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Clip fonts or split fonts are outline fonts that assign glyphs representing partial characters of the Indian scripts, especially Devanagari, at code positions intended for characters of the Latin script. Clip fonts are also a technique in use in India to produce complex glyphs for which no provision is made on existing Unicode tables. At present this technique is in use by Indian font makers on both ASCII and Unicode places. It is popular in the Indian print industry. Outside India, OpenType layout is a preferred technique to achieve equivalent goals.

Function[link]

Top: A glyph (consonant with inherent vowel) of the Devanagari script is produced using two parts (clips), input with individual keys, where Unicode uses a single code (घ).
Bottom: A conjunct glyph is created out of three parts, where Unicode uses two codes (घय) and relies on enhanced fonts to display an appropriate ligature.

In standard encodings, i.e. Unicode, the Indic syllabograms, aksharas, are formed by a sequence of characters for either a consonant with an inherent vowel (e.g. घ gha) or for a vowel (e.g. अ a), usually in a diacritic form. With Clip fonts the inherent vowel is ignored and isolated consonant glyphs are introduced that work more like letters in European scripts, but need another glyph following them to form a complete, legal glyph.

A text written to be displayed with a Clip font resembles a kind of romanization when displayed with a normal, standard-conformant font, because the script encoding had been moved from the code (character) layer to the application (font) layer. This is similar to obsolete clip art fonts like Wingdings. Therefore the appropriate font has to be available wherever such a text is to be displayed, which almost never can be guaranteed. This severely hinders interoperability and data interchange even if the fonts are available broadly and freely, although it may be simpler for the individual author and can successfully be employed in a controlled environment. Sometimes this weakness is employed as a feature, i.e. as a kind of encryption.

History[link]

The reason for the development and popularity of Clip fonts is the perceived complexity of keyboard layout switching in common operating system setups and actual defective internationalization capabilities in older software products. English computer keyboards are very common in India. Clip fonts users input can write Hindi and other Indic languages using those English keyboards with ease. Also it is more common in India than in most other countries that people have to switch quickly between writing in any of more than two languages in as many scripts.

Some 50 commercial fonts are available using Clip font technique and ASCII places that come with custom keyboard drivers for Indic scripts, intended to limit the number of keystrokes necessary. Since such helper software broke several times in the past with updates of the operating system, many users rather relied on higher-level hacks like clip fonts.

Clip fonts are also sometimes used for scripts that are not yet encoded in Unicode, such as the Nagari shorthand Modi. In the philosophy of Unicode, the "correct" way would be to temporarily encode these in Unicode's Private Use Area (PUA). Practical problem today users in India find is that, only English language keyboards are available in the market and so talking of any InScript keyboard is futile.

Clip fonts may fade out during the second decade of the 21st century, since, recent and coming software handles Unicode well, OpenType fonts support all the scripts and languages in question, including complex shaping, and input methods also improve.

See also[link]

• Fonts
• Kothare fonts
• ISCII
• InScript keyboard

Look up clip in Wiktionary, the free dictionary.

Clip may refer to:

Holding devices[link]

• Clip (ammunition), a device for storing multiple rounds together as a unit

• Sometimes confused with magazine (firearms)

• Paper clip, a device for holding several sheets of paper together
• Binder clip, a device used for holding thicker materials (such as large volumes of paper) together
• Crocodile clip, a temporary electrical paper
• Circlip, a semi-flexible metal ring fastener used to hold a pin in place
• Roach clip, a holder used for smoking a marijuana cigarette
• Bread clip, a device for closing bags
• Rail clip, a rail fastener
• Caller ID, Calling Line Identification Presentation
• Fastener used on a badge or name tag

Cutouts or segments[link]

• Clip art
• Media clip
• Video clip

Other[link]

• An automotive colloquialism meaning either:
  • A vehicle's sheetmetal from the firewall (construction) forward—also known as a "doghouse"
  • Sub frame, used to attach the engine and front suspension to a car body
• Clip (compiler), a multi-platform compiler for the Clipper programming language
• Clips (clothing), clothing brand

CLIP[link]

CLIP as an acronym may refer to:

Biology[link]

• CLIP (protein) (Class II-associated invariant chain peptide)
• CLIP (peptide) (Corticotropin-like intermediate peptide)
• CLIP (RNA) Cross Linking and Immunoprecipitation; with HIgh Throughput Sequencing HITS-CLIP

Other[link]

• CLIPS, a public-domain software tool for building expert systems
• Calling line identification presentation, an alternative name of Caller ID
• Confirmed line item performance, a measure of the reliability of supply chain delivery
• Cupertino Language Immersion Program, a K-8 program in the Cupertino Union School District, California
• Los Angeles Clippers, an NBA team based in Los Angeles, nicknamed the "Clips"

See also[link]

• All pages beginning with "Clip"
• All pages with titles containing "Clip"
• Clipping (disambiguation)
• Clipper (disambiguation)
• Clippy
• Clipped
• Clipped Tag
• Klip
• Klippe

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

In typography, a font is traditionally defined as a quantity of sorts composing a complete character set of a single size and style of a particular typeface. For example, the complete set of all the characters for "9-point Bulmer" is called a font, and the "10-point Bulmer" would be another separate font, but part of the same font family, whereas "9-point Bulmer boldface" would be another font in a different font family of the same typeface. One individual font character might be referred to as a "sort," "piece of font," or "piece of type".

Font nowadays is frequently used synonymously with the term typeface, although they had clearly understood different meanings before the advent of digital typography and desktop publishing.

Beginning in the 1980s, with the introduction of computer fonts, a broader definition for the term "font" evolved. Different sizes of a single style—separate fonts in metal type—are now generated from a single computer font, because vector shapes can be scaled freely. "Bulmer", the typeface, may include the fonts "Bulmer roman", "Bulmer italic", "Bulmer bold" and "Bulmer extended", but there is no separate font for "9-point Bulmer italic" as opposed to "10-point Bulmer italic".

There are thousands of typefaces.

Etymology[link]

The term font, a doublet of the word fondue, derives from Middle French fonte, meaning "(something that has been) melt(ed)", referring to type produced by casting molten metal at a type foundry. English-speaking printers have used the term fount for centuries to refer to the multi-part metal type used to assemble and print in a particular size and typeface.^[1]

Metal type[link]

In a traditional manual printing (letterpress) house the word font would refer to a complete set of metal type that would be used to typeset an entire page. Unlike a digital typeface it would not include a single definition of each character, but commonly used characters (such as vowels and periods) would have more physical type-pieces included. A font when bought new would often be sold as (for example in a Roman alphabet) 12pt 14A 34a, meaning that it would be a size 12-point font containing 14 uppercase 'A's, and 34 lowercase 'A's. The rest of the characters would be provided in quantities appropriate for the distribution of letters in that language. Some metal type characters required in typesetting, such as dashes, spaces and line-height spacers, were not part of a specific font, but were generic pieces which could be used with any font.^[2] Line spacing is still often called "leading", because the strips used for line spacing were made of lead (rather than the harder alloy used for other pieces). The reason for this spacing strip being made from "lead" was because lead was a softer metal than the traditional forged metal type pieces (which was part lead, antimony and tin) and would compress more easily when "locked-up" in the printing "chase" (i.e. a carrier for holding all the type together).

In the 1880s–90s, "hot lead" typesetting was invented, in which type was cast as it was set, either piece by piece (as in the Monotype technology) or in entire lines of type at one time (as in the Linotype technology).

Font characteristics[link]

In addition to the character height, when using the mechanical sense of the term, there are several characteristics which may distinguish fonts, though they would also depend on the script(s) that the typeface supports. In European alphabetic scripts, i.e. Latin, Cyrillic and Greek, the main such properties are the stroke width, called weight, the style or angle and the character width.

The regular or standard font is sometimes labeled roman, both to distinguish it from bold or thin and from italic or oblique. The keyword for the default, regular case is often omitted for variants and never repeated, otherwise it would be Bulmer regular italic, Bulmer bold regular and even Bulmer regular regular. Roman can also refer to the language coverage of a font, acting as a shorthand for "Western European."

Different fonts of the same typeface may be used in the same work for various degrees of readability and emphasis.

Weight[link]

The weight of a particular font is the thickness of the character outlines relative to their height.

Helvetica Neue weights

A typeface may come in fonts of many weights, from ultra-light to extra-bold or black; four to six weights are not unusual, and a few typefaces have as many as a dozen. Many typefaces for office, Web and non-professional use come with just a normal and a bold weight. If no bold weight is provided, many renderers (browsers, word processors, graphic and DTP programs) support faking a bolder font by rendering the outline a second time at an offset, or just smearing it slightly at a diagonal angle.

The base weight differs among typefaces; that means one normal font may appear bolder than some other normal font. For example, fonts intended to be used in posters are often quite bold by default while fonts for long runs of text are rather light. Therefore weight designations in font names may differ in regard to the actual absolute stroke weight or density of glyphs in the font.

Attempts to systematize a range of weights led to a numerical classification first used by Adrian Frutiger with the Univers typeface: 35 Extra Light, 45 Light, 55 Medium or Regular, 65 Bold, 75 Extra Bold, 85 Extra Bold, 95 Ultra Bold or Black. Deviants of these were the "6 series" (italics), e.g. 46 Light Italics etc., the "7 series" (condensed versions), e.g. 57 Medium Condensed etc., and the "8 series" (condensed italics), e.g. 68 Bold Condensed Italics. From this brief numerical system it is easier to determine exactly what a font's characteristics are, for instance "Helvetica 67" (HE67) translates to "Helvetica Bold Condensed".

The TrueType font format introduced a scale from 100 through 900, where 400 is regular (roman or plain), which is also used in CSS and OpenType. The first algorithmic description of fonts was perhaps made by Donald Knuth in his Metafont and TeX system of programs.

There are many names used to describe the weight of a font in its name, differing among type foundries and designers, but their relative order is usually fixed, something like this:

• Hairline
• Thin
• Ultra-light
• Extra-light
• Light
• Book
• Normal / regular / roman / plain
• Medium
• Demi-bold / semi-bold
• Bold
• Extra-bold / extra
• Heavy
• Black
• Extra-black
• Ultra-black / ultra

The terms normal, regular and plain, sometimes also book, are being used for the standard weight font of a typeface. Where both appear and differ, book is often lighter than regular, but in some typefaces it is bolder.

Slope[link]

In contemporary European typefaces, especially roman ones, the font style is usually connected to the angle. When the normal, roman or upright font is slanted—usually to the right in left-to-right scripts—the lowercase character shapes change slightly as well, approaching a more handwritten, cursive style. In this italic type, character edges may even connect and ligatures are more common. In many typefaces uppercase letters are only slanted in italic fonts, but in some they change their appearance, too, e.g. by gaining swashes. Although rarely encountered, a typographic face may be accompanied by a matching calligraphic face (cursive, script), which might be considered a further font style of one typeface.

Cyrillic italics

In many sans-serif and some serif typefaces, especially in those with strokes of even thickness the characters of the italic fonts are only slanted, which is often done algorithmically, without otherwise changing their appearance. Such oblique fonts are not true italics, because they lack the change in letter shapes which is part of the definition of an italic.

On the other hand, there are typefaces with upright characters that take a more cursive form without a change in angle. For example the Cyrillic minuscule ‘т’ may look like a smaller form of its majuscule ‘Т’ or more like a roman small ‘m’ as in its standard italic appearance; in this case the distinction between styles is also a matter of local preference.

In Frutiger’s nomenclature the second digit for upright fonts is a 5, for italic fonts a 6 and for condensed italic fonts a 8.

The two Japanese syllabaries, katakana and hiragana, are sometimes seen as two styles or typographic variants of each other, but usually are considered separate character sets as a few of the characters have separate kanji origins. The gothic style of the roman script with broken letter forms, on the other hand, is usually considered a mere typographic variant.

Cursive-only scripts such as Arabic also have different styles, in this case for example Naskh and Kufic, although these often depend on application, area or era.

There are other aspects that can differ among font styles, but more often these are considered immanent features of the typeface. These include the look of digits (text figures) and the minuscules, which may be smaller versions of the capital letters (small caps) although the script has developed characteristic shapes for them. Some typefaces do not include separate glyphs for the cases at all, thereby abolishing the bicamerality. While most of these use uppercase characters only, some labeled unicase exist which choose either the majuscule or the minuscule glyph at a common height for both characters.

Width[link]

Some typefaces include fonts that vary the width of the characters (stretch).

Narrower fonts are usually labeled compressed, condensed or narrow. In Frutiger’s system, the second digit of condensed fonts is a 7. Wider fonts may be called wide, extended or expanded. Both can be further classified by prepending extra, ultra or the like.

These separate fonts have to be distinguished from techniques that alter the letter-spacing to achieve narrower or smaller words, especially for justified text alignment.

Most typefaces either have proportional or monospaced (i.e. typewriter-style) letter widths, if the script provides the possibility. There are, however, superfamilies covering both styles. East-Asian sinograms

Some fonts provide both proportional and fixed-width (tabular) digits, where the former usually coincide with lowercase text figures and the latter with uppercase lining figures.

Optimal size[link]

Some professional digital typefaces include fonts that are optimised for certain sizes, e.g. by using ink traps. There are several naming schemes for such variant designs. One such scheme, invented and popularized by Adobe Systems, refers to the variant fonts by the applications those are typically used for, with the exact point sizes intended varying slightly by typeface:

Poster

extremely large sizes, usually larger than 72 point

Display

large sizes, typically 19–72 point

Subhead

large text, typically about 14–18 point

(Regular)

usually left unnamed, typically about 10–13 point

Small Text (SmText)

typically about 8–10 point

Caption

very small, typically about 6–8 point

Metrics[link]

Font metrics refers to metadata consisting of numeric values relating to size and space in the font overall, or in its individual glyphs. Font-wide metrics include cap height, x-height, ascender height, descender depth, and the font bounding box. Glyph-level metrics include the glyph bounding box, the advance width (the proper distance between the glyph's initial pen position and the next glyph's initial pen position), and sidebearings (space that pads the glyph outline on either side).

Serifs[link]

Serifs within the Thesis typeface family

Italic capital swashes

Although most typefaces are characterised by their use of serifs, there are superfamilies that incorporate serif (antiqua) and sans-serif (grotesque) or even intermediate slab serif (Egyptian) or semi-serif fonts with the same base outlines.

A more common font variant, especially of serif typefaces, is that of alternate capitals. They can have swashes to go with italic minuscules or they can be of a flourish design for use as initials (drop caps).

See also[link]

References[link]

Sources[link]

v t e Typography terminology Page Column Canons of page construction Margin Page numbering Pagination Pull quote Recto and verso Paragraph Alignment Justification Leading River Sentence spacing Widows and orphans Character Typeface anatomy Counter Diacritics Dingbat Glyph Initial Kerning Letter-spacing Ligature Subscript and superscript Swash Text figures Capitalization Letter case Small caps CamelCase Petite caps All caps Vertical aspects Ascender Descender Baseline Cap height Median Overshoot x-height Classifications Roman type Antiqua (Old Style) Transitional Didone (Modern) Serif Slab serif Sans-serif Script Blackletter type Textualis Rotunda Schwabacher Fraktur Gaelic type Angular Uncial Punctuation Dashes Hanging punctuation Hyphenation Quotation mark Prime mark Typesetting Calligraphy ETAOIN SHRDLU Font Computer font Font catalog Letterpress Lorem ipsum Movable type Pangram Phototypesetting Punchcutting Type design Typeface Type foundry Microtypography Typographic units Point Pica Cicero Em En Figure space Thin space Paren space Agate Measure Digital typography Font formats Typesetting software Character encoding Rasterization Hinting

Matias Duarte
Born	Matias Gonzalo Duarte 1973 Talca, Chile[1]
Occupation	Inventor, computer scientist

Matias Duarte (born 1973) is a Chilean-American computer interface designer, and currently the Director of Android operating system User Experience at Google where Android 3.0, ("Honeycomb") was the first release with a major element of his design influence.^[2]

Prior to moving to Google to work on Android, Duarte had similar roles in Palm’s webOS,^[3] the Helio Ocean^[4] and the Danger Hiptop (T-Mobile Sidekick).^[5]

Duarte's list of patents includes 28 US Patents and 30 pending US Patent applications.^[6][7]

Career[link]

• May 2010 — Present, Google, as Director, Android User Experience - reporting to Andrew Rubin whom he had previously worked for at Danger Inc..

Duarte "is currently driving the interface and design for Android 3.0 (AKA Honeycomb), and it's clear that he's bringing his big, bold ideas to the Android platform."^[2] As the lead designer for Android's push into Touchscreen tablet computing, Duarte has stated three goals: larger devices, evolving Android, and a better user interface.^[8]

• September 2007 — May 2010, Palm, Inc., as VP, Human Interface and User Experience.

Duarte was hired as the Vice President at Palm, Inc. in September, 2007 to lead development of Palm’s webOS Human Interface and User Experience and introduced the design of webOS at the 2009 Consumer Electronics Show.^[9] Duarte described the Palm Pre as "a stone at the bottom of a riverbed, rubbed smooth over thousands of years."^[10][11] Duarte is named as an inventor in 18 of Palm's pending US Patent applications. Duarte left Palm less than a month after Palm was acquired by HP.

• August 2005 — September 2007, Helio, as Vice President Experience Design^[11]

Duarte is named as an inventor on all of Helio's US Patents and applications.^[12] Duarte left Helio shortly before it was acquired by Virgin Mobile.

• March 2000 — August 2005, Danger, as Director of Design^[11] where his team won the 2002 Wired 'Industrial Designer' Rave Award^[13] for their work in designing the Hiptop/SideKick.

Duarte is named as an inventor in 19 of Danger's US Patents. Danger was later acquired by Microsoft.

• 1997–1999, MagicArts, San Francisco game studio as Vice President, Design.^[14]
• 1996–1997, Hyper Image Productions, Lead Designer on Phase Zero hovercraft simulator produced by Atari.^[14]

Awards[link]

• 2002 Wired Rave Award, Industrial Designer of the Year "to Matias Duarte, Joe Palmer, and Andy Johnston for their work in designing Danger's hiptop communications device."^[15]
• 28 Patents and 30 Patent Applications, See Duarte's list of patents below.

Education[link]

Duarte earned a Bachelor of Science with Honors in Computer Science from the University of Maryland College Park (1992–1996) where he managed the Student Art Gallery from 1993-1996 with additional concentration of study in Fine Art and Art History. Recognitions include: Dean's Award for Academic Achievement, Outstanding Graduating Senior, Golden Key International Honour Society, and Phi Kappa Phi.^[11]

Personal life[link]

Duarte had a daughter in June 2008.^[16]

List of patents[link]

Matias Duarte is named as an inventor in the following US Patents as Matias Gonzalo Duarte, Matias G. Duarte, or Matias Duarte:

1. U.S. Patent D610,107 - Handheld Communication Device - 2008 March 25 - Assignee: Virgin Mobile USA, L.P.
2. U.S. Patent 7,817,173 - Adjustable display for a data processing apparatus - 2007 August 8 - Assignee: Microsoft Corporation
3. U.S. Patent 7,742,783 - Symmetric Softkeys On A Mobile Electronic Device - 2007 May 10 - Assignee: Virgin Mobile USA, L.P.
4. U.S. Patent D566,687 - Earbud For A Stereo Headset - 2007 January 26 - Assignee: Helio, LLC
5. U.S. Patent D570,823 - Y-Connector For A Stereo Headset - 2007 January 26 - Assignee: Helio, LLC
6. U.S. Patent D606,060 - Keypad - 2006 December 22 - Assignee: Virgin Mobile USA, L.P.
7. U.S. Patent D618,193 - Handheld Communication Device - 2006 December 22 - Assignee: Virgin Mobile USA, L.P.
8. U.S. Patent D571,800 - Mobile Communication Device - 2006 December 1 - Assignee: Sharp Kabushiki Kaisha
9. U.S. Patent D580,949 - User Interface For A Mobile Electronic Device - 2006 September 12 - Assignee: Helio, LLC
10. U.S. Patent 7,733,331 - Support And Adjustment Apparatus For A Data Processing Device Display - 2006 January 3 - Assignee: Microsoft Corporation
11. U.S. Patent 7,808,477 - Scroll Disc Input Apparatus For A Data Processing Device - 2006 January 3 - Assignee: Microsoft Corporation
12. U.S. Patent 7,221,559 - Multipurpose Bumper System For A Data Processing Apparatus - 2004 August 18 - Assignee: Danger, Inc.
13. U.S. Patent 7,262,761 - User Interface For Detecting A Data Entry Mode - 2004 April 21 - Assignee: Danger, Inc.
14. U.S. Patent D506,753 - Adjustable Data Processing Device - 2004 March 9 - Assignee: Danger, Inc.
15. U.S. Patent 7,280,346 - Adjustable Display For A Data Processing Apparatus - 2003 November 21 - Assignee: Danger, Inc.
16. U.S. Patent 7,636,748 - Display Configurations For A Data Processing Device - 2003 November 21 - Assignee: Microsoft Corporation
17. U.S. Patent 7,187,364 - Data Processing Device Having Multiple Adjustable Display And Keyboard - 2003 November 21 - Assignee: Danger, Inc.
18. U.S. Patent 7,091,957 - Directional Pad Having Integrated Acoustic System And Lighting System - 2003 November 21 - Assignee: Danger, Inc.
19. U.S. Patent 7,071,916 - User Input Configurations For A Data Processing Device - 2003 November 21 - Assignee: Danger, Inc.
20. U.S. Patent 6,836,404 - Handheld Display And Keyboard - 2003 October 1 - Assignee: Danger, Inc.
21. U.S. Patent 6,829,139 - Adjustable Data Processing Display - 2002 October 1 - Assignee: Danger, Inc.
22. U.S. Patent D484,503 - Adjustable Data Processing Device - 2002 September 19 - Assignee: Danger, Inc.
23. U.S. Patent 7,093,201 - Loop Menu Navigation Apparatus And Method - 2001 September 6 - Assignee: Danger, Inc.
24. U.S. Patent 6,907,575 - Method Of Scrolling A Display Window - 2001 September 6 - Assignee: Danger, Inc.
25. U.S. Patent 6,608,271 - Method Of Dynamically Lighting Keyboard Glyphs - 2001 August 17 - Assignee: Danger, Inc.
26. U.S. Patent 7,278,108 - System And Method Of Displaying Multiple Pending Notifications In A Single Window - 2001 August 10 - Assignee: Danger, Inc.
27. U.S. Patent 6,636,419 - Handheld Display And Keyboard - 2001 August 9 - Assignee: Danger, Inc.
28. U.S. Patent 7,224,373 - Adjustable Data Processing Display - 2000 November 15 - Assignee: Danger, Inc.

Patent applications

1. US Patent Search: 12,505,543 - User Interface For Initiating Activities In An Electronic Device - 2009 July 20 - Assignee: Palm, Inc.
2. US Patent Search: 12,472,551 - Access And Management Of Cross-Platform Calendars - 2009 May 27 - Assignee: Palm, Inc.
3. US Patent Search: 12,463,145 - Secondary Key Group Layout For Keyboard - 2009 May 8 - Assignee: Palm, Inc.
4. US Patent Search: 12,422,871 - System And Method For Providing Content To A Mobile Device - 2009 April 13 - Assignee: Palm, Inc.
5. US Patent Search: 12,417,871 - Preventing Unintentional Activation And/Or Input In An Electronic Device - 2009 April 3 - Assignee: Palm, Inc.
6. US Patent Search: 12,416,279 - Card Metaphor For Activities In A Computing Device - 2009 April 1 - Assignee: Palm, Inc.
7. US Patent Search: 12,404,869 - History Based Search Service Operable With Multiple Applications And Services - 2009 March 16 - Assignee: Palm, Inc.
8. US Patent Search: 12,402,386 - System And Method For Providing Content To A Mobile Device - 2009 March 11 - Assignee: Palm, Inc.
9. US Patent Search: 12,397,319 - Multi-Function Status Indicator For Content Receipt By A Mobile Computing Device - 2009 March 3 - Assignee: Palm, Inc.
10. US Patent Search: 12,347,827 - Integrated Mixed Transport Messaging System - 2008 December 31 - Assignee: Palm, Inc.
11. US Patent Search: 12,347,873 - Computing Device And Method For Selecting Display Regions... - 2008 December 31 - Assignee: Palm, Inc.
12. US Patent Search: 12,341,514 - Enhanced Visual Feedback For Touch-Sensitive Input Device - 2008 December 22 - Assignee: Palm, Inc.
13. US Patent Search: 12,341,497 - Touch-Sensitive Display Screen With Absolute And Relative Input Modes - 2008 December 22 - Assignee: Palm, Inc.
14. US Patent Search: 12,324,678 - System And Method For Providing Advertisement Data Or Other Content - 2008 November 26 - Assignee: Palm, Inc.
15. US Patent Search: 12,324,694 - System And Method For Providing Advertisement Data To A Mobile Computing Device - 2008 November 26 - Assignee: Palm, Inc.
16. US Patent Search: 12,200,782 - Notifying A User Of Events In A Computing Device - 2008 August 28 - Assignee: Palm, Inc.
17. US Patent Search: 12,128,486 - Structured Displaying Of Visual Elements - 2008 May 28 - Assignee: Palm, Inc.
18. US Patent Search: 12,126,145 - Navigating Among Activities In A Computing Device - 2008 May 23 - Assignee: Palm, Inc.
19. US Patent Search: 12,115,992 - Extended Touch-Sensitive Control Area For Electronic Device - 2008 May 6 - Assignee: Helio, LLC
20. US Patent Search: 12,055,635 - Rapid Content Association Methods - 2008 March 26 - Assignee: Helio, LLC
21. US Patent Search: 11,977,069 - Modeless Electronic Systems, Methods, And Devices - 2007 October 23 - Assignee: Helio, LLC
22. US Patent Search: 11,975,838 - Integrated Messaging, Contacts, And Mail Interface, Systems And Methods - 2007 October 22 - Assignee: Helio, LLC
23. US Patent Search: 11,903,766 - Multipurpose Data Input/Output And Display Configurations For A Data ... - 2007 September 24 - Assignee: Helio, LLC
24. US Patent Search: 11,796,359 - Shared Symbol And Emoticon Key And Methods - 2007 April 27 - Assignee: Helio, LLC
25. US Patent Search: 11,724,996 - System And Method For Navigating Displayed Content - 2007 March 16 - Assignee: Helio, LLC
26. US Patent Search: 11,702,736 - Systems And Methods For A Graceful Push Handling User Interface - 2007 February 6 - Assignee: Helio, LLC
27. US Patent Search: 11,520,335 - Softkey Access To Network Connections - 2006 September 13 - Assignee: Helio, LLC
28. US Patent Search: 10,718,739 - User Input Configurations For A Data Processing Device - 2003 November 21 - Assignee: Danger, Inc.
29. US Patent Search: 10,718,743 - Multipurpose Data Input/Output And Display Configurations For A Data... - 2003 November 21 - Assignee: Danger, Inc.
30. US Patent Search: 10,232,127 - Sliding Display Apparatus - 2002 August 29 - Assignee: Danger, Inc.

References[link]

External links[link]

• Engadget Interview: Google's Matias Duarte talks Honeycomb, tablets, and the future of Android Video 2011/01/07
• Google’s Honeycomb Designer: Humans Shouldn’t Have to Do a Computer’s Work 2011/02/02
• Honeycomb designer Matias Duarte hates task killers 2011/02/02
• WSJ All Things Digital: Google’s Android Design Expert Outlines the Vision Behind Honeycomb 2011/02/01
• Matias Duarte Introduces Palm Pre and webOS @ CES 2009 Video 2009/01/14
• Matias Duarte, designer behind Sidekick and Helio, now developing Palm's next-gen UI
• Personal webpage
• Resume as of February, 2007
• Matias Duarte's Twitter page