Booktango Allowable Font List

Total Page:16

File Type:pdf, Size:1020Kb

Booktango Allowable Font List Booktango Allowable Font List Agency FB Bold Berlin Sans FB Bold Agency FB Berlin Sans FB Demi Bold Algerian Berlin Sans FB Book Antiqua Bold Broadway Book Antiqua Bold Italic Brush Script MT Italic Book Antiqua Italic Bookshelf Symbol 7 Arial Narrow Calibri Arial Narrow Bold Calibri Bold Arial Narrow Bold Italic Calibri Italic Arial Narrow Italic Calibri Bold Italic Arial Unicode MS Californian FB Bold Arial Rounded MT Bold Californian FB Italic Baskerville Old Face Californian FB Bauhaus 93 Calisto MT Bell MT Calisto MT Bold Bell MT Bold Calisto MT Bold Italic Bell MT Italic Calisto MT Italic Bernard MT Condensed Cambria & Cambria Math Book Antiqua Cambria Bold Bodoni Cambria Italic Bodoni Italic Cambria Bold Italic Bodoni Bold Candara Bodoni Bold Italic Candara Bold Bodoni MT Bold Candara Italic Bodoni MT Bold Italic Candara Bold Italic Bodoni MT Black Italic Castellar Bodoni MT Black Century Schoolbook Bodoni MT Condensed Bold Centaur Bodoni MT Condensed Bold Italic Century Bodoni MT Condensed Italic Chiller Bodoni MT Condensed Colonna MT Bodoni MT Italic Comic Sans Bodoni MT Poster Compressed Consolas Bodoni MT Consolas Bold Bookman Old Style Consolas Italic Bookman Old Style Bold Consolas Bold Italic Bookman Old Style Bold Italic Contantia Bookman Old Style Italic Contantia Bold Bradley Hand ITC Contantia Italic Britannic Bold (True Type) Contantia Bold Italic Page 1 of 3 Booktango Allowable Font List Cooper Black Century Gothic Bold Copperplate Gothic Bold Century Gothic Bold Italic Copperplate Gothic Light Century Gothic Italic Corbel Goudy Old Style Corbel Bold Goudy Old Style Bold Corbel Italic Goudy Old Style Italic Corbel Bold Italic Goudy Stout Curlz MT Harlow Solid Italic Elephant Harrington Elephant Italic Haettenschweiler Engravers High Tower Text Eras Bold ITC High Tower Text Italic Eras Demi ITC Imprint MT Shadow Eras Light ITC Informal Roman Eras Medium ITC Blackadder ITC Felix Titling Edwardian Script ITC Forte Kristen ITC Franklin Gothic Book Jokerman Franklin Gothic Book Italic Juice ITC Franklin Gothic Demi Kunstler Script Franklin Gothic Demi Cond Wide Latin Franklin Gothic Demi Italic Lucida Bright Franklin Gothic Heavy Lucida Bright Demibold Franklin Gothic Heavy Italic Lucida Bright Demibold Italic Franklin Gothic Medium Cond Lucida Bright Italic Freestyle Script Lucida Calligraphy Italic French Script MT Lucida Fax Regular Footlight MT Light Lucida Fax Demibold Garamond Lucida Fax Demibold Italic Garamond Bold Lucida Fax Italic Garamond Italic Lucida Handwriting Italic Gigi Lucida Sans Regular Gill Sans MT Bold Italic Lucida Sans Demibold Roman Gill Sans MT Bold Lucida Sans Demibold Italic Gill Sans MT Condensed Lucida Sans Italic Gill Sans MT Italic Lucida Sans Typewriter Regular Gill Sans Ultra Bold Condensed Lucida Sans Typewriter Bold Gill Sans Ultra Bold Lucida Sans Typewriter Bold Oblique Gill Sans MT Lucida Sans Typewriter Oblique Gloucester MT Extra Condensed Magneto Bold Gill Sans MT Ext Condensed Bold Maiandra GD Century Gothic Matura MT Script Capitals Page 2 of 3 Booktango Allowable Font List Mistral Showcard Gothic Modern No. 20 Snap ITC MS Mincho Stencil Monotype Corsiva Tw Cen MT Bold Italic MT Extra Tw Cen MT Bold Niagara Engraved Tw Cen MT Condensed Bold Niagara Solid Tw Cen MT Condensed Extra Bold OCR A Extended Tw Cen MT Condensed Old English Text MT Tw Cen MT Italic Onyx Tw Cen MT MS Outlook Tempus Sans ITC Palace Script MT Viner Hand ITC Papyrus Vivaldi Italic Parchment Vladimir Script Perpetua Bold Italic Wingdings 2 Perpetua Bold Wingdings 3 Perpetua Italic Perpetua Titling MT Bold Perpetua Titling MT Light Perpetua Playbill Poor Richard Pristina Rage Italic Ravie MS Reference Sans Serif MS Reference Specialty Rockwell Condensed Rockwell Condensed Bold Rockwell Rockwell Bold Rockwell Bold Italic Rockwell Extra Bold Rockwell Italic Century Schoolbook Bold Century Schoolbook Bold Italic Century Schoolbook Italic Script MT Bold Segoe UI Segoe UI Bold Segoe UI Italic Segoe UI Bold Italic Page 3 of 3 .
Recommended publications
  • Brand Style Guide.Indd
    California Baptist University Brand Style Guide CALIFORNIA BAPTIST UNIVERSITY BRAND STYLE GUIDE The CBU Brand A brand is the personality a consumer creates for the organizations or products he or she interacts with. Consumers attribute characteristics to organizations to help themselves understand and then engage or avoid them. Brands can be hopeful, helpful, funny, tired, aloof or cold. Consumers create and revise brand personalities every time they come into contact with the organization. These interactions leave impressions on the consumer’s memory. Visualize the impression a branding iron leaves on the backside of a cow and you begin to appreciate the value of each of your interactions with students, parents, alumni, donors and friends. Consistency is essential to building and maintaining a strong brand for two reasons. First, consumers compare each new interaction to memories of previous interactions. When each successive interaction reinforces previous interactions, brand strength is increased. When interactions conflict with each other, the consumer is left thinking the brand is confused and weak. Second, competition for the consumer’s mind is fierce with organizations competing for milliseconds of their attention through a steady barrage of commercial messages. Consistency in CBU’s message and presentation improves the viewer’s (or listener’s) comprehension and increases the likelihood he or she will understand our message in the brief moment we have to communicate it to them. This guide has been developed to help every member of the CBU workforce (1) understand that he or she IS the CBU brand, and (2) properly and consistently represent the brand in all visual and verbal communications.
    [Show full text]
  • The French Communist Party and the Algerian
    THE FRENCH COMMUNIST PARTY AND THE ALGERIAN WAR Also by Daniele Joly IMMIGRANT ASSOCIATIONS IN EUROPE (editor with John Rex and Czarina Witpert) RELUCTANT HOSTS: EUROPE AND ITS REFUGEES (editor with Rnbin Cohen) The French COlDlDunist Party and the Algerian War Daniele J oly Senior Research Fellow University of Warwick Palgrave Macmillan ISBN 978-1-349-21289-7 ISBN 978-1-349-21287-3 (eBook) DOI 10.1007/978-1-349-21287-3 All rights reserved. For information, write: Scholarly and Reference Division, St. Martin's Press, Inc., 175 Fifth Avenue, New York, N.Y. 10010 Softcover reprint of the hardcover 1st edition 1991 First published in the United States of America in 1991 Phototypeset by Input Typesetting Ltd, London Library of Congress Cataloging-in-Publication Data Joly, Daniele The French Communist Party and the Algerian War/Daniele Joly. p. em. Includes bibliographical references. ISBN 978-0-312-04211-0 I. Algeria-History-Revolution, 1954--1962-Public opinion. 2. Parti communiste fran<;;ais. 3. Communists-France-Attitudes. 4. Public opinion-France. I. Title. DT295.J63 1991 90-34612 965' .04-dc20 CIP Contents Glossary vi Preface IX Acknowledgements xiv Introduction xv Algeria under French Colonisation 1 2 The PCF and the Colonial Question: A Historical Perspective 20 3 The PCF, the International Situation and the Algerian War 42 4 The French Nation 55 5 The PCF and the Algerian Nation 68 6 France's Military Involvement in Algeria: The PCF and the Oppositionnels 100 7 Synthesis on the Opposition 130 Conclusion Notes and References 149 Bibliography 165 Index 176 v Glossary VOCABULARY Appeles The French army is composed of conscripts and professionals.
    [Show full text]
  • Supreme Court of the State of New York Appellate Division: Second Judicial Department
    Supreme Court of the State of New York Appellate Division: Second Judicial Department A GLOSSARY OF TERMS FOR FORMATTING COMPUTER-GENERATED BRIEFS, WITH EXAMPLES The rules concerning the formatting of briefs are contained in CPLR 5529 and in § 1250.8 of the Practice Rules of the Appellate Division. Those rules cover technical matters and therefore use certain technical terms which may be unfamiliar to attorneys and litigants. The following glossary is offered as an aid to the understanding of the rules. Typeface: A typeface is a complete set of characters of a particular and consistent design for the composition of text, and is also called a font. Typefaces often come in sets which usually include a bold and an italic version in addition to the basic design. Proportionally Spaced Typeface: Proportionally spaced type is designed so that the amount of horizontal space each letter occupies on a line of text is proportional to the design of each letter, the letter i, for example, being narrower than the letter w. More text of the same type size fits on a horizontal line of proportionally spaced type than a horizontal line of the same length of monospaced type. This sentence is set in Times New Roman, which is a proportionally spaced typeface. Monospaced Typeface: In a monospaced typeface, each letter occupies the same amount of space on a horizontal line of text. This sentence is set in Courier, which is a monospaced typeface. Point Size: A point is a unit of measurement used by printers equal to approximately 1/72 of an inch.
    [Show full text]
  • Design One Project Three Introduced October 21. Due November 11
    Design One Project Three Introduced October 21. Due November 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used, or the evolving fashion of design. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. The second poster will present a visual analogy of the typeface, that combines both type and image, to broaden the viewer’s knowledge of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write a minimum150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer.
    [Show full text]
  • 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
    [Show full text]
  • Typography One Typeface Classification Why Classify?
    Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing.
    [Show full text]
  • 15 the Effect of Font Type on Screen Readability by People with Dyslexia
    The Effect of Font Type on Screen Readability by People with Dyslexia LUZ RELLO and RICARDO BAEZA-YATES, Web Research Group, DTIC, Universitat Pompeu Fabra, Barcelona, Spain Around 10% of the people have dyslexia, a neurological disability that impairs a person’s ability to read and write. There is evidence that the presentation of the text has a significant effect on a text’s accessibility for people with dyslexia. However, to the best of our knowledge, there are no experiments that objectively 15 measure the impact of the typeface (font) on screen reading performance. In this article, we present the first experiment that uses eye-tracking to measure the effect of typeface on reading speed. Using a mixed between-within subject design, 97 subjects (48 with dyslexia) read 12 texts with 12 different fonts. Font types have an impact on readability for people with and without dyslexia. For the tested fonts, sans serif , monospaced, and roman font styles significantly improved the reading performance over serif , proportional, and italic fonts. On the basis of our results, we recommend a set of more accessible fonts for people with and without dyslexia. Categories and Subject Descriptors: H.5.2 [Information Interfaces and Presentation]: User Interfaces— Screen design, style guides; K.4.2 [Computers and Society]: Social Issues—Assistive technologies for per- sons with disabilities General Terms: Design, Experimentation, Human Factors Additional Key Words and Phrases: Dyslexia, learning disability, best practices, web accessibility, typeface, font, readability, legibility, eye-tracking ACM Reference Format: Luz Rello and Ricardo Baeza-Yates. 2016. The effect of font type on screen readability by people with Dyslexia.
    [Show full text]
  • Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles
    Bitstream Fonts in May 2005 at http://www.myfonts.com/fonts/bitstream totaling 350 font families with a total of 1357 font styles The former Bitstream typeface libraries consisted mainly of forgeries of Linotype fonts and of ITC fonts. See the list below on the pages 24–29 about the old Bitstream Typeface Library of 1992. The 2005 Bitstream typeface library contains the same forgeries of Linotype fonts as formerly and also the same ITC fonts, but it also includes a lot of new mediocre „rubbish fonts“ (e.g. „Alphabet Soup“, „Arkeo“, „Big Limbo“), but also a few new quality fonts (e.g. „Drescher Grotesk“, „Prima Serif“ etc.). On the other hand, a few old fonts (e.g. „Caxton“) were removed. See the list below on pages 1–23. The typeface collection of CorelDraw comprises almost the entire former old Bitstream typeface library (see the list below on pages 24–29) with the following exceptions: 1. A few (ca. 3) forgeries of Linotype fonts are missing in the CorelDraw font collections, e.g. the fonts „Baskerville No. 2“ (= Linotype Baskerville No. 2), „Italian Garamond“ (= Linotype Garamond Simoncini), and „Revival 555“ (= Linotype Horley Old Style). 2. A lot (ca. 11) of ITC fonts are not contained in the CorelDraw font collections, e.g. „ITC Berkeley Oldstyle“, „ITC Century“, „ITC Clearface“, „ITC Isbell“, „ITC Italia“, „ITC Modern No. 216“, „ITC Ronda“, „ITC Serif Gothic“, „ITC Tom’s Roman“, „ITC Zapf Book“, and „ITC Zapf International“. Ulrich Stiehl, Heidelberg 3-May 2005 Aachen – 2 styles Ad Lib™ – 1 styles Aerospace Pi – 1 styles Aldine
    [Show full text]
  • Publication Notes – 3Nt.Xyz
    Publication Notes – 3nt.xyz Pete Matthews Jr – https://3nt.xyz – © June 19, 2021 Some of the material in this document originally appeared on the MIT/DL Bridge Club site, at http://web.mit.edu/mitdlbc/www/contrib.html. This article, at https://3nt.xyz/about/, is now the official home of this material. Look for updates here. Most of the MS Office documents about the game of bridge use the free Cards font. Starting in 2018, this font is also used in writing up deals with Bridge Composer. Many of the Portable Bridge Notation (PBN) files on this site were created or edited with BridgeComposer; some were created with Dealmaster Pro. The PDF files should be complete and need only Acrobat Reader. That is, all necessary font components are embedded in the files. Items are noted (I) when appropriate for Intermediate players, or (A) for Advanced or Advancing players. Titles of mainstream articles are bold, while more esoteric or less important titles are in italics. Media Codes To describe attributes of the intended media, PDF documents are noted with these Media Codes: Media Size Description Portrait orientation, 1-2 columns, US Letter, usually single column, best 8.5"W for printing and viewing on a moderate to large screen. Articles P x 11"H published before July 1, 2018 and most other bridge material is in this format. 11"W x Landscape orientation, 1-2 columns, US Letter. Only used fort the L 8.5"H occasional spreadsheet that is too wide for some other format. Portrait orientation, 1 column, US Junior (Half Letter).
    [Show full text]
  • Basic Styles of Lettering for Monuments and Markers.Indd
    BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble.
    [Show full text]
  • Sig Process Book
    A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry.
    [Show full text]
  • Presentation
    Born Broken: Fonts And Information Loss In Legacy Documents Geoffrey Brown and Kam Woods Indiana University School of Informatics and Computing Key Questions How pervasive are font substitution problems ? What information is available to identify fonts ? How well can we match the fonts required by a document collection ? How can we assist archivists in identifying serious font issues ? Page 8 MCTM Bulletin February 2005 K: I knew what you meant. I was just kidding. I’ll do XüLLbl (W):InputQ:FnOff :"""Y =! Y",Y#:PlotsOff the dishes tonight at dinner. YüL‚(W):Goto:0!Xscl:0!Yscl:Plot1(Scatt T er,L#,L$,&) PlotsOn 1:ZoomStat:StorePic Pic1 Lbl Q:FnOff :""üY :PlotsOff Jennifer felt better so offered the following challenge to Pause :Goto T Kevin. Lbl:0üXscl:0üYscl:Plot1(Scatt S:ClrHome:2!dim(L%er,L):dim(L ,L‚,Ñ)# )!N J: What type of general statement can you make DispPlotsOn "NO. 1:ZoomStat:StorePic OF Pic1 regarding the various polygons and, better yet, what PausePTS.":Output(1,13,N):Pause :Goto T can you say about a figure that looks like this? LblFor(I,1,N):ClrHome S:ClrHome:2üdim(Lƒ):dim(L )üN Disp "NO. "PT. OF NO.","":Output(1,9,I) PTS.":Output(1,13,N):Pause L#(I)!L%(1):L$(I)!L%(2) For(I,1,N):ClrHome Disp L%:Pause :End:Goto T LblDisp "PT.0:Menu(" NO.","":Output(1,9,I) MODELS R""," LINEAR (2)",1,"L(I)üLƒ(1):L‚(I)üLƒ(2) QUADRATIC",2," CUBIC/QUARTIC",3,"Disp Lƒ:Pause :End:Goto LOGARITHMIC",4," T LblEXPONENTIAL",5," 0:Menu(" MODELS POWER",6," RÜ"," LINEAR MAIN (2)",1," MENU",T) QUADRATIC",2," CUBIC/QUARTIC",3," Lbl 1:"aX+b"!Y# Kevin was impressed.
    [Show full text]