PCL 5 Comparison Guide
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L'bel DÉFENSE 365 OIL-FREE DAILY PROTECTIVE FACIAL LOTION SPF 50 Drug Facts
LBEL DEFENSE 365 DAILY PROTECTIVE SPF 50- octinoxate, titanium dioxide, homosalate, octisalate, oxybenzone, and zinc oxide lotion Ventura International LTD Disclaimer: Most OTC drugs are not reviewed and approved by FDA, however they may be marketed if they comply with applicable regulations and policies. FDA has not evaluated whether this product complies. ---------- L'BEL DÉFENSE 365 OIL-FREE DAILY PROTECTIVE FACIAL LOTION SPF 50 Drug Facts Active Ingredients Purpose Homosalate (5.00%) Sunscreen Octinoxate (7.00%) Sunscreen Octisalate (5.00%) Sunscreen Oxybenzone (4.00%) Sunscreen Titanium dioxide (6.24%) Sunscreen Zinc oxide (3.92%) Sunscreen Uses Helps prevent sunburn. Warnings Skin Cancer / Skin Aging Alert: Spending time in the sun increases your risk of skin cancer and early skin aging. This product has been shown only to help prevent sunburn, not skin cancer or early skin aging. For external use only. Do not use on damaged or broken skin. When using this product keep out of eyes. Rinse with water to remove. Stop use and ask a doctor if rash occurs. Keep out of reach of children. If swallowed, get medical help or contact a Poison Control Center right away. Directions Apply liberally and evenly 15 minutes before sun exposure. Reapply at least every 2 hours. Use a water resistant sunscreen if swimming or sweating. Children under 6 months of age: Ask a doctor. Other information Protect the product in this container from excessive heat and direct sun. Inactive ingredients Water, dicaprylyl carbonate, propylheptyl caprylate, glyceryl -
Ventura/Lompoc Smart Card Demonstration Evaluation: Final Report Volume 1 Technical Performance, User Response, and Institutional Analysis Genevieve Giuliano, James E
CALIFORNIA PATH PROGRAM INSTITUTE OF TRANSPORTATION STUDIES UNIVERSITY OF CALIFORNIA, BERKELEY Ventura/Lompoc Smart Card Demonstration Evaluation: Final Report Volume 1 Technical Performance, User Response, and Institutional Analysis Genevieve Giuliano, James E. Moore II, Jacqueline Golob California PATH Research Report UCB-ITS-PRR-99-30 This work was performed as part of the California PATH Program of the University of California, in cooperation with the State of California Business, Transportation, and Housing Agency, Department of Transportation; and the United States Department of Transportation, Federal Highway Administration. The contents of this report reflect the views of the authors who are responsible for the facts and the accuracy of the data presented herein. The contents do not necessarily reflect the official views or policies of the State of California. This report does not constitute a standard, specification, or regulation. Report for RTA 65V313-7 August 1999 ISSN 1055-1425 CALIFORNIA PARTNERS FOR ADVANCED TRANSIT AND HIGHWAYS Ventura/Lompoc Smart Card Demonstration Evaluation: Final Report Volume 1 Technical Performance, User Response, and Institutional Analysis Genevieve Giuliano, James E. Moore II, Jacqueline Golob Research Report MOU RTA 65V313-7 July 1999 DISCLAIMER This work was performed as part of the California PATH Program of the University of California, in cooperation with the State of California Business, Transportation, and Housing Agency, Department of Transportation; and the United States Department of Transportation, Federal Highway Administration. The contents of this report reflect the views of the authors who are responsible for the facts and the accuracy of the data presented herein. The contents do not necessarily reflect the official views or policies of the State of California. -
Internal Use Only
LOGO GUIDELINES INTERNAL USE ONLY www.indsci.com | Follow us on INTRODUCTION The Industrial Scientific brand reflects a clean, modern, yet industrial look and feel. With simple text and a lot of white space, it creates breathing room which is pleasing to the eye. Large images are eye catching to draw you in and the minimal text provides a straightforward overview of our products. We make sure all pieces whether sales tools or technical documents, have a consistent look sticking to these brand standard guidelines. Using the Industrial Scientific blue as the dominant color, orange and gray are used as accent colors along with the secondary pallet for support. INTRODUCTION About Industrial Scientific Corporation As a global leader in connected sensing technology, Industrial Scientific provides gas detection products, services, and software to keep workers safe in hazardous environments. To date, the company supports 3,000 iNet® customers and monitors more than 375,000 devices across 13,500 sites. Established in 1985 and headquartered in Pittsburgh, Pennsylvania, Industrial Scientific has more than 1,200 global employees across 21 countries committed to preserving human life and eliminating death on the job by the year 2050. Industrial Scientific is also the parent company to Intelex Technologies (www.intelex.com). For more information, visit www.indsci.com. OUR VISION OUR MISSION OUR WAY Industrial Scientific people are dedicating Preserving human life on, Humble, hungry and smart. their careers to eliminating death on the above, and below the earth. Delivering highest Seek truth; speak truth. job, by the year 2050. quality, best customer service— every Serving others is our greatest joy. -
The New Font Project: TEX Gyre
Hans Hagen, Jerzy Ludwichowski, Volker Schaa NAJAAR 2006 47 The New Font Project: TEX Gyre Abstract metric and encoding files for each font. We look for- In this short presentation, we will introduce a new ward to an extended TFM format which will lift this re- project: the “lm-ization” of the free fonts that come striction and, in conjunction with OpenType, simplify with T X distributions. We will discuss the project E delivery and usage of fonts in TEX. objectives, timeline and cross-lug funding aspects. We especially look forward to assistance from pdfTEX users, because the pdfTEX team is working on the implementation on the support for OpenType Introduction fonts. An important consideration from Hans Hagen: “In The New Font Project is a brainchild of Hans Ha- the end, even Ghostscript will benefit, so I can even gen, triggered mainly by the very good reception imagine those fonts ending up in the Ghostscript dis- of the Latin Modern (LM) font project by the TEX tribution.” community. After consulting other LUG leaders, The idea of preparing such font families was sug- Bogusław Jackowski and Janusz M. Nowacki, aka gested by the pdfTEX development team. Their pro- “GUST type.foundry”, were asked to formulate the pro- posal triggered a lively discussion by an informal ject. group of representatives of several TEX user groups — The next section contains its outline, as prepared notably Karl Berry (TUG), Hans Hagen (NTG), Jerzy by Bogusław Jackowski and Janusz M. Nowacki. The Ludwichowski (GUST), Volker RW Schaa (DANTE)— remaining sections were written by us. who suggested that we should approach this project as a research, technical and implementation team, and Project outline promised their help in taking care of promotion, integ- ration, supervising and financing. -
APP Release 5.1 Hp500cecma/22708C
APP Release 5.1 HP500Cecma/22708C/ Supported Printer Specification Manufacturer Hewlett Packard Model Deskjet 500C Cartridge(s)/Card(s) installed 22708C Uniplex "Pcap" names HP500Cecma/22708C/ Paper orientation (Portrait/Landscape/Both) Portrait N.B: This printer cartrdige combination has not been tested, because the cartrdige was not available. General FacilitiesFacilities Bin Selection (No/Yes/YES/Not-tested) Not tested Duplex Control (No/Yes/YES/Not-tested) Not tested High Resolution printing (Yes/No) YES Local copy (No/YES) YES Box Graphics (No/YES/Fixed-pitch-only) YES Fill method (Characters/Patterns/Both) PATTERNS £ - Pound Sterling (No/YES/Fixed-font) YES Change Bars (No/YES) YES Portrait PaperPaper SizesSizes Physical Size Uniplex Printer’s Lines Unprintable Inches Inches mm name name per Page Top. Bot. Left Right 81/4x113/4 210x297 A4 A4 68 0.00 0.33 0.1 0.2 81/2x11 216x279 8x11 LTR 64 0.00 0.33 0.2 0.3 Pre-defined FontsFonts Uniplex Manufacturer’s Point Name Name Common/Uniplex Name Size Pitch NORMAL CG Times Times 12 Prop. BOLD CG Times Times Bold 12 Prop. ITALIC CG Times Times Italic 12 Prop. SMALL CG Times Times 6 Prop. LARGE Courier Courier5 Bold 12 5 FX-SMALL Courier Courier20 6 20 PS-SMALL - same as SMALL - FX-NORMAL Courier Courier10 12 10 PS-NORMAL - same as NORMAL - GRAPHICS Uniplex Defined to GRAPHICS 12 10 use PC-8 Char. Set and Courier Typeface Uniplex Business Software sps103 Page 1 APP Release 5.1 HP500Cecma/22708C/ Uniplex Business Software sps103 Page 2 APP Release 5.1 HP500Cecma/22708C/ Dialogue BoxBox FontsFonts -
Download Futura Font Word
1 / 5 Download Futura Font Word Futuristic Fonts Download Free futuristic fonts at UrbanFonts.com Our site carries ... '80s generator gives your words a neon retro tribute Oct 07, 2016 · Well, if you ... Futuristic Logos Futura Fonts generator tool will let you convert simple and .... Download Futura fonts from UrbanFonts.com for PC and Mac. Futura EF Fonts Free ... Futura Lt Font. How to Install Futura Font in Adobe, Ms Word, Mac or Pc?. 11 Free Chrome Graphics Generators Welcome to MyFonts, the #1 place to download great @font-face webfonts and desktop fonts: classics (Baskerville, Futura, .... Mar 12, 2020 — Want to use beautiful custom fonts in your WordPress theme? ... First thing you need to do is download the font that you like in a web format.. Download Futura PT font (22 styles). Futura PT FuturaPTBold.otf 126 Kb | Futura PT Bold Italic FuturaPTBoldOblique.otf 125 Kb | Futura PT FuturaPTBook.otf ... Download Futura PT Font click here: https://windows10freeapps.com/futura-pt-font-free-download .... Free Font for Designers! High quality design resources for free. And helps introduce first time customers to your products with free fonts downloads and allow .... I'll use Futura PT Heavy which I downloaded from Adobe Typekit, but any font will work: ... This Font used for copy and paste and also for word generator.. Sep 23, 2011 — This is the page of Futura font. You can download it for free and without registration here. This entry was published on Friday, September 23rd .... ... the text it generates may look similar to text generated using the HTML or tags or the CSS attributes font-weight: bold or font-style: italic , it isn't. -
Photo/Graphics Michel Wlassikoff
SYMPOSIUMS 1 Michel Frizot Roxane Jubert Victor Margolin Photo/Graphics Michel Wlassikoff Collected papers from the symposium “Photo /Graphisme“, Jeu de Paume, Paris, 20 October 2007 © Éditions du Jeu de Paume, Paris, 2008. © The authors. All rights reserved. Jeu de Paume receives a subsidy from the Ministry of Culture and Communication. It gratefully acknowledges support from Neuflize Vie, its global partner. Les Amis and Jeunes Amis du Jeu de Paume contribute to its activities. This publication has been made possible by the support of Les Amis du Jeu de Paume. Contents Michel Frizot Photo/graphics in French magazines: 5 the possibilities of rotogravure, 1926–1935 Roxane Jubert Typophoto. A major shift in visual communication 13 Victor Margolin The many faces of photography in the Weimar Republic 29 Michel Wlassikoff Futura, Europe and photography 35 Michel Frizot Photo/graphics in French magazines: the possibilities of rotogravure, 1926–1935 The fact that my title refers to technique rather than aesthetics reflects what I take to be a constant: in the case of photography (and, if I might dare to say, representation), technical processes and their development are the mainsprings of innovation and creation. In other words, the technique determines possibilities which are then perceived and translated by operators or others, notably photographers. With regard to photo/graphics, my position is the same: the introduction of photography into graphics systems was to engender new possibilities and reinvigorate the question of graphic design. And this in turn raises another issue: the printing of the photograph, which is to say, its assimilation to both the print and the illustration, with the mass distribution that implies. -
Univers Adrian Frutiger’S Most Prominent Typeface
Beyond the Univers Adrian Frutiger’s Most Prominent Typeface by Wifany Caudenly Beyond The Univers Wifany Caudenly [2A - F09DM0623] TABLE OF CONTENTS : Exploring the Univers 4 Adrian Frutiger 6 7 Deberny & Peignot 8 Univers Weights The Frutiger Numbering 10 System Identifying Characteristics 12 14 Anatomy Comparison The great stroke of luck in my life is to have “been blessed first with an artistic feeling for shapes and second with an easy grasp of The Universe of Univers technical processes and of mathematics. 16 ~Adrian Frutiger ” 2 3 u•ni•vers Adrian Frutiger H mVDu PT i 1954 E aj s N k g e u xq dD O sX h T Br K E h Q F b Sc Gy I NUq uH ag LWyF P t p i AZ k x h l Z o kRiz n X H FG N gM N S u B W S y UTz In 1957, The Swiss e e qK z a typographer Adrian Frutiger J r designed a revolutionary C Rp typeface called Univers. N vPo n c Its simple sans-serif grotesque dF c d hj letterforms are renowned X o R Q e L for its legibility and graphic unity. t E f V Endowed with extreme versatility, k m M mB Z N Univers fulfils its duty as a utilitarian ft n JA workhorse throughout the world. W t L U AG L l vr s 4 | exploring the univers U exploring the univers | 5 Frutiger Charles Peignot invit- Peignotopurchased So, from his early adrian ed Adrian Frutiger to the rights to Pho- sketches at the Zur- work at his company ton, theifirstiphoto- i ch o s ch o o l o f o r o t h e early life Deberny & Peignot typographyimachine appliediarts,oAdrian in 1952.oThere,owh in the United States Frutigerodeveloped hi- Adrian Frutiger was born May 24, 1928 in Unterseen, Switzerland. -
(G4120) Spring 2017 Oliver Jovanovic, Ph.D. Columbia University Department of Microbiology & Immunology
ICQB Introduction to Computational & Quantitative Biology (G4120) Spring 2017 Oliver Jovanovic, Ph.D. Columbia University Department of Microbiology & Immunology Lecture 9: Quantitative Analysis and Presentation of Visual Data April 10, 2017 Visual Display of Quantitative Data Effective Visual Display of Data Reveals data, does not conceal or distort it. Clearly communicates complex, multivariate ideas. Encourages exploring the data at multiple levels. Efficiently presents many numbers in a small space. Has purpose, not “chartjunk”, and should focus the viewer on the substance of the data, not distract them. Source: The Visual Display of Quantitative Information by Edward R. Tufte Lecture 9: Quantitative Analysis and Presentation of Visual Data April 10, 2017 Minard’s Chart of Napoleon’s Russian Campaign Source: Charles Joseph Minard, 1861 Lecture 9: Quantitative Analysis and Presentation of Visual Data April 10, 2017 Typography Typography is the art of communicating with letter forms. Decisions have to be made about the typeface to be used, the size (e.g. 12 point size), weight (e.g. light, semi-bold, bold, extra-bold) and style (e.g. italic). In modern use, a font is a typeface. Fonts are typically classified by form (Serif or San-Serif), era (Old Style, Transitional, Modern, etc.) and spacing (Fixed Width or Variable Width). Serif (Roman) fonts have decorative lines at the end of a stroke: Caslon, Garamond, Goudy, Sabon (Old Style) Baskerville, Georgia (Transitional) Bodoni (Modern) Trajan (Incised) San Serif (Gothic or Grotesque) fonts lack serifs: Frutiger, Gill Sans, Myriad, PT Sans (Humanist) Arial, Franklin, Gothic, Helvetica (Grotesque) Futura, Proxima Nova (Geometric) Garamond Gill Sans Lecture 9: Quantitative Analysis and Presentation of Visual Data April 10, 2017 Fixed Width vs. -
TEX Support for the Fontsite 500 Cd 30 May 2003 · Version 1.1
TEX support for the FontSite 500 cd 30 May 2003 · Version 1.1 Christopher League Here is how much of TeX’s memory you used: 3474 strings out of 12477 34936 string characters out of 89681 55201 words of memory out of 263001 3098 multiletter control sequences out of 10000+0 1137577 words of font info for 1647 fonts, out of 2000000 for 2000 Copyright © 2002 Christopher League [email protected] Permission is granted to make and distribute verbatim copies of this manual provided the copyright notice and this permission notice are preserved on all copies. The FontSite and The FontSite 500 cd are trademarks of Title Wave Studios, 3841 Fourth Avenue, Suite 126, San Diego, ca 92103. i Table of Contents 1 Copying ........................................ 1 2 Announcing .................................... 2 User-visible changes ..................................... 3 3 Installing....................................... 5 3.1 Find a suitable texmf tree............................. 5 3.2 Copy files into the tree .............................. 5 3.3 Tell drivers how to use the fonts ...................... 6 3.4 Test your installation ................................ 7 3.5 Other applications .................................. 8 3.6 Notes for Windows users ............................ 9 3.7 Notes for Mac users................................. 9 4 Using ......................................... 10 4.1 With TeX ........................................ 10 4.2 Accessing expert sets ............................... 11 4.3 Using CombiNumerals ............................ -
INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam. -
Typography Height
THIS MONTH POInts OF VIEW a Serif Sans serif b Ascender Serif Typography Height Typography is the art and technique of arranging type. Like a Serif Descender person’s speaking style and skill, the quality of our treatment of Figure 1 | Typefaces. (a) The anatomy of letterform for serif (Garamond) letters on a page can influence how people respond to our mes- and sans serif (Univers) type both set at 58 point. (b) Four of the most sage. It is an essential act of encoding and interpretation, linking readily available fonts. what we say to what people see. Typography has been known to affect perception of credibility. line and paragraph settings (Fig. 2b). The relative scale of white In one study, identical job resumes printed using different type- space in Figure 2b makes the hierarchy of the content apparent. faces were sent out for review. Resumes with typefaces deemed Differentially aligning the paragraph text and bulleted list, when appropriate for a given industry resulted in applicants being con- allowed, differentiates the content. sidered more knowledgeable, mature, experienced, professional, To achieve meaningfully spaced text, use the ‘space before’ and believable and trustworthy than when less appropriate typefaces ‘space after’ settings instead of extra carriage returns. Find the were used1. In this case, picking the right typeface can help some- settings under Font menu > Paragraphs (PowerPoint) or Format one’s chances of landing a job. menu > Paragraphs (Word). The paragraph text in Figure 2b is set The term typeface is frequently conflated with font; Arial is a with 5 point space after it; the bulleted list has 3 point space after ‘typeface’ that may include roman, bold and italic ‘fonts’.