In this research, the typographical errors of the second and third grade students have been investigated based on Garman's (1996) model, according to the results of the research data, the types of errors have been classified. The purpose of this research is familiarizing teachers with the problems and obstacles in achieving educational goals in spelling lesson and can help them to solve the problems of this lesson. By classifying errors, it is possible to find out which level the students have the most problems at. The methodology is in the form of inferential analysis, which has been investigated by collecting approximately 200 spellings from the second and third elementary grades of Jahrom city, then the errors have been classified (9 classes) and analyzed quantitatively and qualitatively; the results reveal that the highest frequency of errors in both second and third grade students is related to words that have multiple written forms such as (s, z), and the lowest frequency of errors in second grade students is related to integration. And the lowest frequency of errors in third grade students is related to phonemes that are written but not read.

Background: In the modern era of tremendous automation in analytical processes, reporting errors have been reduced significantly. Therefore, the focus has been shifted to identifying the extra analytical causes of errors in the laboratory. Objectives: This study aimed to audit major clinical decisions affecting quality indicators (i. e., reporting errors and error prevention) by adhering to ISO 15189 (2012) and National Accreditation Board for Testing and Calibration Laboratories (NABL) (112) requirements. Methods: The records of the reporting errors were maintained from the biochemistry section of the central clinical laboratory (CCL) and analyzed based on the aim of this study. Then, the root cause analysis was performed, and the data was collected and audited from November 2015 to July 2020. Results: The total number of reporting errors between the mentioned periods were 132, with an incidence of 1 error per 384 processed samples on the day of observing the reporting error. In general, 22 (16. 67%), 16 (12. 12%), and 94 (71. 21%) cases were pre-analytical, analytical, and post-analytical errors, respectively. The incidence of the post-analytical error was noted to be more since they were all typographical errors. Conclusion: Overall, transcriptional or typographical errors were found to be the main causes of reporting errors. In our clinical laboratory, we are attempting to minimize these errors by pre-validating the results by senior technicians and faculty prior to the typing and approval. These avoidable errors can be minimized by the continuous training of laboratory staff. Up-gradation to automated data collection information management systems are of great hope for preventing such errors.

Typographical and pictorial representations are the two main components of a graphic work of art. Generally, attention is primarily paid to the plastic art aspect of pictorial representation. However, the visual aspect of typography invariably imposes a visual design common between the written form and the pictorial representation. Since Farsi writing is founded upon the bases of plastic arts, any alteration of the structure of writing will damage the plastic art dimensions. Therefore, recognizing various line structures and their directionalities are important requirements for understanding the plastic art aspect of writing, especially in written Farsi. Proper knowledge of these rules plays an important role in discovering and shaping standards for the graphics of Farsi fonts and prevents a potential disparity between the written and its graphic form.This essay examines the singular (disjoint) characters in written Farsi and the Roman characters, and explores the differences in the appearance of Farsi characters between their joint and disjoint forms. The study of appearance and line structures of Farsi Words leads to the conclusion that knowledge of the line structures in characters and their general shapes play a fundamental role in establishing the visual impact of the written Farsi. In this study, the meaning conveyed through line structures in printed Farsi characters are considered from two perspectives: Variety of line types in structures of characters-for instance the dominant line structure in letter “ع" is the curved line.Variety of line structures in the formation of fonts-for instance in KOUDAK font, the dominant movements are with curved lines.Through an examination of various writing styles, their application in Farsi font settings, and their strong visual impact, it is concluded that these elements have a distinct impact on the communication of meaning and feeling to the viewer.

Typographical data entry errors and incomplete documents, produce imperfect records in real world databases. These errors generate distinct records which belong to the same entity. The aim of Approximate Record Matching is to find multiple records which belong to an entity. In this paper, an algorithm for Approximate Record Matching is proposed that can be adapted automatically with input error patterns. In field matching phase, edit distance method is used. Naturally, it had been customized for Persian language problems such as similarity of Persian characters, usual typographical errors in Persian, etc. In record matching phase, the importance of each field can be determined by specifying a coefficient related to each field. Coefficient of each field must be dynamically changed, because of changes of typographical error patterns. For this reason, Genetic Algorithm (GA) is used for supervised learning of coefficient values. The simulation results show the high abilities of this algorithm compared with other methods (such as Decision Trees).

As a new typeface, zero width non-joiner (ZWNJ), otherwise known as pseudo-space, zero-space, or virtual space, has recently been addressed by computer specialists and designers of word processing software for Persian. Iranian literary scholars have less mentioned ZWNJ, and its examples are explained with the propositions "separate", "separation" and "lack of space", which either do not clarify its difference with space or do not correspond to the common term used for this expression. Having a uniform and correct typographical style resolves some irregularities in one aspect of Persian writing and fulfills an important need in a part of today's Persian writing. Through descriptive-analytical method, and using valid Persian written and grammatical sources and citing indicators such as speech of language speakers, phonetic and semantic integration, phonetic elements, independent use and syntactic function of words, the authors studied and analyzed ZWNJ and its application, giving a variety of examples of seven parts of speech in Persian. The research results show that ZWNJ is used in all kinds of Persian words; however, the highest usage is in adjectives and nouns. In addition, it is more common in prepositions and conjunctions than in verbs, adverbs, pronouns and interjections. The research findings help to devise a uniform and correct style sheet on how to use ZWNJ in Persian printed texts.

The importance of noticing, attending to linguistic features, and focusing on linguistic input like focus-on-form and focus-on-forms have always been a contentious issue in language teaching. Consistent with this line of research, the present study aimed to investigate the impact of typographical input enhancement, gloss, and advance organizes on EFL learners' reading comprehension ability. Eighty EFL learners were chosen from Safir Language Institute in Ahvaz and were assigned to four equal groups of typographical input enhancement, gloss, advance organizer and simple-text. A Preliminary English Test (PET) of reading was utilized as pretest. Control group and the three experimental groups were instructed for eight weeks through the aforementioned techniques. Finally, an equal version of PET was used as posttest. ANCOVA was run to analyze the data. Results indicated that the advance organizer group significantly outperformed the other groups regarding their reading comprehension performances. The study has important implications for reading comprehension task analysis, task design, and task instruction and the way such information could be utilized to activate schemata and retrieve information from long-term memory.

In this issue of IJRM, Farahnaz Farnia and colleagues requested correction of their article titled “ Comparing the effects of nursing versus peer-based education methods on the preoperative anxiety in infertile women: An RCT” . The authors reviewed the data and confirmed that critical but inadvertent typographical errors had occurred in the paper...

Typography is an essential tool in visual communication and thus, selecting the appropriate typeface is crucial to express and convey a message. Perhaps using the word ‘ character’ in the field of typeface and typeface design seems a bit odd and weird; but in fact just like human beings, fonts and their numerous forms can take on various characters such as ‘ childish’ , ‘ female’ , ‘ male’ , ‘ kind’ , ‘ upset’ , etc. Such character development for typefaces and recognizing them can help significantly to the design and use of Persian fonts. Since most of the studies conducted in the field of typeface design focus on legibility, less attention has been paid to other features. This is the main reason behind the current latency or even regression in designing new functional fonts and their optimal use. Therefore, there is a necessity for conducting a research to better recognize the characteristic of typefaces as per their typographical and aesthetic features. In this regard, the paper at hand focuses on the visual expression of typefaces and their designing features. One of the main features that distinguish this research from others in the field of designing Persian fonts is conducting field studies and the use of statistical analysis according to the data obtained for the recognition and classification of various font characters. Consequently, pre-planned questionnaires were distributed among the residents of Larestan as well as the students of Islamic University of Yazd taking into account a series of criteria such as: gender, age, education and etc. Out of approximately 100 questionnaires circulated, 90 individuals responded voluntarily and this number of participants may reflect high precision in calculations. Likewise, from among the most popular typefaces used in various forms of media such as newspapers, books, websites and etc., 50 ones were chosen out of which 18 were classified in different groups as per criteria such as: abiding by the rules of traditional calligraphy, being monoline, regular or irregular and etc. Ultimately, considering some personality traits such as: legible, happy, creative, attractive, slipshod, calm, friendly and self-confident, 14 typefaces were divided in four particular groups. Then aiming to identify typeface design characteristics of Persian fonts considering their unique features, their typographical and aesthetic features were examined separately first collectively then individually. The typographical features included: legibility, X-height proportion, ascender and descender proportions, typeface weight and etc. The aesthetic characteristics comprised of: details, elaborateness, nature of fonts and harmony on each of which this study shall comment scientifically and statistically. The result of the statistical analysis as well as the structural, typographical and aesthetic analysis of the typefaces and studying the results in association to the other indicated the existence of a relationship between character development in typeface design as well as typographical and aesthetic features, some of which are briefly as follows: 1. The larger in ascender, the smaller in descender and lighter in weight, the resulting typefaces will be more legible. 2. Heavy weight is the most important and most prominent element leading to the emergence of typefaces possessing ‘ explicit and decisive’ character; while they share commonalities with that of legible characters in other typographical and aesthetic features. 3. To create a ‘ happy’ typeface, the X-height and ascender should be larger with the descender as smaller as possible. Considering the above points one could realize that factors such as X-height, ascender and descender can greatly affect the development of numerous, various typeface characters. Therefore, according to the results achieved, one can contribute to the creation of more beautiful fonts to be used in different visual media through better identification of the characters and their proper use. Hopefully, through providing a fresh approach towards the recognition and identification of different typeface characteristics, this research could assist those interested in typeface design creation contribute to the completion of this study and employ their own creativities and innovations to better serve the field of designing functional, Persian fonts.

ḴWāĵE Ya’ḡῡb ČarḴῑ (died in 1446), is among the most celebrated mystics of the Naqšbandῑyye order in Transoxiana. He was contemporary with the founders of the order including ḴWāĵE Bahā al-dῑn Naqšband and `Alā al-dῑn `Attār and achieved great stages in mysticism. From 1399 to 1446, he trained disciples and wrote mystic books in Persian. The most important works he wrote in Persian include "An Interpretation of the Qur'an'', the treatises "Abdālῑyye'', and "Onsῑyye''. His book of interpretation has been printed in India and Pakistan several times. Recently the 1880 edition of the book was corrected and printed by Hassan Ali Mohammady and Leila Hamami, but this printing has various types of errors, including typographical errors