Captivate: How to Hook Your Audience

Total Page:16

File Type:pdf, Size:1020Kb

Captivate: How to Hook Your Audience Captivate: How to Hook Your Audience - 1 - Table of Contents I. Find out What your Audience wants to Know II. Create Deliverables that Audiences Crave III. Create Hooks that Captivate Immediately IV. Create an Opener that Wows your Audience V. Deliver the Opener with Credibility VI. Keep Them Captivated EVERY Topic - 2 - Find Out What Your Audience Wants to Know □ 1. Identify Current Topics Overview of Deliverables Deliverable Structure Fulfillment vs. Objectives Overview of Themes Confidence and Expertise Review of hooks and deliverables □ 2. Interview Potential Audiences Members How to deliver a dynamite hook How to give a motivational/inspirational presentation Catch the audience with a hook at the beginning that is repeated through the presentation How to introduce yourself Create an effective opener Best strategies to hook an audience that doesn’t want to be there Inflect your voice to hook the audience Use body language to hook the audience How to break the ice Techniques & methods to identify and control/manage our nerves before and during presentations “Stage fright” prevention/calming techniques How to avoid being a basket case! (in other words, managing nerves before and during presenting…) Does visualizing everyone in their underwear actually help or ease nerves Does having something small to hold in your hand ease the anxiousness How to present when you are nervous How to recover from something embarrassing How not to feel intimidated by experienced people and their friends - 3 - What to do when even you recognize that your personality is muted due to nerves Ways to portray confidence in the subject What NOT to talk about How to Get Stage Presence How to inflect your voice to show confidence How to look professional, even if you’re young How to maintain composure or give the appearance of composure How to keep a presentation simple but not “childish” or condescending How different styles impact different audiences? How to mesh your personality with what the audience wants to hear How to create an “agenda slide” How to spice up your Power Point Presentation without patronizing your audience How to create just enough, but not too much, detail in your slides Strategies to outline and prepare presentations Strategies to maintain/restore audience engagement What to do if your audience isn’t participating What to do if your audience is bored Ways to engage the audience before you start speaking Inflect your voice to engage the audience How to sound excited and enthusiastic Tips to avoid rambling Making the presentation personal, even in a large group. Articulate for success Get your audience to take notes (or not) How to keep your audience’s attention What to do when the room is sleeping after part of your presentation. How to get the point across accurately How to improve vocabulary and use it appropriately while presenting - 4 - □ 3. Create a “Top 10” List 1. How to deliver a dynamite hook 2. Create an effective opener 3. Best strategies to hook an audience that doesn’t want to be there 4. Ways to portray confidence in the subject 5. How to create an “agenda slide” 6. How to spice up your Power Point Presentation without patronizing your audience 7. Ways to engage the audience before you start speaking 8. How to sound excited and enthusiastic 9. Making the presentation personal, even in a large group. 10. How to keep your audience’s attention Activity: Find out what your audience wants to know Now, it’s your turn. Think of a presentation you give. Use it to fill out the table below and find the topics your audience really wants to know: Identify current topics Identify the topics you currently give in your presentation… Interview potential audience members Find out what potential (or past) audience members would really like to know about your topic. - 5 - Create a “Top Ten” list Narrow that list down to the top 10 common things your audience wants to know. - 6 - Create Deliverables that Audiences Crave □ 1. Narrow down your list to the top 6 things people want. a. Select the 6 topics that were the most common between folks who were interviewed that you feel are the most compelling (examples below for “Captivate”) Best strategies to hook an audience that doesn’t want to be there How to create an “agenda slide” Ways to engage the audience before you start speaking Create an effective opener How to deliver a dynamite hook How to keep your audience’s attention □ 2. Create Deliverables a. Captivate’s Deliverables below Find out What your Audience Want to Know Create Deliverables that Audiences Crave Create Hooks that Captivate Immediately Create an Opener that Wows your Audience Deliver the Opener with Credibility Keep Them Captivated EVERY Lesson Tips for writing deliverables: • Start with “How to…”, or “Top [number] of ways to…”, or by using an action verb. • Avoid using vocabulary words or acronyms that the learner doesn’t yet understand • Ask about each deliverable: what value does it meet? • Keep deliverables to seven (7) or fewer words. • Deliverables can be tasks but are never objectives. - 7 - Activity: Create deliverables that audiences crave Based on your research above, create 6 deliverables that you think encompass what your audience craves. Narrow down your list to the “Top 6” What are the TOP 6 things that your audiene wants? Create your deliverables Use the “Tips for writing deliverables” above to create catchy deliverables that audiences crave. - 8 - Create Hooks that Captivate Immediately □ 1. Label Audience Fulfillment Choose from one of the following reasons why an adult would want that deliverable (examples below for “Captivate”) Gives them more happiness… Gives them more success… Gives them more freedom… Find Out What Your Audience Wants to Know Happier, More Freedom Create Deliverables that Audiences Crave More Successful Create Hooks that Captivate Immediately Happier, More Successful Create an Opener that Wows Your Audience More Successful, Happier Deliver the Opener with Credibility Happier, More successful Keep Them Captivated Every Lesson Freedom, Successful, Happier This is theory □ 2. Label the “Why’s?” Elaborate on why it provides them with that reason (Eg, if the deliverable will ultimately make them happier…WHY?) Find Out What Your Audience Wants to Know Happiness – Less nervousness & fear Freedom – Less worry Create Deliverables that Audiences Crave Success – People want to attend your class Create Hooks that Captivate Immediately - 9 - Happiness & Success – People focus on you and what you’re talking about Create an Opener that Wows Your Audience Happiness & Success – People want to stay in your class Deliver the Opener with Credibility Happiness – You feel more confident Success – You look more credible & trustworthy Keep Them Captivated Every Lesson Freedom – Fewer questions Happiness – Audiences thank you Success – People want to come back This is real & compelling □ 3. Use Confident Language Tips for writing the hook: • The hook creates a feeling. • Avoid using the words happy, free, successful in your hook, but ask yourself why it makes the learner feel these things. • Make sure that your hook is one that you can deliver, and prove that you in fact, delivered. Find Out What Your Audience Wants to Know I’m going to teach you how to find out EXACTLY what your audience wants to know even before you start presenting. Create Deliverables that Audiences Crave You’re about to learn the secret to creating “deliverables” that audiences CRAVE. Create Hooks that Captivate Immediately I’m going to give you a “hook recipe” that leaves your audience members wanting more as soon as you deliver it. Create an Opener that Wows Your Audience You’ll learn how to create a dynamic opener even the most challenging audiences cannot possibly resist. Deliver the Opener with Credibility - 10 - I’ll show you how to build credibility and trust with your audience with the first sentence that you speak Keep Them Captivated Every Lesson I’m going to give you two essential methods to keep them captivated throughout your entire presentation. Activity: Create hooks that captivate immediately Now it’s time for you to create individual topic hooks that you can use to introduce each of your deliverable… Label audience fulfillment For each deliverable above, label whether it will make your audience more happy, successful or free. Label the “Why’s?” Why will each of the deliverables above make your audience more happy, successful or free? - 11 - Use confident language Use the “Tips for writing the hook” above to write out confident topic hooks for each of your deliverables. - 12 - Create an Opener that Wows your Audience □ 1. Find a common theme(s) for why each of the deliverables above are important to your audience. Less nervous, more confident, thank you, audiences focuses on you, wants to stay in class, want to attend your class, more credible, trustworthy, want to come back, fewer questions, less worry. □ 2. Write that theme out in a single sentence. “I’m going to teach you how to immediately captivate any audience with a hook they cannot possibly resist…and won’t let them go…” Tips for writing the hook: • The hook creates a feeling. • Avoid using the words happy, free, successful in your hook, but ask yourself why it makes the learner feel these things. • Make sure that your hook is one that you can deliver, and prove that you in fact, delivered. Activity: Create an opener that “Wows” your audience The big kahuna!...time to create your opening hook that will immediately captivate your audience from the moment you start. Find a common theme What is the common theme(s) for why each of your deliverables above are important to your audience? - 13 - Write a single sentence hook Use the “Tips for writing the hook” above to write out a confident opening hook for your presentation.
Recommended publications
  • Technical Reference Manual for the Standardization of Geographical Names United Nations Group of Experts on Geographical Names
    ST/ESA/STAT/SER.M/87 Department of Economic and Social Affairs Statistics Division Technical reference manual for the standardization of geographical names United Nations Group of Experts on Geographical Names United Nations New York, 2007 The Department of Economic and Social Affairs of the United Nations Secretariat is a vital interface between global policies in the economic, social and environmental spheres and national action. The Department works in three main interlinked areas: (i) it compiles, generates and analyses a wide range of economic, social and environmental data and information on which Member States of the United Nations draw to review common problems and to take stock of policy options; (ii) it facilitates the negotiations of Member States in many intergovernmental bodies on joint courses of action to address ongoing or emerging global challenges; and (iii) it advises interested Governments on the ways and means of translating policy frameworks developed in United Nations conferences and summits into programmes at the country level and, through technical assistance, helps build national capacities. NOTE The designations employed and the presentation of material in the present publication do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The term “country” as used in the text of this publication also refers, as appropriate, to territories or areas. Symbols of United Nations documents are composed of capital letters combined with figures. ST/ESA/STAT/SER.M/87 UNITED NATIONS PUBLICATION Sales No.
    [Show full text]
  • Combining Diacritical Marks Range: 0300–036F the Unicode Standard
    Combining Diacritical Marks Range: 0300–036F The Unicode Standard, Version 4.0 This file contains an excerpt from the character code tables and list of character names for The Unicode Standard, Version 4.0. Characters in this chart that are new for The Unicode Standard, Version 4.0 are shown in conjunction with any existing characters. For ease of reference, the new characters have been highlighted in the chart grid and in the names list. This file will not be updated with errata, or when additional characters are assigned to the Unicode Standard. See http://www.unicode.org/charts for access to a complete list of the latest character charts. Disclaimer These charts are provided as the on-line reference to the character contents of the Unicode Standard, Version 4.0 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 excerpt file, please consult the appropriate sections of The Unicode Standard, Version 4.0 (ISBN 0-321-18578-1), as well as Unicode Standard Annexes #9, #11, #14, #15, #24 and #29, the other Unicode Technical Reports and the Unicode Character Database, which are available on-line. See http://www.unicode.org/Public/UNIDATA/UCD.html and http://www.unicode.org/unicode/reports A thorough understanding of the information contained in these additional sources is required for a successful implementation. Fonts The shapes of the reference glyphs used in these code charts are not prescriptive. Considerable variation is to be expected in actual fonts.
    [Show full text]
  • Chapter 5. Characters: Typology and Page Encoding 1
    Chapter 5. Characters: typology and page encoding 1 Chapter 5. Characters: typology and encoding Version 2.0 (16 May 2008) 5.1 Introduction PDF of chapter 5. The basic characters a-z / A-Z in the Latin alphabet can be encoded in virtually any electronic system and transferred from one system to another without loss of information. Any other characters may cause problems, even well established ones such as Modern Scandinavian ‘æ’, ‘ø’ and ‘å’. In v. 1 of The Menota handbook we therefore recommended that all characters outside a-z / A-Z should be encoded as entities, i.e. given an appropriate description and placed between the delimiters ‘&’ and ‘;’. In the last years, however, all major operating systems have implemented full Unicode support and a growing number of applications, including most web browsers, also support Unicode. We therefore believe that encoders should take full advantage of the Unicode Standard, as recommended in ch. 2.2.2 above. As of version 2.0, the character encoding recommended in The Menota handbook has been synchronised with the recommendations by the Medieval Unicode Font Initiative . The character recommendations by MUFI contain more than 1,300 characters in the Latin alphabet of potential use for the encoding of Medieval Nordic texts. As a consequence of the synchronisation, the list of entities which is part of the Menota scheme is identical to the one by MUFI. In other words, if a character is encoded with a code point or an entity in the MUFI character recommendation, it will be a valid character encoding also in a Menota text.
    [Show full text]
  • Characters for Classical Latin
    Characters for Classical Latin David J. Perry version 13, 2 July 2020 Introduction The purpose of this document is to identify all characters of interest to those who work with Classical Latin, no matter how rare. Epigraphers will want many of these, but I want to collect any character that is needed in any context. Those that are already available in Unicode will be so identified; those that may be available can be debated; and those that are clearly absent and should be proposed can be proposed; and those that are so rare as to be unencodable will be known. If you have any suggestions for additional characters or reactions to the suggestions made here, please email me at [email protected] . No matter how rare, let’s get all possible characters on this list. Version 6 of this document has been updated to reflect the many characters of interest to Latinists encoded as of Unicode version 13.0. Characters are indicated by their Unicode value, a hexadecimal number, and their name printed IN SMALL CAPITALS. Unicode values may be preceded by U+ to set them off from surrounding text. Combining diacritics are printed over a dotted cir- cle ◌ to show that they are intended to be used over a base character. For more basic information about Unicode, see the website of The Unicode Consortium, http://www.unicode.org/ or my book cited below. Please note that abbreviations constructed with lines above or through existing let- ters are not considered separate characters except in unusual circumstances, nor are the space-saving ligatures found in Latin inscriptions unless they have a unique grammatical or phonemic function (which they normally don’t).
    [Show full text]
  • Special Characters in Aletheia
    Special Characters in Aletheia Last Change: 28 May 2014 The following table comprises all special characters which are currently available through the virtual keyboard integrated in Aletheia. The virtual keyboard aids re-keying of historical documents containing characters that are mostly unsupported in other text editing tools (see Figure 1). Figure 1: Text input dialogue with virtual keyboard in Aletheia 1.2 Due to technical reasons, like font definition, Aletheia uses only precomposed characters. If required for other applications the mapping between a precomposed character and the corresponding decomposed character sequence is given in the table as well. When writing to files Aletheia encodes all characters in UTF-8 (variable-length multi-byte representation). Key: Glyph – the icon displayed in the virtual keyboard. Unicode – the actual Unicode character; can be copied and pasted into other applications. Please note that special characters might not be displayed properly if there is no corresponding font installed for the target application. Hex – the hexadecimal code point for the Unicode character Decimal – the decimal code point for the Unicode character Description – a short description of the special character Origin – where this character has been defined Base – the base character of the special character (if applicable), used for sorting Combining Character – combining character(s) to modify the base character (if applicable) Pre-composed Character Decomposed Character (used in Aletheia) (only for reference) Combining Glyph
    [Show full text]
  • Kabbalah, Magic & the Great Work of Self Transformation
    KABBALAH, MAGIC AHD THE GREAT WORK Of SELf-TRAHSfORMATIOH A COMPL€T€ COURS€ LYAM THOMAS CHRISTOPHER Llewellyn Publications Woodbury, Minnesota Contents Acknowledgments Vl1 one Though Only a Few Will Rise 1 two The First Steps 15 three The Secret Lineage 35 four Neophyte 57 five That Darkly Splendid World 89 SIX The Mind Born of Matter 129 seven The Liquid Intelligence 175 eight Fuel for the Fire 227 ntne The Portal 267 ten The Work of the Adept 315 Appendix A: The Consecration ofthe Adeptus Wand 331 Appendix B: Suggested Forms ofExercise 345 Endnotes 353 Works Cited 359 Index 363 Acknowledgments The first challenge to appear before the new student of magic is the overwhehning amount of published material from which he must prepare a road map of self-initiation. Without guidance, this is usually impossible. Therefore, lowe my biggest thanks to Peter and Laura Yorke of Ra Horakhty Temple, who provided my first exposure to self-initiation techniques in the Golden Dawn. Their years of expe­ rience with the Golden Dawn material yielded a structure of carefully selected ex­ ercises, which their students still use today to bring about a gradual transformation. WIthout such well-prescribed use of the Golden Dawn's techniques, it would have been difficult to make progress in its grade system. The basic structure of the course in this book is built on a foundation of the Golden Dawn's elemental grade system as my teachers passed it on. In particular, it develops further their choice to use the color correspondences of the Four Worlds, a piece of the original Golden Dawn system that very few occultists have recognized as an ini­ tiatory tool.
    [Show full text]
  • Appendix 3. Precomposed Characters in the New Finnish Keyboard Layout
    Appendix 3. Precomposed characters in the new Finnish keyboard layout specification Draft 2006-06-29 The following characters consist of base characters and diacritics or stroke modifiers, and they are encoded in their precomposed form in the basic mode. In this mode the diacritics are entered as dead letters prior to the base character. In the decomposed mode they and all the other combinations of base characters and diacritics are entered so that the diacritics follow the base character. The stroke modifier, however, acts as a dead key in the decomposed mode, too. Code Key/ Character name Glyph pos. base U+0301 E12-1 COMBINING ACUTE ACCENT U+00B4 Sp. ACUTE ACCENT ´ U+00E1 a LATIN SMALL LETTER A WITH ACUTE á U+00C1 A LATIN CAPITAL LETTER A WITH ACUTE Á U+0107 c LATIN SMALL LETTER C WITH ACUTE U+0106 C LATIN CAPITAL LETTER C WITH ACUTE U+00E9 e LATIN SMALL LETTER E WITH ACUTE é U+00C9 E LATIN CAPITAL LETTER E WITH ACUTE É U+00ED i LATIN SMALL LETTER I WITH ACUTE í U+00CD I LATIN CAPITAL LETTER I WITH ACUTE Í U+013A l LATIN SMALL LETTER L WITH ACUTE U+0139 L LATIN CAPITAL LETTER L WITH ACUTE U+0144 n LATIN SMALL LETTER N WITH ACUTE U+0143 N LATIN CAPITAL LETTER N WITH ACUTE U+00F3 o LATIN SMALL LETTER O WITH ACUTE ó U+00D3 O LATIN CAPITAL LETTER O WITH ACUTE Ó U+0155 r LATIN SMALL LETTER R WITH ACUTE U+0154 R LATIN CAPITAL LETTER R WITH ACUTE U+015B s LATIN SMALL LETTER S WITH ACUTE U+015A S LATIN CAPITAL LETTER S WITH ACUTE U+00FA u LATIN SMALL LETTER U WITH ACUTE ú U+00DA U LATIN CAPITAL LETTER U WITH ACUTE Ú U+1E83 w LATIN SMALL LETTER W WITH ACUTE 3 U+1E82 W LATIN CAPITAL LETTER W WITH ACUTE 2 U+00FD y LATIN SMALL LETTER Y WITH ACUTE U+00DD Y LATIN CAPITAL LETTER Y WITH ACUTE U+017A z LATIN SMALL LETTER Z WITH ACUTE # U+0179 Z LATIN CAPITAL LETTER Z WITH ACUTE " U+01FD æ LATIN SMALL LETTER AE WITH ACUTE / U+01FC Æ LATIN CAPITAL LETTER AE WITH ACUTE .
    [Show full text]
  • 1 Symbols (2286)
    1 Symbols (2286) USV Symbol Macro(s) Description 0009 \textHT <control> 000A \textLF <control> 000D \textCR <control> 0022 ” \textquotedbl QUOTATION MARK 0023 # \texthash NUMBER SIGN \textnumbersign 0024 $ \textdollar DOLLAR SIGN 0025 % \textpercent PERCENT SIGN 0026 & \textampersand AMPERSAND 0027 ’ \textquotesingle APOSTROPHE 0028 ( \textparenleft LEFT PARENTHESIS 0029 ) \textparenright RIGHT PARENTHESIS 002A * \textasteriskcentered ASTERISK 002B + \textMVPlus PLUS SIGN 002C , \textMVComma COMMA 002D - \textMVMinus HYPHEN-MINUS 002E . \textMVPeriod FULL STOP 002F / \textMVDivision SOLIDUS 0030 0 \textMVZero DIGIT ZERO 0031 1 \textMVOne DIGIT ONE 0032 2 \textMVTwo DIGIT TWO 0033 3 \textMVThree DIGIT THREE 0034 4 \textMVFour DIGIT FOUR 0035 5 \textMVFive DIGIT FIVE 0036 6 \textMVSix DIGIT SIX 0037 7 \textMVSeven DIGIT SEVEN 0038 8 \textMVEight DIGIT EIGHT 0039 9 \textMVNine DIGIT NINE 003C < \textless LESS-THAN SIGN 003D = \textequals EQUALS SIGN 003E > \textgreater GREATER-THAN SIGN 0040 @ \textMVAt COMMERCIAL AT 005C \ \textbackslash REVERSE SOLIDUS 005E ^ \textasciicircum CIRCUMFLEX ACCENT 005F _ \textunderscore LOW LINE 0060 ‘ \textasciigrave GRAVE ACCENT 0067 g \textg LATIN SMALL LETTER G 007B { \textbraceleft LEFT CURLY BRACKET 007C | \textbar VERTICAL LINE 007D } \textbraceright RIGHT CURLY BRACKET 007E ~ \textasciitilde TILDE 00A0 \nobreakspace NO-BREAK SPACE 00A1 ¡ \textexclamdown INVERTED EXCLAMATION MARK 00A2 ¢ \textcent CENT SIGN 00A3 £ \textsterling POUND SIGN 00A4 ¤ \textcurrency CURRENCY SIGN 00A5 ¥ \textyen YEN SIGN 00A6
    [Show full text]
  • Hoisting & Rigging Fundamentals
    Hoisting and Rigging Fundamentals for Riaaers and ODerators Pendant Control - Components TR244C, Rev. 5 December 2002 TR244C Rev . 5 TABLE OF CONTENTS INTRODUCTION ............................................................ ii HOISTING AND RIGGING OBJECTIVES ......................................... 1 WIRE ROPE SLINGS ......................................................... 2 SYNTHETIC WEBBING SLINGS ............................................... IO CHAINSLINGS ............................................................ 14 METAL MESH SLINGS ...................................................... 18 SPREADER BEAMS ........................................................ 19 RIGGING HARDWARE ...................................................... 22 INSPECTION TAG .......................................................... 39 CRITICAL LIFTS ........................................................... 40 GENERAL HOISTING AND RIGGING PRACTICES ................................ 44 HANDSIGNALS ............................................................ 64 INCIDENTAL HOISTING OPERATOR OBJECTIVES ............................... 68 HOISTS .................................................................. 69 OVERHEAD AND GANTRY CRANES ........................................... 71 MOBILECRANES .......................................................... 77 APPENDIX ................................................................ 81 TC:0007224.01 i TR244C Rev. 5 INTRODUCTION HOISTING AND RIGGING PROGRAM Safety should be the first priority when performing
    [Show full text]
  • No. 447,618, Patented Mar, 3, 189L
    (No Model.) J. K. MILLER, ROPE HOOK. No. 447,618, Patented Mar, 3, 189l. INVENTOR: -6. ATTORNEYS UNITED STATES PATENT OFFICE. JAMES K. MILLER, OF EMPORIA, KANSAS, RO PE HOOK. SPECIFICATION forming part of Letters Patent No. 447,618, dated March 3, 1891. Application filed May 17, 1890, Serial No. 352,246, (No model.) To all, whon it indi/ concern: through the upper hook A, and one or more 55 Be it known that I, JAMES K. MILLER, of turns around the shank between hook A and Emporia, in the county of Lyon and State of the lower hooks A, the free end C of the rope Kansas, have invented a new and Improved C being allowed to dangle from the hook, as Rope-Hook, of which the following is a full, shown. clear, and exact description. While I have shown a particular means for My invention relates to improvements in fastening the rope C in the hook, it is evi rope-hooks; and the object of the invention is dent that it may be fastened in a great many to provide a hook that is suitable for use with ways, so as either to hold the rope in a sta O clothes-lines, hammocks, for hoisting pur tionary position or to allow it to slide slowly poses, or for fastening bundles, and various through the hook. other purposes, and one by which a rope may It will be seen that by having the two hooks be easily and quickly fastened. A upon opposite sides of the shank the rope To this end my invention consists in a hook C may be passed through either of said hooks, having a single shank and a terminal eye, and may be passed through the central hook and having two oppositely-extending hooks A from either the right hand or the left with at its lower end, and a central hook above equal facility, so that an unskilled person said lower hooks and at right angles to the will have no difficulty in securing the rope to SO, the hook.
    [Show full text]
  • The Brill Typeface User Guide & Complete List of Characters
    The Brill Typeface User Guide & Complete List of Characters Version 2.06, October 31, 2014 Pim Rietbroek Preamble Few typefaces – if any – allow the user to access every Latin character, every IPA character, every diacritic, and to have these combine in a typographically satisfactory manner, in a range of styles (roman, italic, and more); even fewer add full support for Greek, both modern and ancient, with specialised characters that papyrologists and epigraphers need; not to mention coverage of the Slavic languages in the Cyrillic range. The Brill typeface aims to do just that, and to be a tool for all scholars in the humanities; for Brill’s authors and editors; for Brill’s staff and service providers; and finally, for anyone in need of this tool, as long as it is not used for any commercial gain.* There are several fonts in different styles, each of which has the same set of characters as all the others. The Unicode Standard is rigorously adhered to: there is no dependence on the Private Use Area (PUA), as it happens frequently in other fonts with regard to characters carrying rare diacritics or combinations of diacritics. Instead, all alphabetic characters can carry any diacritic or combination of diacritics, even stacked, with automatic correct positioning. This is made possible by the inclusion of all of Unicode’s combining characters and by the application of extensive OpenType Glyph Positioning programming. Credits The Brill fonts are an original design by John Hudson of Tiro Typeworks. Alice Savoie contributed to Brill bold and bold italic. The black-letter (‘Fraktur’) range of characters was made by Karsten Lücke.
    [Show full text]
  • Smsolar Mount
    SOLAR SM MOUNT INSTALLATION GUIDE TABLE OF CONTENTS A - PRO SERIES SYSTEM COMPONENTS O - BONDING CONNECTION GROUND PATHS B - SYSTEM LAYOUT P – TRIM AND END CAP INSTALLATION C - CODE COMPLIANCE NOTES Q – STANDARD SYSTEM COMPONENTS D - ROOF ATTACHMENT & L-FEET E - SPLICE & THERMAL BREAK R –MODULE CAPABILITY F - ATTACH RAIL TO L-FEET S – ATTACH RAIL TO L-FEET G - MICROINVERTER MOUNTING T – ENDCLAMP & FIRST MODULE H - MICROINVERTER SYSTEM GROUNDING U –BONDING MIDCLAMP & TRIM I - ELECTRICAL GROUNDING W/ ENPHASE MICRINVERTER FOR V- REMAINING MODULES & TRIM SPLICE & THERMAL BREAK W – TRIM RETROFIT INSTALLATION J - STANDARD SYSTEM GROUNDING X – BONDING CONNECTION GROUND PATHS K - END CLAMP, FIRST MODULE L- BONDING MID CLAMP Y – BONDING CONNECTION GROUND PATHS M - REMAINING MODULES APPENDIX A : SYSTEM CERTIFICATION N - BONDING CONNECTION GROUND PATHS APPENDIX B: FLASHKIT PRO INSTALLATION PUB2020JAN07 SOLAR PRO SERIES SYSTEM COMPONENTS A SM MOUNT INSTALLATION GUIDE PAGE RAIL: Supports PV modules. Use at least two per row of modules. Aluminum extrusion, available in mill, clear anodized, or dark anodized. RAIL SPLICE: Non structural splice joins, aligns, and electrically bonds rail sections into single length of rail. Forms a rigid splice joint, 4 inches long, preassembled with bonding hardware. Available in dark anodized or mill finish. L-FOOT: Use to secure rails through roofing material to building structure. Refer to loading tables or U-Builder for spacing. L-FOOT T- BOLT: (3/8” x ¾" or 1”) – Use one per L-foot to secure rail to L-foot. Stainless steel. Supplied with L-foot in combination with flange nut, provides electrical bond between L-foot and rail.
    [Show full text]