Bitstream Font Fusion 5.0A Reference Guide
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Art, Philosophy, and the Philosophy Of
NATIONAL E N D O W M E N T FOR THE HUMANITIES VOLUME 4 NUMBER 1 FEBRUARY 1983 Humanities Art, Philosophy, and the Philosophy of Art period of Abstract Expressionism, ward behavior might be indistin when decisions for or against The guishable between the two. In all these Image were fraught with an almost cases one must seek the differences religious agony, the crass and casual outside the juxtaposed and puzzling use of tacky images by the new examples, and this is no less the case artists seemed irreverent and juve when seeking to account for the dif nile. But the Warhol show raised a ferences between works of art and question which was intoxicating and mere real things which happen immediately philosophical, namely exactly to resemble them. why were his boxes works of art This problem could have been while the almost indistinguishable raised at any time, and not just with utilitarian cartons were merely con the somewhat minimal sorts of tainers for soap pads? Certainly the works one might suspect the Brillo minor observable differences could Boxes to be. It was always conceiva not ground as grand a distinction as ble that exact counterparts to the that between Art and Reality! most prized and revered works of BY ARTHUR C. DANTO A philosophical question arises art could have come about in ways Not very many years ago, whenever we have two objects inconsistent with their being works aesthetics—understood as the phi which seem in every relevant par at all, though no observable differ losophy of art—was regarded as the ticular to be alike, but which belong ences could be found. -
Muuglines $2.50 the Manitoba UNIX User Group Newsletter
Vol. 14 No. 2 October 2001 MUUGlines $2.50 The Manitoba UNIX User Group Newsletter October 9, 2001: companies to seek a “Plan B” from the Plan A of Microsoft’s Internet Information Server (IIS). To Consolidated Storage – wit: SAN/NAS or something else? Gartner recommends that businesses hit by Although most I/T professionals agree on the ben- both Code Red and Nimda immediately inves- efits of consolidating storage, there is some discus- tigate alternatives to IIS, including moving sion as to whether a Storage Area Network (SAN) Web applications to Web server software or Network Attached Storage (NAS) is the best from other vendors such as iPlanet and Apache. strategy. The answer is that it depends; but making Although those Web servers have required the choice, especially in the face of new emerging some security patches, they have much better technologies is difficult. security records than IIS and are not under active attack by the vast number of virus and This session will explain the concept of Con- worm writers. solidated Storage and its benefits. Then we will explore a few of the technologies available and on the near horizon for implementing a centralized Yes, Apache isn’t a “vendor”. Nonetheless, it storage infrastructure. Terry Baydock, Technical will be interesting to see if that has any effect on the Sales Specialist with the Storage Systems Group at statistics kept by Netcraft (http:// IBM Canada Ltd., will be our presenter for this www.netcraft.co.uk/survey/). The most recent sur- session vey show that the trend for the number of comput- ers hosting websites is Windows holding steady at Please note our meeting location: IBM Cana- around 50%, and Linux is at 30%, gaining ground da’s offices in the TD Centre, at the corner of at the expense of other Unix-like operating sys- Portage and Main. -
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 -
Serif Fonts Vol 2
Name Chaparral Pro Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Italic Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Italic Basic Latin ! " # $ % & ' ( ) * + , - . -
Suitcase Fusion 8 Getting Started
Copyright © 2014–2018 Celartem, Inc., doing business as Extensis. This document and the software described in it are copyrighted with all rights reserved. This document or the software described may not be copied, in whole or part, without the written consent of Extensis, except in the normal use of the software, or to make a backup copy of the software. This exception does not allow copies to be made for others. Licensed under U.S. patents issued and pending. Celartem, Extensis, LizardTech, MrSID, NetPublish, Portfolio, Portfolio Flow, Portfolio NetPublish, Portfolio Server, Suitcase Fusion, Type Server, TurboSync, TeamSync, and Universal Type Server are registered trademarks of Celartem, Inc. The Celartem logo, Extensis logos, LizardTech logos, Extensis Portfolio, Font Sense, Font Vault, FontLink, QuickComp, QuickFind, QuickMatch, QuickType, Suitcase, Suitcase Attaché, Universal Type, Universal Type Client, and Universal Type Core are trademarks of Celartem, Inc. Adobe, Acrobat, After Effects, Creative Cloud, Creative Suite, Illustrator, InCopy, InDesign, Photoshop, PostScript, Typekit and XMP are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apache Tika, Apache Tomcat and Tomcat are trademarks of the Apache Software Foundation. Apple, Bonjour, the Bonjour logo, Finder, iBooks, iPhone, Mac, the Mac logo, Mac OS, OS X, Safari, and TrueType are trademarks of Apple Inc., registered in the U.S. and other countries. macOS is a trademark of Apple Inc. App Store is a service mark of Apple Inc. IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license. Elasticsearch is a trademark of Elasticsearch BV, registered in the U.S. -
Ordinance No. 04-61
.. 200500022607 BEST POSSIBLE IMAGE Filed for Record in HAMILTON COUNTY, INDIANA ALL PAGES JENNIFER J HAYDEN 0~-18-2OQ5 At 12'~7 >•• ORDINANCE 101.00 I ORDINANCE NO. 04-61 , AN ORDINANCE OF THE TOWN OF WESTFIELD CONCERNING AMENDMENT TO TITLE 16- LAND USE CONTROLS WHEREAS, The Town ofWeslfield, Indiana and the Township of Washington, both of Hamilton County, Indiana are subject to the Westfield Washington Township Zoning Ordinance; and WHEREAS, the Westfield-Washington Township Plan Commission ("Commission") considered a petition (docket 0310-PUD-06) filed with the Commission to rezone certain lands; and WHEREAS, the Westfield Washington Township Plan Commission did take action to forward the request to the Westfield town Council with a negative recommendation under the provision onc 36-7-4-605; and WHEREAS, the Secretary of the Commission certified the action of the commission to the Town Council on January 27, 2004; and WHEREAS, the Weslfield Town Council is subject to the provisions onc 36-7-4-608(t) or IC36-7-4-608(g) concerning any action on requests forwarded by the Advisory Plan Commission. NOW THEREFORE BE IT ORDAINED BY THE WESTFIELD TOWN COUNCIL THAT TITLE 16 OF THE WESTFIELD CODE OF ORDINANCE BE AMENDED AS FOLLOWS: SECTION 1. WC-16-04.Zoningmaps amended as follows: The Zoning Map accompanying and made a part of the Zoning Ordinance is amended to reclassifY the real estate described in the attachment "West Oak Planned Unit Development" hereto (Real Estate) wm EI to EI-PUD This real estate being subject to commitments and standards as detailed in the attachment "Westoak Industrial Park Planned unit Development District" 4/612004 Ordinance 04-01 SECTION 2. -
Table of Contents
Table of Contents Preface .................................................................................................... xiii Part I: The Web Environment Chapter 1—Designing for a Variety of Browsers ...................... 3 Browsers ................................................................................................. 3 Design Strategies .................................................................................... 9 Writing Good HTML ............................................................................. 11 Knowing Your Audience ..................................................................... 12 Considering Your Site’s Purpose ......................................................... 13 Test! Test! Test! ..................................................................................... 13 Chapter 2—Designing for a Variety of Displays .................... 14 Dealing with Unknown Monitor Resolutions ..................................... 14 Fixed versus Flexible Web Page Design ............................................. 19 Accessibility .......................................................................................... 23 Alternative Displays .............................................................................. 26 Chapter 3—Web Design Principles for Print Designers ...................................................................... 28 Color on the Web ................................................................................. 28 Graphics on the Web .......................................................................... -
Volume 18-4 (Low Res).Pdf
A a Bb Cc Dd Ee Ff Gg Hh liJj Kk LI MmNnOoPp Qq RrSsTt UuVvWwXxYyZz1234567890&fECE$$(£.%!?0 [] Brookie ilaxtt7e11: Walking Up Dream .Street tl hat Modern {Vas Italian Beach Signs Book Jackets of t he 1920s & 1930s Hidden Music: A Print by Glaser 3 The Cat's Out of the Bag. On September 10, 1991, PC Magazine called Arts & Letters "the easiest-to-use illustration product for the PC' PC Magazine made it official. However, Arts & Letters clip-art images. The Editor offers a list of features you owners have known for years how easy it is to use. can really sink your teeth into; like multi-tasking of screen Instructions are clear and concise. Commands are kept redraw, data-driven charting, gradient fills and blends, to a minimum. Everything is object-oriented, and what text-along-a-path, lock/hide/name, warp/perspective, you see is what you get. To top it off, the latest version hole cutting, and object and text masking. Automatic spot of the Graphics Editor (3.1) is even quicker and more and four-color separations are also available. powerful than its predecessors. Rave reviews about Arts & Letters are commonplace. Arts & Letters offers several built-in advantages: you The Arts & Letters clip-art collection also received can draw upon the award-winning 5,000-image clip-art Publish magazine's Readers' Choice award two years in collection, 80 superb typefaces, Bezier drawing tools and a row and PC Magazine named it a host of spectacular special effects. Editors' Choice for 1991. There is no limit to the kinds of electronic artwork Try your hand at turning a you can create with the Arts & Letters Graphics Editor: tabby into a tiger. -
Advanced Copyright Issues on the Internet
ADVANCED COPYRIGHT ISSUES ON THE INTERNET * David L. Hayes, Esq. FENWICK & WEST LLP * Chairman of Intellectual Property Practice Group, Fenwick & West LLP, Mountain View & San Francisco, California. B.S.E.E. (Summa Cum Laude), Rice University (1978); M.S.E.E., Stanford University (1980); J.D. (Cum Laude), Harvard Law School (1984). An earlier version of this paper appeared in David L. Hayes, “Advanced Copyright Issues on the Internet,” 7 Tex. Intell. Prop. L.J. 1 (Fall 1998). © 1997-2010 David L. Hayes. All Rights Reserved. (Updated as of Oct. 2010) TABLE OF CONTENTS I. INTRODUCTION 12 II. RIGHTS IMPLICATED BY TRANSMISSION AND USE OF WORKS ON THE INTERNET 13 A. The Right of Reproduction 14 1. The Ubiquitous Nature of “Copies” on the Internet 14 2. Whether Images of Data Stored in RAM Qualify as “Copies” 15 3. The WIPO Treaties & the European Copyright Directive Are Unclear With Respect to Interim “Copies” 21 (a) Introduction to the WIPO Treaties & the European Copyright Directive 21 (b) The WIPO Copyright Treaty 23 (c) The WIPO Performances and Phonograms Treaty 26 4. Whether Volition Is Required for Direct Liability 28 (a) The Netcom Case 29 (b) The MAPHIA Case 31 (c) The Sabella Case 32 (d) The Frena Case 33 (e) The Webbworld Case 34 (f) The Sanfilippo Case 35 (g) The Free Republic Case 36 (h) The MP3.com Cases 37 (i) The CoStar Case 41 (j) The Ellison Case 42 (k) Perfect 10 v. Cybernet Ventures 42 (l) Field v. Google 43 (m) Parker v. Google 44 (n) The Cablevision Case 44 (o) Arista Records v. -
Graphic Standards Manual
Graphic Standards Manual To help Oregonians in their own communities achieve wellbeing and independence through opportunities that protect, empower, respect choice and preserve dignity. Safety, health and independence for all Oregonians DHS 2022 GRAPHIC STANDARDS Contents The brand ..........................................................................................................1 Project requests ................................................................................................2 The logo ......................................................................................................... 4-6 Co-branding .......................................................................................................7 Colors .................................................................................................................8 Program, office identification samples and email signature ..........................9 Fonts ...........................................................................................................10 -11 Americans with Disabilities Act basics .......................................................... 12 General readability .......................................................................................... 13 Alternate format and discrimination statement ............................................14 Accommodations ............................................................................................15 Stationary ....................................................................................................... -
Choosing-A-Font-For-Legal-Briefs Copy
Choosing a Font for Legal Briefs MANY LAWYERS MISTAKENLY THINK that court rules require absorb and retain your message. them to submit briefs in Times New Roman. But most Of course, designing a better legal document involves a lot jurisdictions actually allow a wide variety of fonts. more than simply choosing the “right” font. But the simple California, for example, requires only that you use a font act of using a font other than Times New Roman can have a “essentially equivalent to” Courier, Times New Roman or noticeable (and positive) impact on your briefs. Arial. CRC 2.105. In other words, any monospaced, serif or So which font should you use instead? In an ideal world, sans serif font (just not something like Comic Sans or we would all purchase top-quality fonts that are designed Braggadocio). Other states, such as Oregon, don’t for our purpose (e.g., long-form text). But the reality is that mention fonts at all in their rules. See, e.g., UTCR 2.010. most of us are limited to the system fonts installed on our But even if court rules allow fonts other than Times New computers. Even in that limited set, however, there are Roman, why should lawyers bother to switch? Because Times better and worse options. Below is a list of system fonts that New Roman is actually a really bad typeface for legal briefs. It was I would recommend for legal briefs. To add some variety to designed for newspapers—that is, for small columns of tiny your document, try pairing two different fonts—a serif for text. -
Programmer's Reference Manual Intermec Fingerprint® V8.70.0 / V10
Programmer’s Reference Manual Intermec Fingerprint® v8.70.0 / v10.0.0 Intermec Technologies Corporation Corporate Headquarters 6001 36th Ave. W. Everett, WA 98203 U.S.A. www.intermec.com The information contained herein is proprietary and is provided solely for the purpose of allowing customers to operate and service Intermec-manufactured equipment and is not to be released, repro- duced, or used for any other purpose without written permission of Intermec. Information and specifications contained in this document are subject to change without prior notice and do not represent a commitment on the part of Intermec Technologies Corporation. © 2005 by Intermec Technologies Corporation. All rights reserved. The word Intermec, the Intermec logo, Norand, ArciTech, CrossBar, Data Collection Browser, dcBrowser, Duratherm, EasyCoder, EasyLAN, Enterprise Wireless LAN, EZBuilder, Fingerprint, i-gistics, INCA (under license), InterDriver, Intermec Printer Network Manager, IRL, JANUS, LabelShop, Mobile Framework, MobileLAN, Nor*Ware, Pen*Key, Precision Print, PrintSet, Ready-to-Work, RoutePower, TE 2000, Trakker Antares, UAP, Universal Access Point, Virtual Wedge and XMLReady are either trademarks or registered trademarks of Intermec Technologies Corpora- tion. Throughout this manual, trademarked names may be used. Rather than put a trademark (™ or ®) symbol in every occurrence of a trademarked name, we state that we are using the names only in an editorial fashion, and to the benefit of the trademark owner, with no intention of infringement. There are U.S. and foreign patents pending. The name Centronics is wholly owned by GENICOM Corporation. Microsoft is a registered trademark of Microsoft Corporation. TrueDoc is a registered trademark of Bitstream, Inc. TrueType is a trademark of Apple Computer Inc.