Typography and the Code – ADA and Egress Codes 1 Other Resources

Total Page:16

File Type:pdf, Size:1020Kb

Typography and the Code – ADA and Egress Codes 1 Other Resources Typography, Placemaking and Signs A Four-Part SFI White Paper Series Written By Craig Berger Part III Typography 45 Center 18” Minimum Line .125” .125” .125” and the Code Corresponding “O” Width – ADA and Egress Codes Minimum: At least 55% 55% of “I” height but no more than 110% of the “I” height Four part white paper & webinar series profiling typography and dimensional typography in the sign making industry. Wrtitten by Craig Berger © Signage Foundation, Inc. Typography and the Code – ADA and Egress Codes 1 Other Resources: Four-Part Typography Typography Webinar White Paper Series. Series. Download the other parts to this Visit the page below to view a calendar Typography White Paper Series. of the webinars we currently offer. www.signs.org/EducationEvents/ www.signs.org/WhitePapers ISASignAcademy.aspx 2 Typography and the Code – ADA and Egress Codes © Signage Foundation, Inc. Sponsored by: The Signage Foundation is a not-for-profit Nova Polymers is the global leader in the committed to expanding the knowledge development of materials and processing base on the use and benefits of signage equipment for the fabrication of Accessible products through peer-reviewed research and ADA compliant signage. With a to facilitate the operation within the focus on education and the continued marketplace by manufacturers, suppliers development of innovative materials that and individuals in their efforts to design, meet international accessibility guidelines, build and sell innovative products. For Nova continues to lead the sign industry and more information, visit help people with visual disabilities navigate thesignagefoundation.org the built environment. novapolymers.com Architectural signage solutions for ADA Swell Media Group is a branding and and Wayfinding signage helping people marketing solutions provider focused on navigate their environment. Dixie lead generation and content creation. Graphics is a solution source for designers We build brands, websites and engaging and fabricators, offering material and sign marketing campaigns by working closely choice. We also offer project completions with you to understand your business and from project management to installation your clients. accessorizing. Our goal is to streamline the swellmediagroup.com manufacturing process for you. dixiegraphics.com © 2014 All Contents Copyright Signage Foundation, Inc. All Rights Reserved. © Signage Foundation, Inc. Typography and the Code – ADA and Egress Codes 3 odes and guidelines govern a very Highway Administration must be integrated into large part of what is designed state laws or face withdrawal of federal money and implemented in the built and a lawsuit. C environment. From federal guidelines that mandate accessibility and design standards to ENFORCEMENT ORGANIZATIONS: States local ordinances that govern the look and feel of and localities are responsible for developing and our cities and towns, these rules are often unseen enforcing codes in their jurisdictions; they play a but play a signifi cant role in how buildings and signifi cant role in interpreting these codes with public spaces perform. In addition to planning and federal guidance. Sometimes federal agencies architecture, codes apply to graphic information also have an enforcement role, particularly including symbols and type. Designers and involving government buildings. fabricators who understand the intricacies and overlapping governance behind codes are usually ORIENTATION: When you learn how the the most eff ective at completing projects and message and sign fi ts into a system of similar achieving the most eff ective solutions. messages and signs. While design codes may seem purely Standards, Mandates localized, there is a range of research, precedent, best practices and advocacy and Enforcement that serve as a foundation. This knowledge comes in handy when interpreting the There often is a great deal of confusion about intent of local codes. When looking at state where design codes originate and which ones to disability codes or local fire codes, knowledge follow. Instead of springing from local ordinances, of how they were developed by different codes usually come from three sources: organizations also can provide guidance in interpretation or resolving conflicts. STANDARDS BODIES: These groups, like the International Standards Organization (ISO) or the National Fire Protection Association The Americans with (NFPA) develop guidelines and standards based on research, best practices, and guidance from Disabilities Act professional–and some not so professional– experts and special interest groups. Before 1991, states developed their own versions of the Americans with Disabilities Act based on FEDERAL MANDATES: The United States guidelines established by the American National has a system where states have the power to Standards Institute (ANSI) in conjunction with develop and enforce their own laws, based on the International Code Council (ICC). When the federal guidance. Many of these mandates federal government came along with their own from organizations like the Justice Department, Justice Department Guidelines, it based much of Environmental Protection Agency or Federal it on the guidelines already developed, without 4 Typography and the Code – ADA and Egress Codes © Signage Foundation, Inc. ADA Accessibility Guidelines (ADAAG) Harmonization of the national and international guidelines with the ADA administered by the Justice Department has made interpretation and enforcement much easier, but has made change much slower. “Why can’t someone just tell me what laws to follow so I can just focus on my work?” – A Texas designer © Signage Foundation, Inc. Typography and the Code – ADA and Egress Codes 5 a review of their eff ectiveness. In the 20 years flourishes as opposed to Ye Olde English, but since the ADA was passed, these groups worked a lack of specificity of the language resulted to update the code based on a combination of in the rule being nearly unenforceable. Over advanced knowledge and ease of interpretation. the course of a decade, the ANSI committee States updated their codes multiple times based refined the guidelines to only include san serif on these guidelines before the federal government for tactile copy and eventually only a specific was able to update its national code in 2011. This, range of stroke widths, proportions and heights of course, produced mass confusion with diff erent could be used. states and even localities having diff erent standards and enforcement approaches. Today the national code is “Harmonized” with “Domed. I can’t believe the International Building Code (IBC), but lingering confusion still exists. Eff ective accessibility that one word can shut designers are required to manage not only the moving target of the codes, but also their intent down my project.” and interpretation. While most states must adhere – A California designer to the national ADA, some places still maintain their own specifi c code language (California being Dual Signs: The ADA was originally developed the most well known); there is still no international as a one-size-fi ts-all code, with the needs of the consensus on disability codes. blind and the visually impaired being covered by the same code. Since these two groups had such widely divergent needs, guidelines were How Typography Codes developed to address both groups. Tactile letters would have restrictive code with very narrow in the New ADA Were standards for type selection, height, location and spacing. The visually impaired would have a Developed and Enforced wide range of serif and san serif typography to choose from as well as fl exible location, height The new ADA was the result of a number of and spacing. different organizations hashing out issues that were seen as inefficient or confusing in the first This greater fl exibility has been a good thing. code. The leading controversial areas were: However many designers and code offi cials balk at the idea of “dual” signs that duplicate San Serif Versus Simple Serif: The early information to meet these standards. Most ADA had a number of issues with unclear buildings today still follow the restrictive language that made for difficult enforcement. standards for the blind on all signs even The most damaging was language calling for though the new language has made it easier to san serif or “simple” serif type. The word diff erentiate between wayfi nding, directory and “simple” was meant to mean type with few identifi cation signs. 6 Typography and the Code – ADA and Egress Codes © Signage Foundation, Inc. 01. Clearview 02. Futura ROADWAY 03. Highway Gothic 04. Highway Sans SIGNS 05. NPS Rawlinson 06. Transport ADA TRANSPORTATION 07. Frutiger SIGNAGE 08. Helvetica 09. Frutiger 55 Roman 10. Helvetica Regular 11. Lucida Sans Unicode Helvetica Futura 12. Myriad Pro-Regular Bodoni Minion Myriad Garamond DIGITAL SIGNS Frutiger Trajan Arial • Geneva Helvetica • Verdana COMMERCIAL SIGNS There are only a small number of typefaces that can be used on tactile signs based on tight restrictions in character proportions, width and stroke width. These include early san serif type like Franklin Gothic and modern type like Helvetica. While not specifi cally stated in the code, humanist type that varies stroke thickness like Optima is discouraged and the tight restrictions make almost impossible to use. © Signage Foundation, Inc. Typography and the Code – ADA and Egress Codes 7 Rounded or Domed/Edged or Curved: The simple serif controversy has shown how one Safety and Security small change in language can produce enormous The ADA is perhaps the best-known code unintended eff ects. Another issue which is still standard for signs, but there are in fact a lingering with us today are standards that allows variety of guidelines and code standards Braille to be subtly “rounded” at the top and governing safety information in the raised letters to be “edged” or sanded at the environment. From fire codes to specialized corners. While both of these standards have a sign safety codes developed for building with worthwhile goal of making tactile signs easier for specific hazards, they are becoming much more blind people to use, they have produced confusion refined and sophisticated.
Recommended publications
  • Transport and Map Symbols Range: 1F680–1F6FF
    Transport and Map Symbols Range: 1F680–1F6FF This file contains an excerpt from the character code tables and list of character names for The Unicode Standard, Version 14.0 This file may be changed at any time without notice to reflect errata or other updates to the Unicode Standard. See https://www.unicode.org/errata/ for an up-to-date list of errata. See https://www.unicode.org/charts/ for access to a complete list of the latest character code charts. See https://www.unicode.org/charts/PDF/Unicode-14.0/ for charts showing only the characters added in Unicode 14.0. See https://www.unicode.org/Public/14.0.0/charts/ for a complete archived file of character code charts for Unicode 14.0. Disclaimer These charts are provided as the online reference to the character contents of the Unicode Standard, Version 14.0 but do not provide all the information needed to fully support individual scripts using the Unicode Standard. For a complete understanding of the use of the characters contained in this file, please consult the appropriate sections of The Unicode Standard, Version 14.0, online at https://www.unicode.org/versions/Unicode14.0.0/, as well as Unicode Standard Annexes #9, #11, #14, #15, #24, #29, #31, #34, #38, #41, #42, #44, #45, and #50, the other Unicode Technical Reports and Standards, and the Unicode Character Database, which are available online. See https://www.unicode.org/ucd/ and https://www.unicode.org/reports/ A thorough understanding of the information contained in these additional sources is required for a successful implementation.
    [Show full text]
  • Rozdział 4.Struktura Systemu Identyfikacji Wizualnej Firmy
    Artykuł pochodzi z publikacji: Produkcja przekazów multimedialnych, (Red.) M. Chrząścik, Wyższa Szkoła Promocji, Warszawa 2013 Rozdział 4. Struktura systemu identyfikacji wizualnej firmy Piotr Bajbak Wstęp Od dawna wiadomo, że jak widzi cię otoczenie, jak odbierany jesteś przez innych, tak będą o tobie mówić i pisać. W kontaktach biznesowych ten zewnętrzny wizerunek (identyfikacja wizualna) jest niesamowicie istotny, jeśli chcemy być konkurencyjni, wyróżnić sie na rynku czy zaskarbić sobie przychylność lub stałość klientów i partnerów biznesowych. Zachowanie spójności i jedności czasami sta- nowi duże wyzwanie, a kryteria opisywania są tak wielorakie jak ilość naszych odbiorców. Idealnym rozwiązaniem dla firm jest stworzenie systemu identyfikacji wizualnej. CI Corporate Identity (System Identyfikacji Wizualnej SIW) to zbiór (kodeks) porządkujący pracę firmy w sferze wizualnej. Kon- sekwentne stosowanie się do przedstawionych w nim zasad, norm, instrukcji i ustaleń powoduje w konsekwencji szybkie zbudowanie stabilnego i pozytywnie postrzeganego wizerunku firmy. Dziedzina kodeksu tworzącego SIW może być bardzo różnorodna i może dotyczyć wielu również konkretnych zagadnień w zależności od potrzeb firmy może on stanowić rozwiązanie nawet kilkudziesięciu problemów związanych z wizualnymi działaniami firmy. 104 105 Budowanie wizerunku i tożsamości firmy w takim ujęciu może powstawać wraz z jej rozwojem. Z Systemu Identyfikacji Wizualnej należy korzystać na co dzień i konsekwentnie wdrażać zawarte w nim wskazania i nie zmieniać umieszczonych w nim wzorów i projektów. Spójne bowiem wizual- ne komunikaty przedstawiane z żelazną i konsekwentną dyscypliną w ciągu szeregu lat wytworzą na rynku pozytywny obraz firmy i umoż- liwią szybką jej identyfikację. 4.1. Narzędzia i zastosowanie systemu wizualnego 4.1.1. Pojęcie i znaczenie systemu wizualnego System wizualny standaryzuje identyfikację wizualną firmy, bądź marki.
    [Show full text]
  • Custom Street Name Packages, Systems & Components
    1-800-367-1492 · www.cpcsigns.com Custom Street Name Packages, Systems & Components Custom Products Corporation · 1-800-367-1492 phone · 1-800-206-3444 fax · www.cpcsigns.com | ©2018 Custom Products Corporation All Rights Reserved. CSNScatalog#2-CAT11 1 PRE-DESIGNED PACKAGES Clarksdale The Clarksdale Packages are our most cost-effective ornamental packages. Pre-designed packages save time and money. NOTE: All Signs come standard with High Intensity Prismatic (HIP) sheeting. All Street Name Signs come standard as a Flat, Double-Faced Sign Blade. Bases, Posts, Brackets and Hardware are powder coated semi-gloss black for an elegant look. Standard 4-Way Intersection Ground Breakaway Mount Mount* Package Options Package Package Codes Codes Post System with Stop For use on low O10100 O11100 Sign & (2) 6" x 30" Blades volume roads with Speed Post System with Limits of 25 O10200 O11200 (2) 6" x 30" Blades MPH or less Post System with Stop For use on higher volume, O10150 O11150 Sign & (2) 9" x 36" Blades conventional roads with Post System with Speed Limits O10250 O11250 (2) 9" x 36" Blades over 25 MPH Standard Traffic Sign Ground Breakaway Mount Mount* Package Options Package Package Codes Codes Post System with O10300 O11300 30" STOP Sign Post System with O10400 O11400 36" YIELD Sign Post System with 30" Warning Sign O10500 O11500 (Specify MUTCD Sign Code) Post System with *Specify Breakaway Ground Mount 24" x 30" SPEED LIMIT O10650 O11650 ITEM CODE Ground Type Sign (Specify Speed) RPORZVR1P330RNC New Concrete RPORZVR330R Soft Soil Post System with RPORZVR330RC Existing Concrete 12" x 18" Parking Sign O10700 O11700 OPOZEUGPBSB100BK Surface Mount (Specify Sign Legend) 2 Custom Products Corporation · 1-800-367-1492 phone · 1-800-206-3444 fax · www.cpcsigns.com | ©2018 Custom Products Corporation All Rights Reserved.
    [Show full text]
  • In the Vehicle Safety World, High-Tech Appears to Rule Supreme. a Recent MIT Study, Though, Has Proved How
    TYPOGRAPHY TYPOGRAPHY Knowledge of all fonts In the vehicle safety world, high-tech appears to rule supreme. A recent MIT study, though, has proved how er Ky Pictures optimising typeface characteristicseiM couldDer s be a simple and hun ryan rG & t aGIN effective method of providingPe iM a significant reduction in ruce Mehler & b , MONOTY ELAB interface demandIT a G and associated distractions Jonathan Dobres,F M b AUTHOR COURTESY o IMAGES e have a strange relationship New Roman or clownish Comic touchscreen by the reader. At the same time, differences between the two typefaces. with typography. Every day Sans. More to the point, few people mounted in the letterforms must not become too Where Frutiger is open, leaving ample we see thousands of words realise that the design of typefaces simulator, with constrained or monotonous, lest the space between letters and the lines composed of millions of – and the way in which their strokes eye-tracking reader’s eye confuse a ‘g’ for a ‘9’. This of individual letterforms, Eurostile is letters. These letterforms and terminations play off each other cameras, an IR tension between legibility, consistency tighter and more closed. Eurostile also Wsurround us, inform us, and entice from letter to letter and word to word illumination pod and variation is at the heart of all enforces a highly consistent squared- us. Yet in our increasingly literate and – can have a significant impact on and the face typographic design. Consider Frutiger off style, while Frutiger allows for information-saturated society, we our ability to read and absorb what video camera – a typeface crafted in the ‘humanist’ more variety in letter proportions take them for granted, and rarely spare they are trying to communicate.
    [Show full text]
  • Improvements in Surface Transportation Signing
    Improvements in Surface Transportation Signing A chronological overview of designs, research and field studies that includes the development of the Clearview type system and related application concepts to improve the consistency, performance, and visual quality of traffic control devices. Prepared for: Mr. Gregory Nadeau Mr. Mark Kehrli Administrator Director Office of the Administrator Transportation Operations Federal Highway Administration Federal Highway Administration Mr. Jeffrey Lindley Mr. Kevin Sylvester Associate Administrator MUTCD Office Office of Operations Federal Highway Administration Federal Highway Administration Prepared by: March 21, 2016 Donald T. Meeker, F. SEGD Meeker & Associates, Inc. Larchmont, NY This body of work started at this sleepy intersection off of I-84 in the state of Oregon. As part of a motorist information project for the Oregon Department of Transportation (ODOT), I was finally forced to look for the answers to questions that I had wondered for years. Why? 1) Why is the structure of this information so eclectic and seemingly dysfunctional? 2) We are taught that mixed case would be more readable (why isn’t book/magazine/newspaper text published in all upper case?); so why are conventional road guide sign destination names in all upper case letters? 3) Why is the destination name on that freeway guide sign so fat? Why does it appear that you can’t fit your finger through the center space of the small “e” and the letterforms chunk up when viewed at a distance? 2 3 A lot of information competing for your attention yet created as if it is to stand alone! And Oregon is not alone.
    [Show full text]
  • Krótki Przewodnik Po Typografii Dwudziestego Wieku Grzegorz Fijas
    System Postmodernizm Czytelność Rodzina NIE- Moda BEZPIECZNE diy Kapitalizm Nowoczesność Nacjonalizm Demokracja LITERY Kolonializm Rewolucja Płeć Piękno Przestrzeń Emigracja Krótki przewodnik po typografii Porażka dwudziestego wieku Recykling Żart Grzegorz Fijas Emocje Niebezpieczne litery Krótki przewodnik po typografii dwudziestego wieku NIEBEZPIECZNE Grzegorz Fijas LITERY Krótki przewodnik po typografii dwudziestego wieku Kraków 2020 Copyright © Grzegorz Fijas, 2020 Redakcja: Joanna Hałaczkiewicz Korekta: Aleksandra Smoleń, Marcin Bojda Projekt graficzny i łamanie: Grzegorz Fijas Książkę złamano krojami Sharik Sans i Tzimmes Michała Jarocińskiego oraz Podium Sharp Mateusza Machalskiego. Rączka na stronie 143 pochodzi z kroju Geller Ludki Binek. Decyzja, by wykorzystać kroje, które nie powstały w dwudziestym wieku, była całkowicie świadoma. Książkę w formie e-booka można ściągnąć za darmo ze strony gfijas.pl. Jeżeli książka Ci się spodobała, autor będzie wdzięczny, jeśli dasz mu znać, np. wysyłając e-mail na adres [email protected] lub wiadomość na facebookową stronę „Niebezpieczne litery – typografia i edytorstwo”. Spis treści 9 Wprowadzenie 13 Kilka terminów na start Typograficzne dylematy 22 Univers, czyli system 28 Optima, czyli postmodernizm 34 ocr-b, czyli czytelność 40 ff Scala, czyli rodzina 46 ff Meta, czyli moda 52 Keedy Sans, czyli diy Niebezpieczne litery 60 Futura, czyli kapitalizm 66 Chaim, czyli nowoczesność 70 Antykwa Połtawskiego, czyli nacjonalizm 78 Times New Roman, czyli demokracja 84 Unified Arabic, czyli kolonializm 90 Solidaryca, czyli rewolucja 96 Mrs Eaves, czyli płeć Typografia na co dzień 104 Hobo, czyli piękno 110 Johnston, czyli przestrzeń 116 Albertus, czyli emigracja 122 Sachsenwald, czyli porażka 128 Courier, czyli recykling 134 Helvetica, czyli żart 140 Zapf Dingbats, czyli emocje 147 Na zakończenie – spojrzenie w przyszłość Wprowadzenie Nigdy wcześniej typografia nie zmieniała się tak dynamicznie, jak w dwudziestym wieku.
    [Show full text]
  • Écriture Et Forme L’Œuvre Complète D’Adrian Frutiger Paraît Ces Jours-Ci Aux Éditions Birkhäuser
    Écriture et forme L’œuvre complète d’Adrian Frutiger paraît ces jours-ci aux éditions Birkhäuser On associe souvent Adrian Frutiger à l’Univers, la famille de caractères qui lui a permis d’accéder à la notoriété internationale à la fi n des années 1950. De nos jours, nous côtoyons sa production typo- graphique au quotidien dans le monde entier, que ce soit dans la presse écrite, sur les titres universels de paiements, dans les publicités, sur les emballages, à la télévision, sur la Toile et dans les espaces publics. Cependant, bien qu’on ait écrit sur ce typo-graphiste suisse et que ce dernier ait lui-même beaucoup publié, l’ensemble de son œuvre est méconnu. Même des spécialistes n’ont qu’une connaissance parcellaire de sa production typographique. L’ouvrage «Adrian Frutiger – Caractères. L’œuvre complète» est le fruit d’une étroite collaboration avec Adrian Frutiger. Il comporte la première étude exhaustive et détaillée des caractères et logos signés Frutiger, y compris des créations à ce jour inédites et jamais réalisées, de l’ébauche à la réalisation, en passant par la mise au net, ainsi que du concept à la commercialisation. Une bonne cinquantaine de caractères, réalisés ou restés à l’état de projets, sont présentés dans l’ordre chronologique, expliqués et examinés au fi l de 460 pages abondamment illustrées. Dans le cadre d’interviews avec Adrian Frutiger, les caractères ont fait un à un l’objet d’un examen critique et ont été replacés dans leur contexte. En plus des recherches étendues dans les revues spécialisées, archives, bibliothèques, musées et collections de nombreux pays, ces entretiens constituent la matière principale de l’ouvrage.
    [Show full text]
  • 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.
    [Show full text]
  • 2018 Edition ”W
    wzl-u-DE WlO-lZP-DE 4. 75" ENTERING THE CORPORATE Sponsor LIMITS OF :5; ’FOREAECLEANVEREDELAWARE II N EWA R K ::: SPONSORWAFWHIGHWAY . :: r‘1I |""_ I ’I'IHJI’ I "'IT ~ 20182018 EDITIONEDITION ”W R“. PIG ,i , _ 1 I,I I;, 7, BEGIN LETFT“: SPEED,"—T—W N I“ i DDelawareelaware SStanaaratandard HHighwayighway iNo TURNS : OFFICIAL SSignsigns :USE‘ONLY E NAME ForFor useuse withwith the 20182013 DEDE MUTCDMUTCD , :2 N0 1: STOPPING :2 STANDING '1 0R i: PARKING IIIIHIQII: Welcome to a]. vIIAII IIIIIIIM I ‘ImII‘IIn I I 7' ‘ II Delaware f; mun * I - [HAND HELD ‘ [::: . ‘ IIIIIIII 'InI W I n J I I Wm" yawn I I ' I | _ I \Inw ' TIHmmE rfl"!h!g:5=*‘éSZafiaséihkvwaW25' I ‘ E ' 110M W)” _.I I222; 22: III I II.III III IE“ R4-4-DE u :::I (J I § '1 : 4- Westfield f IJ‘ _ REIDMSIGNAL "n’..-. I A . I: I ‘ '------ ‘ I I’ _R|GHTWI\IJRNS . I AHEAD, v.1'-I ‘ Wh.lsperlnq. VAIIEEE jI O , ‘izla IWHENMfLASHHNG 2 \I Ln IA \\//)IL: ‘ "-Iv-[IiL-I'IIIIII‘I‘HIII yam I k m II‘II“‘>I IIIIN II. I MINI IIIINII II ‘I IuIIIn-IIIIII 'vII I 7- I In'- I‘ ”II II IIII‘I‘I IN IN >IwIl I-l ll‘.‘l I " “J 5—5-1 IE“? ‘ "v-"ra-rég'I ”I In IIv -IIIII awn" 5“ I ‘II‘ III IIIIM _ . ;.I -, III.» II .II-I ,, .- I. I . j , ' .' ‘ I I II I I If [H‘JIJJIIL‘IL I TEIE‘EYZ‘III‘UjJ E ' ‘ ‘ ' II NI “III I IIIIIIII’II’IIIIII I I I-I-JIHIII HI Htl IkI-I'IIH I I III: IIIII III IMMIIIIIII I- I4 II‘ II-I-NI IIII-I-II- II- I f-Y':I"."-II'.NI"_’:f LEGIEIIE 5'=[EI: --.-.I-nE IF‘EIZ‘UT-‘EREIY E‘ .NIFwIIhJ FE..I I“II~“~‘II..II III Preface This book presents detailed drawings of 98 Delaware specific signs outlined in the Delaware Manual on Uniform Traffic Control Devices for Streets and Highways (DE MUTCD) 2018 Edition.
    [Show full text]
  • Frutiger (Tipo De Letra) Portal De La Comunidad Actualidad Frutiger Es Una Familia Tipográfica
    Iniciar sesión / crear cuenta Artículo Discusión Leer Editar Ver historial Buscar La Fundación Wikimedia está celebrando un referéndum para reunir más información [Ayúdanos traduciendo.] acerca del desarrollo y utilización de una característica optativa y personal de ocultamiento de imágenes. Aprende más y comparte tu punto de vista. Portada Frutiger (tipo de letra) Portal de la comunidad Actualidad Frutiger es una familia tipográfica. Su creador fue el diseñador Adrian Frutiger, suizo nacido en 1928, es uno de los Cambios recientes tipógrafos más prestigiosos del siglo XX. Páginas nuevas El nombre de Frutiger comprende una serie de tipos de letra ideados por el tipógrafo suizo Adrian Frutiger. La primera Página aleatoria Frutiger fue creada a partir del encargo que recibió el tipógrafo, en 1968. Se trataba de diseñar el proyecto de Ayuda señalización de un aeropuerto que se estaba construyendo, el aeropuerto Charles de Gaulle en París. Aunque se Donaciones trataba de una tipografía de palo seco, más tarde se fue ampliando y actualmente consta también de una Frutiger Notificar un error serif y modelos ornamentales de Frutiger. Imprimir/exportar 1 Crear un libro 2 Descargar como PDF 3 Versión para imprimir Contenido [ocultar] Herramientas 1 El nacimiento de un carácter tipográfico de señalización * Diseñador: Adrian Frutiger * Categoría:Palo seco(Thibaudeau, Lineal En otros idiomas 2 Análisis de la tipografía Frutiger (Novarese-DIN 16518) Humanista (Vox- Català 3 Tipos de Frutiger y familias ATypt) * Año: 1976 Deutsch 3.1 Frutiger (1976)
    [Show full text]
  • Gifted Education Quarterly, 1998
    DOCUMENT RESUME ED 421 841 EC 306 604 AUTHOR Fisher, Maurice, Ed. TITLE Gifted Education Quarterly, Volume 12, Numbers 1-4, 1998. PUB DATE 1998-00-00 NOTE 50p. AVAILABLE FROM Gifted Education Press, 10201 Yuma Ct., Manassas, VA 20109; World Wide Web: http://www.cais.com/gep. PUB TYPE Collected Works Serials (022)-- Guides Non-Classroom (055) JOURNAL CIT Gifted Education Press Quarterly; v12 n1-4 Win-Fall 1998 EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Ability Identification; *Clinical Diagnosis; Computer Software; *Educational Technology; Elementary Secondary Education; *Gifted; *Home Schooling; Inclusive Schools; Multiple Intelligences; Preschool Education; *Problem Solving; Student Motivation; Test Reliability; Test Validity IDENTIFIERS Mozart (Wolfgang A) ABSTRACT These four issues of "Gifted Education Quarterly" include the following articles: (1) "Using Test Results To Support Clinical Judgment" (Linda Kreger Silverman), which discusses some of the difficulties in obtaining accurate indications of a child's level of giftedness and the importance of using professional judgment in determining whether tests have been optimally used in the assessment process; (2) "Inclusion: A Wrong Turn for the Gifted in the 21St Century!" (Bruce Gurcsik); (3) "Motivating Gifted Learners through Problem-Based Learning" (Linda Lucas); (4) "The Search for Giftedness" (Linda Kreger Silverman) ,which discusses reasons for studying gifted children and offers a philosophy of giftedness; (5) "The Return of Gifted Children Monthly (as Gifted-Children.Com)" (James Alvino); (6) "Homeschooling Your Gifted Child: An Effective Alternative for Differentiated Learning" (Vicki Caruana); (7) "Finding and Serving the Young Gifted Child: A Crucial Need in the Schools" (Joan Franklin Smutny and others); (8) "Mozart and the Evolution of Western Music: An Important Study for the Gifted Student" (Andrew Flaxman); (9) "Cinderella Meets a Prince: Howard Gardner" (Jerry D.
    [Show full text]
  • MUTCD Pt 4 Speed Controls
    Queensland Manual of Uniform Traffic Control Devices Part 4: Speed controls November 2019 Copyright © The State of Queensland (Department of Transport and Main Roads) 2019. Licence This work is licensed by the State of Queensland (Department of Transport and Main Roads) under a Creative Commons Attribution (CC BY) 4.0 International licence. CC BY licence summary statement In essence, you are free to copy, communicate and adapt this work, as long as you attribute the work to the State of Queensland (Department of Transport and Main Roads). To view a copy of this licence, visit: https://creativecommons.org/licenses/by/4.0/ Translating and interpreting assistance The Queensland Government is committed to providing accessible services to Queenslanders from all cultural and linguistic backgrounds. If you have difficulty understanding this publication and need a translator, please call the Translating and Interpreting Service (TIS National) on 13 14 50 and ask them to telephone the Queensland Department of Transport and Main Roads on 13 74 68. Disclaimer While every care has been taken in preparing this publication, the State of Queensland accepts no responsibility for decisions or actions taken as a result of any data, information, statement or advice, expressed or implied, contained within. To the best of our knowledge, the content was correct at the time of publishing. Feedback Please send your feedback regarding this document to: [email protected] Manual of Uniform Traffic Control Devices, Transport and Main Roads, November 2019
    [Show full text]