-  enough'' and the emphasis gets lost in a presentation. Using a
-  different color or bold text seems better suited for presentations
-  to create emphasis.
-\item
-  If you look closely, you will notice that italic text is not only
-  slanted but that different letters are actually used (compare a and
-  \emph{a}, for example). However, this is only true for serif text,
-  not for sans-serif text. Text that is only slanted without using
-  different characters is called  ``slanted'' instead of ``italic.''
-  Sometimes, the word ``oblique'' is also used for slanted, but it
-  sometimes also used for italics, so it is perhaps best to avoid
-  it. Using slanted serif text is very much frowned upon by
-  typographers and is considered ``cheap computer typography.''
-  However, people who use slanted text in their books include Donald
-  Knuth.
+  \item
+  Italics are commonly used in novels to express emphasis. However, especially with sans-serif fonts, italics are typically not ``strong enough'' and the emphasis gets lost in a presentation. Using a different color or bold text seems better suited for presentations to create emphasis.
+  \item
+  If you look closely, you will notice that italic text is not only slanted but that different letters are actually used (compare a and \emph{a}, for example). However, this is only true for serif text, not for sans-serif text. Text that is only slanted without using different characters is called ``slanted'' instead of ``italic.'' Sometimes, the word ``oblique'' is also used for slanted, but it sometimes also used for italics, so it is perhaps best to avoid it. Using slanted serif text is very much frowned upon by typographers and is considered ``cheap computer typography.'' However, people who use slanted text in their books include Donald Knuth.
 
-  In a presentation, if you go to the trouble of using a serif font
-  for some part of it, you should also use italics, not slanted text.
-\item
-  The different characters used for serif italics have changed much
-  less  from the original handwritten letters they are based on than
-  normal serif text. For this reason, serif italics creates the
-  impression of handwritten text, which may be desirable to give a
-  presentation a more ``personal touch'' (although you can't get very
-  personal using Times italics, which everyone has seen a thousand
-  times). However, it is harder to read than normal text, so do not
-  use it for text more than a line long.
+  In a presentation, if you go to the trouble of using a serif font for some part of it, you should also use italics, not slanted text.
+  \item
+  The different characters used for serif italics have changed much less from the original handwritten letters they are based on than normal serif text. For this reason, serif italics creates the impression of handwritten text, which may be desirable to give a presentation a more ``personal touch'' (although you can't get very personal using Times italics, which everyone has seen a thousand times). However, it is harder to read than normal text, so do not use it for text more than a line long.
 \end{itemize}
 
-The second font shape supported by \TeX\ are small capital
-letters. Using them can create a conservative, even formal
-impression, but some words of caution:
+The second font shape supported by \TeX\ are small capital letters. Using them can create a conservative, even formal impression, but some words of caution:
 
 \begin{itemize}
-\item
-  Small capitals are different from all-uppercase text. A small caps
-  text leaves normal uppercase letters unchanged and uses smaller
-  versions of the uppercase letters for normal typesetting lowercase
-  letters. Thus the word ``German'' is typeset as \textsc{German}
-  using small caps, but as \uppercase{German} using all uppercase
-  letters.
-\item
-  Small caps either come as ``faked'' small caps or as ``real''
-  small caps. Faked small caps are created by just scaling down
-  normal uppercase letters. This leads to letters the look too
-  thin. Real small caps are specially designed smaller versions of
-  the uppercase letters that have the same stroke width as normal
-  text.
-\item
-  Computer Modern fonts and expert version of PostScript fonts come
-  with real small caps (though the small caps of Computer Modern are
-  one point size too large for some unfathomable reason---but your
-  audience is going to pardon this since it will not notice
-  anyway). ``Simple'' PostScript fonts like out-of-the-box Helvetica
-  or Times only come with faked small caps.
-\item
-  Text typeset in small caps is harder to read than normal text. The
-  reason is that we read by seeing the ``shape'' of words. For
-  example, the word ``shape'' is mainly recognized by seing one
-  normal letter, one ascending letter, a normal letter, one
-  descending letter, and a normal letter. One has much more trouble
-  spotting a misspelling like ``shepe''  than ``spape''. Small caps
-  destroy the shape of words since \textsc{shape}, \textsc{shepe}
-  and \textsc{spape} all have the same shape, thus making it much
-  harder to tell them apart. Your audience will read small caps more
-  slowly than normal text. This is, by the way, why legal
-  disclaimers are often written in uppercase letters: not to make
-  them appear more important to you, but to make them much harder to
-  actually read.
+  \item
+  Small capitals are different from all-uppercase text. A small caps text leaves normal uppercase letters unchanged and uses smaller versions of the uppercase letters for normal typesetting lowercase letters. Thus the word ``German'' is typeset as \textsc{German} using small caps, but as \uppercase{German} using all uppercase letters.
+  \item
+  Small caps either come as ``faked'' small caps or as ``real'' small caps. Faked small caps are created by just scaling down normal uppercase letters. This leads to letters the look too thin. Real small caps are specially designed smaller versions of the uppercase letters that have the same stroke width as normal text.
+  \item
+  Computer Modern fonts and expert version of PostScript fonts come with real small caps (though the small caps of Computer Modern are one point size too large for some unfathomable reason---but your audience is going to pardon this since it will not notice anyway). ``Simple'' PostScript fonts like out-of-the-box Helvetica or Times only come with faked small caps.
+  \item
+  Text typeset in small caps is harder to read than normal text. The reason is that we read by seeing the ``shape'' of words. For example, the word ``shape'' is mainly recognized by seing one normal letter, one ascending letter, a normal letter, one descending letter, and a normal letter. One has much more trouble spotting a misspelling like ``shepe''  than ``spape''. Small caps destroy the shape of words since \textsc{shape}, \textsc{shepe} and \textsc{spape} all have the same shape, thus making it much harder to tell them apart. Your audience will read small caps more slowly than normal text. This is, by the way, why legal disclaimers are often written in uppercase letters: not to make them appear more important to you, but to make them much harder to actually read.
 \end{itemize}
 
-
-
 \subsubsection{Font Weight}
 
-The ``weight'' of a font refers to the thickness of the
-letters. Usually, fonts come as regular or as bold fonts. There often
-also exist semibold, ultrabold (or black), thin, or ultrathin (or hair)
-versions.
+The ``weight'' of a font refers to the thickness of the letters. Usually, fonts come as regular or as bold fonts. There often also exist semibold, ultrabold (or black), thin, or ultrathin (or hair) versions.
 
-In typography, using a bold font to create emphasis, especially within
-normal text, is frowned upon (bold words in the middle of a normal
-text are referred to as ``dirt''). For presentations this rule of not
-using bold text does not really apply. On a presentation slide there
-is usually very little text and there are numerous elements that try
-to attract the viewer's attention. Using the traditional italics to
-create emphasis will often be overlooked. So, using bold text, seems a
-good alternative in a presentation. However, an even better
-alternative is using a bright color like red to attract attention.
+In typography, using a bold font to create emphasis, especially within normal text, is frowned upon (bold words in the middle of a normal text are referred to as ``dirt''). For presentations this rule of not using bold text does not really apply. On a presentation slide there is usually very little text and there are numerous elements that try to attract the viewer's attention. Using the traditional italics to create emphasis will often be overlooked. So, using bold text, seems a good alternative in a presentation. However, an even better alternative is using a bright color like red to attract attention.
 
-As pointed out earlier, you should use bold text for small text
-unless you use an especially robust font like Futura.
+As pointed out earlier, you should use bold text for small text unless you use an especially robust font like Futura or DejaVu.

File doc/beamerug-installation.tex

 \begin{verbatim}
 http://fedoraproject.org/wiki/Features/TeXLive
 \end{verbatim}
-which will likely be a part of Fedora 14.
+and it's very likely that these packages will be a part of Fedora 14 once it's released.
 
 
 \subsection{Installation in a texmf Tree}

File doc/beamerug-interaction.tex

 % $Header$
 
 \section{Structuring a Presentation: The Interactive Global Structure}
-
 \label{section-nonlinear}
 
 \subsection{Adding Hyperlinks and Buttons}
 
-To create anticipated nonlinear jumps in your talk structure, you
-can add hyperlinks to your presentation. A hyperlink is a text
-(usually rendered as a button) that, when you click on it, jumps the
-presentation to some other slide. Creating such a button is a
-three-step process:
+To create anticipated nonlinear jumps in your talk structure, you can add hyperlinks to your presentation. A hyperlink is a text (usually rendered as a button) that, when you click on it, jumps the presentation to some other slide. Creating such a button is a three-step process:
 \begin{enumerate}
-\item
-  You specify a target using the command |\hypertarget| or (easier)
-  the command |\label|. In some cases, see below, this step may be
-  skipped.
-\item
-  You render the button using |\beamerbutton| or a similar
-  command. This will \emph{render} the button, but clicking it will
-  not yet have any effect.
-\item
-  You put the button inside a |\hyperlink| command. Now clicking it
-  will jump to the target of the link.
+  \item
+  You specify a target using the command |\hypertarget| or (easier) the command |\label|. In some cases, see below, this step may be skipped.
+  \item
+  You render the button using |\beamerbutton| or a similar command. This will \emph{render} the button, but clicking it will not yet have any effect.
+  \item
+  You put the button inside a |\hyperlink| command. Now clicking it will jump to the target of the link.
 \end{enumerate}
 
-\begin{command}{\hypertarget\sarg{overlay specification}%
-    \marg{target name}\marg{text}}
-  If the \meta{overlay specification} is present, the \meta{text} is
-  the target for hyper jumps to \meta{target name} only on the
-  specified slide. On all other slides, the text is shown
-  normally. Note that you \emph{must} add an overlay specification to
-  the |\hypertarget| command whenever you use it on frames that have
-  multiple slides (otherwise |pdflatex| rightfully complains
-  that you have defined the same target on different slides).
+\begin{command}{\hypertarget\sarg{overlay specification}\marg{target name}\marg{text}}
+  If the \meta{overlay specification} is present, the \meta{text} is the target for hyper jumps to \meta{target name} only on the specified slide. On all other slides, the text is shown normally. Note that you \emph{must} add an overlay specification to the |\hypertarget| command whenever you use it on frames that have multiple slides (otherwise |pdflatex| rightfully complains that you have defined the same target on different slides).
   \example
 \begin{verbatim}
 \begin{frame}
 \end{verbatim}
 
   \articlenote
-  You must say |\usepackage{hyperref}| in your preamble to use this
-  command in |article| mode.
+  You must say |\usepackage[hyperref]{beamerarticle}| or |\usepackage{hyperref}| in your preamble to use this command in |article| mode.
 \end{command}
 
-The |\label| command creates a hypertarget as a side-effect and the
-|label=|\meta{name} option of the |\frame| command creates a label
-named \meta{name}|<|\meta{slide number}|>| for each slide of the frame
-as a side-effect. Thus the above example could be written more easily
-as:
+The |\label| command creates a hypertarget as a side-effect and the |label=|\meta{name} option of the |\frame| command creates a label named \meta{name}|<|\meta{slide number}|>| for each slide of the frame as a side-effect. Thus the above example could be written more easily as:
 \begin{verbatim}
 \begin{frame}[label=threeitems]
   \begin{itemize}
   \hyperlink{threeitems<2>}{\beamergotobutton{Jump to second slide}}
 \end{frame}
 \end{verbatim}
-
-
-
-The following commands can be used to specify in an abstract way what
-a button will be used for.
+The following commands can be used to specify in an abstract way what a button will be used for.
 
 \begin{command}{\beamerbutton\marg{button text}}
   Draws a button with the given \meta{button text}.
-  \example |\hyperlink{somewhere}{\beamerbutton{Go somewhere}}|
+  \example
+  |\hyperlink{somewhere}{\beamerbutton{Go somewhere}}|
 
   \articlenote
-  This command (and the following) just insert their argument in
-  |article| mode.
+  This command (and the following) just insert their argument in |article| mode.
 
   \begin{element}{button}\yes\yes\yes
-    When the |\beamerbutton| command is called, this template is used
-    to render the button. Inside the template you can use the command
-    |\insertbuttontext| to insert the argument that was passed to
-    |\beamerbutton|.
+    When the |\beamerbutton| command is called, this template is used to render the button. Inside the template you can use the command |\insertbuttontext| to insert the argument that was passed to |\beamerbutton|.
     \begin{templateoptions}
       \itemoption{default}{}
-      Typesets the button with rounded corners. The fore- and
-      background of the \beamer-color |button| are used and also the
-      \beamer-font |button|. The border of the button gets the
-      foreground of the \beamer-color |button border|.
+      Typesets the button with rounded corners. The fore- and background of the \beamer-color |button| are used and also the \beamer-font |button|. The border of the button gets the foreground of the \beamer-color |button border|.
     \end{templateoptions}
     The following inserts are useful for this element:
     \begin{itemize}
-      \iteminsert{\insertbuttontext} inserts the text of the current
-      button. Inside ``Goto-Buttons'' (see below) this text is
-      prefixed by the insert |\insertgotosymbol| and similarly for
-      skip and return buttons.
+      \iteminsert{\insertbuttontext} inserts the text of the current button. Inside ``Goto-Buttons'' (see below) this text is prefixed by the insert |\insertgotosymbol| and similarly for skip and return buttons.
 
-      \iteminsert{\insertgotosymbol} This text is inserted at the
-      beginning of goto buttons. Redefine this command to change the
-      symbol.
+      \iteminsert{\insertgotosymbol} This text is inserted at the beginning of goto buttons. Redefine this command to change the symbol.
       \example
       |\renewcommand{\insertgotosymbol}{\somearrowcommand}|
 
-      \iteminsert{\insertskipsymbol} This text is inserted at the
-      beginning of skip buttons.
+      \iteminsert{\insertskipsymbol} This text is inserted at the beginning of skip buttons.
 
-      \iteminsert{\insertreturnsymbol} This text is inserted at the
-      beginning of return buttons.
+      \iteminsert{\insertreturnsymbol} This text is inserted at the beginning of return buttons.
     \end{itemize}
   \end{element}
 
   \begin{element}{button border}\no\yes\no
-    The foreground of this color is used to render the border of
-    buttons.
+    The foreground of this color is used to render the border of buttons.
   \end{element}
 \end{command}
 
 \begin{command}{\beamergotobutton\marg{button text}}
-  Draws a button with the given \meta{button text}. Before the text, a
-  small symbol (usually a right-pointing arrow) is inserted that
-  indicates that pressing this button will jump to another ``area'' of
-  the presentation.
+  Draws a button with the given \meta{button text}. Before the text, a small symbol (usually a right-pointing arrow) is inserted that indicates that pressing this button will jump to another ``area'' of the presentation.
 
-  \example |\hyperlink{detour}{\beamergotobutton{Go to detour}}|
+  \example
+  |\hyperlink{detour}{\beamergotobutton{Go to detour}}|
 \end{command}
 
 \begin{command}{\beamerskipbutton\marg{button text}}
-  The symbol drawn for this button is usually a double right
-  arrow. Use this button if pressing it will skip over a
-  well-defined part of your talk.
+  The symbol drawn for this button is usually a double right arrow. Use this button if pressing it will skip over a well-defined part of your talk.
 
   \example
 \begin{verbatim}
 \end{command}
 
 \begin{command}{\beamerreturnbutton\marg{button text}}
-  The symbol drawn for this button is usually a left-pointing
-  arrow. Use this button if pressing it will return from a detour.
+  The symbol drawn for this button is usually a left-pointing arrow. Use this button if pressing it will return from a detour.
 
   \example
 \begin{verbatim}
 \end{verbatim}
 \end{command}
 
-To make a button ``clickable'' you must place it in a command like
-|\hyperlink|. The command |\hyperlink| is a standard command of the
-|hyperref| package. The \beamer\ class defines a whole bunch of other
-hyperlink commands that you can also use.
+To make a button ``clickable'' you must place it in a command like |\hyperlink|. The command |\hyperlink| is a standard command of the |hyperref| package. The \beamer\ class defines a whole bunch of other hyperlink commands that you can also use.
 
-\begin{command}{\hyperlink\sarg{overlay specification}\marg{target
-      name}\marg{link text}\sarg{overlay specification}}
-  Only one \meta{overlay specification} may be given.
-  The \meta{link text} is typeset in the usual way. If you click
-  anywhere on this text, you will jump to the slide on which the
-  |\hypertarget| command was used with the parameter \meta{target
-    name}. If an \meta{overlay specification} is present, the
-    hyperlink (including the \meta{link text}) is completely
-    suppressed on the non-specified slides.
+\begin{command}{\hyperlink\sarg{overlay specification}\marg{target name}\marg{link text}\sarg{overlay specification}}
+  Only one \meta{overlay specification} may be given. The \meta{link text} is typeset in the usual way. If you click anywhere on this text, you will jump to the slide on which the |\hypertarget| command was used with the parameter \meta{target name}. If an \meta{overlay specification} is present, the hyperlink (including the \meta{link text}) is completely suppressed on the non-specified slides.
 \end{command}
 
-The following commands have a predefined target; otherwise they behave
-exactly like |\hyperlink|. In particular, they all also accept an
-overlay specification and they also accept it at the end, rather than
-at the beginning.
+The following commands have a predefined target; otherwise they behave exactly like |\hyperlink|. In particular, they all also accept an overlay specification and they also accept it at the end, rather than at the beginning.
 
 \begin{command}{\hyperlinkslideprev\sarg{overlay specification}\marg{link text}}
   Clicking the text jumps one slide back.
   Clicking the text jumps to the last slide of the previous frame.
 \end{command}
 
-The previous four command exist also with ``|frame|'' replaced by
-``|subsection|'' everywhere, and also again with  ``|frame|'' replaced
-by ``|section|''.
+The previous four command exist also with ``|frame|'' replaced by ``|subsection|'' everywhere, and also again with  ``|frame|'' replaced by ``|section|''.
 
 \begin{command}{\hyperlinkpresentationstart\sarg{overlay specification}\marg{link text}}
   Clicking the text jumps to the first slide of the presentation.
 \end{command}
 
 \begin{command}{\hyperlinkpresentationend\sarg{overlay specification}\marg{link text}}
-  Clicking the text jumps to the last slide of the presentation. This
-  \emph{excludes} the appendix.
+  Clicking the text jumps to the last slide of the presentation. This \emph{excludes} the appendix.
 \end{command}
 
 \begin{command}{\hyperlinkappendixstart\sarg{overlay specification}\marg{link text}}
-  Clicking the text jumps to the first slide of the appendix. If there
-  is no appendix, this will jump to the last slide of the document.
+  Clicking the text jumps to the first slide of the appendix. If there is no appendix, this will jump to the last slide of the document.
 \end{command}
 
 \begin{command}{\hyperlinkappendixend\sarg{overlay specification}\marg{link text}}
 \end{command}
 
 \begin{command}{\hyperlinkdocumentend\sarg{overlay specification}\marg{link text}}
-  Clicking the text jumps to the last slide of the presentation or, if
-  an appendix is present, to the last slide of the appendix.
+  Clicking the text jumps to the last slide of the presentation or, if an appendix is present, to the last slide of the appendix.
 \end{command}
 
 
-
-
 \subsection{Repeating a Frame at a Later Point}
 
-Sometimes you may wish some slides of a frame to be shown in your main
-talk, but wish some ``supplementary'' slides of the frame to be shown
-only in the the appendix. In this case, the |\againframe| command is
-useful.
+Sometimes you may wish some slides of a frame to be shown in your main talk, but wish some ``supplementary'' slides of the frame to be shown only in the the appendix. In this case, the |\againframe| command is useful.
 
-
-\begin{command}{\againframe\sarg{overlay
-      specification}\opt{|[<|\meta{default overlay specification}|>]|}\oarg{options}\marg{name}}
+\begin{command}{\againframe\sarg{overlay specification}\opt{|[<|\meta{default overlay specification}|>]|}\oarg{options}\marg{name}}
   \beamernote
-  Resumes a frame that was previously created using |\frame|
-  with the option |label=|\meta{name}. You must have used this option,
-  just placing a label inside a frame ``by hand'' is not enough. You
-  can use this command to ``continue'' a frame that has been
-  interrupted by another frame. The effect of this command is to call
-  the |\frame| command with the given \meta{overlay specification},
-  \meta{default overlay specification} (if present), and
-  \meta{options} (if present) and with the original frame's contents.
+  Resumes a frame that was previously created using |\frame| with the option |label=|\meta{name}. You must have used this option, just placing a label inside a frame ``by hand'' is not enough. You can use this command to ``continue'' a frame that has been interrupted by another frame. The effect of this command is to call the |\frame| command with the given \meta{overlay specification}, \meta{default overlay specification} (if present), and \meta{options} (if present) and with the original frame's contents.
 
   \example
 \begin{verbatim}
 
 \againframe<3>{myframe}
 \end{verbatim}
-  The effect of the above code is to create four slides. In the first
-  two, the items 1 and~2 are highlighted. The third slide contains the
-  text ``Some stuff explaining more on the second matter.'' The fourth
-  slide is identical to the first two slides, except that the third
-  point is now highlighted.
+  The effect of the above code is to create four slides. In the first two, the items 1 and~2 are highlighted. The third slide contains the text ``Some stuff explaining more on the second matter.'' The fourth slide is identical to the first two slides, except that the third point is now highlighted.
 
   \example
 \begin{verbatim}
 
 \againframe<2>{Cantor}
 \end{verbatim}
-  In this example, the proof details are deferred to a slide in the
-  appendix. Hyperlinks are setup, so that one can jump to the proof
-  and go back.
+  In this example, the proof details are deferred to a slide in the appendix. Hyperlinks are setup, so that one can jump to the proof and go back.
 
   \articlenote
   This command is ignored in |article| mode.
 
   \lyxnote
-  Use the style ``AgainFrame'' to insert an |\againframe| command. The
-  \meta{label name} is the text on following the style name
-  and is \emph{not} put in \TeX-mode. However, an overlay specification
-  must be given in \TeX-mode and it must precede the label name.
+  Use the style ``AgainFrame'' to insert an |\againframe| command. The \meta{label name} is the text on following the style name and is \emph{not} put in \TeX-mode. However, an overlay specification must be given in \TeX-mode and it must precede the label name.
 \end{command}
 
 
-
 \subsection{Adding Anticipated Zooming}
-
 \label{section-zooming}
 
+Anticipated zooming is necessary when you have a very complicated graphic that you are not willing to simplify since, indeed, all the complex details merit an explanation. In this case, use the command |\framezoom|. It allows you to specify that clicking on a certain area of a frame should zoom out this area. You can then explain the details. Clicking on the zoomed out picture will take you back to the original one.
 
-Anticipated zooming is necessary when you have a very complicated
-graphic that you are not willing to simplify since, indeed, all the
-complex details merit an explanation. In this case, use the command
-|\framezoom|. It allows you to specify that clicking on a certain area
-of a frame should zoom out this area. You can then explain the
-details. Clicking on the zoomed out picture will take you back to the
-original one.
+\begin{command}{\framezoom\ssarg{button overlay specification}\ssarg{zoomed overlay specification}\oarg{options}\\|(|\meta{upper left x}|,|\meta{upper left y}|)(|\meta{zoom area width}|,|\meta{zoom area depth}|)|}
+  This command should be given somewhere at the beginning of a frame. When given, two different things will happen, depending on whether the \meta{button overlay specification} applies to the current slide of the frame or whether the \meta{zoomed overlay specification} applies. These overlay specifications should not overlap.
 
-\begin{command}{\framezoom\ssarg{button overlay
-      specification}\ssarg{zoomed overlay
-      specification}\oarg{options}\\|(|\meta{upper left x}|,|\meta{upper
-      left y}|)(|\meta{zoom area width}|,|\meta{zoom area depth}|)|}
-  This command should be given somewhere at the beginning of a
-  frame. When given, two different things will happen, depending on
-  whether the \meta{button overlay specification} applies to the
-  current slide of the frame or whether the \meta{zoomed overlay
-    specification} applies. These overlay specifications should not
-  overlap.
+  If the \meta{button overlay specification} applies, a clickable area is created inside the frame. The size of this area is given by \meta{zoom area width} and \meta{zoom area depth}, which are two normal \TeX\ dimensions (like |1cm| or |20pt|). The upper left corner of this area is given by \meta{upper left x} and \meta{upper left y}, which are also \TeX\ dimensions. They are measures \emph{relative to the place where the first normal text of a frame would go}. Thus, the location |(0pt,0pt)| is at the beginning of the normal text (which excludes the headline and also the frame title).
 
-  If the \meta{button overlay specification} applies, a clickable area
-  is created inside the frame. The size of this area is given by
-  \meta{zoom area width} and \meta{zoom area depth}, which are two
-  normal \TeX\ dimensions (like |1cm| or |20pt|). The upper left
-  corner of this area is given by \meta{upper left x} and \meta{upper
-  left y}, which are also \TeX\ dimensions. They are measures
-  \emph{relative to the place where the first normal text of a
-    frame would go}. Thus, the location |(0pt,0pt)| is at the
-  beginning of the normal text (which excludes the headline and also
-  the frame title).
-
-  By default, the button is clickable, but it will not be indicated in
-  any special way. You can draw a border around the button by using
-  the following \meta{option}:
+  By default, the button is clickable, but it will not be indicated in any special way. You can draw a border around the button by using the following \meta{option}:
   \begin{itemize}
-  \item \declare{|border|}\opt{|=|\meta{width in pixels}} will draw
-    a border around the specified button area. The default width is 1
-    pixel. The color of this  button is the |linkbordercolor| of
-    |hyperref|. \beamer\ sets this color to a 50\% gray by default. To
-    change this, you can use the command
-    |\hypersetup{linkbordercolor={|\meta{red}| |\meta{green}| |\meta{blue}|}}|,
-    where \meta{red}, \meta{green}, and \meta{blue} are values between
-    0 and 1.
+    \item
+    \declare{|border|}\opt{|=|\meta{width in pixels}} will draw a border around the specified button area. The default width is 1 pixel. The color of this  button is the |linkbordercolor| of |hyperref|. \beamer\ sets this color to a 50\% gray by default. To change this, you can use the command |\hypersetup{linkbordercolor={|\meta{red}| |\meta{green}| |\meta{blue}|}}|, where \meta{red}, \meta{green}, and \meta{blue} are values between 0 and 1.
   \end{itemize}
 
-  When you press the button created in this way, the viewer
-  application will hyperjump to the first of the frames specified by
-  the \meta{zoomed overlay specification}. For the slides to which
-  this overlay specification applies, the following happens:
+  When you press the button created in this way, the viewer application will hyperjump to the first of the frames specified by the \meta{zoomed overlay specification}. For the slides to which this overlay specification applies, the following happens:
 
-  The exact same area as the one specified before is ``zoomed out'' to
-  fill the whole normal text area of the frame. Everything else,
-  including the sidebars, the headlines and footlines, and even the
-  frame title retain their normal size. The zooming is performed in
-  such a way that the whole specified area is completely shown. The
-  aspect ratio is kept correct and the zoomed area will possibly show
-  more than just the specified area if the aspect ratio of this area
-  and the aspect ratio of the available text area do not agree.
+  The exact same area as the one specified before is ``zoomed out'' to fill the whole normal text area of the frame. Everything else, including the sidebars, the headlines and footlines, and even the frame title retain their normal size. The zooming is performed in such a way that the whole specified area is completely shown. The aspect ratio is kept correct and the zoomed area will possibly show more than just the specified area if the aspect ratio of this area and the aspect ratio of the available text area do not agree.
 
-  Behind the whole text area (which contains the zoomed area) a big
-  invisible ``Back'' button is put. Thus clicking anywhere on the text
-  area will jump back to the original (unzoomed) picture.
+  Behind the whole text area (which contains the zoomed area) a big invisible ``Back'' button is put. Thus clicking anywhere on the text area will jump back to the original (unzoomed) picture.
 
-  You can specify several zoom areas for a single frame. In this case,
-  you should specify different \meta{zoomed overlay specification},
-  but you can specify the same \meta{button overlay
-  specification}. You cannot nest zoomings in the sense that you
-  cannot have a zoom button on a slide that is in some \meta{zoomed
-  overlay specification}. However, you can have overlapping and even
-  nested \meta{button overlay specification}. When clicking on an area
-  that belongs to several buttons, the one given last will ``win'' (it
-  should hence be the smallest one).
+  You can specify several zoom areas for a single frame. In this case, you should specify different \meta{zoomed overlay specification}, but you can specify the same \meta{button overlay specification}. You cannot nest zoomings in the sense that you cannot have a zoom button on a slide that is in some \meta{zoomed overlay specification}. However, you can have overlapping and even nested \meta{button overlay specification}. When clicking on an area that belongs to several buttons, the one given last will ``win'' (it should hence be the smallest one).
 
-  If you do not wish to have the frame title shown on a zoomed slide,
-  you can add an overlay specification to the |\frametitle| command
-  that simply suppresses the title for the slide. Also, by using the
-  |plain| option, you can have the zoomed slide fill the whole page.