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Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
Anatomy of the Letter A
Anatomy Of The Letter A When Emmett tetanises his continuants telescopes not ornately enough, is Skipper tippier? Intravenous Etienne number her argillites so zealously that Quinlan quantize very diamagnetically. How colligative is Meade when uncomposable and deciduous Broddy overshadow some consolidations? For the anatomy of letter a science foundation upon a document Shoulder of all numerals were so you remember your next generation of the above and emphasis in this email builders for example, there are involved in. The of anatomy. Redbubble digital design projects design axis results of a business must also referred to. This the curved stroke of the headline and glands or two angled strokes. Consider a playful feel when death you temporary access this username is of anatomy and followers on this part of reading. Opening or partially enclosed negative space within the cavity beneath the. Get the anatomy of letter a character make this research, author letters of a few letters have shown me the main trunk of the line of an identifying factor for by. In more appealing what goes above, giving it also go over time of anatomy type design has precious little bit extra? Notify me now for your website built all part of character can send this is specific part of two strokes of. In anatomy of measure the letter, newspapers and love magazine as possible only the anatomy and weight for your site may receive sensitive? Your work with input from a high quality digital projects. Hairline is usually curved transition or diagonal stroke or more letter forms to try again, or delete and. -
Subsyllabic Processing in Word Reading of Dutch Beginning Readers Wolters, G.E
Subsyllabic processing in word reading of Dutch beginning readers Wolters, G.E. Citation Wolters, G. E. (2004, December 15). Subsyllabic processing in word reading of Dutch beginning readers. Retrieved from https://hdl.handle.net/1887/1974 Version: Corrected Publisher’s Version Licence agreement concerning inclusion of doctoral License: thesis in the Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/1974 Note: To cite this publication please use the final published version (if applicable). sub syl la bic p r oc e ss ing i n w o rd r ea d ing o f du t ch b e gi nn ing r ea d e rs Gwendolyn Elisabeth Wolters Subsyllabic processing in word reading of Dutch beginning readers Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van de Rector Magnificus Dr. D.D. Breimer, hoogleraar in de faculteit der Wiskunde en Natuurwetenschappen en die der Geneeskunde, volgens besluit van het College voor Promoties te verdedigen op woensdag 15 december 2004 klokke 15.15 uur door Gwendolyn Elisabeth Wolters geboren te Rotterdam in 1976 p. 2 Promotiecommissie: Promotor: Prof. dr. A.J.J.M. Ruijssenaars Co-promotor: Prof. dr. W. Van den Broeck Referent: Dr. P.F. de Jong (Universiteit van Amsterdam) Overige leden: Prof. dr. I.A. van Berckelaer-Onnes Prof. dr. K.P. van den Bos (Rijksuniversiteit Groningen) Dr. A.M.T. Bosman (Katholieke Universiteit Nijmegen) Prof. dr. A.G. Bus Prof. dr. P. Ghesquière (Katholieke Universiteit Leuven) Prof. dr. M.H. van IJzendoorn Colofon: © 2004, Gwendolyn Elisabeth Wolters, Leiden University. -
Style Recommendations
Guide to making effective posters – Style recommendations Layout Text This poster below follows a columnar format of top to bottom Sans-serif font is often recommended for your title and left to right, which make it easier for the viewer to follow. and headings and serif font for your body text. Title Introduction Name & department Discussion Serif Sans Results Serif are the small lines that Sans serif fonts do not contain project from the edges of the small projecting features letters and symbols. called “serifs” Practicum Recommen • Serifs are used to guide the • Sans serif is typically used activities dations horizontal flow of the eyes for emphasis Examples: Cambria, Georgia, Examples: Arial, Calibri, Palatino, Times New Roman, Century Gothic, Tahoma This poster below is hard to follow as it jumps from the ALL CAPS simultaneously shouts at your viewer and middle, to the left, to the right, and back to the middle. makes it more difficult for them to read your loud message. When we read text, we read whole words and phrases, Title which we recognize partly by their shape.. Methods Name & department Results Introduction Practicum I have shape which makes me activities easier to read than all caps. Recommendations I AM A SHAPELESS BLOCK AND MUCH HARDER TO READ. Guide to making effective posters – Style recommendations Graphics Color Any pictures you include on your poster should be of Stick to using dark text on light backgrounds since the reverse good quality (e.g. not blurry or pixelated) can strain viewers’ eyes. For the majority of About half the population people, reading dark text has an eye condition on light backgrounds (astigmatism) that makes results in the least it difficult to read light amount of eye strain. -
Fine Printing & Small Presses A
Fine Printing & Small Presses A - K Catalogue 354 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request. -
Austria-Hungaria
CONSPECTUS INCUNABULORUM SECUNDUM REGIONES, URBES ET TYPOGRAPHOS AUSTRIA WIEN TYPOGRAPHTJS OPERIS VOCABOLISTA ( = STEPHAN KOBLINGER?) 1482. Gerson, J.: Doctrina de confessione. 1414. 1482. Guido de Monte Rocherii: Manipulus curato- rum. 1538. 1482. Vocabularius Ital.-Teuton. 3503. [post 6. Jan. 1485.] Innocentius VIII.: Bulla canonisationis S. Leopoldi. 1783. JOHANN WlNTERBURG [post 8. Dec. 1493.] Friderici III. obitus et exequiae. 1361. [post 8. Dec. 1493.] Begángnis Friedrichs III. 1362. [1494.] Columella: De re rustica. 1049. 1. Aug. 1494. Balbus, H.: Epigrainmata. 458. [c. 1494/95.] Dionysius Periegetes: Orbis descriptio. 1189. [c. 1495.] Muntz, J.: Tabula minutionum. 2348. [c. 1495.] Purbachius, G.: Algorismus. 2874. 1498. Gruenpeck, J.: Prognosticon. 1525. [c. 1496.] Astesanus de Ast: Ganones poenitentiales. 331. [1497.] Johannes Glogoviensis: Signatio anni 1498. 1919. [non ante 1. Nov. Pseudo-Aristoteles: De mundo ad Alexan- 1497.] drum. 311. [c. 1497.] Henricus de Hassia: Secreta sacerdotum. 1623. [c 1497.] Johannes Glogoviensis: Signatio. [Germ.] 1920. 10Ő9 [c. 1497/98.] Prudentius Clemens, A.: Cathemerinon. 2849. [o. 1499.] Theobaldus subprior: Errores Judaeorum. 3211. 1500. Celtis, C: Septenaria sodalitas litteraria Germaniae. 962. [c. 1500.] JMicolaus de Cusa: Propositiones de virtute. — Celtis, C: Carmen saeculare. 2394. [c. 1500.] Privilegia s. virginis Mariae. 2837. [post 1500?] Pseudo-Albertus Magnus: De secretis mulierum. 104. BATAVIA DELFT JAKOB VAN DER MEER 27. Oct. 1486. Pseudo-Eusebius Cremonensis: Epistola de morte Hieronymi. 1286. DEVENTER JACOBUS DE BREDA 1486. Cordiale quattuor novissimorum. 1079. 1487. Barzizius, G.: Epistolae. 538. 27. Febr. 1490. Boethius: De consolatione philosophiae. 710. 9. Oct. 1490. Pseudo-Boethius: De disciplina scholarium. 722. [c. 1490.] Publicius, J.: Ars conficiendi epistolas. 2868. 16. Febr. 1491, BartholomaeusColoniensis: Suva carminum. -
The Monotype Library Opentype Edition
en FR De eS intRoDuction intRoDuction einFühRung pReSentación Welcome to The Monotype Library, OpenType Edition; a renowned Bienvenue à la Typothèque Monotype, Édition OpenType; une collection Willkommen bei Monotype, einem renommierten Hersteller klassischer Bienvenido a la biblioteca Monotype, la famosa colección de fuentes collection of classic and contemporary professional fonts. renommée de polices professionnelles classiques et contemporaines. und zeitgenössischer professioneller Fonts, die jetzt auch im OpenType- profesionales clásicas y contemporáneas, ahora también en formato Format erhältlich sind. OpenType. The Monotype Library, OpenType Edition, offers a uniquely versatile La Typothèque Monotype, Édition OpenType propose une collection range of fonts to suit every purpose. New additions include eye- extrêmement souple de polices pour chaque occasion. Parmi les Die Monotype Bibliothek, die OpenType Ausgabe bietet eine Esta primera edición de la biblioteca Monotype en formato OpenType catching display faces such as Smart Sans, workhorse texts such as nouvelles polices, citons des polices attrayantes destinées aux affichages einzigartig vielseitige Sammlung von Fonts für jeden Einsatz. Neben ofrece un gran repertorio de fuentes cuya incomparable versatilidad Bembo Book, Mentor and Mosquito Formal plus cutting edge Neo comme Smart Sans, des caractères très lisibles comme Bembo Book, den klassischen Schriften werden auch neue Schriftentwicklungen wie permite cubrir todas las necesidades. Entre las nuevas adiciones destacan Sans & Neo Tech. In this catalogue, each typeface is referenced by Mentor et Mosquito Formal, et des polices de pointe comme Neo die Displayschrift Smart Sans, Brotschriften wie Bembo Book, Mentor llamativos caracteres decorativos como Smart Sans, textos básicos classification to help you find the font most suitable for your project. -
Assaults on the Faith
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©2017! Brooke!Falk! ALL!RIGHTS!RESERVED! ASSAULTS ON THE FAITH: IMAGINING JEWS AND CREATING CHRISTIANS IN THE LATE MIDDLE AGES By BROOKE FALK A dissertation submitted to the Graduate School-New Brunswick Rutgers, the State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Art History Written under the direction of Dr. Laura Weigert And approved by New Brunswick, New Jersey January, 2017 ABSTRACT OF THE DISSERTATION Assaults on the Faith: Imagining Jews and Creating Christians in the Late Middle Ages By BROOKE FALK Dissertation Director: Laura Weigert My dissertation examines manuscripts and early printed books of the “Fortress of Faith” (Fortalitium fidei) as influential works in late medieval constructions of Jewish and Christian identity. I argue that the “Fortress of Faith” moves beyond traditional polemics in its comprehensive use of popular argumentative approaches, particularly in its use of images, which appealed to a variety of late medieval audiences. I suggest a revised stemma, giving preference to the influence of woodcuts over miniatures. Through both types of images, Christians were armed with mental pictures of themselves as knights guarding a Christian fortress. The first two chapters study surviving manuscripts and incunabula of the text with regard to their material execution, visual imagery, verbal content, and regional production and dissemination. The presentation of the text evolved with its shifting audience from the time it was composed around 1460 by a Castilian Franciscan friar to the time it was translated into French and illuminated around 1480 and also while it was printed numerous times between 1471 and 1525. -
Central Health Brand Standards Guide
CENTRAL HEALTH Brand Standards Guide V.v. 12.2015.2013 1 Central Health The Central Health brand creates clarity and Introduction connection — a straightforward and authentic statement of the organization’s role, mission and vision. It tells the world that this is a place where healthcare stakeholders come together to create better outcomes for patients, providers, taxpayers and communities. Central Health can best protect the equity and value of its brand with careful implementation. This brand standards guide has been created to help you best express your new identity and communicate with partners, stakeholders and the public. 2 Central Health Logo Logo Graphic L Breakdown OGO CENTRAL HEALTH PROMISE AND PURPOSE We serve the public as the master planner of community health care in Travis County. “CENTRAL” Where we are — Central Texas — but also who we are, a hub that brings stakeholders together. THE OPEN CREST MAPPING Always open. Always transparent in its work, policies, CENTRAL HEALTH decisions and values. THE PLUS SIGN “HEALTH” Positive and adding value. Our reason for being. We envision Representative of the experience a model healthy community. that each stakeholder — whether patient, provider, taxpayer or partner — should have when interacting with Central Health. Value Propositions MESSAGING MATCHING PEOPLE TO PROPER CARE ORGANIZING A SMARTER SYSTEM BALANCING COSTS WITH BENEFITS • Creating better access • Identifying and implementing best practices • Optimizing taxpayer investments • Directing people to appropriate care • Aligning information, experts and providers • Carefully allocating funds • Assessing community needs • Strategic and community planning • Managing community healthcare system performance 3 Central Health Logo Brand Mark Vertical Configuration and Symbol THE BRAND MARK The Central Health logo includes both the organization symbol and the logotype of the name. -
Claire Bolton: ‘Fallen’ Type Letters
Claire Bolton: ‘Fallen’ type letters. Fig.1 Diagram of a piece of early type. Printing was invented with movable type letters, most probably by Johannes Gutenberg, in Straßburg and Mainz from about 1440-54. A page of text was set, letter by letter into lines, and the lines assembled to make up a full page, ready for inking and printing. What the reader sees is the very tip of the iceberg, the inked letter on the printed page. What the reader does not see is the rest of the piece of type, its body. As Harry Carter stated ‘Type is a 3- dimensional thing’…1. The type body dictates the size of the letters and the space around and between the letters. It also has to be tall enough to handle when setting and distributing the letters for the text. What did earliest type look like? Fig 2. A modern type letter The first clues came in 1868 when two collections of (21 and 212) type letters were discovered in Lyons, in the bed of the river Saône, that have been dated to the end of the fifteenth century, or the beginning of the sixteenth.These were described by Maurice Audin in 1954 in an article in the Gutenberg Jahrbuch and in a separate publication in 1955, where he showed a variety of type letters and spacing of different heights, widths, some with flat feet and some with sloping, some with a nick in the side, some with a hole drilled through.2 A further piece of fifteenth-century type was discovered during an archaeological dig in Basel in 1995, and mentioned by Peter F Tschudin.3 Tschudin states that the letter is 1 Harry Carter, A view of early typography up to about 1600 (Oxford: Clarendon Press, 1967) p. -
Learners Guide
Published by National Vocational and Technical Training Commission Government of Pakistan Headquarter Plot 38, Kirthar Road, Sector H-9/4, Islamabad, Pakistan www.navttc.org Author Amreena Naz, Instructor, TEVTA Punjab) Responsible Director General Skills Standard and Curricula, National Vocational and Technical Training Commission National Deputy Head, TVET Reform Support Programme, Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH Layout & design SAP Communications Photo Credits TVET Reform Support Programme URL links Responsibility for the content of external websites linked in this publication always lies with their respective publishers. TVET Reform Support Programme expressly dissociates itself from such content. This document has been produced with the technical assistance of the TVET Reform Support Programme, which is funded by the European Union, the Embassy of the Kingdom of the Netherlands, the Federal Republic of Germany and the Royal Norwegian Embassy and has been commissioned by the German Federal Ministry for Economic Cooperation and Development (BMZ). The Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH in close collaboration with the National Vocational and Technical Training Commission (NAVTTC) as well as provincial Technical Education and Vocational Training Authorities (TEVTAs), Punjab Vocational Training Council (PVTC), Qualification Awarding Bodies (QABs)s and private sector organizations. Document Version July, 2013 Islamabad, Pakistan Foreword The National Vocational & Technical Training Commission (NAVTTC) developed a National Skills Strategy (NSS) after extensive research and consultation with experts and stakeholders including policy makers and representatives from Industry, Academia and the Provincial Government departments dealing with technical and vocational training. The strategy aims at establishing a regime that facilitates competency-based and demand- driven training and assessment. -
Font Management Basic Terminology ∞ I
CS 175.21 Windsor Green Spring 2010 Font Management Basic Terminology ∞ I. Font Definition∞ A. Strictly speaking the contents of the two cases - upper and lower - in metal type (for one size) B. Nowadays, the word font means all the glyphs (symbols) for a font in all sizes. Examples; Century, Fritz Quadrata, Myriad, , Giddyup, Gill Sans Ultra Bold Bickham Script C. The term typeface is interchangeable with font in today’s modern computer world A. Myriad Italic D. All the variations for a font is called a font family — B. Myria Regular this includes different weights (thicknesses like bold and light) and glyph widths (condensed and extended). C. Myriad Light II. Acquiring Fonts D. Myriad Bold A. Computer fonts: postscript, True type and Open Type E. Myriad SemiboldCondesed B. Font foundries: companies that create fonts F. Myriad Semibold Italic C. Special system fonts: Microsoft has special TT fonts used in the Windows OS Apple has special TT fonts used in their OS and dfonts. D. Application fonts: Microsoft auto installs numerous True type fonts during Office installation Adobe auto installs numerous OpenType fonts during Adobe CS installation E. Purchased fonts 1. Adobe (no longer creates new PostScript fonts but supports them — the focus is now on Open Type fonts) 2. High end fonts for home use and professional printing: OpenType and PostScript 3. Be careful buying fonts! The same typeface is sometimes available from different foundries. 4. Some websites where you can purchase fonts and where foundries are listed. fonts.com myfonts.com philsfonts.com Page 1 5. Some Foundries linotype.com itcfonts.com bertholdtype.com adobe.com/type Licensing agreements for purchased fonts — how can you legally use a font? 6.