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#ChristianFiction
#ChristianFuturistic
#ChristianSuspense
#OperationJadeHelmet
#ReturnofKarmenMoncrille
#sneakpeek
As promised in my previous post, here is the first chapter of Operation: Jade Helmet. Preorder links are at the bottom.
Undisclosed location near El Segundo, California ~ Wednesday, September 10, 2025 ~ 8:00 pm PT
Exhausted from a full two days of travelling, Hester Brighton sighed with relief while pulling the rental car into the driveway. The last leg of the journey from LAX airport to the house caused her shoulders and hands to ache from gripping the steering wheel too hard. The rental's GPS was on the fritz as was the one on her cell, so she got turned around twice and drove the wrong direction while evading throngs of people clogging the streets.
Snatching her cell phone, she pecked out a quick text to Jim, letting him know she arrived and would call him later after settling into her room. He responded back within two seconds with a smiley face and hearts and instructions for her to relax, have fun with her college roommates, and to be safe. It seemed her husband had gotten over their argument about her decision to take the yearly "girls' trip" amidst all the chaos. Lying to her spouse made her stomach knot up, yet she had no choice. Her role as a Trusted Community Representative and Cryptographic Officer had to be kept a secret. Jim knew she was the head of the IT department for the largest accounting company in New York, but he knew nothing about her other responsibilities to the East Coast DNS server.
Looking down at the temperature gauge, she grimaced—125 degrees. Letting out a string of curse words that would make her mother turn over in her grave, she gathered her belongings. Leaving the cool confines of the car would be akin to stepping out into the Sahara. The line from her favorite movie when a child from Aliens popped out. "Yeah, but at least it's a dry heat." She chuckled at her own joke.
After shutting off the engine, she glanced around at the other parked vehicles, counting twenty, which was odd. It appeared some of the participants travelled together, and that was against protocol. She made a mental note to discuss the breach with Xavier to ensure it would never happen again.
She hated being late, especially for something as important as the ceremony. Punctuality was one of her many pet peeves, yet the delay could not be helped. Between the staggering heat and continuous rioting in New York and other major cities, several connecting flights were diverted, layovers lasted longer to accommodate flying at night when the temperature dipped back down to double digits, and one route through Minneapolis was cancelled when the city was besieged by rioters.
Grabbing her bags and titanium suitcase, she exited the car. Intense, dry heat slammed into her like the rough fist of a pissed-off bully. A slight breeze brought the fragrant scent of sea air to her nose yet made her face burn. She used to enjoy coming to the West Coast for the yearly key ritual yet due to the civil unrest and global heatwave, had yearned for a different option.
Unfortunately, there wasn't one. To maintain the functionality of the IP addresses pointing correctly and verifying trusted sites, new information had to be uploaded.
She only made it two steps toward the small beach residence before the security guard whose fake identity included living year-round at the home and a cover as the "cousin" bounded down the stairs wearing beach shorts, flip flops, and a thin t-shirt.
Hester chuckled at his obnoxious attire. "You're two days early for casual Friday, Xavier."
"And you're late for the party, dear cousin," Xavier teased while reaching for the overnight bag. "Here, let me. Come inside before the pavement melts your shoes. The ground's hot enough to fry an egg. I know because I've watched several local neighborhood kids do it."
Relieved for the assistance, Hester let the bag slip from her shoulder. "Thanks. Good to see you again. Sorry I kept everyone waiting. I hope they didn't rake me over the coals."
Xavier's dark blonde hair bobbed as he laughed. "Oh, once or twice but not too bad. I told them to cut you some slack due to the unforeseen circumstances we all are facing. Everyone is on edge since a full meeting with all of you in one place has never happened. We certainly are living in unprecedented times."
Hester looked over her shoulder at the last rays of the setting sun caressing the Pacific Ocean. "I'm really sick of hearing that particular phrase."
"Me too. The logistics of coordinating this unusual meeting has been stressful for me. Now, enough worrying about things neither of us can control. I occupied the downtime of the others by plying them with cold beer and hot pizza. I saved you two slices and three cold ones in the fridge in your room. Go freshen up, eat, and we'll convene in thirty at the pit. Okay?"
Xavier placed his palm on the pad and then stepped aside for Hester to do the same. She did, and the door unlocked. "Shall we?"
"Yes. Cold shower here I come. Oh, please remind me to chat with you after the ceremony regarding which members broke protocol by riding together."
"Certainly. Just don't be too harsh. Like I said, these are..."
"If you finish that sentence, I may punch you in the face."
"Such a badass. One of the many reasons I admire you."
"I prefer fear rather than admiration," Hester teased, half serious.
Both chuckled.
Once inside the brightly lit foyer painted in eggshell white and accented with subdued, casual decorations she picked out years ago, Xavier led the way up the stairs. Upon reaching her room, he leaned closer, body blocking the security camera in the corner. "Alexei's waiting for you. He asked to speak with you privately before tonight's ceremony."
Raising an eyebrow, Hester wondered why the lead security guard decided to break yet another strict rule. Keyholders were not allowed to socialize in any way outside of the bi-yearly meetings, which included visits to the rooms of others. They were not authorized to be connected through social media, did not communicate via any means available, nor were they allowed to discuss their important roles in keeping the security of the internet safe with the DNS. Sensing something was wrong, she remained quiet, nodding once before entering the dark room.
"Trust me. See you in thirty." Xavier flicked on the lights and set the bag on the floor before shutting the door.
Hester waited until she could no longer hear his footfalls before addressing the figure seated on the couch. For some weird reason, she hesitated letting go of the titanium suitcase containing the new keycard. There was an almost electrical current in the air; a sense of something inexplicably wrong coiled in her gut. "Alexei? Xavier said you needed to speak with me?"
"Correct. Please join me. My request will be brief."
His voice sounded wrong. Hester secretly nicknamed Alexei the Russian Bear due to his heavy-set body, brusque demeanor, and growly tone tinged with an accent. Her grip tightened around the suitcase's handle as the other hovered near the panic button by the door. "I'm sure you understand why I can't do that."
A heavy sigh followed by a phlegm-filled coughing spell made her stomach churn.
"Da. Prosti. Day mne minutku pozhaluysta. Rak legkikh."
Hester's Russian was rusty at best. She knew Da was yes and Prosti sorry. Wracking her brain to decipher the remaining words, she drew a blank. "English, please."
With slow, hesitant movements, Alexei rose from the couch, turning to face her. Hester did her best to keep her facial expressions from giving away her shock at his appearance. His once headful of thick, black hair was nothing more than a few wisps sticking up in patches. Gaunt, pale, face and neck full of wrinkles, he looked more like her ninety-six-year-old grandfather than a fifty-five-year-old man.
"I've lost the battle with lung cancer. We must pick my successor tonight from one of the alternates."
Hester let the hand near the panic button fall to her side. No wonder his body and voice were so ravaged. "Oh, Alexei. I'm so sorry. When were you diagnosed?"
"March. However, choosing a successor is not why I asked to meet with you."
"What is your reason then?"
"I should think it's obvious. Ponder upon it while getting ready. I'll head down to the pit."
Hester watched in silent awe until Alexei left the room, reeling from the unexpected news. "The Russian Bear taken down by cancer in less than six months. Damn but 2025's been a horrible year. Now I know why we all are here. Yes, Alexei, I know what you desire, and I will do my best to make it happen."
Exactly twenty-two minutes later, Hester stepped into the hallway, sporting a flowy sundress, a full belly, cold beer in one hand, and the titanium case in the other. Pausing at the stairwell, she slugged back the remaining liquid. Alexei's sad news made her consider her own mortality, which was a subject she did not enjoy contemplating and had been at the forefront of her mind during the last several months, just like everyone else around the world. Setting the empty bottle on the small table below an ornate mirror, she adjusted her hair one last time. Satisfied she looked somewhat refreshed, she gazed out the floor-to-ceiling window to the Pacific. Bright, silvery moonbeams replaced the orange and yellow rays of the sun. Though she'd seen it numerous times over the years, the stunning view never failed to take her breath away.
Winding her way down the stairs to the main level, she walked with purpose into the den. The first entry door to the "pit" as they jokingly called the ceremony room was located behind a large, solid teak bookcase. Looking up to the designated spot on the ceiling, she closed her eyes, waiting for the infrared light to scan her face.
The bookcase slid open without a sound. She stepped inside to a dimly lit hallway, not even wincing as the wall closed behind her. The first few years she attended the key ceremony she had to fight back bouts of claustrophobia. Twenty-five years of performing the same steps allowed her to finally master her fears.
After six checkpoints, three pin codes, two biometric hand scans, a swipe of her smartcard, and an iris scanner so technologically advanced even world governments didn't have one, she was inside the ceremony room where the cryptographic keys were held. Gazes of thirteen other keyholders from around the globe, three alternates, six Recovery Key Share Holders, four security guards, and one auditor from the world's largest investment firm stared at her as she strode over to the metal-enclosed cage containing the hardware security modules. The competing scents of personal body odors, lotions, and colognes made her nose twitch. She cast a sideways glance at Sharlene Heffren and Collette Goddard. Their sickeningly sweet perfume was so strong she could taste it as though they sprayed it directly into her mouth. The duo of statuesque blondes from Europe refused to meet her gaze. Apparently, they forgot yet another protocol—no strong perfumes or scented lotions.
Setting the suitcase on the long, metal desk in front of her, Hester offered a thin smile to the familiar faces. "Good evening, all. My apologies for getting started so late. At least it's temperature-controlled down here."
In numerous languages, her apology was accepted. A few chuckled at her joke. She smiled again, and this time it was genuine. "Since 2025 has been rather odd, to say the least, I would like to add one more oddity into the mix. My request is against protocol, which seems to be a common problem this year…." She paused while glancing over once at Sharlene and Collette. Their cheeks flushed in unison to a deep crimson. "Yet, I believe the request is the right thing to do under the circumstances. Our longtime associate, Alexei Ivanov, is passing the torch to another after tonight's ceremony due to…"
"Cancer," Alexei interrupted. "I waited too long to quit smoking. Death is imminent."
"Which is why we decided everyone needed to be in attendance rather than only seven of you," Xavier added.
"Ah, now we know the reason." Sharlene's piercing blue eyes sparkled from the slightest hint of tears. "I shall miss you, Alexei."
Hester nodded in agreement while taking a deep breath, still somewhat stunned by Alexei's bravado while facing his demise. "While it is a privilege to be the administrator during a ceremony, I have done so before, so I propose bypassing my turn to lead us this evening and bestowing the honor upon Alexei. He's been a part of us for over twenty years and deserves our highest respect. Any objections?"
The room remained silent as everyone shook their heads. Sharlene swiped at a straggler tear. Hester rolled her eyes—the ceremony was neither the time nor place for emotional reactions.
Alexei stepped forward. Sharlene and Collette, the only two other females in the room, let out small gasps after he removed his hat. Hester shot them both a dirty look.
"Thank you, Hester. As I mentioned, time is short for me, so shall we get started?"
Hester handed Alexei the list from her bag with instructions. "Certainly. Xavier, are we live with ICANN?"
Nodding toward the camera in the ceiling, Xavier provided copies of the day's newspaper to Alexei and the others. "We are. Proceed."
All keyholders representing numerous countries took their places in front of their assigned boxes, including Alexei, as the final step to unlock them began. Left and right retinas were scanned, confirming identities of each participant. One by one, they removed the old cards held inside as Alexei's raspy voice gave instructions regarding their destruction and proper steps to activate the new one.
Hester's nose twitched again. She tried to ignore it, wishing she would have taken her allergy medication prior to the ceremony. Being crammed in the small space with so many bodies and smells sent her allergies into overdrive, which is why she added the ban to the protocol list. The urge to sneeze built in intensity.
Burying her face in the crook of her arm, three exploded out of her with enough force she lost her balance. Reaching out a hand for the table to steady herself, she missed, pitching forward, arms flailing. Her right temple caught the edge of the thick metal. Pain exploded inside her head, filling her vision with stars.
It took her several seconds to regain her composure and to clear her vision. She expected someone to laugh or at the very least chuckle, yet all she heard were a few sharp intakes of breath and numerous thumps. The temperature in the room skyrocketed. The weird electrical current was back, making the hairs on her body stand erect. A strange whooshing sound surrounded her, which she attributed to damn-near knocking herself unconscious.
Heat radiated up from her chest as embarrassment made her cheeks flush upon touching the gash on her temple. She hoped the wound would not require stiches. Blinking twice to clear her vision, she fumbled for the edge of the table to assist her in standing. Instead of a hard surface, she touched something warm. "Wow, am I a klutz! I'm so sorry…"
The words dried up in her throat the second her gaze settled on Xavier's face. He was on the floor inches away, and her hand rested on his hairy thigh. Yanking it back, she focused on his swollen, pale face.
Damn, am I unconscious? I must be out cold be because there's no way Xavier's dead. He looks like someone sucked out his soul and bled him dry.
Three distinct thumps from behind pulled her from the dazed funk. The sound of metal crushing and the stench of burnt matches made her stomach flip-flop.
Scrambling to her feet, she spun around in a circle, taking in the unfathomable images bombarding her mind. Her respirations increased; blood pumped at an accelerated rate as adrenaline shot through her system, causing the cut on her head to gush rivers of red down her face. Xavier, and all the others were dead, their lifeless bodies lying in crumpled heaps, faces ghostly pale and contorted in fear.
A wave of disbelief made her body sway a fraction. Was this some sort of biological attack? Did someone release a deadly chemical into the air filtration system? Panic welled up from the deepest recesses of her mind. On instinct, she covered her mouth with a trembling hand.
What she saw next made her doubt her sanity.
Dropping the destroyed keycards from his hand, Alexei moved with unnatural speed. One second, he was on the opposite side of the room over twenty feet away and the next, he was millimeters from her face. Hot, foul breath wafted from him, making her gag. The once familiar face contorted into an unrecognizable mass before his body crumpled to the ground at her feet.
Dumbstruck by the carnage, she finally found her voice. "Alexei!?"
A shimmering, ethereal form burst from Alexei's corpse, writhing and swirling until it converged into a solid, human shape. Bright, intense light beamed from its face. On instinct, Hester shielded her eyes.
In a voice loud enough to cause the entire room to vibrate, it answered. "The Clearing begins."
Hester Denise Brighton never had the chance to look toward the camera and scream for help, run, or even gasp as a strong set of hands latched around her neck, squeezing until everything went black.
RELEASES 04.04.21
PRINT AND AUDIO COMING SOON!
Labels: #ChristianFiction #ChristianFuturistic #ChristianSuspense #OperationJadeHelmet #ReturnofKarmenMoncrille #sneakpeek
Nicolas September 8, 2021 at 5:06 PM
This is a greeat post thanks
The game begins 04/04/21


text:
Gerry Leonidas
@gerryleonidas
@typefacedesign
Tag: education
Form(al) education
The re-issued form magazine dedicated an issue to design education. Anja Neidhardt asked me four questions, as part of her research for her article. (The issue can be read on Isuu via the form website.) Here are my answers to Anja's questions:
At Typo Berlin (if I remember right) you said about teaching: "What we do is: We cheat". Please explain this statement.
The context for this sentence was a longer statement about the nature of typographic and typeface design. Typography happens in contrast with other areas of design, where the functional conditions are relatively simple and the space for formal experimentation relatively wide. In the typographic disciplines we look to past practice as a guide to the assumptions that users will make in each circumstance. This happens because the design objectives are relatively complex (the information density is high) and their configurations relatively stable (a news article has a similar structure on a print newspaper as on a smartphone); and because the consumption of typographic design is iterative, and cumulative: changes take place in an environment of many similar objects used concurrently, within a continuum of experience by each user. In other words, the more radical a change, the more it needs to echo and relate to pre-existing structures and affordances. The use of visual metaphors in interface design is a typical case of this mechanism.
So, designers rely on a whole range of pre-existing decisions for their own designs to make sense. In the best case, these pre-existing conventions are consciously acknowledged; in these cases the designer can engage in depth with his subject, and improve the discipline. But in many cases designers are only partially aware of the way conventions have been formed, and how their own ideas are influenced by the design environment. In these cases, designers "cheat" in the sense that their work feeds off past projects without due recognition.
How does education in the field of typography look like today? What should be changed, and why?
It is possible to see strong growth in some areas, and early signs of risk in others. My own niche area of typeface design is experiencing strong growth, and will continue to do so for many years, in response to the globalisation of typographically complex documents, and the need to support text-intensive environments. The result is a lot of new courses at a range of levels, and a strong interest by both younger and more experienced designers to study. With regard to document-level typography (from a periodical publication to newspapers to reference works) there is a critical transformation in progress, with inadequate response by education institutions globally.
Until roughly the last decade the design and the production spheres were relatively separate, and with clear professional roles (in other words, a designer was not also the printer). The situation nowadays is different, where the "maker" may be a designer as well, or work in an environment with a lot of overlap (the person who writes the code to render a text on screen may implement a specification by someone else, but may just as easily devise the typographic specification him/herself).
This new environment, where the typographic specification has, in fact, a high overlap with the encoding of the text, places new requirements for typographic education. The easiest examples are those of "conventional" publications like novels and magazines turned into ebooks and tablet-based apps. The old model called for a relatively stable typographic specification, implemented by typesetters and printers who made the content of authors and editors appear in print. In contrast, we now have typographic specifications that are not only fluid across platforms and use scenarios, but also across time: the typographic design changes often in little steps, instead of only every few years in big ways. And, whereas the roles of authors and editors may be clear, the "makers" (designers and coders who make the content appear on each device) are now melded into multi-skilled individuals, or closely integrated teams (at least where things go well).
It is my impression that design education has not responded fast enough to the challenge of these new models of publishing, and have not acknowledged the need to respond to the demand for these new roles. Furthermore, we are now at a stage where "tradition" typographic education is at risk of falling behind. The sequence in which complex documents are migrating to screens, and the way in which content is specified, has helped establish some basic parameters for on-screen typography that makers can refer to while maintaining the readability of documents, but lacking the skills and understanding to deal with more complex information structures (this is a kind of "cheating" like that discussed above).
Colleges and universities teaching typography face the challenge of adapting to a typography that is personal, portable, responsive to its context and that of the reader's route through texts, that references established conventions, that integrates time-based elements, and even jumps across may possible combinations of all these parameters. The ones that respond to this challenge will have strong growth ahead, but I think that the difficulty of radical change in many institutions puts typographic education at risk.
On the one hand there are many, many fonts made for the latin writing system. But on the other hand there is a lack of fonts in some countries. How can students be taught to design typefaces for languages they don't speak?
Indeed, in recent years we see an overdue push to cover gaps in global typeface design coverage, both in wide character sets (multi-script typefaces) but also in extended typeface families in non-Latin scripts. This corrective is a response to changes in type-making and typesetting technologies, the growth in the range of documents (in the widest sense of the word) produced in global scripts, and the spread of readership in new demographics. Although digital technology liberated the type-making tools from the geographic restrictions of previous technologies, the know-how and support resources have remained, for many scripts, near the traditional centres of typeface design. It is not surprising, then, that designers who are experienced in some scripts may be called on to design typefaces in new scripts – a practice reinforced by existing professional networks and the focus on business development in English. In practice, professional designers may be expected to build experience in a whole range of related or unrelated scripts. The education challenge is then clear – and pressing, since the market is growing faster than existing designers can develop their skills.
Four areas need to be addressed for a student to develop non-native design skills (and the same for a designer experienced only in their native script):
First, and most fundamentally, an understanding of the historical development of the written and typographic script as it currently stands, with particular focus on the impact of type-making and typesetting technologies on the form of individual characters, the character set and any composition rules (esp. substitution and positioning).
Second, an exploration of the key combinations of writing tools and movements that generate "valid" letterforms and words in the script. This is particularly important in all the scripts that have a much closer relationship to written forms than the Latin (which is, in fact, the overwhelming majority).
Third, an understanding of how existing styles correspond to specific typographic structures, and how they are used in native documents. (For example, how is hierarchy, emphasis, and differentiation in tone indicated in the typography of the non-native script? What is the practice when equivalents to styles like "italic" or "thin" are not present?)
Fourth, an understanding of the tension between tradition and modernity in the context of the local visual culture. This forms the basis for progressing beyond mere adaptation towards originality and even innovation. The role that lettering can play in inspiring alternate styles is a key example of this area; another is the relationship of stroke properties to established styles (for example, in one script a monoline stroke may be considered "default and traditional" whereas in another the loos of contrast may be a radical proposition).
While developing a critical understanding of the non-native script, students also need to do some text analysis. This will give them insights into the combinations of letters and the patterns of shapes (just as a German designer will also test their Latin typeface with texts from all European languages). Unlike the four areas of learning, this is a process that is easy to share amongst designers, and pool the results, which can then be converted into common test documents.
It is, of course, important to seek feedback from native readers, but not any native reader – even if they are design professionals from the native community. Feedback needs to be sought from people who can give type-specific comments, which are fairly specialised. (Graphic designers, for example, are used to seeing type in a different scale from type designers, and tend not to understand the cumulative effects of detail changes within individual letters.) And before readers instinctively object, it is useful to be reminded that there are many examples of exceptional typefaces by non-native designers, with and – in some cases – without native feedback.
A final caveat: in Reading type design students develop native- and non-native script skills in parallel. This makes for better, deeper education, but is a different scenario from that of an already experienced designer of (for example) Latin typefaces seeking to learn how to design in another script.
Will there be another, new Erik Spiekermann? Or is time up for big stars like him?
This is a nonsense question. Erik is very successful in his field, with a high public profile – but the same can be said of many professionals in their respective fields. It is more appropriate to ask why is Erik's success interesting, or whether his career is more revealing in relation to other high profile designers of his generation (of which, let's be clear, there are many).
Erik's career is notable for two reasons: firstly because, unlike other designers whose work is focused within a relatively narrow domain (such as typefaces, or posters, or transport maps, or branding) his work spans several domains: all of the ones I just mentioned, and then some. This richness of practice is illuminating in itself, regardless form the fact that in some of these cases it can be described as capturing the spirit of the times perfectly, and in a few cases even being ahead of the curve. There is a problem in this richness for those who want to capture design outputs into neat narratives, because clearly in Erik's case there isn't one, but multiple strands of thinking in parallel. So, the uniqueness of his work lies not in individual projects, but in the totality of his work.
The second reason Erik's career is notable is that he has made a point of using his visibility to get key messages about design to wider audiences, and not just in the design world. Even in his most indulgent moments, the notions of rigour and process are present. He has also shown that user-sensitive, evidence-driven design does not need to be dry or visually uninspiring – a common failing in the wide information design world. And, related to this, Erik does not take himself seriously – one of the most positive personality traits one can aim for.
The second question ("is it time up for big stars") neglects the length of Erik's career. There are many people in the wider design world who are gradually building very strong public personas that can be expected to be just as recognisable and influential when they reach Erik's age (and probably, give the speed with which things happen nowadays, much sooner). They are more likely to be from the "design for screens" crown (I want to avoid separating IA, UX, and so on) but there are many possible candidates.
Posted on 3 March 2014 6 July 2017 Categories comment, TextsTags education
The right kind of support
In June 2013 Ampersand conference hosted an exhibition of work by students of typeface design courses, there were submissions from over 30 countries: a reminder that typeface design is an international endeavour, growing in recognition as a career with path for study and recognised professional norms. As with other professions, this maturity brings increasing competition for new designers.
Eighteen months ago Monotype initiated a Mentorship Program for designers under 30. Yesterday, Type-Together announced their Typeface Publishing Incentive Program, for graduating students. This initiative, open to all designers currently studying typeface design, recognises the pressures on designers who may have promising projects alongside financial loans, and the very real stress of "what happens after graduation?"
Like in any established profession, the careers paths of typeface design graduates are not uniform, and the demand by the market and potential employers may not match exactly with the skills and experience of graduates — this is normal, and it is one of the correctives that allows outliers to enter the profession, as well as feedback to education institutions so that they evolve. But anyone with a good understanding of the sector will regret the small number of exceptional projects developed during study that never, or very late, make it onto a foundry's catalogue.
Type-Together and Monotype are putting their money where their mouth is, and are offering support to a promising designer for those crucial first months after graduation. This support can make the difference between a typeface with potential being developed properly, and it being lost between the Scylla of "I'll do it when I have more time" and the Charybdis of some "free" service, for peanuts.
People will object and say that this is too little for a growing profession. I'll counter that this may well be the beginning of a trend in companies supporting new professionals, parallel to many schemes in other sectors. It is not too far-fetched to imagine that most major foundries might soon have a similar scheme: this would allow them to get in early on potentially great typefaces, and check out a new professional (who may well end up being hired, or contracted). More widely, it allows foundries to send a clear message that they recognise and support excellence in typeface design, and — through their selections — what is innovative and worth exploring.
Posted on 8 February 2014 8 February 2014 Categories BlogTags education, monotype, type-together1 Comment on The right kind of support
A few things about typeface design
Teaching on a postgraduate course feels very much like a spiral: the annual repetition of projects, each a vehicle for a journey of education and discovery for the student, blurs into cyclical clouds of shapes, paragraphs, and personalities. There seems to be little opportunity for reflection across student cohorts, and yet it is only this process that improves the process from one year to the next. Having passed the tenth anniversary of the MA Typeface Design programme was as good an opportunity as any to reflect, and ILT's offer to publish the result an ideal environment to get some ideas out in the open. Although my perspective is unavoidably linked to the course at Reading, I think that the points I make have wider relevance.
Our students, both young and mature, often find themselves for the first time in an environment where research and rigorous discussion inform design practice. The strong focus on identifying user needs and designing within a rigorous methodology is often at odds with past experiences of design as a self-expressive enterprise: in other words, design with both feet on the ground, in response to real-world briefs. In addition, students are expected to immerse themselves in the literature of the field, and, as much as possible, contribute to the emerging discourse. (There are many more books and articles on typeface design than people generally think; some are not worth the paper they're printed on, but some are real gems.) I shouldn't need to argue that research, experimentation, and reflection on the design process lead not only to better designs, but better designers.
In recent years, two significant factors have started influencing attitudes to design. Firstly, as generations grow up using computers from primary school onwards, it is more difficult to identify the influence of the computer as a tool for making design decisions, rather than implementing specifications. Secondly, the trend in higher education to restructure courses as collections of discrete modules results in a compartmentalization of students' skills and knowledge: it is becoming more difficult for the experience in one class to have an impact on the work done in another. (A third, less ubiquitous, factor would be the diminishing importance of manual skills in rendering and form-making in design Foundation and BA/BFA courses, a subject worthy of discussion in itself.)
So, repeating the caveat that these observations are strictly personal, I offer them in the hope they will prove interesting at least to the people setting up and running new courses in typeface design, and the many designers teaching themselves.
1 Design has memory (even if many designers don't)
Typography and typeface design are essentially founded on a four-way dialogue between the desire for identity and originality within each brief ("I want mine to be different, better, more beautiful"), the constraints of the type-making and type-setting technology, the characteristics of the rendering process (printing or illuminating), and the responses to similar conditions given by countless designers already, from centuries ago to this day. Typographic design never happens in a vacuum. A recent example is Emigre magazine: can its early period be seen without reference to the sea-change in type-making and typesetting tools of the mid-eighties? and is not its middle period a mark of emerging maturity and focusing, critically and selectively, on those conventions worth preserving in a digital domain? Emigre is important as a mirror to our responses to new conditions and opportunities, and cannot be fully appreciated just by looking at the issues. (Especially if you look at scaled-down images, rather than the poster-like original sizes!). At a more subtle level, the basic pattern of black and white, foreground and background, for "readable text" sizes has been pretty stable for centuries, and pretty impervious to stylistic treatments. Does not a type designer gain by studying how this pattern survives the rendering environments and the differentiation imposed by genre and style?
And yet, many designers have a very patchy knowledge of the history of typography and letterforms. More worryingly, students and designers alike have little opportunity to experience genre-defining objects in reality (imagine discussing a building looking only at the blueprints for building it, not walking up to it, and through its rooms). It is perhaps not surprising that the wide but shallow knowledge gained from online sources is dominant; there seems also to be little discrimination between sources that employ review and editorial mechanisms, and those that are open to wide, unchecked contributions. This shallow approach to reading and investigating results in a lack of coherent narratives, not only about how things happened, but also why. And how were similar design problems addressed under different design and production environments? What can artefacts tell us about how people made decisions in similar situations before? How did changing conditions give rise to new solutions? To paraphrase Goudy, the problem is not any more that the old-timers stole all the best ideas, but that the old ideas are in danger of being re-discovered from scratch. (Just look at the web designers rediscovering the basic principles of text typography and information design, as if these were newly-found disciplines.)
[IMAGE: Michael Hochleitner's Ingeborg, an award-winning typeface that revisits Modern conventions with originality and humour.]
2 Design is iterative, and improved by dialogue
The process of typeface design is, in essence, a reductive refinement of ever smaller details. First ideas are just that: sketches that may offer starting points, but have to be followed by a clear methodology of structured changes, reviews, testing – and repetition of the whole process. The attention of the typeface designer must progress in ever decreasing scales of focus: from paragraph-level values on the overall density of a design, to the fundamental interplay of space and main strokes, to elements within a typeform that ensure consistency and homogeneity, and those that impart individuality and character. At the heart of this process is dialogue with the brief: what conditions of use are imposed on the new design, and what are the criteria to determine excellence in responding to the brief? (For example, how will the end users make value associations with the typeface?)
The wider the typeface family, the deeper the need to test conclusively, not only with documents that highlight the qualities of the typeface, but also with documents that approximate a wide range of possible uses. Even in cases of very tight briefs (as in the case of bespoke typefaces for corporate clients), the range of uses can be extremely broad. But good designers are also aware of the constraints of their testing environment. The misleading impression of transparency and fidelity that computer applications give, and the limitations of laser-printer output, obstruct trustworthy decisions. Designers must be aware of how looking at medium resolution printouts in dark toner on highly bleached paper can bias their decisions.
We are also seeing a gradual return to typeface design being a team enterprise, drawing on the expertise of a group rather than an individual. This, of course, is not new: typeface design in the hot-metal and phototype eras was very much a team product. But just as the digital, platform-independent formats enabled designers to function outside a heavy engineering world, so it enabled the explosion of character sets and families to unprecedented levels. The necessary skills and the sheer volume of work required for text typefaces have driven a growth of mid-size foundries, where people with complementary skills collaborate in a single product. The corollary is a rise in the need for documentation and explanation to a community of fellows. The short-lived "creative hermit" model is giving way to new models of work.
[IMAGE: Eben Sorkin's Arrotino, a contemporary typeface with deep roots in fifteenth-century typography.]
3 Scale effects are not intuitive
The conventional curriculum for design education rarely tackles scales smaller than a postcard. More importantly, the compositional aspects of design tend to take precedence over details at the level of the paragraph, let alone the word. Typeforms for continuous reading are designed at fairly large sizes (on paper or, more usually, occupying most of a computer screen) but are experienced in much smaller sizes where their features have cumulative effects, weighted by the frequency with which specific combinations occur. These conditions arise in every text setting, be it for prose read forty centimetres away, or a sign viewed from a distance of tens of metres.
Of all the skills typeface designers need to develop, understanding how to make shapes at one scale behave a particular way in another scale is the most troublesome one. Imagining the difference that a small change in a single letter will have in a line or paragraph of typeset text is not an innate skill: it is entirely the result of practice. The best designers are the ones who will naturally ask "why does this paragraph look this way?" and try to connect the answer to specific design choices.
A common example of problems connected to scale effects arises whenever a student follows a writing tool too closely as a guide for designing typeforms: whereas the ductus (the movement of the stroke) and and the modulation can be preserved across scales without much difficulty, the details of stroke endings and joints cannot; typographic scales demand a sensitivity to optical effects that simply do not apply at writing scales. The best examples come from typefaces designed for the extremes of text scales: for telephone directories (famously by Ladislas Mandel and Matthew Carter), Agate sizes for listings, and early typefaces for screen rendering. The smaller the size (or the coarser the rendering resolution), the more the designer primarily separates blobs and bars of white space, and only secondarily deals with style and detail.
[IMAGE: Alice Savoie's Capucine: an award-winning typeface in a fluid modulated style that successfully integrates Latin and Greek in magazines.]
4 Tools are concepts
Regardless of the scale effects mentioned above, there is a requirement to appreciate the link between typeface design and writing, and the tools used for writing. To be clear: I am not talking about calligraphy, but writing in the widest possible sense, from graffiti, a hasty 'back in five minutes' sign, to the most elaborate piece of public lettering. More than the specific forms of letters, the process of writing illuminates the patterns and combinations we are used to seeing, and gives insights into the balance of shapes and the space between them. The relationship of writing tools to the marks they make has been discussed in some depth (for the Latin script by Noordzij and Smeijers, most importantly), but the transformation of these marks through the computer much less so. (There are some texts, but mostly they focus on specific cases, rather than general principles; the notable exception is Richard Southall.)
And yet, since the early days of punchcutting, type-making involves a process of fracturing the typeforms, modularizing and looking for patterns. Later on, when the roles of designer and maker began to be distinguished (most emblematically with the Romain du Roi, like the Encyclopédie a true product of the Age of Reason) typeface design became programmatic, each typeface an instance of a class of objects, rooted in a theory of letter construction – however sensitive to human practice or aloof that may be. Later, the hot metal "pattern libraries" and the rubylith cutouts of shapes to be photographically scaled and distorted for phototype point to the same process, of abstracting the typographic shapes into elements that have little to do with the movements of a tool. As for the digital domain, deconstruction and repeatability remain key aspects of the design process.
To ensure a typeface built with fragmentary processes has internal consistency, the designer needs to develop a mental model of a tool that may follow the tracks of a writing tool, but may include mark-making and movement behaviours quite distinct from anything that is possible to render with a real writing tool. (Easy example: the parallelogram-like serifs of a slab, on a typeface with a pen-like modulation.) Such mental models for typemaking are increasingly important as type families expand into extremes of weight and width, where any relationship with a writing tool quickly evaporates. So, an invented tool that, for example, makes incised vertical strokes and pen-like bowls, can become the basis for a wide range of styles, ensuring consistency without the limitations of a specific tool; at the same time, because the model is agnostic of weight and width, it does not hinder the generation of large families with overall consistency but local richness. (Compare this approach with a wide family developed through extremes of multiple master outlines, where consistency relies on the details of typeforms having close correspondences.)
[IMAGE: A small part of Jérémie Hornus' analysis of the Amharic script in preparation for developing his own successful typeface family.]
5 The Latin script is the odd one out
The demand for typefaces with extended character sets has been growing steadily for many years. OEM and branding typefaces are expected to cover more than one script, and often three or more. Beyond the obvious scripts of the wider European region (Cyrillic, Greek, and Latin), the interest has shifted strongly towards Arabic and the Indian scripts. But there are two key differences between the Latin typographic script, and pretty much everything else: firstly, that the type-making and typesetting equipment were developed for a simple alphabetic left-to-right model that would have to be adapted and extended to work with the complexities of the non-Latins. Although rectangular sorts will work sufficiently for the simple structure of western european languages, the model strains at the seams when the diacritics start multiplying, and pretty much collapses when the shapes people use do not fit in neat boxes, or change shape in ways that are not easy to describe algorithmically. No surprise that most non-Latin typesetting implementations make use of compromises and technical hacks to get the script to work. The second factor is that most non-Latin scripts did not experience the full profusion in styles that arises from a competitive publications market, as well as a culture of constant text production. (It's no surprise that the language of display typography first developed in nineteenth-century Britain, in parallel with the Industrial Revolution: urbanization, rising literacy, and trade in goods and services go hand in hand with the need for typographic richness and differentiation.)
Many students (indeed, many professionals) will ask 'Can a non-speaker design a script well for a language they do not read?' But a typeface arises in response to a brief, which by definition taps into wider design problems. For example, many of the conventions surrounding newspapers apply regardless of the market; the constraints on the typographic specification can be deduced from the general qualities of the script and the language (e.g. can you hyphenate? how long are the words and sentences? with what range of word lengths? what is the editorial practice in the region in terms on article structure, levels of hierarchy, and headline composition?). Having established the typographic environment, we can examine the written forms of the language, and the tools that have determined the key shapes. In this matter most scripts other than the Latin (and to some degree Cyrillic) maintain a very close relationship between writing and typographic forms. Writing exercises and a structural analysis of examples can help the designer develop a feel for the script, before reading the words. More importantly, in their non-Latin work, analysis of the script's structure and the relationship between mark-making tools and typeforms can help the designers to develop criteria for evaluating quality.
Typographic history is well populated with designers excelling in the design of scripts they could not read – indeed, the examples are some numerous that it would be difficult to choose. Encouraging students to address the complicated design problems inherent in non-Latin scripts is not only a way of enriching the global typographic environment, it is also a superb means of producing designers who can tackle a higher level of difficulty in any aspect of their design.
[IMAGE: Fernando Mello's Frida: an award-winning typeface that redefined what is possible in Latin and Tamil typeface design.]
6 And finally…
The final lesson for students of typeface design is that a formal environment can teach the functional aspects of design, but can only help them at a distance to develop the aesthetic qualities of their typefaces. Especially when they are working in categories already heavily populated with typefaces, the distinctions between the simply good and the superb will be very refined. And when the consideration turns to originality, inventiveness, and how much a particular design causes us to rethink our responses to typeset text, then teachers have little input. The student, balancing between the deep knowledge of the specialist and the broad curiosity of the generalist, must develop, largely on their own, their capacity to be conscious of past and emerging idioms, to see their own work in the context of developing styles, and – most difficult of all – to identify how their own personal style can co-exist with the restrictions of utility and the conventions of genre.
Posted on 1 December 2013 6 July 2017 Categories comment, TextsTags education, typeface design
An emerging discipline
Marc Weymann's typeface in this issue is, like all good text typefaces, strangely familiar. Familiar, because the rhythm of black strokes and white counter spaces reminds us of so many texts we've read: the strokes neither loudly dark or vainly thin, and the details of the terminals respectful of the excesses of contrast and the resolution of tired eyes. Strangely so, because this veil of familiarity hides a whole range of subtle contrasts: a combination of smooth patterns reminiscent of formal writing with nibs, and the sharp clarity of letters carved in stone.
Marc's typeface is misleadingly gentle with its references, but rewarding closer inspection. Other typefaces for text are much less discreet, forcefully calling attention to their novelty, even as they still respect that set of conventions that allow us to read comfortably. Jeremy Tankard's Fenland, probably the most notable of typefaces published in 2011, takes the ancient paradigms derived from writing tools, and throws them aside for the sake of shapes reminding of discarded piping; its stroke joints challenge the instincts embedded in most modulated text typefaces of the last few centuries. Yes, expectations confounded, it proceeds to space the letters on exactly the same underlying pattern as Formal, as respectful of the reader's eyes as any.
Formal keeps its cross-strokes and bowls closely aligned to the modulation of a broad nib, adding an incised overtone in the underside of the top serifs, the top side of the lower ones, and open curves such as the outside terminals of the 's'. By contrast, Fenland makes it difficult to talk about a consistent angle of stress: cross-strokes and bows have a discernible reverse stress (reminiscent of shapes in eastern scripts) but allows the modulation to change as if the writing tool was rotated halfway through the stroke. The 's' is typical of this approach, reversing completely the traditional notion of the diagonal cross-stroke as a dominant feature.
Typeface design involves, at the most basic level, decisions on shapes at the level of the letter, the line, and the paragraph. I use this definition intentionally, to make the point that design decisions are not circumscribed by the immediately manipulable (in the case of digital fonts: the glyph outlines, or the spacing interface, or the code for positioning and substitutions). Indeed, typeface design decisions happen at the tip of a siphon, where a whole range of considerations about readers, texts, typesetting environments, and wider cultural concerns get distilled into virtual nudges of points or mouse drags.
In other words, a typeface designer is conscious of the context surrounding his field of practice – in the narrow sense of the typeface design industry, in the intermediate sense of typographic design for documents (where typefaces are but one of the constituent elements), and in the wider sense of design as interaction with a visually rich and refined culture.
This is what makes typeface design such an interesting area to work in: it is a context-driven discipline, where past practice, conditions of use, user perspective, and invested meaning all weigh heavily in design decisions. Indeed, professional experience in typeface design is primarily reflected in the depth of understanding of these wider considerations, the clarity with which these can be translated into typeforms, and the insight with which this context can be married to a personal creative voice. If we want proof of this, we need only look at the older generations of typeface designers, who – working ,more often than not, on decades-old applications – still produce new designs that contribute fundamentally to our typographic libraries.
Despite their very different texture, both typefaces follow a very consistent pattern in their fitting. Notably, Fenland avoids the typical problem of sans typefaces having overly narrow sidebearings in letters with vertical strokes. This more open underlying pattern ensures the typeface remains perfectly readable in smaller sizes.
This approach can be seen most clearly with work in scripts that the designer is unfamiliar with, and in any case cannot read fluently. In this scenario, design decisions cannot be trusted without an engagement with the characteristics of the script, an understanding of the way the typeforms of the script have responded to changes in type-making and typesetting technologies, and an appreciation of the typographic conventions for the genre of documents the typeface is intended for. In fact, the closer the connection of the script to its written form, and the more complex its typesetting, the more important it is that the designer engage intimately with these considerations. This approach places four-plus-one conditions on multi-script typeface design. First, that the designer has access to historical and contemporary artefacts: books and other printed material, ephemera, type-making and typesetting equipment. Second, access to primary sources: texts and material such as drawings produced during the type-making process. Third, access to secondary sources: texts written by type makers about type-making, and designers about their practice. Fourth, interpretative sources: texts by researchers such as historians and theorists on the development of type design. The 'plus-one' is a framework for integrating research into design practice that enriches the designer's understanding, and unlocks informed creativity.
It is not difficult to see the connection between these conditions and the growth in formal education in typeface design, largely in parallel across the world. In fact, typeface design is in some ways leading a gradual shift in the wider design education sector, away from a paradigm of silently reflective responses towards user-centred, research–informed design practice. This approach is typical for a research-based discipline in the humanities. It is, though, alien to design taught in art colleges and institutions based on practice teaching outside of context, on the model of apprenticeships.
Typeface design across scripts: the Brill typeface, developed for the Dutch academic publisher by John Hudson, covers a wide range of languages and is developed specifically for text-intensive typesetting. The forms of the letters in the two scripts here are quite different, to respect the typographic traditions of each script. The overall typographic colour is similar in tone, allowing the texts to differentiate solely though the differences in typographic texture.
These considerations are not purely an academic matter. In the last decade we have witnessed a rapid growth in the demand for typefaces with very large character sets spanning many scripts. Pan-european typefaces with several hundred characters are often just a starting point, with Arabic or several Indian scripts added during the typeface's lifetime. More recently we have seen notable growth in Armenian, as well as East Asian and South-East Asian scripts like Korean, Thai, Khmer, and Burmese. This demand, driven by an expansion of communication services and globalised branding, has pushed typeface design towards a level of effort that rewards teamwork, and the gradual building of expertise, through the combination of formal and self-directed study, and professional activity.
This is the environment in which we should seek to educate typeface designers: to expect them to ask questions about their practice, and seek answers through research. Indeed, we should see type design skills as inseparable from research skills, and an enquiring attitude. We should expect designers to engage with their field actively, and to write: to produce knowledge about their discipline. Seeing design activity as wider and deeper than any individual project is a key characteristic of the transition of typeface design towards a fully-established discipline.
Posted on 1 December 2013 21 April 2016 Categories TextsTags chapter, education, typeface design

redpajama_set_name: RedPajamaCommonCrawl


Hello lovelies, so me and Dan were very kindly sent a Tangle Teezer each I am so glad as Dan kept robbing my old one all the time so now I don't have to share. He also loves the fact his brush is a bit more 'manly' now.
I'll start of with Dan's Mens compact groomer £12.50* - It's a stunning metallic finish detangling brush that Dan has been using on his hair and beard! Dan has loved using it, he said it's much easier on his hair, it doesn't pull even when his hair is wet and very bedraggled. He likes the fact its compact to stick in his wash bag to take away with him and that the cover protects the bristles also as his old well my old brush the bristles went dodgy after a while so there will be none of this with his new one.
How gorgeous is my Compact Style designed by Lu Lu Guinness £13.50* - I adore the look of my new detangling brush, the monochrome and the lips, it's very me but if this isn't your cup of tea Tangle Teezer have a huge range of styles, the have hello kitty, another design by Lu Lu, leopard print, shaun the sheep and bold colours so one for everyone. I love the size of the brush, its much easier to grasp and brush through my hair.
I have noticed a huge difference in my hair, my hair doesn't fall out as much with this brush, it leaves my hair feeling unbelievably soft and makes it look so glossy and healthy when I brush it dry. I also obviously love the fact it has a cover for the bristles, it means I can chuck it in my handbag and know it won't get too much of a bashing. The size of the brush makes it very easy to be on the go for anytime. The brush being the size it is is also handy for giving it a good back comb near the roots to create even more volume, you can really get in there.
Do you own any Tangle Teezer brushes?
Check out my post on how to get quick and easy big bouncy waves.
I tried one of these but it didn't work on my hair as my hair is just too thick. Such a shame.
Ooh I love the idea of his and hers! And I love that lulu guiness design too!
I love tangle teasers, i actually could.do with a new one so I'll have a look for these!!
Oh wow a men's one! I'm going to have to get Maz this as he keeps on pinching mine.


Alright, this isnt really fair, Ive taken a really old quote. Im gonna help you guys out a bit. Quote of the same user only a bit more recent.
In the end it could be simplified to long-term investment vs premium entertainment. Halo was one of those FPS that really stood out from the rest though. The Halo universe is interesting. It had an interesting plot if you paid attention to it. I got a lot more out of it after watching an animated shorted movie of it.
Hmm.. was there a member named Silvir here?


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Q: How to sign Qt app with Mac Developer Id? I have my first cross-platform app ready to release, developed with Qt 4.7.4, using Qt Creator (not Xcode).  I thought I had everything ready to go:  I have a script that runs macdeployqt and produces a .dmg, which works great.  I'm not planning to put this app in the Mac App Store.  Users will just download the .dmg from our web site.
However, on Mac OS X 10.8 Mountain Lion, Gatekeeper's default will cause confusion for my users if I don't have a developer id associated with my app.
I've googled quite a bit, and am pretty confused about what I need to do.  I've never done anything with code signing before, and very little with Mac's keychains.  What are the steps to take a completed Qt app and get it associated a developer id, so Gatekeeper at its default setting will be happy with my dmg and not confuse my users?

A: You need three steps:
1. sign the bundle itself
2. sign the .dylib binaries inside the bundle
3. sign the Qt frameworks (mainly everything like Qt* inside the bundle)
The command used in all three steps is:
codesign --force --verify --verbose --sign 'YOUR IDENTITY HERE' HelloWorld.app

and similary for other files (.dylibs and Qt frameworks)
See man codesign for detailed explanations.
You should have generated a certificate and include it in your Keychan. If you don't know where to get a certificate from, well.. that's another topic.
Edit: added a more detailed article HERE.

redpajama_set_name: RedPajamaStackExchange


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Greece seeks to send 1,450 migrants back to Turkey
January 14, 2021, 6:31 a.m. ·2 min read
Children stand next to the sea in the Kara Tepe camp for refugees and migrants on the island of Lesbos
ATHENS (Reuters) - Greece is pushing to return 1,450 people currently in migrant reception centres on Lesbos and other Aegean islands to Turkey, Migration Minister Notis Mitarachi said on Thursday, calling on Ankara to respect asylum agreements with the European Union.
Mitarachi said Greece had submitted a request to the European Commission and EU border agency Frontex for the immediate return of the migrants, who he said had arrived from Turkey and whose asylum applications had been rejected.
The move comes ahead of a planned resumption of talks to resolve longstanding territorial disputes between Greece and Turkey following months of tensions between the two NATO allies in the Aegean.
Migrant returns to Turkey, under a 2016 EU-Turkey agreement, largely dried up last year due to the coronavirus crisis. But Mitarachi said conditions were now in place for them to resume thanks to new technology and COVID-19 testing procedures.
"We expect Turkey to step up its efforts ... First, to prevent the passage of boats departing from its shores bound for our country and European Union. And second to accept the return of migrants," Mitarachi said.
He said most of the 1,450 individuals slated for return were on the island of Lesbos, where a fire last year destroyed the main camp housing irregular migrants, while others were on the islands of Kos, Samos and Chios.
Hundreds of thousands of migrants and refugees used Greece as their entry point to Europe through Turkey in 2015 and 2016, until the deal between Ankara and the EU reduced the flow across the Greek and Turkish land and sea borders.
Turkey hosts more than three million refugees and migrants, many from neighbouring Syria, while tens of thousands are waiting in Greece for asylum applications to be processed, mostly in camps where conditions have been described as dire.
(Reporting by James Mackenzie, Editing by William Maclean)


Hello, and thank you for visiting my website.
I've tried to make this a useful resource for constituents to learn more about their state government, the Legislature, the bills I've sponsored, and my priorities and values as a proud member of your 11th-district legislative team.
My phone number is (360) 786-7862, and my email address is steve.bergquist@leg.wa.gov.
Visit the House Democrats' Caucus Newsroom and our Press Releases Page for up-to-date information on what's going on in your state capital, and check out our Values Page to see how we're creating a better future for Washington.
It's an honor and a privilege to serve you, your family, and our neighbors throughout the district. Please don't hesitate to get in touch.
As a schoolteacher myself, I'm always happy to be visited by students who are learning about how their government works. These smiling faces are from Renton's Talbot Hill Elementary. My seatmate, Rep. Zack Hudgins, is at left, standing with our colleague from the neighboring 33rd district, Rep. Mia Gregerson.


text:
Become a Nurse
Category Archives: West Virginia
Find Nursing Schools Near Me in Shinnston WV 26431
How to Select a Nursing Program near Shinnston West Virginia
Choosing the best nursing school near Shinnston WV may seem like a formidable project, particularly if you aren't sure what to search for in a good degree program. As you may already understand, in order to practice as a registered nurse, you need to obtain the necessary education and training in order to become licensed. So it is critically important that you study and determine the qualifications of each college you are thinking about before enrolling in your ultimate selection. Unfortunately, too many potential students base their selection entirely on the cost of tuition and the nearness of the school. Picking the least expensive college or the one that is nearest to your house is no doubt not the best way to pick a nursing school. There are several crucial additional aspects to explore before you make a decision where to attend classes. But before we explore that checklist, let's first cover what the job of a registered nurse is in our medical system, as well as the nursing degree options that are offered.
Registered Nurse Job Activities
Registered nurses are the most significant occupation in the healthcare delivery system. RNs practice in a large number of different Shinnston WV medical environments, such as hospitals, family practices, outpatient clinics, nursing homes and even schools. Their basic duty is to support doctors in the care of their patients. However, the particular duties of a registered nurse will be dependent on their job or specialization in addition to where they work. A portion of the responsibilities of an RN may include:
Observing patients
Conducting physical examinations
Coordinating care
Supervising LPNs, LVNs and nurse aides
Educating patients and their families
Taking care of health records and charts
Nurses with a higher degree may have more advanced job duties and responsibilities. Nurse practitioners (NP), for example, must hold a Master's Degree and generally work more independently than their RN counterparts. They can provide primary or specialty care services, prescribe medications, and diagnose and treat common illnesses or injuries.
Nursing Degrees Available
There are multiple degrees offered to become a registered nurse. And to become an RN, a student must enroll in an accredited school and program. A student can obtain a qualifying degree in as little as 2 years, or advance to earn a graduate degree for a total of 6 years. Following are some brief descriptions of the nursing degrees that are offered in the Shinnston WV area.
Associates. The Associate Degree in Nursing (ADN) is typically a 2 year program made available by West Virginia community colleges. It prepares graduates for an entry level position in nursing in medical centers such as hospitals, clinics or nursing homes. Many employ the ADN as an entry into nursing and ultimately achieve a higher degree.
Bachelor's. The Bachelor of Science in Nursing (BSN) supplies more expansive training than the ADN. It is normally a four year program offered at West Virginia colleges and universities. Licensed RNs may be able to complete an accelerated program based on their past training or degree and professional experience (RN to BSN). Those applying to the program may desire to progress to a clinical or administrative position, or be more competitive in the employment market.
Master's. The Master of Science in Nursing (MSN) is generally a 2 year program after attaining the BSN. The MSN program provides specialization training, for example to become a nurse practitioner or focus on administration, management or teaching.
When a graduating student has acquired one of the above degrees, she or he must pass the National Council Licensure Examination for Registered Nurses (NCLEX-RN) to become licensed. Additional requirements for licensing fluctuate from state to state, so be sure to check with the West Virginia board of nursing for any state mandates.
Nursing Online Degrees
Attending nursing schools online is becoming a more favored way to receive instruction and earn a nursing degree. Many schools will require attending on campus for part of the training, and nearly all programs require a specific number of clinical rotation hours completed in a local healthcare facility. But since the balance of the training can be accessed online, this method may be a more practical solution to finding the time to attend college for many Shinnston WV students. Pertaining to tuition, many online degree programs are cheaper than other on campus alternatives. Even other expenses such as for commuting and study materials may be minimized, helping to make education more economical. And a large number of online programs are accredited by organizations such as the Commission on Collegiate Nursing Education (CCNE) for BSN and MSN degrees. And so if your work and household commitments have left you with limited time to work toward your academic goals, maybe an online nursing program will make it easier to fit a degree into your hectic schedule.
Questions to Ask Nursing Degree Programs
Now that you have chosen which nursing program to enroll in, as well as whether to attend your classes on campus or on the web, you can use the following guidelines to begin narrowing down your choices. As you no doubt are aware, there are a large number of nursing schools and colleges in the Shinnston WV area and throughout West Virginia and the United States. So it is essential to decrease the number of schools to choose from so that you will have a manageable list. As we already discussed, the site of the school along with the expense of tuition are probably going to be the primary two things that you will consider. But as we also stressed, they should not be your only qualifiers. So before making your final decision, use the following questions to evaluate how your pick measures up to the field.
Accreditation. It's a good idea to make sure that the degree or certificate program as well as the school is accredited by a U.S. Department of Education recognized accrediting organization. In addition to helping make sure that you get a premium education, it may help in securing financial aid or student loans in Shinnston WV, which are frequently not available for non-accredited schools.
Licensing Preparation. Licensing criteria for registered nurses are different from state to state. In all states, a passing score is required on the National Council Licensure Examination (NCLEX-RN) along with graduation from an accredited school. Some states require a specific number of clinical hours be completed, as well as the passing of additional tests. It's important that the school you are attending not only provides a top-notch education, but also readies you to comply with the minimum licensing requirements for West Virginia or the state where you will be working.
Reputation. Visit online rating companies to see what the evaluations are for all of the schools you are looking into. Ask the accrediting organizations for their reviews as well. In addition, contact the West Virginia school licensing authority to determine if there are any complaints or compliance issues. Finally, you can call some Shinnston WV healthcare organizations you're interested in working for after graduation and ask what their assessments are of the schools as well.
Graduation and Job Placement Rates. Find out from the RN programs you are considering what their graduation rates are as well as how long on average it takes students to complete their programs. A low graduation rate may be an indication that students were dissatisfied with the program and dropped out. It's also imperative that the schools have high job placement rates. A high rate will not only substantiate that the school has a good reputation within the Shinnston WV healthcare community, but that it also has the network of relationships to help students gain employment.
Internship Programs. The most ideal way to get experience as a registered nurse is to work in a clinical setting. Essentially all nursing degree programs require a specific number of clinical hours be completed. A number of states have minimum clinical hour mandates for licensing also. Ask if the schools have associations with Shinnston WV hospitals, clinics or labs and help with the placing of students in internships.
Looking at Nursing Schools near Shinnston WV?
Shinnston, West Virginia
Shinnston is a city and former coal town in Harrison County, West Virginia, United States, along the West Fork River. In 1778 Levi Shinn constructed his log home along what is now Route 19; today it is the oldest standing structure in north-central West Virginia.[6] As of the 2010 census, Shinnston had a population of 2,201.[7]
The roots of Shinnston date back to 1778, when Levi Shinn constructed his log home. The log house, located along Route 19, is the oldest standing structure in North Central West Virginia. It is maintained by the Shinnston Historical Association, which opens the home for tours by the general public.
In 1815, the town was laid out with three streets, running parallel with the river, and with four crossing streets running at right angles to them. The town was incorporated in 1852 as Shinn's Town by an act of the Virginia legislature, as West Virginia did not yet exist as an independent state. Solomon S. Fleming was elected as the first mayor.
Choose the Right RN College near Shinnston WV
Selecting the ideal registered nursing program is arguably the most critical step to launching a new career in the healthcare industry. There are a number of variables that you need to take into account when selecting a nursing school. These aspects will be prioritized differently depending on your current career goals, lifestyle, and economic situation. As we have highlighted within this post, it is important that you select an RN college and a degree program that are both accredited and have outstanding reputations within the healthcare community. By utilizing our list of qualifying questions, you will be able to create a shortlist of schools to pick from so that you can make your final selection. And with the right degree and training, combined with your dedication and desire to succeed, you can become a licensed RN in Shinnston WV.
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United Physicians Care
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This entry was posted in West Virginia and tagged Accelerated Nursing Programs Near Me in Shinnston WV 26431, Accredited Nursing Degrees Near Me in Shinnston WV 26431, Associate Degrees in Nursing Near Me in Shinnston WV 26431, How to Become a Nurse in Shinnston WV 26431, Nursing Colleges Near Me in Shinnston WV 26431, Nursing Programs Near Me in Shinnston WV 26431, Online Nursing Degrees in Shinnston WV 26431, Online Nursing Programs in Shinnston WV 26431, Online Nursing Schools in Shinnston WV 26431, RN Programs Near Me in Shinnston WV 26431 on April 6, 2018 by Slim.
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text:
Businessman tells divorce judge he has no money for wife
The head of a multibillion-dollar Texas company told a judge that the recession has left him professionally and personally on the verge of insolvency and that his net worth is below zero, leaving him unable to pay his wife the financial settlement she is seeking in their divorce.
The woman contends that her husband's 2010 tax returns showed that he earned more than $36 million in adjusted gross income. He says his earnings actually totaled just $1 million or $2 million, and his net worth has plummeted to a negative $50 million.
Representatives for the wife, however, said the man can afford to pay his debts to her. His wife wants the judge to force him to pay her half of the couple's community property, up to $5 million, as agreed to in their prenuptial agreement. The couple had been married six years when the man filed for divorce in September 2011. They have two daughters, ages 6 and 3.
Texas is a community property state, which means there is a good chance that if the couple can't agree on a settlement, the judge is likely to treat all assets obtained during the marriage as jointly owned. But in this case, the couple did have a prenuptial agreement in place.
The woman said her husband owes her $104,000 under a previous agreement. She also wants $20,000 per month in support and attorney fees. Her case got a boost in court from a former senior manager at the man's company. He testified that the man told him that his goal was to shrink his net worth so that his wife would receive a smaller settlement.
Even if he is not insolvent under the traditional principles of accounting, the man said he is by the standards of family law in Texas. He told a Dallas judge that his company's revenues have fallen from $39 billion to $23 billion since the end of 2007.
Source: Business Week, "Highland Capital Chief Tells Divorce Judge He's Insolvent," Tom Korosec, March 29, 2012


Amazon Drive provides easy access to the documents, music, photos and videos that you have stored in Amazon Drive. Store your important files in Amazon Drive and keep them secure even if your Android is lost or damaged. Upload your content to Amazon Drive from any computer and preview, share and enjoy it on all your devices.


The year started and new goals where disclosed in one of the team I am working with. Brainstorm part-I was done and the team needs to meet again to finalize it and convert ideas in "stories". So far, so good.
Team is able to see a big picture of the next challenger.
Team was able to review past experiences and flag possible issues and risk related to the goal.
Team has ideas to overcome issues and risk on the fly.
PO has a list of point to discuss with stakeholders and show the work of the team in this game.
PO & stakeholder have all the info and flags to do a good homework and avoid overload the team and/or overestimate expectations.
PO has a support tool to negotiate feature/time/complexity if he needs it at any point.
As Coach/SM, I am so happy for the participation of the team in this activity. With this experience I am able to recommend this activity if you need to start to work in something new for few sprints (release, goals, etc). I am thinking also to include stakeholders in the future with this kind of activities. They could take advantage of the discussion generate with the full team, and the team could get show that sometimes easy goals could become big challengers.
I hope you find this experience useful and give it a tray. I am very interesting in your feedback and comments.
I like it. Very simple metaphors.
We tried to put all in our walls, it is funny when people from other teams check what we are doing and ask for the idea/concept.


text:
Dissolution of Marriage – Definitions
More commonly referred to as divorce.
Previously referred to as custody; allocates living arrangements for children at issue and designates which parent will make major decisions concerning education, medical and religious upbringing issues. If parents were never married a Petition for Allocation of Parental Responsibility needs to be filed instead of a Petition for Dissolution of Marriage. Parental responsibilities may be allocated jointly or solely to the parties. A non-biological stepparent, grandparent or psychological parent may also be allocated parental responsibilities depending on the circumstances.
A declaration that the marriage was invalid from its inception, such as a bigamous marriage.
Statutorily determined to a very large extent based upon the parties' combined incomes, daycare and health insurance expenses for the children, necessary support for other children of one of the parties and any extra ordinary medical or educational expenses necessary for the children. An individual's monthly expenses are generally not taken into consideration when calculating child support although it is possible to deviate from the amount of support dictated by statute. Child support terminates at age nineteen or upon emancipate, which ever occurs first, unless the child has special needs.
Contempt of Court and Contempt Citations
If an individual has been ordered to perform a particular act or ordered to refrain from engaging in certain conduct and fails to comply with that court order, that individual may be called before the Court pursuant to a contempt citation, to explain to the court why the individual did not comply with the order. The Court may order an individual to comply with previously issued orders or may impose a jail sentence for the individual's failure to comply with Court orders.
Refers to which parent will make major decisions for the children, including decisions on educational, medical and religious upbringing. It may also include decisions on extracurricular activities, daycare and any other relevant issue.
Commonly referred to as alimony; may be awarded on a temporary or permanent basis in dissolution of marriage cases. Temporary maintenance is usually calculated pursuant to a formula based simply on the parties' incomes, which also requires temporarily allocating payment of marital debts between the parties. Permanent maintenance takes into consideration property awarded to an individual, as well as that individual's ability to work and support themselves, whether there are young children for which to care, children with special needs or a parent attending an educational institution, the length of the marriage and standard of living during the marriage, in addition to other factors.
Child support is always modifiable if there is a substantial and continuing change in circumstances that would result in greater than a ten percent increase or decrease in the amount of child support owed. Child support is often modified when the parties' incomes have increased over the years, one party's income has decreased, day care expenses have decreased or are no longer incurred or health insurance expenses have changed for the children.
Formerly called visitation; refers to how much time the children will spend with each parent, depending on many factors including but not limited to, the age of the children, life styles of the parents, parental commitment to the children, work schedules and physical proximity of the parents' residences to each other.
Can be obtained to protect adults as well as children if there has been physical violence, a threat of violence, emotional harm to adults or children or conduct that may significantly impair a child's emotional development and unless the person is restrained such conduct would continue. Protective orders may result in an individual being removed from the home and may include temporary parenting time provisions.
Are you the beneficiary of a Trust Account? Some funds received as a beneficiary may be considered to be a martial asset subject to division or consideration as an asset.
Some life insurance accounts have cash value that may be a marital asset subject to division.
Are you or your spouse entitled to receive a monthly pension from a current of former employer? The value of these plans may constituted a marital asset to divide if earned during the marriage.
A typical defined contribution plan has a cash value, such as a 401K plan, constituting a marital asset if earned during the marriage.


text:
using System;
using bv.model.BLToolkit;
using eidss.model.Core;
using eidss.model.Reports.AZ;
using eidss.model.Reports.OperationContext;
using EIDSS.Reports.BaseControls.Filters;
using EIDSS.Reports.BaseControls.Report;
using EIDSS.Reports.Parameterized.Human.IQ.Reports;

namespace EIDSS.Reports.Parameterized.Human.AJ.Keepers
{
    public partial class ComparativeIQReportKeeper : BaseComparativeReportKeeper
    {
        public ComparativeIQReportKeeper()
        {
            ReportType = typeof (ComparativeIQReport);
            InitializeComponent();
        }

        protected override BaseReport GenerateReport(DbManagerProxy manager)
        {

            var model = new ComparativeSurrogateModel(CurrentCulture.ShortName,
                CounterParam,
                StartMonthParam, EndMonthParam,
                Year1Param, Year2Param,
                FirstRegionIdParam, FirstRayonIdParam,
                SecondRegionIdParam, SecondRayonIdParam,
                -1,
                Convert.ToInt64(EidssUserContext.User.OrganizationID),
                EidssUserContext.User.ForbiddenPersonalDataGroups,
                UseArchive);

            var reportIq = (ComparativeIQReport)CreateReportObject();
            reportIq.SetParameters(manager, model);
            return reportIq;
        }

        protected internal override void ApplyResources(DbManagerProxy manager)
        {
            try
            {
                IsResourceLoading = true;
                m_HasLoad = false;

                base.ApplyResources(manager);

                region1Filter.Caption = ProvinceLabel.Text + " 1";
                rayon1Filter.Caption = DistrictLabel.Text + " 1";
                region2Filter.Caption = ProvinceLabel.Text + " 2";
                rayon2Filter.Caption = DistrictLabel.Text + " 2";
                // TODO: [ivan] Unhide controls when Iraq statistics will be filled in the DataBase
                CounterLabel.Hide();
                CounterLookUp.Hide();
                //

                if (ContextKeeper.ContainsContext(ContextValue.ReportKeeperFirstLoading))
                {
                    LocationHelper.SetDefaultFilters(manager, ContextKeeper, region1Filter, rayon1Filter);
                }

            }
            finally
            {
                m_HasLoad = true;
                IsResourceLoading = false;
            }
        }
    }
}

redpajama_set_name: RedPajamaGithub


Welcome to the Inky Friends Time to Sale-A-Brate! Blog Hop. We're showcasing the stamp sets or products that you can get for free with a $50 or $100 purchase during Sale-A-Bration.
If you'd like to see the list of participants, here's a link to the My Inky Friends Blog. You may have arrived from the blog hosting Staci's Precious Parcel Creations. Isn't her bank box adorable? I can't wait until my order arrives with that kit. It looks like such fun!
First, I made a simple one layer card. Then I added ribbon, a sentiment, pearls and a Pineapple Punch card base for the card shown here.
After making that card, I decided to try the Heat-Embossed Chalkboard Marker Magic technique. That may not be the name, but it is a good descriptor for it.
Use an Embossing Buddy to reduce white splatters.
Use Blends or Stampin' Write markers to add color to the flower, stem and leaves.
I love the look of this technique. It is close to a representation of a white Calla Lily to me. I'll post a video for the coloring of this card tomorrow.
It also looks nice in pink, so I used both of the Flirty Flamingo Blends to create a similar card.
Now, it is time to travel to Michelle's Paper Conversation Blog and see her lovely designs with the Hello Cupcake set.
I also want to say, "Thank you" to my sweet friend, Charlet Mallett of Painted Orange, for helping me find the new graphics. She created the new blog header and worked to get just what I needed/wanted, and my blog is updated and more "me".
Gatefold card Tips Needlepoint Nook Stampin' Up!


See other types of restaurants & cuisines in West Covina, including area Mexican and Pizza.
In nearby Arcadia, take a look at a number of other restaurants, including Outback Steakhouse and Hop Kee Seafood Restaurant.
Don't forget to check out the many restaurants located in and around El Monte, CA and San Gabriel, CA.


text:
Vanilla Ice, bürgerlich Robert Matthew Van Winkle (* 31. Oktober 1967 in Dallas, Texas), ist ein US-amerikanischer Rapper und einer der ersten weißen Rap-Musiker mit kommerziellem Erfolg.

Karriere
Der Durchbruch gelang ihm 1990 mit der Single "Ice Ice Baby", die sowohl in den USA als auch in Großbritannien die Spitze der Charts erreichte. Dieser Titel basiert auf einem Sample aus dem Song "Under Pressure", aufgenommen von Queen und David Bowie. Sein 1989 erschienenes Debütalbum Hooked wurde daraufhin unter dem Namen To the Extreme ein Jahr später erneut veröffentlicht und belegte 16 Wochen lang Platz 1 in den Billboard-Charts. Die Single "Ice Ice Baby" erreichte in den USA Platin für eine Million verkaufte Exemplare, das Album sogar 7-fach-Platin. Auch mit der zweiten Single, der auf dem gleichnamigen Hit von Wild Cherry basierenden "Play That Funky Music" gelang ihm ein weiterer Erfolg. Zu dem damaligen Zeitpunkt war er damit der erfolgreichste Rapper.

Seine Plattenfirma verbreitete jedoch falsche Angaben über seine Vergangenheit, wodurch Vanilla Ice in der Szene an Glaubwürdigkeit verlor. Andere Künstler des Genres, wie beispielsweise Eminem, machten sich über ihn lustig. m Rahmen der US-amerikanischen Comedy-Sendung In Living Color entstand ein sarkastisches Musikvideo, in dem Jim Carrey unter dem Titel "White, White Baby" Vanilla Ice und seinen Tophit parodiert.

1991 brachte Vanilla Ice seinen Film Cool as Ice in die Kinos. 1996 nahm er mit der Bloodhound Gang den Song Boom auf.

Im Jahre 2001 wurde seine Erfolgsnummer "Ice Ice Baby" von Reanimator neu aufgenommen und erzielte kleinere Verkaufserfolge. Im März 2007 wurde der Song unter "Reanimator feat. Big Daddi & Vanilla Ice" in Europa erneut mit einigen Remixen aus dem Electro- und Hip-Hop-Bereich veröffentlicht.

Zwischenzeitlich nannte sich Vanilla Ice nur noch V-Ice, damit er nach eigener Aussage nicht mehr nur mit seinem einzigen bekannten Song in Verbindung gebracht wurde. Das im Jahr 2005 erschienene Album Platinum Underground wurde jedoch wieder unter seinem bekannteren Künstlernamen Vanilla Ice veröffentlicht und zeigt eine deutliche Stiländerung. Neben einer neuen Version von "Ice Ice Baby" sind auch viele Songs im Crossover-Stil darauf mit E-Gitarren und elektronischen Effekten.

2010 kehrte er noch einmal mit seinem großen Hit in die britischen Charts zurück, als die irischen Zwillinge von Jedward das Lied in der Castingshow The X Factor sangen und später eine Aufnahme mit ihm zusammen als Single veröffentlichten. In Irland erreichten sie Platz 1, in den UK-Charts kamen sie auf Platz 2.

Seit 2010 ist er in seiner Heimwerker- und Haussanierungssendung The Vanilla Ice Project zu sehen.

2011 nahm er an der sechsten Staffel der britischen Eiskunstlaufshow Dancing on Ice teil. 2012 spielte er sich selbst in einer erweiterten Nebenrolle in Der Chaos-Dad neben Adam Sandler sowie 2020 in der Liebeskomödie The Wrong Missy.

Diskografie

Studioalben

Livealben

Kompilationen
 1998: Back 2 Back Hits (mit MC Hammer)
 1999: The Best of Vanilla Ice

Remixalben
 2008: Vanilla Ice Is Back!

Singles

Weitere Singles
 1991: Road to My Riches
 1991: Hooked
 1991: Ninja Rap
 1994: Roll 'Em Up
 1994: The Wrath
 1995: Get Loose
 1998: Too Cold
 1999: S.N.A.F.U. (feat. Jimmy Pop)
 2001: Nothing Is Real
 2002: Get Your Ass Up (feat. Pearla)
 2002: Tha Weed Song (feat. Rahan)
 2002: Hot Sex
 2002: Elvis Killed Kennedy (feat. Chuck D und Rahan)
 2005: Survivor
 2006: Tell Me Why (feat. Gemini und Zeno)
 2007: Ninja Rap 2
 2008: Ice Ice Baby 2008
 2008: Ice Ice Baby 2008 (ReAnimator feat. Big Daddi und Vanilla Ice)
 2010: Turn It Up
 2010: Born On Halloween (feat. Insane Clown Posse)
 2011: Jump Around
 2011: Ice Ice Baby (MattyB feat. Vanilla Ice)
 2012: Ice Ice Baby (Zumba Remix)

Videoalben
 1990: Play That Funky Music White Boy (US: )
 1991: Ninja Rap

Auszeichnungen für Musikverkäufe

Filmauftritte
 1991: Cool as Ice
 1991: Turtles II – Das Geheimnis des Ooze (Teenage Mutant Ninja Turtles II: The Secret of the Ooze)
 2002: The New Guy
 2012: Der Chaos-Dad (That's My Boy)
 2015: Die lächerlichen Sechs (The Ridiculous 6)
 2017: Sandy Wexler
 2020: The Wrong Missy

Auszeichnungen
 1992: Goldene Himbeere: Nominierung als schlechtester Schauspieler in Cool as Ice
 1992: Goldene Himbeere als schlechtester Newcomer in Cool as Ice
 1992: Goldene Himbeere: Nominierung für den schlechtesten Song in Cool as Ice
 2013: Goldene Himbeere: Nominierung als schlechtester Nebendarsteller in Der Chaos-Dad

Quellen

Weblinks

 Offizielle Website (englisch)

 Inoffizielle Website (englisch)

Rapper
Teilnehmer an Dancing on Ice (Vereinigtes Königreich)
US-Amerikaner
Geboren 1967
Mann

redpajama_set_name: RedPajamaWikipedia


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