Viral and Bacterial Diseases of Atlantic Cod Gadus Morhua, Their Prophylaxis and Treatment: a Review

Total Page:16

File Type:pdf, Size:1020Kb

Viral and Bacterial Diseases of Atlantic Cod Gadus Morhua, Their Prophylaxis and Treatment: a Review DISEASES OF AQUATIC ORGANISMS Vol. 71: 239–254, 2006 Published August 30 Dis Aquat Org OPENPEN ACCESSCCESS REVIEW Viral and bacterial diseases of Atlantic cod Gadus morhua, their prophylaxis and treatment: a review Ole B. Samuelsen1,*, Audun H. Nerland1, Trond Jørgensen2, Merete Bjørgan Schrøder2, Terje Svåsand1, Øivind Bergh1 1Institute of Marine Research, PO Box 1870, Nordnes, 5817 Bergen, Norway 2Department of Marine Biotechnology, NFH, University of Tromsø, 9037 Tromsø, Norway ABSTRACT: This review summarises the state of knowledge of both viral and bacterial diseases of Atlantic cod Gadus morhua, and their diagnosis, prophylaxis and treatment. The most important losses have been at the larval and juvenile stages, and vibriosis has long been the most important bacterial disease in cod, with Listonella (Vibrio) anguillarum dominant among pathogenic isolates. Vaccination of cod against pathogens such as L. anguillarum and Aeromonas salmonicida clearly demonstrates that the cod immune system possesses an effective memory and appropriate mecha- nisms sufficient for protection, at least against some diseases. Well-known viruses such as the nodavirus that causes viral encephalopathy and retinopathy (VER), infectious pancreatic necrosis virus (IPNV) and viral haemorrhagic septicaemia virus (VHSV) have been isolated from Atlantic cod and can be a potential problem under intensive rearing conditions. No commercial vaccines against nodavirus are currently available, whereas vaccines against IPNV infections based upon inactivated virus as well as IPNV recombinant antigens are available. A number of investigations of the pharma- cokinetic properties of antibacterial agents in cod and their efficacy in treating bacterial infections have been reviewed. KEY WORDS: Atlantic cod · Diseases · Prophylaxis · Treatment Resale or republication not permitted without written consent of the publisher INTRODUCTION diseases of Atlantic cod, as well as the present knowl- edge on the pharmacokinetics of antibacterial agents, The increased focus on aquaculture of Atlantic cod treatment and prophylaxis. Gadus morhua (Svåsand et al. 2004) has brought renewed attention to the diseases of this species, and to the treatment and prophylaxis of these diseases. OCCURRENCE AND COMMERCIAL PRODUCTION There are many reports on cod diseases, mainly on wild stocks (see for instance the review on vibriosis by Atlantic cod Gadus morhua is one of the best-known Egidius 1987), but a side-effect of domestication of cold-water species in the world, has been traded for a a ‘new’ species is the unavoidable increased focus on millennium on 4 continents (Kurlansky 1999), and has its diseases, their prophylaxis and treatment (Bergh now also become a candidate for aquaculture (Svåsand et al. 2001). et al. 2004). The parasites of Atlantic cod were reviewed by Atlantic cod are distributed on both sides of the Hemmingsen & MacKenzie (2001). This subject is Atlantic. In the west Atlantic, cod are found from Cape therefore not included in this review. The purpose of Hatteras north to the ice edge and, in the east Atlantic, the present paper is to review the viral and bacterial from the Bay of Biscay in the south to the northern part *Email: [email protected] © Inter-Research 2006 · www.int-res.com 240 Dis Aquat Org 71: 239–254, 2006 of the Barents Sea (Bergstad et al. 1987). Atlantic cod light (Hansen et al. 2001), thereby removing an impor- occur as several stocks, each of which has its own dis- tant bottleneck to viable cod farming. After several tinct life-history characteristics and migration patterns years, during which time interest in cod aquaculture (Jakobsson et al. 1994). remained low, a series of new research projects was In European waters, as in the rest of the world, wild launched, and private companies built large-scale stocks of Atlantic cod have declined steadily throughout hatcheries for the rearing of Atlantic cod (Svåsand et the past few decades (Fig. 1). In parallel with the declin- al. 2004). While the previous juvenile production used ing wild stocks, considerable efforts have been put into semi-natural rearing systems, production was now developing Atlantic cod farming (Svåsand et al. 2004). shifted to intensive rearing, which provided more con- This research has its roots as far back as the1880s, when trol over the rearing environment (Fig. 2). attempts were initiated in Norway, the USA and Canada to stock the sea with millions of newly hatched yolk sac larvae. This activity was continued for nearly 90 yr, VIRAL DISEASES AFFECTING ATLANTIC COD although no benefits of the releases were ever deter- mined (Shelbourne 1964, Solemdal et al. 1984). How- Nodaviruses ever, this laid the foundations for later successes in the farming of marine species. Nodaviruses are small viruses (25 to 30 nm) with a From the 1970s onwards, there was renewed interest very simple architecture. The genome consists of 2 in the cultivation of Atlantic cod, both as a species for positive-sense, single-stranded RNA segments: RNA1 farming and for stock enhancement (Dahl et al. 1984). (3100 nt), which encodes the RNA-dependent RNA Finally, in 1983, researchers at the Institute of Marine polymerase responsible for the replication of the Research in Norway managed to produce 70 000 juve- genome, and RNA2 (1400 nt), which encodes the cap- nile cod in a seawater enclosure (Øiestad et al. 1985). In sid protein that builds up the icosahedral capsid into the following years, juvenile Atlantic cod were pro- which the genome is packaged. In addition, there is a duced both for cod farming and for stock enhancement, third RNA segment, RNA3, generated sub-genomi- using seawater enclosures or semi-natural rearing sys- cally from RNA1 and encoding a polypeptide of tems. Interest in cage rearing was, however, less in the unknown function. RNA3 is present only in the late 1980s, due to low profitability, mainly caused by infected cells and is not packaged into the viral parti- early maturation and low prices for cod (Svåsand et al. cles (Mori et al. 1992, Nishizawa et al. 1995, Grotmol et 2004). From 1990 to 1999, the main focus shifted to sea al. 2000, Sommerset & Nerland 2004). ranching. However, sea ranching of Atlantic cod also Viruses with this architecture were first isolated from turned out to be unprofitable (Svåsand et al. 2000), and insects (denoted alpha-nodavirus) (Scherer & Hurlbut further activities were stopped. 1967), later from fish (denoted beta-nodavirus) (Mori et Under culture conditions Atlantic cod mature 2 yr al. 1992) and more recently from Crustacea (Bonami et after hatching. In the late 1990s, researchers at the al. 1997). However, the homologies of the genomes at Institute of Marine Research in Norway succeeded in the nucleotide or amino acid level between the alpha-, postponing the maturation of cod by means of artificial beta-nodaviruses and those isolated from Crustacea are remarkably low. It may therefore be 3000000 that these viruses do not have a common origin, but just happen to have a similar 2500000 organisation. The main target organ for nodavirus 2000000 infection of fish is the central nervous sys- tem (CNS), including the brain, spinal cord 1500000 and retina, where it causes extensive cel- lular vacuolation and neuronal degenera- 1000000 Catch in tonnes tion (Mori et al. 1992). The disease is there- fore referred to as either viral ence- 500000 phalopathy and retinopathy (VER) or viral nervous necrosis (VNN). In general, the 0 clinical signs relate to neurological distor- tion: abnormalities of movement such as 1950 1953 1956 1959 1962 1965 1968 1971 1974 1977 1980 1983 1986 1989 1992 1995 1998 2001 Year uncoordinated swimming, tonic spasms of Fig. 1. Gadus morhus. Wild catch of Atlantic cod in Europe from 1950 to 2005 myotomal musculature, lethargy, change (www.fao.org) of pigmentation and loss of appetite. Samuelsen et al.: Viral and bacterial diseases of Atlantic cod 241 Fig. 2. Gadus morhus. Production of juvenile cod (>10 g) in Norway, UK and Canada. Redrawn from data by Svåsand et al. (2004) Nodavirus infection particularly affects the larval or netic analyses of the variable region of the viral capsid juvenile stages of fish, in which mortality may be very gene (Nishizawa et al. 1995, 1997, Dalla Valle et al. high. In the Atlantic halibut Hippoglossus hippoglos- 2001). sus outbreaks of this disease are most often seen dur- How nodaviruses are transmitted is not fully under- ing first feeding and weaning (40 to 100 d post-hatch- stood. In theory, the virus can be transmitted vertically ing), although yolk-sac stages may also be affected from the broodfish via the eggs or sperm, or may enter (Grotmol et al. 1997, 1999). However, in recent years, the rearing unit through the inlet water or from the significant mortalities have occurred in older fish up to feed and then spread horizontally. Recent reports have harvesting size (Fukuda et al. 1996, LeBreton et al. shown that the virus can persist for a long time in sub- 1997, Aspehaug et al. 1999). clinically infected fish and still be infectious (Johansen The simple organisation of the nodavirus particle et al. 2004). The virus has been detected in gonads and may explain why viruses from this family are able to in association with eggs, and experimental vertical replicate in cells from a variety of species. Aside from transmission has been demonstrated in sea bass (Breuil insect cells, alpha-nodavirus has been shown to be et al. 2002). We have detected very high concentra- able to replicate in mammalian (Ball 1992), plant (Sell- tions of nodavirus in rearing units in which infected ing et al. 1990) and yeast (Price et al. 1996) cells as soon halibut larvae were held, indicating that horizontal as the virus particles have entered the cells. It is the transmission may take place. It is therefore tempting to only virus originating from higher eukaryotic organ- speculate that normal transmission is vertical, from isms that has been found able to replicate in yeast subclinically infected parents to the larvae, and as a cells.
Recommended publications
  • David Glen Smith
    David Glen Smith Fonts of Influence My intentions are to merge a thick poster font with a thinner sans serif in order to produce a Charlesworth {Charlemagne} modern letter. I hope to shift a traditional-based SPHINX OF BLACK QUARTZ JUDGE MY VOW. character into a more fluid, rounded form. (THERE ARE NO LOWERCASE CHARACTERS) The curved letters would be influenced by leaf shapes: curves, barbs, angles all which appear Poster Bodini in nature with radical variation on a simple SPHINX OF BLACK QUARTZ JUDGE MY VOW form. Which will leave room for improvisation as the font progresses. the quick brown fox jumped over the lazy dog Likewise I want to incorporate an sense of hand Helvetica Neue drawn images to allow more creative energy and individualism. SPHINX OF BLACK QUARTZ JUDGE MY VOW the quick brown fox jumped over the lazy dog In the end I would like to use the new version for headers on a developing web site promoting tradional art in diverse manner. Gill Sans SPHINX OF BLACK QUARTZ JUDGE MY VOW the quick brown fox jumped over the lazy dog Font History • Gill Sans • Charlemagne Designer: Eric Gill of United Kingdom The Charlemagne font was designed by Carol Twombly and inspired Born: Brighton, 1882 Died: Uxbridge, 1940 by the 10th century Carolingian manuscripts. Charlemagne has a strong stress and extended serifs that give the capital letters of the Eric Gill studied under the renowned calligrapher, Edward John- font a distinctive charm which can be successfully exploited in adver- son, the designer of the London Underground sans serif typeface.
    [Show full text]
  • Educations Key Accomplishments Yeohyun
    YEOHYUN AHN 4200 University Ave #103, Madison, Wisconsin, 53705 [email protected], 703-475-6291 http://www.yeohyunahn.com http://www.typeandcode.com EDUCATIONS 2007 Maryland Institute College of Art, Baltimore, MD, M.F.A in Graphic Design Specialized in Interactive Media 2001 Ewha Womans University, Seoul, South Korea, M.F.A in Information Design Specialized in Graphic Art 1997 Chungbuk National Universtiy, Cheongju, South Korea, B.S in Computer Science KEY ACCOMPLISHMENTS 2021 Guest Artist Talk, “TYPE+CODE Series,” and Workshop, “Floral Typography+ CODE,”, Visual Communication Design, School of Art Institute of Chicago, Chicago, IL Presented, “TYPE+CODE Series,” Design and the Environment Session, C.A.A. (College Art Association Conference), N.Y.C., NY Panel Co-chair, “Social Exclusion in New Media Art/Design,” CAA Annual Conference: Services to Artists Media Lounge, N.Y.C., NY Organizer, Moderator, and Panelist, ”Crossing Boundaries”, AIGA DEC (Design Educator’s Community) Panel, Virtual Organizer, Moderator, and Panelist, “Transdisciplinary Graphic Design and Art Research and Practices,” DEL in Between, N.Y.C., NY Presented, “Developing a Generative Typography System for Typography Education,” Atypi Technology Forum, Virtual, Solo Exhibition, “O Antiphons + CODE,” Komechak Art Gallery, www.virtualkomechak.org,Benedictine University, Lisle, IL Solo Exhibition and Artist Talk, “TYPE PORTRAIT,” Brooks Steven Gallery, Milwaukee Art Institute of Art & Design, Milwaukee, WI Solo Exhibition, “TYPE + CODE Series,” Transpace Gallery, Woonsook Kim School of Art, Illinois State University Guest Artist Talk, “TYPE PORTRAIT,” Brooks Steven Gallery, Milwaukee Art Institute of Art & Design, Milwaukee, WI Guest Artist Talk and Workshop, “Floral Typography + CODE”, Art Department, University of Georgia, Athens, Georgia Guest Artist Talk, Workshop, Senior Portfolio Review and Juror for Student Annual Competition, Graphic Design Program, School of Art, Illinois State University Plenary Talk, “Social Homelessness on U.S.
    [Show full text]
  • Unexploded Ordnance
    ¶ unexploded ordnance this is A fAnzine published for distribution at Corflu XXX, on the first weekend of May 2013, by John D. Berry, 525 19th Avenue East, Seattle WA 98112. Fact and fiction about the editor can be found online at johndberry.com, and he can be reached digitally as [email protected]. Misusers of Google should keep in mind that he is not the country-music singer, nor is he the retired Native American studies scholar, nor the author of several books on the mechanics of helicopter rotors. He is, however, the guy who writes about type a lot. everybody’s doing it. I know, that’s I never mailed out the majority of the not really a good excuse, but it does seem copies. It was a big issue, at least for me: as though a remarkable number of Old & 32 mimeo’d pages, with a cover by some Tired science- fiction fans have thrown off guy named Dan Steffan and a back cover their lethargy lately and published actual by Harry Bell; half of those pages were fanzines, many of them even printed on letters on the previous issue. Hitchhike paper. Who am I to resist the siren call had become something of a dialog about of print? After getting sucked into fan- the counterculture of the 1970s, and zine-publishing again through the back that conversation dominates the letter- door, by designing and producing the column. (There is also a one-page piece two Progress Reports for Corflu XXX, by Felice Rolfe that is the funniest take I find that my typing fingers are all poised on cookbooks I have ever read, much less and ready to play.
    [Show full text]
  • In This Issue: IDI Design Awards 2010 Atypi - the Word Offset 2010 Una Burke
    A publication from the IDI Issue 3 November 2010 In this Issue: IDI Design Awards 2010 AtypI - The Word Offset 2010 Una Burke ratio: 1 A publication by the Institute of Designers in Ireland Issue 3, November 2010. 2 :ratio www.idi-design.ie Welcome: The summer months have rapidly disappeared. Having had a little time to recharge our batteries with well earned holiday breaks, it has been all systems go in preparation for the busiest period in the Institute of Designers in Ireland annual calendar. We are close to concluding the selection annual design awards in both the professional and graduate design competitions. The Design Awards and Design Week Committee’s are working extremely hard to ensure we highlight and promote the very best of Irish design through an expansive range of exciting events in October and November. In late June we juried well over one hundred entries in the 2010 Graduate Design Awards. A significant number of design Derek McGarry MIDI entries were highly commended in addition to the selection of President, Institute of Designers in Ireland the category awards and Grand Prix winner. The range of work varied quite considerably throughout the competition with You may be aware that Dublin City Council has been holding visual communication and product design being the most well a series of design think-tank meetings in recent months. represented disciplines. It is always interesting to try to spot Collaborating with a diverse group of design industry current trends being investigated by the students and colleges. professionals they are discussing the possibility of Dublin Last year we saw a dramatic increase in medical devices being designated the World Capitol of Design in 2014.
    [Show full text]
  • Conference Programme
    conference programme 3rd international conference on typography and visual communication 18 – 24.06.2007 university of macedonia thessaloniki, greece UNIVERSITY OF MACEDONIA PRESS ALTERVISION DEPARTMENT OF TYPOGRAPHY & GRAPHIC COMMUNICATION UNIVERSITY OF READING UK ASSOCIATION TYPOGRAPHIQUE INTERNATIONALE THESSALONIKI DESIGN MUSEUM REDFISH Dear friends and colleagues, It is my pleasure to welcome you to our 3rd Once again, ICTVC will host top-level speakers, International Conference on Typography & Visual both professionals and academics, from Greece Communication. ICTVC is part of a programme and the international scene. Their presence that has been on the cards since the end of guarantees the high level and success of the the eighties, aiming to develop education and event, and their contribution is expected to spark research in typography, as well as advance debate and reflection on the developments in typographic practice in Greece. This effort has research, education, and practice in typography. exceeded the modest boundaries of Greece, Parallel events will include workshops, culminating in the two international conferences demonstrations by companies active in these of 2002 and 2004, which put Thessaloniki on the fields, round-table discussions, debates, worldwide typographic map. exhibitions, competitions, and promotion of new technologies in typography and visual ICTVC is now established worldwide as a major communication. event in the field of typographic design and production, communication, and publishing. As Throughout its duration the conference will a headline event characterised by the high level enrich the cultural life of Thessaloniki, as well as of organisation, the quality of presentations, Greece, by placing them at the centre of interest workshops, and exhibitions, the Conference for the international typography and visual is a focal point for professionals in design and communication community.
    [Show full text]
  • Are You BLIND?! Regulating Accessibility in Print
    Are you BLIND?! Regulating These notes sum up research and experience in designing paper documents for visually impaired people. Written in September 2001, they are based on recommendations from the Royal National Institute for the accessibility in print Blind, The Lighthouse Inc, other research and, where there is no better guide, our own taste and prejudice. Mark Barratt typography for visually impaired people typeface The choice of typeface is less important than contrast, type size, weight and the spacing of characters. Quirky, unusual, script and titling faces are obviously highly inappropriate for legible continuous text. There is no valid research to support the preference for a sans serif typeface (such as Arial or Helvetica) over a seriffed one (such as Times or Century). Seriffed faces are regarded as more ‘readable’ in continuous text for regular reading. This may equally apply to large print texts. type size 16pt Arial 16pt Perpetua For the partially sighted 9–12 pt type (or an average x-height of 2.5mm) is suggested as a minimum by RNIB. Sometimes 16pt may be needed by some The point size of a typeface is not the same as its apparent size visually impaired readers. These recommendations obviously depend upon the typeface and weight used. For the general reader type sizes between 8 and 10pt are frequently used. The RNIB aims to set all its texts for usual readers in 12pt. Remember that different types with the same ‘point size’ have different appearing sizes. The effective size of a typeface is actually related to the height of the lowercase x.
    [Show full text]
  • 20Th Century Type Designers
    . IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN Alessandro Segalini, Dept. of Communication Design: alessandro.segalini @ ieu.edu.tr — homes.ieu.edu.tr/~asegalini TYPOGRAPHIC DESIGN 2oth century Type Designers Frederic W. Goudy (1865-1947) Frederic W. Goudy (1865-1947) Goudy was the oldest, one of the most prolific and dedicated of the great innovative type designers Bruce Rogers (1870-1957) of the last century, his remained fonts place him among the handful of designers who have changed the look of the types we read. Born in Bloomington, Illinois, at the age of 24 moved to Chicago and began a series of clerking jobs, then set up a freelance lettering artist for a number of stores, and later Rudolf Koch (1876-1934) got a teaching position at the Frank Holme School of illustration as a lettering tutor. He was him- self becoming increasingly fired by craft ideals. Commisioned by the America Lanston Monotype William Addison Dwiggins (1880-1956) designed the typeface called 38-E after his early designs Camelot, Pabst, Village, Copperplate Gothic, Kennerly and Forum titling. On 1945 ATF cut and produced the face designed on 1915 now known as Goudy Old Style. Goudy had a native American immunity to the austere European view on typogra- Eric Gill (1882-1940) phy; his types are individual, always recognisable. Stanley Morison (1889-1967) Bruce Rogers (1870-1957) Rogers was a book designer whose attention to the minutiæ of his work led him occasionally to the Giovanni Mardersteig (1892-1977) design of type, at the point that his major achievement in this field, Centaur, has been described by Prof.
    [Show full text]
  • Craig Eliason, Ph.D. Professor, Modern Art, University of St
    Craig Eliason, Ph.D. Professor, Modern Art, University of St. Thomas 2115 Summit Ave. Mail #44C, Saint Paul, MN 55105 [email protected] | typeprofessor.com t: 651 962 5595 f: 651 962 5861 Education Ph.D., Art History Rutgers University, New Brunswick, NJ, January 2002 Dissertation: “The Dialectic of Dada and Constructivism: Theo van Doesburg and the Dadaists, 1920–1930” M.A., Art History Rutgers University, New Brunswick, NJ, January 1996 B.A. magna cum laude, Fine Arts Amherst College, Amherst, MA, May 1991 Professional experience Professor, Dept. of Art History, University of St. Thomas, 2017–present Associate Professor, Dept. of Art History, University of St. Thomas, 2008–2017 Assistant Professor, Dept. of Art History, University of St. Thomas, 2002–2008 Service positions Chair of the Faculty, University of St. Thomas, 2018–2019 Director of Graduate Studies, MA in Art History program, University of St. Thomas, 2006–7, 2016 Publications “Type Design in the Museum: Acquiring the Immaterial.” Typographica. https://typographica. org/on-typography/type-design-in-the-museum-acquiring-the-immaterial/ (posted April 15, 2021). “Okay” [typeface review] Typographica. https://typographica.org/typeface-reviews/okay/ (posted December 31, 2020). “Export” [typeface review] Typographica. http://typographica.org/typeface-reviews/export/ (posted October 12, 2018). “Pathos” [typeface review] Typographica. http://typographica.org/typeface-reviews/pathos/ (posted July 5, 2017). “‘Transitional’ Typefaces: The History of a Typefounding Classification,” Design Issues 31 no. 4 (Autumn 2015): 30–43. “A History of the ‘Humanist’ Type Classification,” Printing History new series no. 18 (July 2015): 3–26. “Roger Excoffon et la Fonderie Olive by Sandra Chamaret, Julien Gineste, and Sébastien Morlighem” [book review] Design and Culture 4 no.
    [Show full text]
  • Pr Pbl Em of Being Atypi Cal Both in Terms Af Its Geomor Phol Ogy »«D
    CHAPTER 3 THE STATE OP HAWAZZ AND ZTS PZSHERT RESOURCES Thi.s chapter turns away from the discussion on the Magnuson Fishery Conservation and Management Act MFCMA! and national mandates f or the management of U. S. f ishery resources the political factors--to environmental factors related to Hawaii's fishery resources. The discussion is centered on the state'8 unique geologic features and the pr pbl em of being atypi cal both in terms af its geomorphol ogy and the makeup of its fishery resources. The policies set in motion by the MFCMAand the Department of Commerce do not readily fit the uniqueness of insular f isheries great diversity and small populations of individual species! nor the fact that Hawaii's principal coastal fisheries are tunas. The Hawaiian archipelago spans an amazing l400 miles, and is slightly under 2,400 air miles f rom California, the nearest state. Besides its geographical isolation, Hawaii' s coastal fishery resources are unlike those found along the continental coasts of the United States. Perhaps most impor- tant to the present study is the discovery by the S-year re- s+arch program on the resources of the Northwestern Hawaiian NRHX! that, in addition to being tightly inter-re- »«d through their food web, the habitat of many species of 69 marine fauna encompasses the entire archipelago.l This provides some basis for the argument that the Hawaiian islands are indeed a single marine ecosystem and that manage- ment of Hawaii's fisheries should be based on the total eco- system, rather than on a species approach or on artif icial pol itical boundaries.
    [Show full text]
  • Ecological Restoration in the Czech Republic
    Ecological restoration in the Czech Republic Editors Ivana Jongepierová, Pavel Pešout, Jan Willem Jongepier & Karel Prach Ecological restoration in the Czech Republic Editors Ivana Jongepierová, Pavel Pešout, Jan Willem Jongepier & Karel Prach Nature Conservation Agency of the Czech Republic Prague 2012 Front cover photograph: — Šumava foothills near Želnava. (Z. Patzelt) Back cover photographs: — Raking hay in Javorůvky NR, Bílé Karpaty PLA. (J.W. Jongepier) — Disturbing sites with Gentianella lutescens, Pod Hribovňou NR, Bílé Karpaty PLA. (I. Jongepierová) — Removing eutrophic soil layers, Váté písky NR, Bzenec. (I. Jongepierová) — Sheep grazing in Central Bohemian Uplands (České středohoří) PLA. (J. Marešová) — Elimination of scrub in Vápenice NR, Velký Kosíř Nature Park. (Archive ZO ČSOP Hořepník) Editors Ivana Jongepierová, Pavel Pešout, Jan Willem Jongepier & Karel Prach Reviewers Ladislav Miko Tomáš Kučera Graphic design David Jongepier Printed by Boma Print, Kyjov *is publication was issued on the occasion of the 8th European Conference on Ecological Restoration held in České Budějovice (Budweis) 9–14 September 2012. Published by Nature Conservation Agency of the Czech Republic, © AOPK ČR ISBN 978-80-87457-31-3 CATALOGUING-IN-PUBLICATION – NATIONAL LIBRARY OF THE CZECH REPUBLIC Ecological restoration in the Czech Republic / editors Ivana Jongepierová ... [et al.]. – Prague : Nature Conservation Agency of the Czech Republic, 2012. – 147 p. : ill. ISBN 978-80-87457-32-0 (pbk.) 502.5+712 * 502.174 * 502.171:574.4/.5 * 502.171:574.2 * (437.3) — landscape assessment – Czechia — restoration ecology – Czechia — ecosystem management – Czechia — habitat protection – Czechia — case studies 363.7 – Environmental protection [2] Contents Foreword . .6 Introduction . .7 Nomenclature, abbreviations and explanatory notes .
    [Show full text]
  • Type Designers
    . IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN TYPOGRAPHIC DESIGN Alessandro Segalini, Department of Visual Communication Design: http://homes.ieu.edu.tr/asegalini RESEARCH th 2o century Type Designers 1. Frederic W. Goudy (1865-1947) Frederic W. Goudy (1865-1947) Goudy was the oldest, one of the most prolific and dedicated of the great innovative type designers 2. of the last century, his remained fonts place him among the handful of designers who have changed Bruce Rogers (1870-1957) the look of the types we read. Born in Bloomington, Illinois, at the age of 24 moved to Chicago and 3. began a series of clerking jobs, then set up a freelance lettering artist for a number of stores, and later Rudolf Koch (1876-1934) got a teaching position at the Frank Holme School of illustration as a lettering tutor. He was him- 4. self becoming increasingly fired by craft ideals. Commisioned by the America Lanston Monotype William Addison Dwiggins (1880-1956) designed the typeface called 38-E after his early designs Camelot, Pabst, Village, Copperplate Gothic, Kennerly and Forum titling. On 1945 ATF cut and produced the face designed on 1915 now known as 5. Goudy Old Style. Goudy had a native American immunity to the austere European view on typogra- Eric Gill (1882-1940) phy; his types are individual, always recognisable. 6. Stanley Morison (1889-1967) Bruce Rogers (1870-1957) Rogers was a book designer whose attention to the minutiæ of his work led him occasionally to the 7. design of type, at the point that his major achievement in this field, Centaur, has been described by Giovanni Mardersteig (1892-1977) Prof.
    [Show full text]
  • Counter! That Little Exclamation Point Says It All
    TYPECON 2017 BOSTON, MA AUG. 23–27 COUN PRESENTED BY THE SOCIETY OF TYPOGRAPHIC AFICIONADOS TER! Typekit Welcome Everyone! If you’re a returning attendee, thanks for choosing to spend time with us again. If it’s your frst time at TypeCon, get ready for a wonderful program and time with a fantastic and support- ive group of people here in Boston. Boston. One of the oldest and storied cities in the United States. An ever-expanding center of education, research, and culture, Boston was a seminal locale for so many aspects of the American Revolution. It is apt that our declaration, our theme of this year’s conference is Counter! That little exclamation point says it all. In a time where every news cycle, every tweet may challenge our sense of security, acceptance, freedom, and the liberties we all deserve, it is important that we can come together as friends, as devotees of type and lettering and all its iterations to celebrate our common threads of humanity and creativity. The presenters and workshop leaders this year, who give of their time and knowledge, comprise such a wonderful array of people and topics. It’s humbling and inspiring to see how each year’s conference evolves to better refect and represent the creative community we operate in. Diversity in experience, diversity in message, diversity in purpose. I encourage you all to embrace that notion this year and the years to come. Help TypeCon perpetuate growth and improve year after year. Let’s press further to counter the divisiveness we see in our society with a sense of wonder and appreciation for the talent and innovation before us.
    [Show full text]