Assessing Students' Needs for Assistive Technology (ASNAT)
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Mathematics Clinic Handbook
Mathematics Clinic Mathematics Clinic Handbook 2019 Copyright © 2019 Department of Mathematics, Harvey Mudd College. This material is provided for the sole use of participants in Harvey Mudd College’s Mathematics Clinic program. Any other usage requires prior permission from the Department. 2019 Edition; Revision 1.0. (April 30, 2019) Calendar Note that dates and deadlines are subject to change. Date Description Page September 4 (Tue) Student Orientation Day (4:15 p.m.–5:30 p.m.; 5 Sprague 3) September 4 (Tue) Project Managers Meeting (5:30 p.m.–6:30 p.m. in Sprague 3) September 6–18 Marathon Push (Including Preparation of Your 8 Statement of Work) September 6 (Thu) Clinic/Sponsor Orientation Day (11:00 a.m.– 6 1:00 p.m.; Sprague 3 workrooms) Be prepared to ask your liaisons questions. September 7 (Fri) All Forms Due by 4:00 p.m. to Molly Reeves 5 (SCTL 2404) September Site Visits with Sponsor (Arranged by Teams and 9 Sponsors) September 11 (Tue) Professional Development: Teleconference and 10 Site Visit Etiquette (11:00–12:15 p.m.; Galileo McAlister; Combined with CS) September 18 (Tue) Statement of Work Peer Review (11:00–12:15 p.m.; 8 Sprague 3) Bring Advisor-Previewed Draft. September 18 (Tue) Project Managers Meeting (11:00–12:15 p.m.; Sprague 3) September 20 (Thu) Engineering Career Fair September 21 (Fri) Peer Reviews of Statement of Work Due to Team 8 September 24 (Mon) Advisor-Previewed Project Budget Due to Clinic 53 Director September 25 (Tue) Review Statement of Work According to Slides 10 on Project Management & Planning Sent -
Zapfcoll Minikatalog.Indd
Largest compilation of typefaces from the designers Gudrun and Hermann Zapf. Most of the fonts include the Euro symbol. Licensed for 5 CPUs. 143 high quality typefaces in PS and/or TT format for Mac and PC. Colombine™ a Alcuin™ a Optima™ a Marconi™ a Zapf Chancery® a Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf International® a AMS Euler™ a Marcon™ a Medici Script™ a Shakespeare™ a Zapf International® a Melior™ a Aldus™ a Melior™ a a Melior™ Noris™ a Optima™ a Vario™ a Aldus™ a Aurelia™ a Zapf International® a Carmina™ a Shakespeare™ a Palatino™ a Aurelia™ a Melior™ a Zapf book® a Kompakt™ a Alcuin™ a Carmina™ a Sistina™ a Vario™ a Zapf Renaissance Antiqua® a Optima™ a AMS Euler™ a Colombine™ a Alcuin™ a Optima™ a Marconi™ a Shakespeare™ a Zapf Chancery® Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf international® a AMS Euler™ a Marconi™ a Medici Script™ a Shakespeare™ a Zapf international® a Aldus™ a Melior™ a Zapf Chancery® a Kompakt™ a Noris™ a Zapf International® a Car na™ a Zapf book® a Palatino™ a Optima™ Alcuin™ a Carmina™ a Sistina™ a Melior™ a Zapf Renaissance Antiqua® a Medici Script™ a Aldus™ a AMS Euler™ a Colombine™ a Vario™ a Alcuin™ a Marconi™ a Marconi™ a Carmina™ a Melior™ a Edison™ a Shakespeare™ a Zapf book® aZapf international® a Optima™ a Zapf International® a Carmina™ a Zapf Chancery® Noris™ a Optima™ a Zapf international® a Carmina™ a Sistina™ a Shakespeare™ a Palatino™ a a Kompakt™ a Aurelia™ a Melior™ a Zapf Renaissance Antiqua® Antiqua® a Optima™ a AMS Euler™ a Introduction Gudrun & Hermann Zapf Collection The Gudrun and Hermann Zapf Collection is a special edition for Macintosh and PC and the largest compilation of typefaces from the designers Gudrun and Hermann Zapf. -
System Profile
Steve Sample’s Power Mac G5 6/16/08 9:13 AM Hardware: Hardware Overview: Model Name: Power Mac G5 Model Identifier: PowerMac11,2 Processor Name: PowerPC G5 (1.1) Processor Speed: 2.3 GHz Number Of CPUs: 2 L2 Cache (per CPU): 1 MB Memory: 12 GB Bus Speed: 1.15 GHz Boot ROM Version: 5.2.7f1 Serial Number: G86032WBUUZ Network: Built-in Ethernet 1: Type: Ethernet Hardware: Ethernet BSD Device Name: en0 IPv4 Addresses: 192.168.1.3 IPv4: Addresses: 192.168.1.3 Configuration Method: DHCP Interface Name: en0 NetworkSignature: IPv4.Router=192.168.1.1;IPv4.RouterHardwareAddress=00:0f:b5:5b:8d:a4 Router: 192.168.1.1 Subnet Masks: 255.255.255.0 IPv6: Configuration Method: Automatic DNS: Server Addresses: 192.168.1.1 DHCP Server Responses: Domain Name Servers: 192.168.1.1 Lease Duration (seconds): 0 DHCP Message Type: 0x05 Routers: 192.168.1.1 Server Identifier: 192.168.1.1 Subnet Mask: 255.255.255.0 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: Yes Auto Discovery Enabled: No Ethernet: MAC Address: 00:14:51:67:fa:04 Media Options: Full Duplex, flow-control Media Subtype: 100baseTX Built-in Ethernet 2: Type: Ethernet Hardware: Ethernet BSD Device Name: en1 IPv4 Addresses: 169.254.39.164 IPv4: Addresses: 169.254.39.164 Configuration Method: DHCP Interface Name: en1 Subnet Masks: 255.255.0.0 IPv6: Configuration Method: Automatic AppleTalk: Configuration Method: Node Default Zone: * Interface Name: en1 Network ID: 65460 Node ID: 139 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: -
The Use of Technology in Teaching and Learning
FEEDBACK Feedback regarding the editorial content of this book or any of its essays should be directed toward the individual authors or the book’s editors. They (authors and editors) are solely responsible for the substance of the text. Feedback regarding technical matters of formatting or accessibility of this text via the online environment of the Internet should be directed to the Internet Editor. If you have any complaints or difficulties in accessing these materials, be sure to provide as detailed a description of your problem(s) as you can; you should include information about the browser you are using and the type of computer you are using. COPYRIGHT AND OTHER LEGAL NOTICES The individual essays and chapters contained within this collection are Copyright © 2018 by their respective authors. This collection of essays and chapters as a compendium is Copyright © 2018 Society for the Teaching of Psychology. You may print multiple copies of these materials for your own personal use, including use in your classes and/or sharing with individual colleagues as long as the author’s name and institution, and a notice that the materials were obtained from the website of the Society for the Teaching of Psychology (STP) appear on the copied document. For research and archival purposes, public libraries and libraries at schools, colleges, universities and similar educational institutions may print and store in their research or lending collections multiple copies of this compendium as a whole without seeking further permission of STP (the editors would appreciate receiving a pro forma notice of any such library use). -
13A04806 LINUX PROGRAMMING and SCRIPTING UNIT 4 TCL/ TK SCRIPTING:Tcl Fundamentals, String and Pattern Matching, Tcl Data Struct
13A04806 LINUX PROGRAMMING AND SCRIPTING UNIT 4 TCL/ TK SCRIPTING:Tcl Fundamentals, String and Pattern Matching, Tcl Data Structures ,Control Flow Commands, Procedures and Scope , Evel, Working With UNIX, Reflection and Debugging, Script Libraries, Tk Fundamentals ,Tk by Examples, The Pack Geometry Manager, Binding Commands to X Events, Buttons and Menus, Simple Tk Widgets, Entry and Listbox Widgets Focus, Grabs and Dialogs 13A04806 LINUX PROGRAMMING AND SCRIPTING Tcl - Overview Tcl is shortened form of Tool Command Language. John Ousterhout of the University of California, Berkeley, designed it. It is a combination of a scripting language and its own interpreter that gets embedded to the application, we develop with it. Tcl was developed initially for Unix. It was then ported to Windows, DOS, OS/2, and Mac OSX. Tcl is much similar to other unix shell languages like Bourne Shell (Sh), the C Shell (csh), the Korn Shell (sh), and Perl. It aims at providing ability for programs to interact with other programs and also for acting as an embeddable interpreter. Even though, the original aim was to enable programs to interact, you can find full-fledged applications written in Tcl/Tk. Features of Tcl The features of Tcl are as follows − ∑ Reduced development time. ∑ Powerful and simple user interface kit with integration of TK. ∑ Write once, run anywhere. It runs on Windows, Mac OS X, and almost on every Unix platform. ∑ Quite easy to get started for experienced programmers; since, the language is so simple that they can learn Tcl in a few hours or days. ∑ You can easily extend existing applications with Tcl. -
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. -
When Is Typography Conceptual? Steen Ejlers, the Royal Danish Academy of Fine Arts, School of Architecture
2013 | Volume III, Issue 1 | Pages 1.1-1.10 When is typography conceptual? Steen Ejlers, The Royal Danish Academy of Fine Arts, School of Architecture A conceptual artwork is not necessarily constituted the sentences disappeared in an even vertical/ by exceptional practical skill, sublime execution or horizontal pattern of letters: beautiful and orderly - whatever might otherwise regularly characterize and difficult to access. “fine art”. Instead, the effort is seated in the Both of these strategies of making stone preparatory process of thought – or as Sol Lewitt inscriptions appear strange to our eyes but once put it: “The idea becomes a machine that apparently it must have worked out. And even so! makes art” (LeWitt 1967). The conceptual work of – the everyday frequency of stone inscriptions that art typically speaks primarily to the intellect and not had to be decoded by the ancient Greeks can hardly necessarily to an aesthetic/sensual experience. be likened to the text bombardment, let alone the But what about the notion of “conceptual reading process, that we live with today. Moreover, type”? Could this be, in a way that is analogous to the Greek inscriptions, like the Roman ones of “conceptual art”, typefaces that do not necessarily the same time, consisted solely of capital letters, function by virtue of their aesthetic or functional all of which could, characteristically enough, be qualities but are interesting alone owing to the deciphered when laterally reversed. However, when foregoing idea-development process? Or is a boustrophedon was brought into practice with the typeface which, in its essential idiom, conveys a Latin alphabet’s majuscule and minuscule letters, message or an idea, conceptually? In what follows, I a number of confusing situations could arise and will try to examine these issues by invoking a series of crucial moments in the history of typeface, from antiquity up to the twenty-first century. -
The History of the Johnston Typeface
The history of the Johnston typeface A talk on Edward Johnston’s Underground Lettering – a century of influence on signs and identity by Mike Ashworth Admission Tuesday 3rd April 2012 at 6.30pm Free to SDS members, and to non- members who have booked for the Nearly a century has passed since the commissioning in Seminar 2012: Dateline London. The 1916 by the London Underground group of the Johnston world is coming. Non-members £15. typeface. With this famous ‘sans’ lettering still in use by Entry Transport for London and indeed with it being used as the Entry to all Sign Design Society talks basis for much of the signage for the 2012 Olympics and and events is by ticket only. Space Paralympics, this illustrated talk will take a look back at the is limited, so allocation is on a first introduction of Johnston to the capital’s transport network come, first served basis. If you have and the role it has played in the evolution of the corporate any special requirements please let identity of the Underground and other London transport us know, well in advance. modes. Membership Mike Ashworth is Design & Heritage Manager at London By joining the Society you will receive Underground and is responsible for customer-facing design free entry to our very regular talks, of stations and trains. Previously a curator at the London discounted admission to events and Transport Museum, Mike has worked for the company many other benefits. Join today and for twenty years. come to this talk for free. Tickets Venue Please apply for tickets as soon as The Gallery, 75 Cowcross Street, Farringdon, London, you can and no later than Friday 30th EC1M 6EL March 2012. -
Use One Typeface
01 Flush Left When in doubt, set your type flush left rag right. Why? In western culture, people read from top to bottom, left to right. By justifying type left, the eye is able to find the edge and read copy much more easily. Avoid indenting the first line of a paragraph for this reason. Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 02 Use One Typeface Using two typefaces successfully within a layout requires an understanding of the chosen faces in order to be confident that they are complementary. In general, avoid using two typefaces of the same classification. For example, do not use two sans serif, serif, slab serif or script faces together. The reason—contrast. Stay with one typeface until you have achieved mastery. Helvetica Neue Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 03 Skip A Weight Go from light to bold, or from medium to extra bold when changing font weights. The key to great design is contrast. Slight changes in weight change make it harder for the audience to notice the difference. Try mixing bold for the headline and light for the body copy for greater contrast. Light/Bold Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 04 Double Point Size A good rule of thumb when changing point sizes, is to double or half the point size you are using. -
Identity Standards Identity
Identity Standards Identity PRIMARY SIGNATURE The GPS LifePlan primary signature is custom-gen- erated artwork. Therefore, please reproduce it using only the approved electronic fi les. Any substitution will dilute its impact. The signature may be applied in this format when referencing the overall GPS LifePlan. SECONDARY SYMBOL In conjuction with the primary signature, the symbol can be used to show the colors associated with the GPS LifePlan. Use of this symbol should be used sparingly and only as a supporting element. Specifi c examples include: On t-shirt back, with primary signature on front. Used on pins or buttons during an overall marketing effort, handed out with other branded materials that use the primary signature. Used on the back of a business card, closely cropped to create an abstract pattern. Identity SUB-PLAN SIGNATURES When referencing a specifi c plan, these corresponding signatures should be used at all times. Some good examples as to where these would be used would be a poster or fl yer where only one plan is referenced, or for class/workshop materials for a specifi c sub-plan. On the occasion where you will be talking about multiple subplans, see the following page. THE GPS FORMULA This graphic was created to tell the story behind the GPS LifePlan brand, and can be used wherever an introduction needs to be made. Identity SUB-PLAN LABELS When referencing multiple sub-plans or when space is limited, the following sub-plan labels should be used. This is to avoid becoming too redundant with the primary signature as well provide the sub-plans the ability to be more legible in smaller sized areas. -
Calligraphic Tendencies in the Development of Sanserif Types in the Twentieth Century
Keith Tam 62 Calligraphic tendencies in the development of sanserif types in the twentieth century Abstract Dissertation submitted in Sanserif typefaces are often perceived as something inextricably linked partial fulfillment of the to ideals of Swiss modernism. They are also often thought of as some- requirements for the thing as far as one can get from calligraphic writing. Yet, throughout Master of Arts in Typeface Design, University of the twentieth century and especially in the past decade or so, the design Reading, 2002 of sanserif typefaces have been consistently inspired by calligraphic writing. This dissertation hence explores the relationship between calli- graphic writing and the formal developments of sanserif typefaces in the twentieth century. Although type design is an inherently different dis- cipline from writing, conventions of calligraphic writing did and still do impose certain important characteristics on the design of typefaces that modern readers expect. This paper traces and analyzes the formal devel- opments of sanserif typefaces through the use of written forms. It gives a historical account of the development of sanserif typefaces by charting six distinct phases of sanserif designs that were in some ways informed by calligraphic writing: • Humanist sanserifs: Britain 1900s • Geometric sanserifs: 1920s–30s • Contrast sanserifs: 1920s–50s • Sanserif as a book type: 1960s–80s • Neo-humanist sanserifs: 1990s Three primary ways to create calligraphic writing, namely the broadnib pen, flexible pointed pen and monoline pen are studied and linages drawn to how designers imitate or subvert the conventions of these tools. These studies are put into historical perspective and links made to the contexts of use. -
A Brief History of Typefaces the Invention of Printing Movable Type Was Invented by Johannes Gutenberg in Fifteenth-Century Germany
A brief history of typefaces The invention of printing Movable type was invented by Johannes Gutenberg in fifteenth-century Germany. His typography took cues from the dark, dense handwriting of the period, called “blackletter.” The traditional storage of fonts in two cases, one for majuscules and one for minuscules, yielded the terms “uppercase” and “lowercase” still used today. Working in Venice in the late fifteenth century, Nicolas Jenson created letters that combined gothic calligraphic traditions with the new Italian taste for humanist handwriting, which were based on classical models. )ADMIT)HAVEHADALITTLEWORKDONE 2PCFSU4MJNCBDITUZMFE!DOBE+FOTPO BGUFS/JDPMBT+FOTPOTSPNBOUZQFT ANDTHEITALICSOF,UDOVICODEGLI!RRIGHI DSFBUFEJOmGUFFOUIDFOUVSZ*UBMZ )DONTLOOKADAYOVERFIVEHUNDRED DO) )ADMIT)HAVEHADALITTLEWORKDONE 2PCFSU4MJNCBDITUZMFE!DOBE+FOTPO BGUFS/JDPMBT+FOTPOTSPNBOUZQFT ANDTHEITALICSOF,UDOVICODEGLI!RRIGHI DSFBUFEJOmGUFFOUIDFOUVSZ*UBMZ )DONTLOOKADAYOVERFIVEHUNDRED DO) The Venetian publisher Aldus Manutius distributed inexpensive, small-format books in the late fifteenth and early sixteenth centuries to a broad, international public. His books used italic types, a cursive form that economized printing by allowing more words to fit on a page. This page combines italic text with roman capitals. Integrated uppercase and lowercase typefaces. The quick brown fox ran over lazy d the lazy dog 2 or 3 times. ITC Garamond, 1976 The quick brown fox ran over the lazy d lazy dog 2 or 3 (2 or 3) times. Adobe Garamond, 1986 The quick brown fox ran over the lazy d lazy dog 2 or 3 (2 or 3) times. Garamond Premier Regular, 2005 Garamond typefaces, based on the Renaissance designs of Claude Garamond, sixteenth century Enlightenment and abstraction The painter and designer Geofroy Tory believed that the proportions of the alphabet should reflect the ideal human form.