Adriano Olivetti
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The Origins of the Underline As Visual Representation of the Hyperlink on the Web: a Case Study in Skeuomorphism
The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Romano, John J. 2016. The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797379 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism John J Romano A Thesis in the Field of Visual Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 Abstract This thesis investigates the process by which the underline came to be used as the default signifier of hyperlinks on the World Wide Web. Created in 1990 by Tim Berners- Lee, the web quickly became the most used hypertext system in the world, and most browsers default to indicating hyperlinks with an underline. To answer the question of why the underline was chosen over competing demarcation techniques, the thesis applies the methods of history of technology and sociology of technology. Before the invention of the web, the underline–also known as the vinculum–was used in many contexts in writing systems; collecting entities together to form a whole and ascribing additional meaning to the content. -
Amenity Center
AMENITY CENTER Conference Center Café / Tenant Lounge Fitness Center & Bike Room 1 National Press Building Conference Center 529 14th Street N.W. Washington, DC 20045 The National Press Building Conference Center offers a 20,000 SF assembly space for use by its tenants. The facility is located within the National Press Building on the 2nd floor at 529 14th Street, N.W., Washington, DC 20045. The conference center features: • Tenant Lounge • The Sidebar Café • Pantries • Concierge • Three Boardrooms • Two Training Rooms Tenant Lounge Embrace the sleek, modern, and convenient 2,300 SF lounge exclusive to the National Press Building tenants, featuring vibrant colors and finishes. This private tenant lounge serves as the perfect gathering point before, in- between, and after conferences. The lounge features (4) 1080p 70” LED High Definition TV screens that are accompanied by dining tables and chairs, charging docks and work stations. The design also accommodates cozy seating areas and private alcoves. The Sidebar Café The Sidebar Café has partnered with Starbucks® to provide specialty coffee, espresso bar beverages, smoothies, sandwiches, salads, baked items, yogurt and fruit. Take your items to go or dine inside 3,850 square feet of freshly renovated space. Pantry The full functioning pantry accommodates all your catering needs. Concierge Capitol Concierge Inc. provides full concierge services for all tenants, such as catering, ticket booking, dry cleaning, tailoring, and automotive detailing. The concierge is located within the conference center’s reception area. Concierge Phone: (202) 662-7070 Concierge E-Mail: [email protected] Boardrooms Clean lines. Sleek finishes. Contemporary furnishings. The Conference Center’s accessible design influences synergy during engagements and beyond. -
Carlo De Benedetti
30 IVREA AGLIE’• Dai racconti del marito Giovanni, 77 anni. Nel 2005 la moglie è morta colpita da un mesotelioma pleurico. La sentenza d’appello Lucia, ex operaia uccisa dal talco In fabbrica senza alcuna protezione. Mancavano gli impianti di aspirazione "Usava dei rulli pieni di talco, per cui il grembiu - COLPEVOLE RITARDO le che portava a casa, al - Alla Olivetti si sapeva "della pericolosità degli PARTE CIVILE la sera, era tutto bianco. agenti chimici" utilizzati durante la lavora - E prima di entrare lo zione, ma si è provveduto "con colpevole ri - “Lavoro encomiabile” scuoteva". tardo" ad affrontare il problema. "Un lavoro davvero encomiabile, di altissi - La tragedia dell'amian - E' quanto si ricava dalla sentenza con cui la mo livello professionale, portato avanti fra to all'Olivetti è nelle pa - Corte d'appello di Torino condannò l'ex am - mille difficoltà legate alla carenza di organico e role - riferite ai giudici - ministratore delegato, Ottorino Beltrami, alla penuria di mezzi": così l'avvocato Laura di un signore che oggi nel processo - per il caso della morte di una D'Amico descrive l'indagine della procura di ha 77 anni, Giovanni , lavoratrice - che ha originato l'inchiesta che Ivrea sull'amianto negli stabilimenti Olivetti. di Aglié , marito di una oggi coinvolge anche Carlo De Benedetti. D'Amico è stato patrono di parte civile nel donna che nel 2005 processo all'ex amministratore delegato del - morì di un mesotelio - IL TALCO l'azienda Ottorino Beltrami, relativo alla ma pleurico e che una La questione al vaglio dei giudici riguarda morte di una ex dipendente, che ha origina - sentenza della Corte l'esposizione dei lavoratori al talco. -
Mondadori, È La Resa Dei Conti
POLITICA INTERNA La «pax» Carlo Caracciolo ha convocato il consiglio per giovedì Pri il blitz De Benedetti annuncia battaglia con le azioni e gli avvocati capitalista Titoli sospesi, solo domani l'audizione delle parti alla Consob contrasta con «La Cir ha la maggioranza per un aumento di capitale» il libero mercato Walter Veltroni (Pei) contrattacca sulla vicenda Mondadon e definisce «irresponsabile» ta posizio ne dei partiti di governo che hanno impedito per 15 anni il varo di una legge antitrust Dura la posi Mondadori, è la resa dei conti zione del Pn contesta le versioni di Pei e Psi (la Mondadon è tornata alla famiglia) e dichiara as soluta ostilità alla conquista della casa editrice da parte della Fininvest Le reazioni dei sindacati Forse già a gennaio l'assemblea decisiva LucaFormenton §• ROMA. Portavoce della L organo del Pn nega ogni maggioranza cercano di ac fondamento alla versione se Giovedì prossimo il consiglio di amministrazione del pratica denunciando i molti I istituto che da sempre An ton dal consiglio hanno fatto certamente anche una assem D altra parte per questa setti ereditare ancora una sorta di condo la quale la Mondadon la Mondadori convocherà I assemblea ordinaria dei tentativi del presidente della dreotti utilizza come proprio automaticamente scattare la blea straordinaria per detibe mana gli equilibri azionari natalizia favola di Segrate il torna sotto il controllo della soci per la nomina di un nuovo vertice della società Olivetti di raggiungere da solo feudo personale norma prevista dal! articolo rare un -
Type Design for Typewriters: Olivetti by María Ramos Silva
Type design for typewriters: Olivetti by María Ramos Silva Dissertation submitted in partial fulfilment of the requirements for the MA in Typeface Design Department of Typography & Graphic Communication University of Reading, United Kingdom September 2015 The word utopia is the most convenient way to sell off what one has not the will, ability, or courage to do. A dream seems like a dream until one begin to work on it. Only then it becomes a goal, which is something infinitely bigger.1 -- Adriano Olivetti. 1 Original text: ‘Il termine utopia è la maniera più comoda per liquidare quello che non si ha voglia, capacità, o coraggio di fare. Un sogno sembra un sogno fino a quando non si comincia da qualche parte, solo allora diventa un proposito, cio è qualcosa di infinitamente più grande.’ Source: fondazioneadrianolivetti.it. -- Abstract The history of the typewriter has been covered by writers and researchers. However, the interest shown in the origin of the machine has not revealed a further interest in one of the true reasons of its existence, the printed letters. The following pages try to bring some light on this part of the history of type design, typewriter typefaces. The research focused on a particular company, Olivetti, one of the most important typewriter manufacturers. The first two sections describe the context for the main topic. These introductory pages explain briefly the history of the typewriter and highlight the particular facts that led Olivetti on its way to success. The next section, ‘Typewriters and text composition’, creates a link between the historical background and the machine. -
Brother Electronic Typewriter! This Product Is Designed to Deliver Years of Reliable Operation
,-- - brothel~ ELECTRONIC TYPEWRITER USER'S GUIDE AMERICAN '---- - Thank you for choosing a Brother electronic typewriter! This product is designed to deliver years of reliable operation. Some of the outstanding features of this typewriter are illustrated in the letter below. The numbers in brackets refer to the page and bo x where you can find further information explaining a feature. For example, Margins (p.2 , Bo x 3) means that this feature is explained in box 3, on page 2. Ribbon replacement is explained on page 10. Margins (p.2, Box 3) -------t-----.------------------------,. Right Margin Flush (p.6, Box 18) - - -+----------------- 1 "'" "'i • '' Capital (p.4, Box 9) ------ --+--- • ' : Indent (p.6, Box 16) -------+-----.. ~ I I : ' 1 II '·'• I• 111.1 I t)• I ,.,: I I h I),, :1 . j ,• I•!. T iJ i '/ l 11! I! hdV~ tint>~ I Jl !- ,,_..~I 1),. 1 lli d ,-, I y , \·Jitii')J l.' •U ! JtS I I I h· ''d 111'1 IT!~ I J ko-· 11 1 JJ' s _ , '-.7 , inj c;•.; _ r ~,'"" r t J r • .m .._ Jlilfl 1 'hctnqt-_·s I wuu1 I 11 b '/ ,J I q I . I J n Underline (p.5, Box 14) ------t----1~ l..l..'--"1 l.ittt- Subscript (p.4, Box 10) -----..........._ H I' ~~ - Superscript (p.4, Box 10) -----+---~-""~"- Jl JITI ( • H,_l / ~. · Tabs~.5 , Box1~ -------+---------~-------__/ IiI 11•~/ ,.... ·t,_.t ·i! y th1nk t ~l?ndln·.j y·•u •Ur 1 i tr L 111 C.J~~t:' h .... Jij n< t , .:~11 v: m.. · I JlVt 1 ' ' u : Centering (p.6, Box 17) -----~f------- 1 ,,_ • _ · "e ·t,. -
Class Characteristics of Foreign Typewriters and Typefaces David A
Journal of Criminal Law and Criminology Volume 59 | Issue 2 Article 15 1968 Class Characteristics of Foreign Typewriters and Typefaces David A. Crown Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/jclc Part of the Criminal Law Commons, Criminology Commons, and the Criminology and Criminal Justice Commons Recommended Citation David A. Crown, Class Characteristics of Foreign Typewriters and Typefaces, 59 J. Crim. L. Criminology & Police Sci. 298 (1968) This Criminology is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Journal of Criminal Law and Criminology by an authorized editor of Northwestern University School of Law Scholarly Commons. THE JOURNAL OF CRIMINAL LAW, CRIMINOLOGY AND POLICE SCIENCE Vol. 59, No. 2 Copyright © 1968 by Northwestern University School of Law Printed in U.S.A. CLASS CHARACTERISTICS OF FOREIGN TYPEWRITERS AND TYPEFACES DAVID A. CROWN David A. Crown, M. Crim., is a Questioned Document Analyst, U. S. Postal Inspection Service and is currently assigned to the Washington Identification Laboratory. During the time that this article was in preparation Mr. Crown was Assistant Director of the San Francisco Identification Laboratory. He received his Master's degree in Criminology from the University of California, Berkeley where he has continued his graduatestudies toward his D. Crim. Hehas published severalpapers in this and other technical journals and is a fellow in the American Academy of Forensic Sciences and serves as the Secretary of the Questioned Document Section of that Academy.-Enrron. The ever increasing number of foreign made situation did not always obtain. -
The War of Segrate
UNIVERSITY OF SALERNO Humanities Studies Department Ph.D. in Italianistica La letteratura tra ambiti storico-geografici e interferenze disciplinari (curriculum History), XII Cycle - New Series Ph.D. thesis in Contemporary History ABSTRACT The War of Segrate The first clash between Berlusconi and «la Repubblica» Tutor Prof. Luca Polese Remaggi Ph.D. Candidate Vincenzo Alberto Gioia Coordinator Prof. Sebastiano Martelli Academic year 2012-2013 THE WAR OF SEGRATE ABSTRACT The fight between the biggest Italian entrepreneurs of the eight- ies, Silvio Berlusconi and Carlo De Benedetti, it's an exemplar vicissitude of the transition from the First to the Second Italian Republic. In fact in- to the War of Segrate, the financial and judiciary clash happened be- tween the 1984 and the 1991 for the control of the publishing house Mondadori, we find a lot of phenomena typical of the First Republic, from the ambiguous connections between the institutions, the mass me- dia and the political power to the difficult relationships between civil so- ciety and the leading class. At the same time, the War of Segrate has been one of the founding episodes of the Second Republic, characterized by the sunset of the mass party that emerged during the thirties and forties and from the birth of two anomalous parties: the enterprise-party of Berlusconi and the news- paper-party of «la Repubblica». Analyzing the crisis of the mass party, ethical power with thousands of members and a structure similar to the State’s one, we have recognized the necessity of spreading the spectrum of the Italian political history further the traditional history of the par- ties to deal with the study of the seventies, eighties and nineties of the twentieth century. -
Download Free Typewriter Font 14 Fun Fonts to Put a Smile on Your Face
download free typewriter font 14 fun fonts to put a smile on your face. Who doesn't want a bunch of fun fonts to cheer up their projects? The good news is there's almost an endless supply of friendly, happy fonts whirling around the web, and we've picked out the best ones available, for an injection of fun typography into your work. The fun fonts on the list below have a range of price points and have been selected by us – whether that's 'cos they are funny fonts, exciting fonts, friendly fonts or they just make us happy. With the list below, you're sure to be able to find the best fun font for your project (and don't worry – Comic Sans didn't make the cut). If you want something slightly different, then don't miss our selection of top retro fonts, free script fonts or calligraphy fonts. 01. Balgin. Balgin is here to take you back to the '90s for a dose of nostalgic fun. This happy font designed by Cahya Sofyan is formed from basic shapes and is available in three 'flavours' – display, normal and text and six different weights. It supports over 75 languages and we just love its bright and friendly look – the very definition of fun typography. It's available from £7.99. 02. Mohr Rounded. A curvier version of the Mohr typeface, this fun font features soft terminals for a friendly look. The family includes three versions (normal, alt and italic) in a wide range of weights, making it nice and versatile. -
Magnetic Tape Selectric Typewriter
DOCUMENT RESUME ED 112 083 CE 004 849 AUTHOR Pieslak, Raymond F. TITLE Magnetic Tape Selectric Typewriter. INSTITUTION Rutgers, The State Univ., New Brunswick, N.J. Curriculum Lab. SONS AGENCY New Jersey State Dept. of Education, Trenton. Div. of Vocational Education. PUB DATE Jul 74 NOTE 138p. EDRS PRICE MF-$0.76 HC-$6.97 Plus Postage DESCRIPTORS Business Skills; Curriculum Guides; *Office Occupations Education; Post Secondary Education; Secondary Education; *Study Guides; Supplementary Textbooks; *Typewriting ABSTRACT The manual provides students with basic knowledge and practical applications needed in the efficient operation of the IBM Magnetic Tape Selectric Typewriter (MT/ST). It is designed for use as a text by business training students who have already completed one year of typewriting instruction while they are being instructed in the use of the MT/ST. Suggested adjuncts to the use of the manual are teacher demonstrations, visual aids, use of the TEM MT/ST Training Guide, and use of instructor devised supplemental practice. Fifty-eight lessons following the same basic format are provided. For each lesson an information section describes in detail (with illustrations) the part of the machine or procedure being taught. Comprehension is checked through use of an assignment consisting of several completion exercises. Some lessons also include practice experiences which give step-by-step directions in crder to demonstrate a particular procedure on the machine. (Author/MS) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). -
Requirements and Suggestions for Typography in Briefs and Other
REQUIREMENTS AND SUGGESTIONS FOR TYPOGRAPHY IN BRIEFS AND OTHER PAPERS Federal Rule of Appellate Procedure 32 contains detailed requirements for the production of briefs, motions, appendices, and other papers that will be presented to the judges. Rule 32 is designed not only to make documents more readable but also to ensure that different methods of reproduction (and different levels of technological sophistication among lawyers) do not affect the length of a brief. The following information may help you better under- stand Rule 32 and associated local rules. The Committee Note to Rule 32 pro- vides additional helpful information. This section of the handbook also includes some suggestions to help you make your submissions more legible—and thus more likely to be grasped and retained. In days gone past lawyers would send their work to printers, who knew the tricks of that trade. Now composition is in-house, done by people with no education in printing. Some of the printer’s toolkit is simple to use, however. Subsection 5, below, contains these hints. 1. Rule 32(a)(1)(B) requires text to be reproduced with “a clarity that equals or exceeds the output of a laser printer.” The resolution of a laser printer is expressed in dots per inch. First generation laser printers broke each inch into 300 dots vertically and horizontally, creating characters from this 90,000-dot matrix. Second generation laser printers use 600 or 1200 dots per inch in each direction and thus produce a sharper, more easily readable output; commercial typesetters use 2400 dots per inch. Any means of producing text that yields 300 dots per inch or more is ac- ceptable. -
Base Monospace
SPACE PROBE: Investigations Into Monospace Introducing Base Monospace Typeface BASE MONOSPACE Typeface design 1997ZUZANA LICKO Specimen design RUDY VANDERLANS Rr SPACE PROBE: Investigations into Monospace SPACE PROBE: Occasionally, we receive inquiries from type users asking Monospaced Versus Proportional Spacing Investigations Into Monospace us how many kerning pairs our fonts contain. It would seem 1. that the customer wants to be dazzled with numbers. Like cylinders in a car engine or the price earnings ratio of a /o/p/q/p/r/s/t/u/v/w/ Occasionally, we receive inquiries fromstock, type theusers higher asking the number of kerning pairs, the more us how many kerning pairs our fonts contain.impressed It thewould customer seem will be. What they fail to understand /x/y/s/v/z/t/u/v/ that the customer wants to be dazzled iswith that numbers. the art Like of kerning a typeface is as subjective a discipline as is the drawing of the letters themselves. The In a monospaced typeface, such as Base Monospace, cylinders in a car engine or the price earnings ratio of each character fits into the same character width. a stock, the higher the number of kerningfact pairs,that a theparticular more typeface has thousands of kerning impressed the customer will be. What theypairs fail is relative,to understand since some typefaces require more kerning is that the art of kerning a typeface pairsis as thansubjective others aby virtue of their design characteristics. /O/P/Q/O/Q/P/R/S/Q/T/U/V/ discipline as is the drawing of the lettersIn addition, themselves.