DOCSLIB.ORG

Copyrighted Material

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Index A Alleys, 343 Arcadia font, 132 Avant Garde font, 174 Baskerville Old Face font, 259 AA, 343 Alleys, page layout Arcana Script, 152 Avant Garde Gothic Book considerations, 237 Arc of the Stem, 343 font, 260 Baskerville typeface, 171, Abbreviations, typesetting 345 of, 205–206 An Alphabet, 91, 92 Arm, letterform, 343 Avant Garde magazine, 260 Basketcase font, 261 abjads, 343 Alphabet, 343 Arms, letterforms, 150 Avant Garde typeface, 116 Bastarda, 168 Abstract Expressionism, Alphabets Arnold Böcklin Standard 96, 118 Etruscan, 11 font, 255 Bauer Classic typeface, Greek, 17 B 171 Academy Engraved Arnold Böcklin typeface, Latin, 142, 144 BCE, 344 Bauhaus, 345 typeface, 249 oral language 175 Bach, Johann Sebastian, Accents, 56 transcription, 5 Arrighi, Ludovico degli, 337 Bauhaus style, 90–91, 93, Phoenician, 13, 17 61 113, 173 Accordian fold, 343 Art Deco style, 89–90, 173, Roman, 24 Background value, color, Bayer, Herbert, 91, 371 Acronyms, typesetting 311, 344 Alternate character, 343 and contrast, 197–205 of, 206 Artistik typeface, 175 Beak, 345 American Civil War, 73 Back matter, 344 Adobe Minion Pro font, 321 Art Nouveau movement, Beaked serif, letterforms, American New Wave Backslash, use of, 209 151 Adobe Myriad Pro font, 81–82, 90, 174–175, 256, typography, 119 Bacon, Roger, 12 325 257, 269, 332, 344 Beall, Lester, 96 American Type Founders Bad break, 344 Adobe PageMaker, 120, Artone typeface, 116 Beckett font, 262 (ATF), 82, 168, 343 134 Arts and Crafts movement, Baker, Arthur, 174, 175 Beesknees typeface, 175 Ampersand Adobe Professional fonts, 78, 79, 81, 91, 344 Baker, Robert, 63, 371 defined, 343 Behrens, Peter, 82, 90, 371 285 typesetting of, 206 Art Workers Guild, 78, 344 Balla, Giacomo, 85 Behrens Roman, 82 Adobe Systems, 127, 128, use of, 209 Ascender, 145, 149, 161, Ballet, 78 Bell, Jill, 131 133–135 Ancient, 1, 343 163, 179, 185, 344 Balmoral font, 152 Bell Centennial font, 132 Adrian Williams Design Ancient writing systems, Ascender Corporation, 95 Limited, 185 Balmoral Script font, 258 Bell Gothic font, 132, 174 1–22 Ascender line, 144, 344 Advert font, 131 Banner, 344 Bell Gothic Standard font, Andale Mono Regular font, Ascenders, 28, 30, 32, 36, 263 Advertisements 254 95, 144, 148, 160, 162, Bar, 344 Bell typeface, 171 decorative typefaces, Anderton, Bob, 270 170, 171, 179, 184–185, Barb, 344 174–175 187, 189, 193, 195 Belwe, George, 264 Angle brackets, 343 Barbed serif, letterforms, innovations, 68, 69–71, 82 Assembly-line book 151 Belwe Medium font, 264 Angle brackets, use of, 207 production, 49–50 Neon sign technology, 80 Barnhart Brothers & Bembo, Cardinal, 265 AnteCOPYRIGHTED Meridiem, 343 Asterisk, MATERIALSpindler, 168 Aesthetics, revolution in, defined, 344 Bembo font, 170 Anthony, Earle, 80 Barnum, P. T., 71 83–85 use of, 209 Bembo Regular font, 265 Antique Olive font, 174 Baronial envelope, 344 Agency FB font, 250 Astrological font, 252 Benguiat, Edward, 115, 266, Apex, 343 Baroque, 345 Agfa Monotype fonts, 255, A-style envelope, 235, 344 275, 336, 371 311 Apices, letterforms, 152 Baroque style, 61, 62 ATF, 344 Benton, Linn Boyd, 172, Agincourt font, 168 Apostrophe, 343 Barrel fold, 345 284 ATF Agency Gothic font, Albers, Josef, 90, 371 Apostrophes, 56, 206–210 250 Bars, type enclosed in, 205 Benton, Morris Fuller, 82, 168, 170, 250, 272, 277, Alcuin of York, 31, 371 Apple Computer, 120 ATF Bondoni font, 277 Bartarde, 23, 51, 345 284, 288, 298, 305, 336, Aldine-French font, 168 Apple ImageWriter, At symbol, use of, 209, 210 Base, 345 371 125–126 Aldine-French Old Style Attic Antique font, 256 Baseline, 345 Beowolf font, 130, 131 font, 170, 343 Apple LaserWriter, 134 ATyI system, 168 Basis weight, paper, 230, Berkeley Old Style Book Aldus desktop software, Apple Macintosh 345 font, 270 134 computer, 123, 124, 133, ATyp1-Vox system, 344 Baskerville, John, 66–67, Berlin Sans & Berlin Sans 136, 343 Augereau, Antoine, 56, 371 Aldus Roman face, 56–57 171, 260, 371 Demi fonts, 271 Arabic number, 343 Austin, Richard, 171 Algerian font, 251 Baskerville font, 66–67, Berlow, David, 250, 268, Arboret font, 70 Author’s alterations, 343 95, 263 298 index.indd 383 6/24/2005 10:09:44 AM 384 A TYPOGRAPHIC WORKBOOK Bermuda typeface, 175 Bonaparte, Napoleon Bullets, 209, 239, 346 Captions, Centered type alignment, Bernhard, Lucian, 268, 269 (emperor of France), Bulmer typeface, 171 defined, 347 159 65, 68–69 page layout Bernhard Modern font, 269 Bunyan typeface, 88 Central Lettering Record, Bond weight, 346 considerations, 245 176 Berthold City font, 286 Bureau Grotesque Carnase, Tom, 174, 260 Book Antiqua font, 279 typeface, 95 Central Type Foundry, 168 Bible, 30–31, 47, 48–49 Caroline miniscules, 142 Booklet envelope, 234 Burgess, Starling, 171 Century Old Style font, 283 Bickham Script typeface, Carolingian hand, 23, 33, 152, 174 Bookmaking, as artform, Burgundians, 29, 372 Century Old Style 56 347 typeface, 95 Bigelow, Charles, 125, 313, Burns, Aaron, 114, 372 Carolingian style, 23, 31, 371 Bookman Oldstyle font, Century typeface, 172 275 Burt, William Austin, 71, 32, 33, 38, 39, 50, 141, Binny & Ronaldson, 168 372 142 Cerasoli, Genevieve, 131 Book of Hours, 51–52, 56, Chagall, Marc, 92 Birch typeface, 175 346 Business announcement Carra, Carlo, 85 envelope, 235 Champollion, Jean- Bismark, Otto von, 69 Book of Kells, 30 Carter, Jimmy, 118 Butterick, Matthew, 268 François, 18 Bitmap, 345 Book weight, 346 Carter, Matthew, 132, 174, Butti, Alessandro, 114, 263, 301, 372 Chansler, Kim Buker, 175 Bitmaps, 135 Booklet envelope, 346 317, 372 Cartouche, 1, 347 Character, 347 Black death, 345 Boston Type Foundry, 168 Bylines, Caruso, Victor, 288, 298 Character counting, 102, Black letter, 23, 37, 39, 168, Boton, Albert, 295 defined, 346 347 169, 345 page layout Caslon, William, 65–66, 69, Boustrephedon, 1, 17, 346 280, 272 Characters per pica (cpp), Blackoak font, 175, 271 considerations, 102, 105, 347 Bowls, letterforms, 151– 245–246 Caslon IV, William, 272 Black Panther Party, 118 152, 346 Charlemagne, 23, 31–33, Caslon 3 Roman font, 280 Blake, Stephenson, 69, Boxes, type enclosed in, 372 306, 341 205 C Caslon 540 font, 171, 281 Charles VII (king of Bleed, paper, 230, 345 Braces, use of, 207 CE, 346 Caslon 540 Roman font, France), 50 281 Blimp typeface, 116 Bracketed serif, 346 Cabarga, Leslie, 315 Charme typeface, 174 Caslon Antique typeface, Chase, 46, 48, 348 Blue Island typeface, 175 Bracketing, 51, 346 Caflisch, Max, 284 171 Chaucer typeface, 79 Blur font, 132 Brackets, letterforms, Calcite Pro font, 278 Caslon italic, 151 150–151, 346 Cheltenham font, 173 Böcklin, Arnold, 257 Caledonia font, 172 Caslon Old Face, 65–66, Bodoni Bold, 111 Brady, Fred, 174, 325 Caledonia typeface, 171 170 Cheltenham typeface, 82, 83, 171 Bodoni font, 151, 272, 345 Braque, Georges, 83 Calendered, 347 Caslon typeface, 249, 263 Chevrons, use of, 207 Bodoni, Giambattista, 67– Break, 346 Calendering, 347 Cassandre, A. M. (Adolphe 68, 172, 272, 273, 371 Brignall, Colin, 175 Jean-Marie Mouron), Chicago font, 125 California job case, 64, 89–90, 372 Bodoni Poster font, 273 Bringhurst, Robert, 235, 99, 347 Children, font selection, Cast-coated paper, 231, 215–216 Bodoni typeface, 71 371 Californian font, 170 347 China (ancient), 4, 36 Body copy, British Standards system, Callouts, 168, 346 Casting off, 105 Chinese writing system, 5 defined, 345 defined, 347 Broadway font, 277 page layout Catalog envelope, 235, 347 Christianity, 26–29 page layout considerations, 239 Caxton, William, 51, 372 considerations, 238– Broadway typeface, 89 Chwast, Seymour, 116, 372 Candida font, 173 239 Brody, Neville, 132, 371 Cedilla, 56, 347 Cicero, type measurement, Cap height, 347 Body line, 345 Broken, 346 Celtic,23, 30–33, 36, 347 144 Cap line, 347 Body text, 345 Bruce Type Foundry, 168 Celtic lettering, 23, 28–29, Circle, typeface design, Capital letters, 38, 55, 347 30 145–146 Boge, Garrett, 175 Bubble jet printer, 346 Capitalis Quadrata, 23, 26, Celtic round uncials, 30, 32 Cities, 43 Bohn, Hans, 174 Bubble jet technology, 126 27, 29, 347 Centaur font, 170 Citizen font, 127 Bold face, 346 Buffalo typeface, 116 Centaur Regular font, 169 City Medium font, 286 Bolshevism, 86, 92 Bullen, Henry Lewis, 168, 169, 371 Centered, 347 Civilité font, 57, 348 index.indd 384 6/24/2005 10:09:45 AM I nde X 3 8 5 Civil War (U.S.), 73 Commercialism, 77 Coptic, 349 Cursive handwriting, 142 Diagonally stacked Clairvaux, 168 Commercial/official Copy, 349 Cursive typefaces, 174 text, compositional importance, 225 Clarendon font, 287 envelope, 234, 348 Copy fit, 349 Cutline, 349 Communication Dickinson Type Foundry, Classification, of type, Copy fitting, 101–105, 111 Cylinder seals, 4 175 167–182 improvements, 77 Cornelia font, 286 Didone font, 277 Claude, Georges, 80, 372 Compacta font, 289 Corporate design, 120 D Didot, 350 Claude Neon, 80 Comp, 348 Cosgrove, Carl, 175 Dada, 349 Didot, Firmin, 67–68, 373 Cloister Black, 168 Composition, text type arrangement, 195–197 Coster, Laurens, 46, 58, Dadaist style, 64, 89, 92, Didot, Françoise Ambroise, Cloister Old Style font, 372 120 143, 172, 373 170, 348 Compositional importance, determination of, 217 Cotton gin, 65 da Gama, Vasco, 39 Die neue typographie (The Cloister Old Style typeface, Concave, 348 Council of Trent (1545), 51 New Typography), 93, 51 Dagger 350 Concave type alignment, Counter, letterforms, 152 defined, 350 Coated, 348 use of, 209 Digital font technology, 158 Counter-Reformation, Coated paper, 231 133–138 Condensed type, 348 51, 62 Daisy wheel printer, 350 Digital typography, 120, Cobden-Sanderson, T.
Recommended publications
  • The French Communist Party and the Algerian

    The French Communist Party and the Algerian

    THE FRENCH COMMUNIST PARTY AND THE ALGERIAN WAR Also by Daniele Joly IMMIGRANT ASSOCIATIONS IN EUROPE (editor with John Rex and Czarina Witpert) RELUCTANT HOSTS: EUROPE AND ITS REFUGEES (editor with Rnbin Cohen) The French COlDlDunist Party and the Algerian War Daniele J oly Senior Research Fellow University of Warwick Palgrave Macmillan ISBN 978-1-349-21289-7 ISBN 978-1-349-21287-3 (eBook) DOI 10.1007/978-1-349-21287-3 All rights reserved. For information, write: Scholarly and Reference Division, St. Martin's Press, Inc., 175 Fifth Avenue, New York, N.Y. 10010 Softcover reprint of the hardcover 1st edition 1991 First published in the United States of America in 1991 Phototypeset by Input Typesetting Ltd, London Library of Congress Cataloging-in-Publication Data Joly, Daniele The French Communist Party and the Algerian War/Daniele Joly. p. em. Includes bibliographical references. ISBN 978-0-312-04211-0 I. Algeria-History-Revolution, 1954--1962-Public opinion. 2. Parti communiste fran<;;ais. 3. Communists-France-Attitudes. 4. Public opinion-France. I. Title. DT295.J63 1991 90-34612 965' .04-dc20 CIP Contents Glossary vi Preface IX Acknowledgements xiv Introduction xv Algeria under French Colonisation 1 2 The PCF and the Colonial Question: A Historical Perspective 20 3 The PCF, the International Situation and the Algerian War 42 4 The French Nation 55 5 The PCF and the Algerian Nation 68 6 France's Military Involvement in Algeria: The PCF and the Oppositionnels 100 7 Synthesis on the Opposition 130 Conclusion Notes and References 149 Bibliography 165 Index 176 v Glossary VOCABULARY Appeles The French army is composed of conscripts and professionals.
  • Art, Philosophy, and the Philosophy Of

    Art, Philosophy, and the Philosophy Of

    NATIONAL E N D O W M E N T FOR THE HUMANITIES VOLUME 4 NUMBER 1 FEBRUARY 1983 Humanities Art, Philosophy, and the Philosophy of Art period of Abstract Expressionism, ward behavior might be indistin­ when decisions for or against The guishable between the two. In all these Image were fraught with an almost cases one must seek the differences religious agony, the crass and casual outside the juxtaposed and puzzling use of tacky images by the new examples, and this is no less the case artists seemed irreverent and juve­ when seeking to account for the dif­ nile. But the Warhol show raised a ferences between works of art and question which was intoxicating and mere real things which happen immediately philosophical, namely exactly to resemble them. why were his boxes works of art This problem could have been while the almost indistinguishable raised at any time, and not just with utilitarian cartons were merely con­ the somewhat minimal sorts of tainers for soap pads? Certainly the works one might suspect the Brillo minor observable differences could Boxes to be. It was always conceiva­ not ground as grand a distinction as ble that exact counterparts to the that between Art and Reality! most prized and revered works of BY ARTHUR C. DANTO A philosophical question arises art could have come about in ways Not very many years ago, whenever we have two objects inconsistent with their being works aesthetics—understood as the phi­ which seem in every relevant par­ at all, though no observable differ­ losophy of art—was regarded as the ticular to be alike, but which belong ences could be found.
  • Century 100 Years of Type in Design

    Century 100 Years of Type in Design

    Bauhaus Linotype Charlotte News 702 Bookman Gilgamesh Revival 555 Latin Extra Bodoni Busorama Americana Heavy Zapfino Four Bold Italic Bold Book Italic Condensed Twelve Extra Bold Plain Plain News 701 News 706 Swiss 721 Newspaper Pi Bodoni Humana Revue Libra Century 751 Boberia Arriba Italic Bold Black No.2 Bold Italic Sans No. 2 Bold Semibold Geometric Charlotte Humanist Modern Century Golden Ribbon 131 Kallos Claude Sans Latin 725 Aurora 212 Sans Bold 531 Ultra No. 20 Expanded Cockerel Bold Italic Italic Black Italic Univers 45 Swiss 721 Tannarin Spirit Helvetica Futura Black Robotik Weidemann Tannarin Life Italic Bailey Sans Oblique Heavy Italic SC Bold Olbique Univers Black Swiss 721 Symbol Swiss 924 Charlotte DIN Next Pro Romana Tiffany Flemish Edwardian Balloon Extended Bold Monospaced Book Italic Condensed Script Script Light Plain Medium News 701 Swiss 721 Binary Symbol Charlotte Sans Green Plain Romic Isbell Figural Lapidary 333 Bank Gothic Bold Medium Proportional Book Plain Light Plain Book Bauhaus Freeform 721 Charlotte Sans Tropica Script Cheltenham Humana Sans Script 12 Pitch Century 731 Fenice Empire Baskerville Bold Bold Medium Plain Bold Bold Italic Bold No.2 Bauhaus Charlotte Sans Swiss 721 Typados Claude Sans Humanist 531 Seagull Courier 10 Lucia Humana Sans Bauer Bodoni Demi Bold Black Bold Italic Pitch Light Lydian Claude Sans Italian Universal Figural Bold Hadriano Shotgun Crillee Italic Pioneer Fry’s Bell Centennial Garamond Math 1 Baskerville Bauhaus Demian Zapf Modern 735 Humanist 970 Impuls Skylark Davida Mister
  • Design One Project Three Introduced October 21. Due November 11

    Design One Project Three Introduced October 21. Due November 11

    Design One Project Three Introduced October 21. Due November 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used, or the evolving fashion of design. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. The second poster will present a visual analogy of the typeface, that combines both type and image, to broaden the viewer’s knowledge of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write a minimum150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer.
  • Cloud Fonts in Microsoft Office

    Cloud Fonts in Microsoft Office

    APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ
  • Android (Operating System) 1 Android (Operating System)

    Android (Operating System) 1 Android (Operating System)

    Android (operating system) 1 Android (operating system) Android Home screen displayed by Samsung Nexus S with Google running Android 2.3 "Gingerbread" Company / developer Google Inc., Open Handset Alliance [1] Programmed in C (core), C++ (some third-party libraries), Java (UI) Working state Current [2] Source model Free and open source software (3.0 is currently in closed development) Initial release 21 October 2008 Latest stable release Tablets: [3] 3.0.1 (Honeycomb) Phones: [3] 2.3.3 (Gingerbread) / 24 February 2011 [4] Supported platforms ARM, MIPS, Power, x86 Kernel type Monolithic, modified Linux kernel Default user interface Graphical [5] License Apache 2.0, Linux kernel patches are under GPL v2 Official website [www.android.com www.android.com] Android is a software stack for mobile devices that includes an operating system, middleware and key applications.[6] [7] Google Inc. purchased the initial developer of the software, Android Inc., in 2005.[8] Android's mobile operating system is based on a modified version of the Linux kernel. Google and other members of the Open Handset Alliance collaborated on Android's development and release.[9] [10] The Android Open Source Project (AOSP) is tasked with the maintenance and further development of Android.[11] The Android operating system is the world's best-selling Smartphone platform.[12] [13] Android has a large community of developers writing applications ("apps") that extend the functionality of the devices. There are currently over 150,000 apps available for Android.[14] [15] Android Market is the online app store run by Google, though apps can also be downloaded from third-party sites.
  • Chapter 1. Origins of Mac OS X

    Chapter 1. Origins of Mac OS X

    1 Chapter 1. Origins of Mac OS X "Most ideas come from previous ideas." Alan Curtis Kay The Mac OS X operating system represents a rather successful coming together of paradigms, ideologies, and technologies that have often resisted each other in the past. A good example is the cordial relationship that exists between the command-line and graphical interfaces in Mac OS X. The system is a result of the trials and tribulations of Apple and NeXT, as well as their user and developer communities. Mac OS X exemplifies how a capable system can result from the direct or indirect efforts of corporations, academic and research communities, the Open Source and Free Software movements, and, of course, individuals. Apple has been around since 1976, and many accounts of its history have been told. If the story of Apple as a company is fascinating, so is the technical history of Apple's operating systems. In this chapter,[1] we will trace the history of Mac OS X, discussing several technologies whose confluence eventually led to the modern-day Apple operating system. [1] This book's accompanying web site (www.osxbook.com) provides a more detailed technical history of all of Apple's operating systems. 1 2 2 1 1.1. Apple's Quest for the[2] Operating System [2] Whereas the word "the" is used here to designate prominence and desirability, it is an interesting coincidence that "THE" was the name of a multiprogramming system described by Edsger W. Dijkstra in a 1968 paper. It was March 1988. The Macintosh had been around for four years.
  • Ordinance No. 04-61

    Ordinance No. 04-61

    .. 200500022607 BEST POSSIBLE IMAGE Filed for Record in HAMILTON COUNTY, INDIANA ALL PAGES JENNIFER J HAYDEN 0~-18-2OQ5 At 12'~7 >•• ORDINANCE 101.00 I ORDINANCE NO. 04-61 , AN ORDINANCE OF THE TOWN OF WESTFIELD CONCERNING AMENDMENT TO TITLE 16- LAND USE CONTROLS WHEREAS, The Town ofWeslfield, Indiana and the Township of Washington, both of Hamilton County, Indiana are subject to the Westfield Washington Township Zoning Ordinance; and WHEREAS, the Westfield-Washington Township Plan Commission ("Commission") considered a petition (docket 0310-PUD-06) filed with the Commission to rezone certain lands; and WHEREAS, the Westfield Washington Township Plan Commission did take action to forward the request to the Westfield town Council with a negative recommendation under the provision onc 36-7-4-605; and WHEREAS, the Secretary of the Commission certified the action of the commission to the Town Council on January 27, 2004; and WHEREAS, the Weslfield Town Council is subject to the provisions onc 36-7-4-608(t) or IC36-7-4-608(g) concerning any action on requests forwarded by the Advisory Plan Commission. NOW THEREFORE BE IT ORDAINED BY THE WESTFIELD TOWN COUNCIL THAT TITLE 16 OF THE WESTFIELD CODE OF ORDINANCE BE AMENDED AS FOLLOWS: SECTION 1. WC-16-04.Zoningmaps amended as follows: The Zoning Map accompanying and made a part of the Zoning Ordinance is amended to reclassifY the real estate described in the attachment "West Oak Planned Unit Development" hereto (Real Estate) wm EI to EI-PUD This real estate being subject to commitments and standards as detailed in the attachment "Westoak Industrial Park Planned unit Development District" 4/612004 Ordinance 04-01 SECTION 2.
  • A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With

    A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With

    Ty p o g raph i c Factettes A collection of mildly interesting facts about the little symbols we communicate with. Helvetica The horizontal bars of a letter are almost always thinner than the vertical bars. Minion The font size is approximately the measurement from the lowest appearance of any letter to the highest. Most of the time. Seventy-two points equals one inch. Fridge256 point Cochin most of 50the point Zaphino time Letters with rounded bottoms don’t sit on the baseline, but slightly below it. Visually, they would appear too high if they rested on the same base as the squared letters. liceAdobe Caslon Bold UNITED KINGDOM UNITED STATES LOLITA LOLITA In Ancient Rome, scribes would abbreviate et (the latin word for and) into one letter. We still use that abbreviation, called the ampersand. The et is still very visible in some italic ampersands. The word ampersand comes from and-per-se-and. Strange. Adobe Garamond Regular Adobe Garamond Italic Trump Mediaval Italic Helvetica Light hat two letters ss w it cam gue e f can rom u . I Yo t h d. as n b ha e rt en ho a s ro n u e n t d it r fo w r s h a u n w ) d r e e m d a s n o r f e y t e t a e r b s , a b s u d t e d e e n m t i a ( n l d o b s o m a y r S e - d t w A i e t h h t t , h d e n a a s d r v e e p n t m a o f e e h m t e a k i i l .
  • Speaker Biographies

    Speaker Biographies

    SPEAKER BIOGRAPHIES Speakers: Dr. Deborah Anderson, Researcher, Dept. of Linguistics, UC Berkeley Deborah (Debbie) Anderson is a Researcher in the Department of Linguistics at UC Berkeley. Since 2002, she has run the Script Encoding Initiative project, which helps get scripts and characters into the Unicode Standard. She also represents UC Berkeley in the Unicode Technical Committee meetings and is a member of the US National Body in ISO/IEC JTC1/SC2. In addition, she is a Unicode Technical Director. Zibi Braniecki, Mozilla, Sr. Staff Platform Engineer Zibi Braniecki is a Sr. Staff Platform Engineer at Mozilla working on internationalization and localization of Gecko and Firefox. Zibi represents Mozilla at TC39 committee and is championing multiple ECMA402 proposals. When not in front of the keyboard, he's captaining the Polish National Team in Ultimate Frisbee. Shane Carr, Senior Software Engineer, Internationalization, Google, Inc. Shane Carr is a Senior Software Engineer on Google's i18n Engineering team. He is chair of the ECMA 402 subcommittee for JavaScript i18n standards and is a core contributor to the International Components for Unicode (ICU) project. His work on ICU has focused on locale data, number formatting, and performance optimization. Shane has previously presented on Zawgyi and on ICU number formatting at the 41st and 42nd Internationalization & Unicode Conference (IUC). He has also presented at the 33rd International Conference on Machine Learning (ICML) and the 2015 Annual Meeting of the American Institute of Chemical Engineers (AIChE). He holds an MS and BS in Computer Science and BS in Chemical Engineering summa cum laude from Washington University in St.
  • ACH Payments File Upload Reference Guide (PDF)

    ACH Payments File Upload Reference Guide (PDF)

    ACH Payments File Upload Reference Guide Learn how to import a file to make ACH payments using Chase for Business or Chase Connect. MARCH 2019 TABLE OF CONTENTS FILE SPECIFICATIONS............................................................................................................................ 4 FILE HEADER RECORD (1) ......................................................................................................................... 5 BATCH HEADER RECORD (5) .................................................................................................................... 5 ENTRY DETAIL RECORD (6) ....................................................................................................................... 7 ADDENDA RECORD (7)* ........................................................................................................................... 8 BATCH CONTROL RECORD (8) .................................................................................................................. 9 FILE CONTROL RECORD (9)..................................................................................................................... 10 SUPPORT FOR CHASE FOR BUSINESS & CHASE CONNECT ................................................................... 11 About the file upload service ............................................................................................................. 11 Important things you need to know ..............................................................................................
  • ACH Payments CSV File Upload Reference Guide

    ACH Payments CSV File Upload Reference Guide

    ACH Payments CSV File Upload Reference Guide Learn how to import a file for ACH payments using Chase for Business or Chase Connect. March 2019 Last Modified: March 17, 2019 This guide is confidential and proprietary to J.P. Morgan and is provided for your general information only. It is subject to change without notice and is not intended to be legally binding. All services described in this guide are subject to applicable laws and regulations and service terms. Not all products and services are available in all locations. Eligibility for particular products and services will be determined by JPMorgan Chase Bank, N.A. or its affiliates. J.P. Morgan makes no representation as to the legal, regulatory or tax implications of the matters referred to in this guide. J.P. Morgan is a marketing name for the Treasury Services businesses of JPMorgan Chase Bank, N.A., member FDIC, and its affiliates worldwide. ©2019 JPMorgan Chase & Co. All rights reserved. 2 TABLE OF CONTENTS File specification ................................................................................................................................... 5 File information row (1).................................................................................................................... 7 Batch information row (5) ................................................................................................................ 8 Payment detail row (6) ..................................................................................................................... 9