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FDA Visual Identity Guidelines September 27, 2016 Introduction: FDA, ITS VISUAL IDENTITY, and THIS STYLE GUIDE
FDA Visual Identity Guidelines September 27, 2016 Introduction: FDA, ITS VISUAL IDENTITY, AND THIS STYLE GUIDE The world in which the U.S. Food and Drug Administration Therefore, the agency embarked on a comprehensive (FDA) operates today is one of growing complexity, new examination of FDA’s communication materials, including an challenges, and increased risks. Thanks to revolutionary analysis of the FDA’s mission and key audiences, in order to advances in science, medicine, and technology, we have establish a more unified communications program using enormous opportunities that we can leverage to meet many consistent and more cost-effective pathways for creating and of these challenges and ultimately benefit the public health. disseminating information in a recognizable format. This has resulted in what you see here today: a standard and uniform As a public health and regulatory agency that makes its Visual Identity system. decisions based on the best available science, while maintaining its far-reaching mission to protect and promote This new Visual Identity program will improve the the public health, FDA is uniquely prepared and positioned to effectiveness of the FDA’s communication by making it much anticipate and successfully meet these challenges. easier to identify the FDA, an internationally recognized, trusted, and credible agency, as the source of the information Intrinsically tied to this is the agency’s crucial ability to being communicated. provide the public with clear, concise and accurate information on a wide range of important scientific, medical, The modern and accessible design will be used to inspire how regulatory, and public health matters. we look, how we speak, and what we say to the people we impact most. -
Supreme Court of the State of New York Appellate Division: Second Judicial Department
Supreme Court of the State of New York Appellate Division: Second Judicial Department A GLOSSARY OF TERMS FOR FORMATTING COMPUTER-GENERATED BRIEFS, WITH EXAMPLES The rules concerning the formatting of briefs are contained in CPLR 5529 and in § 1250.8 of the Practice Rules of the Appellate Division. Those rules cover technical matters and therefore use certain technical terms which may be unfamiliar to attorneys and litigants. The following glossary is offered as an aid to the understanding of the rules. Typeface: A typeface is a complete set of characters of a particular and consistent design for the composition of text, and is also called a font. Typefaces often come in sets which usually include a bold and an italic version in addition to the basic design. Proportionally Spaced Typeface: Proportionally spaced type is designed so that the amount of horizontal space each letter occupies on a line of text is proportional to the design of each letter, the letter i, for example, being narrower than the letter w. More text of the same type size fits on a horizontal line of proportionally spaced type than a horizontal line of the same length of monospaced type. This sentence is set in Times New Roman, which is a proportionally spaced typeface. Monospaced Typeface: In a monospaced typeface, each letter occupies the same amount of space on a horizontal line of text. This sentence is set in Courier, which is a monospaced typeface. Point Size: A point is a unit of measurement used by printers equal to approximately 1/72 of an inch. -
June 2015 Broadside
T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff. -
Copyrighted Material
INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets, -
"B" Wing Renovations
SCC - Jack A. Powers Building “B” Wing Renovation OSE # H59-6148-JM-B SPARTANBURG, SC SPARTANBURG COMMUNITY COLLEGE BID REVIEW 04.12.2021 MPS PROJECT #020041.00 2020 Edition TABLE OF CONTENTS PROJECT NAME: SCC Jack A. Powers Building "B" Wing Renovation PROJECT NUMBER: H59-6148-JM-B SECTION NUMBER OF PAGES Table of Contents .........................................................................................................................................2 SE-310, Invitation for Design-Bid-Build Construction Services..............................................................1 AIA Document A701 Instructions to Bidders South Carolina Division of Procurement Services, Office of State Engineer Version.........................13 Bid Bond (AIA A310 or reference) .............................................................................................................1 SE-330, Lump Sum Bid Form.....................................................................................................................6 AIA Document A101 Standard Form of Agreement between Owner and Contractor South Carolina Division of Procurement Services, Office of State Engineer Version...........................9 AIA Document A201 General Conditions of the Contract for Construction South Carolina Division of Procurement Services, Office of State Engineer Version.........................49 G702-1992 Application & Certification for Payment - Draft ..................................................................1 G703-1992 Continuation Sheet - Draft.......................................................................................................1 -
Vehicle Color Recognition Using Convolutional Neural Network
Vehicle Color Recognition using Convolutional Neural Network Reza Fuad Rachmadi∗ and I Ketut Eddy Purnamay Department of Multimedia and Networking Engineering Institut Teknologi Sepuluh Nopember, Surabaya, Indonesia 60111 Email: ∗[email protected], [email protected] Abstract—Vehicle color information is one of the important with some ROI configuration as features and neural network elements in ITS (Intelligent Traffic System). In this paper, we as classifier. Baek et al. [8] also use 2D histogram but without present a vehicle color recognition method using convolutional ROI configuration and SVM as classifier. Another approach neural network (CNN). Naturally, CNN is designed to learn is described by Son et al. [9] which using convolution kernel classification method based on shape information, but we proved to extract similarity between positive and negative images and that CNN can also learn classification based on color distribution. then feed up those similarity score to SVM classifier. In our method, we convert the input image to two different color spaces, HSV and CIE Lab, and run it to some CNN Color spaces are very important to color recognition ap- architecture. The training process follow procedure introduce by plications, like vehicle color recognition. The selection of Krizhevsky, that learning rate is decreasing by factor of 10 after color space will impact the recognition performance. The most some iterations. To test our method, we use publicly vehicle color usable color space in digital photography is RGB color space, recognition dataset provided by Chen. The results, our model outperform the original system provide by Chen with 2% higher but RGB color space has problem to color recognition because overall accuracy. -
General Assembly Presents: Visual Design Hacking Mini- Bootcamp
General Assembly Presents: Visual Design Hacking Mini- Bootcamp Design Principles: Layout Graphic Type Color Layout Graphic Typography Typefaces Everlane Facebook Color Color meaning Swarm Gilt Case studies Pintrest Dorkfood AirBnB Resources Design Principles: Layout Graphic Type Color Layout Contrast, alignment, repetition, proximity Hierarchy - up down, left right, size Pre-made grids help with alignment - eg. Sketch (good for UI Design) Grid, hierarchy, repetition, contrast, proximity, alignment Graphic Lines - pretty much about lines when grid - lines impact design hugely Shapes too - buttons ... Textures - faded background, blur look Icons Photography and illustration - visual interest for design. Stock photos a lot better - unsplash.com, depth of stock photo, ... Typography Graphic design in itself Font vs typeface - typeface the archetype, font - the kinds, eg. regular, medium, bold, ... Helvetica Neue - online version of helvetica proxima nova, open sans, avenir, lato good too futura, tahoma, myraid, arial a bit boxy but good online type connection - http://www.typeconnection.com/ Typefaces White/black or Grey - contrast Slight grey or off-white may be less start and easier on the eye fontsquirrel - free fonts fontfox - game to guess typefaces Everlane Example - less copy on mobile - everlane custom font like blair mtv - a sans serif as logo type and a serif as body but works well Facebook Only helvetica Neue - keep it simple, focus on content not type With font, use same family, weights, opacity ... on site Color Color theory - combining colors that work well together on the color wheel Complementary colors are opposite on the color wheel Analogous colors - close adobe kulor https://color.adobe.com/create/color-wheel/ Use RGB when seeing online, emails - CYMK better for print Color meaning look into colors and how perceived in different cultures warm colors, cool colors, red strong, more of an accent color - subconscious effect red - anger, passion, love, .. -
Booklet & CD Design & Typography: David Tayler Cover Art: Adriaen Coorte
Voices of Music An Evening with Bach An Evening with Bach 1. Air on a G string (BWV 1069) Johann Sebastian Bach (1685–1750) 2. Schlummert ein (BWV 82) Susanne Rydén, soprano 3. Badinerie (BWV 1067) Dan Laurin, voice flute 4. Ich folge dir gleichfalls (St. John Passion BWV 245) Susanne Rydén, soprano; Louise Carslake, baroque flute 5. Giga (BWV 1004) Dan Laurin, recorder 6. Schafe können sicher weiden (BWV 208) Susanne Rydén, soprano 7. Prelude in C minor (BWV 871) Hanneke van Proosdij, harpsichord 8. Schlafe mein Liebster (BWV 213) Susanne Rydén, soprano 9. Prelude in G major (BWV 1007) David Tayler, theorbo 10. Es ist vollbracht (St. John Passion BWV 245) Jennifer Lane, alto; William Skeen, viola da gamba 11. Sarabanda (BWV 1004) Elizabeth Blumenstock, baroque violin 12. Kein Arzt ist außer dir zu finden (BWV 103) Jennifer Lane, alto; Hanneke van Proosdij, sixth flute 13. Prelude in E flat major (BWV 998) Hanneke van Proosdij, lautenwerk 14. Bist du bei mir (BWV 508) Susanne Rydén, soprano 15. Passacaglia Mein Freund ist mein J.C. Bach (1642–1703) Susanne Rydén, soprano; Elizabeth Blumenstock, baroque violin Notes The Great Collectors During the 1980s, both Classical & Early Music recordings underwent a profound change due to the advent of the Compact Disc as well as the arrival of larger stores specializing in music. One of the casualties of this change was the recital recording, in which an artist or ensemble would present an interesting arrangement of musical pieces that followed a certain theme or style—much like a live concert. Although recital recordings were of course made, and are perhaps making a comeback, most recordings featured a single composer and were sold in alphabetized bins: B for Bach; V for Vivaldi. -
Web Typography │ 2 Table of Content
Imprint Published in January 2011 Smashing Media GmbH, Freiburg, Germany Cover Design: Ricardo Gimenes Editing: Manuela Müller Proofreading: Brian Goessling Concept: Sven Lennartz, Vitaly Friedman Founded in September 2006, Smashing Magazine delivers useful and innovative information to Web designers and developers. Smashing Magazine is a well-respected international online publication for professional Web designers and developers. Our main goal is to support the Web design community with useful and valuable articles and resources, written and created by experienced designers and developers. ISBN: 978-3-943075-07-6 Version: March 29, 2011 Smashing eBook #6│Getting the Hang of Web Typography │ 2 Table of Content Preface The Ails Of Typographic Anti-Aliasing 10 Principles For Readable Web Typography 5 Principles and Ideas of Setting Type on the Web Lessons From Swiss Style Graphic Design 8 Simple Ways to Improve Typography in Your Designs Typographic Design Patterns and Best Practices The Typography Dress Code: Principles of Choosing and Using Typefaces Best Practices of Combining Typefaces Guide to CSS Font Stacks: Techniques and Resources New Typographic Possibilities with CSS 3 Good Old @Font-Face Rule Revisted The Current Web Font Formats Review of Popular Web Font Embedding Services How to Embed Web Fonts from your Server Web Typography – Work-arounds, Tips and Tricks 10 Useful Typography Tools Glossary The Authors Smashing eBook #6│Getting the Hang of Web Typography │ 3 Preface Script is one of the oldest cultural assets. The first attempts at written expressions date back more than 5,000 years ago. From the Sumerians cuneiform writing to the invention of the Gutenberg printing press in Medieval Germany up to today՚s modern desktop publishing it՚s been a long way that has left its impact on the current use and practice of typography. -
Underscore: Musical Underlays for Audio Stories
UnderScore: Musical Underlays for Audio Stories Steve Rubin∗ Floraine Berthouzoz∗ Gautham J. Mysorey Wilmot Liy Maneesh Agrawala∗ ∗University of California, Berkeley yAdvanced Technology Labs, Adobe fsrubin,floraine,[email protected] fgmysore,[email protected] ABSTRACT volume Audio producers often use musical underlays to emphasize emphasis point key moments in spoken content and give listeners time to re- speech ...they were nice grand words to say. Presently she began again: ‘I wonder... flect on what was said. Yet, creating such underlays is time- change point consuming as producers must carefully (1) mark an emphasis point in the speech (2) select music with the appropriate style, (3) align the music with the emphasis point, and (4) adjust music dynamics to produce a harmonious composition. We present music pre-solo music solo music post-solo UnderScore, a set of semi-automated tools designed to fa- Figure 1. A musical underlay highlights an emphasis point in an audio cilitate the creation of such underlays. The producer simply story. The music track contains three segments; (1) a music pre-solo marks an emphasis point in the speech and selects a music that fades in before the emphasis point, (2) a music solo that starts at track. UnderScore automatically refines, aligns and adjusts the emphasis point and plays at full volume while the speech is paused, the speech and music to generate a high-quality underlay. Un- and (3) a music post-solo that fades down as the speech resumes. At the beginning of the solo, the music often changes in some significant way derScore allows producers to focus on the high-level design (e.g. -
Typestyle Chart.Pub
TYPESTYLE CHART This is an abbreviated list of the typestyles available from 2/90. ADA fonts are designated with either one or two asterisks. Those with two asterisks comply with ANSI A.117.1 standards for enhanced readability of tactile signage elements. Use typestyle abbreviations in parentheses when placing an order. For additional fonts not on this list, contact Customer Service at 800.777.4310. Albertus (ALC) Commercial Script Connected (CSC) Americana Bold (ABC) *Compacta Bold®2 (CBL) Anglaise Fine Point (AFP) Engineering Standard (ESC) *Antique Olive Nord (AON) *ITC Eras Medium®2 (EMC) *Avant Extra Bold (AXB) *Eurostile Bold (EBC) **Avant Garde (AGM) *Eurostile Bold Extended (EBE) *BemboTM1 (BEC) **Folio Light (FLC) Berling Italic (BIC) *Franklin Gothic (FGC) Bodoni Bold (BBC) *Franklin Gothic Extra Condensed (FGE) Breeze Script Connecting (BSC) ITC Friz Quadrata®2 (FQC) Caslon Adbold (CAC) **Frutiger 55 (F55) Caslon Bold Condensed (CBO) Full Block (FBC) Century Bold (CBC) *Futura Medium (FMC) Charter Oak (COC) ITC Garamond Bold®2 (GBC) City Medium (CME) Garth GraphicTM3 (GGC) Clarendon Medium (CMC) **Gill SansTM1 (GSC) TYPESTYLE CHART (CON’T) Goudy Bold (GBO) *Optima Semi Bold (OSB) Goudy Extra Bold (GEB) Palatino (PAC) *Helvetica Bold (HBO) Palatino Italic (PAI) *Helvetica Bold Condensed (HBC) Radiant Bold Condensed (RBC) *Helvetica Medium (HMC) Rockwell BoldTM1 (RBO) **Helvetica Regular (HRC) Rockwell MediumTM1 (RMC) Highway Gothic B (HGC) Sabon Bold (SBC) ITC Isbell Bold®2 (IBC) *Standard Extended Medium (SEM) Jenson Medium (JMC) Stencil Gothic (SGC) Kestral Connected (KCC) Times Bold (TBC) Koloss (KOC) Time New Roman (TNR) Lectura Bold (LBC) *Transport Heavy (THC) Marker (MAC) Univers 57 (UN5) Melior Semi Bold (MSB) *Univers 65 (UNC) *Monument Block (MBC) *Univers 67 (UN6) Narrow Full Block (NFB) *V.A.G. -
Web Typography Characteristics O Type Is Displayed at Between 72 and 110 Dpi, Much Lower Than in Print
GD 321A :: Week 07 1 of 7 25 February 2004 Web Typography Characteristics o Type is displayed at between 72 and 110 dpi, much lower than in print. o Pages are rendered on the fly, and presentation varies depending on a number of factors: Operating system (Mac, Windows, Linux) Web browser maker (Netscape, Mozilla, Internet Explorer, Safari, Opera) Web browser version (3.0, 4.0, 5.5, 6.0, etc.) User preferences (adjustments to the default typeface, size, colors, etc.) Fonts installed on the end-user’s system o Consider your typography as mere suggestions rather than strict requirements. o Browser Samples: Note the differences in the amount of content displayed and in the size of the fonts between the two operating systems. Internet Explorer 5.2 on Mac OS X 10.2 Internet Explorer 5.5 on Windows 95 Why is type on the web so bad? o Initial goal of the web was to share physics documents with researchers around the world. Academics focused on the structural logic and portability of the information, not the visual presentation. o Early HTML documents used container tags (<h1>, <h2>, <p>, etc.) to create a visual hierarchy, not to precisely control the appearance of a page. o Older browsers emphasized the ability to customize font settings—it was considered a feature at the time. Has it gotten better? o When designers began working on the web, more visual control was desired. o Netscape introduced the <font> tag in 1995 to allow for better control of text, including size, face and color. o Today, designers are learning and using Cascading Style Sheets (CSS).