Here is a simple font manager class. Not very sophisticated, but it gets the job done. See the docstrings in the code for more details.
Save the code to a file and run from the commandline to see a trivial demo.
import pygame
from pygame.locals import *
class cFontManager:
'''
A simple class used to manage Font objects and provide a simple way to use
them to draw text on any surface.
Directly import this file to use the class, or run this file from the
command line to see a trivial sample.
Written by Scott O. Nelson
'''
def __init__(self, listOfFontNamesAndSizesAsTuple):
'''
Pass in a tuple of 2-item tuples. Each 2-item tuple is a fontname /
size pair. To use the default font, pass in a None for the font name.
Font objects are created for each of the pairs and can then be used
to draw text with the Draw() method below.
Ex: fontMgr = cFontManager(((None, 24), ('arial', 18), ('arial', 24),
('courier', 12), ('papyrus', 50)))
TODO: add support for bold & italics
'''
self._fontDict = {}
for pair in listOfFontNamesAndSizesAsTuple:
assert len(pair) == 2, \
"Pair must be composed of a font name and a size - ('arial', 24)"
if pair[0]:
fontFullFileName = pygame.font.match_font(pair[0])
assert fontFullFileName,
'Font: %s Size: %d is not available.' % pair
else:
fontFullFileName = None # use default font
self._fontDict[pair] = pygame.font.Font(fontFullFileName, pair[1])
def Draw(self, surface, fontName, size, text, rectOrPosToDrawTo, color,
alignHoriz='left', alignVert='top', antialias=False):
'''
Draw text with the given parameters on the given surface.
surface - Surface to draw the text onto.
fontName - Font name that identifies what font to use to draw the text.
This font name must have been specified in the cFontManager
rectOrPosToDrawTo - Where to render the text at. This can be a 2
item tuple or a Rect. If a position tuple is used, the align
arguments will be ignored.
color - Color to draw the text with.
alignHoriz - Specifies horizontal alignment of the text in the
rectOrPosToDrawTo Rect. If rectOrPosToDrawTo is not a Rect, the
alignment is ignored.
alignVert - Specifies vertical alignment of the text in the
rectOrPosToDrawTo Rect. If rectOrPosToDrawTo is not a Rect, the
alignment is ignored.
antialias - Whether to draw the text anti-aliased or not.
'''
pair = (fontName, size)
assert pair in self._fontDict, \
'Font: %s Size: %d is not available in cFontManager.' % pair
fontSurface = self._fontDict[(fontName, size)].render(text,
antialias, color)
if isinstance(rectOrPosToDrawTo, tuple):
surface.blit(fontSurface, rectOrPosToDrawTo)
elif isinstance(rectOrPosToDrawTo, pygame.Rect):
fontRect = fontSurface.get_rect()
# align horiz
if alignHoriz == 'center':
fontRect.centerx = rectOrPosToDrawTo.centerx
elif alignHoriz == 'right':
fontRect.right = rectOrPosToDrawTo.right
else:
fontRect.x = rectOrPosToDrawTo.x # left
# align vert
if alignVert == 'center':
fontRect.centery = rectOrPosToDrawTo.centery
elif alignVert == 'bottom':
fontRect.bottom = rectOrPosToDrawTo.bottom
else:
fontRect.y = rectOrPosToDrawTo.y # top
surface.blit(fontSurface, fontRect)
def RunDemo():
'''A simple demo of the use of the cFontManager class'''
pygame.init()
pygame.display.set_mode((640, 480))
screen = pygame.display.get_surface()
clock = pygame.time.Clock()
# a font of None means to use the default font
fontMgr = cFontManager(((None, 24), (None, 48), ('arial', 24)))
doQuit = False
while not doQuit:
clock.tick(60) # run at 60 fps
screen.fill((0, 0, 0))
white = (255, 255, 255)
gray = (64, 64, 64)
fontMgr.Draw(screen, None, 48, 'Default font, 48', (0, 50), white)
fontMgr.Draw(screen, None, 24, 'Default font, 24', (0, 0), white)
rect = pygame.Rect(0, 100, 640, 60)
pygame.draw.rect(screen, gray, rect)
fontMgr.Draw(screen, 'arial', 24, 'Arial 24 top left', rect, white,
'left', 'top')
rect.top += 75
pygame.draw.rect(screen, gray, rect)
fontMgr.Draw(screen, 'arial', 24, 'Arial 24 centered', rect, white,
'center', 'center')
rect.top += 75
pygame.draw.rect(screen, gray, rect)
fontMgr.Draw(screen, 'arial', 24, 'Arial 24 bottom right', rect,
white, 'right', 'bottom')
rect.top += 75
pygame.draw.rect(screen, gray, rect)
fontMgr.Draw(screen, 'arial', 24, 'Arial 24 left center, anti-aliased',
rect, white, 'left', 'center', True)
rect.top += 75
pygame.display.update()
if QUIT in [event.type for event in pygame.event.get()]:
doQuit = True
pygame.quit()
if __name__ == '__main__':
# Execute the demo code if this file is run directly from the command line.
# Do not run demo if file is imported.
RunDemo()
JAPANESE PATTERN-DESIGNER. JAPANESE PATTERN-DESIGNER. All that warm afternoon we paid the tiresome penalty of having pushed our animals too smartly at the outset. We grew sedate; sedate were the brows of the few strangers we met. We talked in pairs. When I spoke with Miss Harper the four listened. She asked about the evils of camp life; for she was one of that fine sort to whom righteousness seems every man's and woman's daily business, one of the most practical items in the world's affairs. And I said camp life was fearfully corrupting; that the merest boys cursed and swore and stole, or else were scorned as weaklings. Then I grew meekly silent and we talked in pairs again, and because I yearned to talk most with Camille I talked most with Estelle. 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Why, then, did they set their affections on things outside themselves? If they suffer for their folly it serves them right.¡¯93 You are awfully good, Daddy, to bother yourself with me, when you're ¡°Some strong, pungent liquid had been poured on the green necklace,¡± the letter from the millionaire stated. ¡°No alarm was given. My wife did not want to broadcast either the fact that she had the real gems or the trouble in the hotel. But people had heard the ¡®fire!¡¯ cry and doubtless some suspected the possible truth, knowing why she was getting ready. ¡°But the switches that control the motor for the drum are right out on the wall in plain sight,¡± he told himself, moving over toward them, since the rolling door was left wide open when the amphibian was taken out. ¡°Yes, here they all are¡ªthis one up for lifting the door, and down to drop it. And that switch was in the neutral¡ª¡®off¡¯¡ªposition when we were first here¡ªand it¡¯s in neutral now.¡± The strong sense, lively fancy, and smart style of his satires, distinguished also Pope's prose, as in his "Treatise of the Bathos; or, the Art of Sinking in Poetry;" his "Memoirs of P. P., Clerk of this Parish"¡ªin ridicule of Burnet's "Own Times"¡ªhis Letters, etc. In some of the last he describes the country and country seats, and the life there of his friends; which shows that, in an age more percipient of the charm of such things, he would have probably approached nearer to the heart of Nature, and given us something more genial and delightful than anything that he has left us. The taste for Italian music was now every day increasing; singers of that nation appeared with great applause at most concerts. In 1703 Italian music was introduced into the theatres as intermezzi, or interludes, consisting of singing and dancing; then whole operas appeared, the music Italian, the words English; and, in 1707, Urbani, a male soprano, and two Italian women, sang their parts all in Italian, the other performers using English. Finally, in 1710, a complete Italian opera was performed at the Queen's Theatre, Haymarket, and from that time the Italian opera was regularly established in London. This led to the arrival of the greatest composer whom the world had yet seen. George Frederick Handel was born at Halle, in Germany, in 1685. He had displayed wonderful genius for music as a mere child, and having, at the age of seven years, astonished the Duke of Saxe Weissenfels¡ªat whose court his brother-in-law was a valet¡ªwho found him playing the organ in the chapel, he was, by the Duke's recommendation, regularly educated for the profession of music. At the age of ten, Handel composed the church service for voices and instruments; and after acquiring a great reputation in Hamburg¡ªwhere, in 1705, he brought out his "Almira"¡ªhe proceeded to Florence, where he produced the opera of "Rodrigo," and thence to Venice, Rome, and Naples. After remaining in Italy four years, he was induced to come to England in 1710, at the pressing entreaties of many of the English nobility, to superintend the opera. But, though he was enthusiastically received, the party spirit which raged at that period soon made it impossible to conduct the opera with any degree of self-respect and independence. He therefore abandoned the attempt, having sunk nearly all his fortune in it, and commenced the composition of his noble oratorios. Racine's "Esther," abridged and altered by Humphreys, was set by him, in 1720, for the chapel of the Duke of Chandos at Cannons. It was, however, only by slow degrees that the wonderful genius of Handel was appreciated, yet it won its way against all prejudices and difficulties. In 1731 his "Esther" was performed by the children of the chapel-royal at the house of Bernard Gates, their master, and the following year, at the king's command, at the royal theatre in the Haymarket. It was fortunate for Handel that the monarch was German too, or he might have quitted the country in disgust before his fame had triumphed over faction and ignorance. So far did these operate, that in 1742, when he produced his glorious "Messiah," it was so coldly received that it was treated as a failure. Handel, in deep discouragement, however, gave it another trial in Dublin, where the warm imaginations of the Irish caught all its sublimity, and gave it an enthusiastic reception. On its next presentation in London his audience reversed the former judgment, and the delighted composer then presented the manuscript to the Foundling Hospital, where it was performed annually for the benefit of that excellent institution, and added to its funds ten thousand three hundred pounds. It became the custom, from 1737, to perform oratorios[156] on the Wednesdays and Fridays in Lent. Handel, whose genius has never been surpassed for vigour, spirit, invention, and sublimity, became blind in his latter years. He continued to perform in public, and to compose, till within a week of his death, which took place on April 13, 1759. The Deacon took his position behind a big black walnut, while he reconnoitered the situation, and got his bearings on the clump of willows. He felt surer than ever of his man, for he actually saw a puff of smoke come from it, and saw that right behind the puff stood a willow that had grown to the proportions of a small tree, and had its bark rubbed off by the chafing of driftwood against it. "Certainly. I see it very plainly," said the Surgeon, after looking them over. "Very absurd to start such a report, but we are quite nervous on the subject of smallpox getting down to the army. "Yes, just one." Reuben pulled up his chair to the table. His father sat at one end, and at the other sat Mrs. Backfield; Harry was opposite Reuben. Reuben counted them¡ªten. Then he pushed them aside, and began rummaging in the cart among cabbages and bags of apples. In a second or two he had dragged out five more rabbits. Robert stood with hanging head, flushed cheeks, and quivering hands, till his father fulfilled his expectations by knocking him down. HoMEBT ÏÂÔØ ÀïÃÀÓÈÀûæ«
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