I find that whenever I'm typing some equations into a document, and the equation gets a bit complex (let's say a fraction in a parentheses, squared, inside a square root, inside a fraction), the variables and whatnot that I put inside the "inner" parts of the equation get really, really, tiny. Matthew Leingang provided you with a good solution, but personally I would recommend fixing this on a case by case. This will effectively add \displaystyle to every (inline) math made environment, making all math look like the math that's displayed. First, remember that \everymath is a token list that is inserted in front of every math mode material. But this is going to be trouble, When TeX reads a token list declaration it just reads the tokens without expanding. Note that code redefining \everymath will conflict with packages that redefine this, like the {mathdots} package.
Interestingly, adding this made a horizontal line I had placed at the beginning of the document, along with a big skip, make the rest of the page go to the second page. Not the answer you're looking for?Browse other questions tagged math-mode equations fontsize or ask your own question. What do you call a function that's pure, meaning the same input will always return the same output, but also has side effects? Does LaTeX automatically change fonts when switching between Title, Author, Date, and Body Text or sizes modifiers?
I cannot help but notice that the title seems to have a different look than the body text—something about the curvature of the letters. So my question is, does LaTeX choose different otf files based on size or for title, author, date, and sections. The overall aims of all this are (among others) to (1) improve readability at small sizes, (2) to prevent thin strokes from disappearing (or even parts of the metal punch breaking off) at small sizes, to (3) add variation, embellishments, detail etc. Unless you are using Computer Modern Roman, TeX will only choose different fonts for different sizes if (1) you tell it to, and (2) you actually have a font that comes in different grades. PS: that said, the Unicode version of Computer Modern does not seem to come in different grades, as does traditional Latin Modern Roman.
Do the most common font-packages (mathdesign, newtx, newpx, libertine, the Tex Gyre fonts etc.) include and use different grades?
Unlike most word processors, LaTeX does, in general, not simply scale a font to the requested size, but uses designed fonts for particular sizes. Which says that in T1 encoding for Times Roman (ptm) you use the same font at all sizes, simply scaled.
There are separate fonts cmr5, cmr6, cmr7, cmr8, cmr9, cmr10, cmr12, cmr17 and a suitable font is chosen for each size.


Depending on packages loading LaTeX either forces a requested size to one of the sizes above (as shown here) or scales the nearest font to the requested size (type1cm1 or fix-cm packages).
With the specification for fontspec given above, the font files will be automatically chosen when issuing \bfseries, \itshape and so on, or their counterparts \textbf, \textit, … In most cases no user intervention is needed.
Not the answer you're looking for?Browse other questions tagged fonts fontsize fontspec typography opentype or ask your own question. Will altering my HOSTS file allow me to access sites that can't be directly accessed via IP?
How do I encourage users to supply information that might not be available, if it is available? For adjustment of font sizes of \section, see Change size of section, subsection, subsubsection, paragraph and subparagraph title. Not the answer you're looking for?Browse other questions tagged sectioning formatting parts or ask your own question.
Is it acceptable for a student to ask a professor to be included as a co-author on the professor's paper? But if I set the font size to something a lot larger, the stuff on the "inside" gets tolerable, but the stuff on the "outside" (e.g., "x = lots of junk", x would be in the "outside") become gigantic! For example if you have x = \sqrt{ complicated stuff + complicated stuff } you can say x = \sqrt {A + B} where A = complicated stuff and B = complicated stuff. For example, compare the in-line expressions $\frac{1}{x + \frac1x}$ and $\displaystyle \frac{1}{x - \frac1x}$ and $\displaystyle \frac{1}{x - {\displaystyle \frac1x}}$ to see how the scope of the \displaystyle command works. Thus display size is used for displayed equations, text size for in-line math, script size for subscripts and superscripts (indexes, exponents), scriptscript size for subscripts of subscripts etc. Cutting out both the horizontal line and the big skip returned all text back the way it was. A typeface designer may choose to draw several versions of a typeface, each optimized for printing at a certain size.
As (before the late 19th century) every fount had to be cut from scratch for a certain size anyway, a punchcutter would cut their 8pt punches not only smaller than their 24pt ones, but include other differences likes the ones above as well. I often use Playfair Display as a companion for Miller Text (as a cheapskate replacement for Miller Display). The reason the file list you posted is that long is simply that a lot of quite different fonts are part of the CM Unicode project. Actually, I don't know about a single font from the *TeX world that has different grades (besides the Knuth ones).
The situation is different if you use the Latin Modern fonts, because they are available in different optical sizes.


It could happen that for some fonts the correspondence cannot be caught by fontspec, see the manual for workarounds.
I had to fiddle with the vertical position of the headlight to get the nose shape I wanted- too low and the front fascia looks grossly large. What would be interesting to know is if the people who derived the CM Unicode fonts from their predecessors really converted all the optical sizes. For example, a grade optimized for printing at footnote size (say, 8pt) will usually have sturdier hairlines, less stroke contrast, maybe a bit looser spacing, maybe a decreased ascender-to-xheight ratio, probably less overall detail -- whereas a grade optimized for display use (say, size 24pt) will be more playful, have more contrast between vertical and horizontal strokes etc. Knuth's sans, typewriter, typewriter proportional, upright (!) italic, etc., they're all in there. When I use this code, whenever I use, \subsection or \subsubsection, then It prints the first number of the subsection (or the subsubsection) in roman and after the dot it prints regular numbers. I don't want to be asking too much, but is there a way to make the number I , as big as the text? The differences become most obvious when the different grades are scaled to the same absolute size. Donald Knuth drew eight of them for Computer Modern Roman Regular, five for CM Sans, four for CM Typewriter, only one for CMR Smallcaps etc. I used the YZF fairing stay with some welded on mounts to fit the R1 lights.The tail, I feel I could have sharpened it up quite a bit- but I really wanted the storage benefits cause I tour and commute all the time on the bike.
I don't want any of you goons to steal my bike so that you can trade it for hookers 'n' blow. I have actually been considering trying my hand at fiberglass again and seeing if I could produce something to take care of the intake problem people run into when going naked.
I had some composites experience before, but I had to learn plaster work, paint techniques (semi-passable!), etc, etc. It is all self supporting composite, which gives tons 'o storage space (including up in the Motogp-ish hump). Was thinking of trying a metallic copper with some black patterns or somesuch to break up the color.



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