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If you need some inspiration; Lis and this post are going to give it! A well written post about living and embracing diabetes over the past 50years.
Warning: this review may be a little biased as I think Lis is great, an amazing lady who's been through so much and come out the other side smiling and still doing so much for the Diabetes community.
Lis takes us through some tips on how to live well with Type 1, and places a lot of importance on humour and attitude which seem (to me too) to be the key. She writes about the NHS, the Cure and how technology has changed since her diagnosis.


text:
HOME | TASCHEN | CONTACT | ENGLISH – DEUTSCH – FRANÇAIS – ESPAÑOL
Digital aesthetics / The influences of punk and graffiti / The magazine as catalyst / The type industry ploughed forth / The first digital type company / Ordinary letter production / Emigre / Fontshop / Linotype / Berthold / Monotype / Adobe Type Library / Industrious type designers / Autonomous type design / Bukva:Raz! / Typographic recommendations / The first step / The second step / The third step / Paper and page size / The grid as base / Column layout, set width and line interval / Spacing / Paragraphs / Different ways of setting type / Line interval / Choosing a typeface / Children and the visually impaired / Newspapers / Signposting / Corporate fonts / Dictionaries and bibles / Mixed typeface families / Body text typefaces
NAMES & CLASSIFICATION
FROM DRAWING TO FONT
Digital aesthetics
In the modern-day world of the media, the book type is no longer the standard. While the illusion of the 'global village' is propagated via the internet, cultural and ethnic disintegration are taking hold of large supranational and national groups. Smaller social groups, often spread 'at random' throughout the world, affirm themselves with their own ways of thinking, their own professional profiles, their own norms, their own language, their own fashion statements and their own design and visual communication codes.
The influences of punk and graffiti
In the 1970s, the years of punk, young people began to develop their own code of communication. In the exciting, mildly illegal world of messages sprayed on walls, a strongly coded picture-writing came into existence, which was almost a secret language and in which the shapes, the graffiti, were a source of inspiration for both an artistic movement – with Keith Haring as figurehead – and a new idiom in the world of graphic design. Graphic designers looked with Argus eyes at the freedom of colour, letter and image and began 'sketchy' experiments with the elasticity of the letter as a shape and as a representation of its meaning.
Typography on an album of the punk group The Tubes. It clearly shows that the letters have been deliberately distorted. These typefaces are generally traditional in character. Photo: Joep Pohlen.
The magazine as catalyst
In a number of magazines aimed at a younger audience and in designs for new record companies and for progressive television stations there emerged a new class of designers with an experimental approach to ideas and techniques and who were exploring the monumental, autonomous possibilities of expression with type. From the early 1980s, graphic designer Neville Brody found his influences in punk and Dadaism for his work for the English magazine The Face. He shared the opinions of designer Wolfgang Weingart from Basel, whose reaction against the hegemony of the 'Swiss' international style is referred to as new wave typography, and who stated that legibility is not the same as 'easy to read'.
New forms, old sources. Above, a cover of the magazine Club DaDa from 1918. DaDa was one of the sources of inspiration for designers like Neville Brody and Art Chantry.
The type industry ploughed forth
Aside from the 'wild' young designers who attempted to force a breakthrough with their designs, the type industry was still shaped by a heavy ballast of hundreds of years of tradition and bulky typesetting machines. When phototypesetting machines slowly began replacing the mechanical typesetting machines during the 1970s, designers Herb Lubalin and Aaron Burns set up the International Typeface Corporation (ITC). Their innovation was that ITC designed and introduced typefaces that did not take into account the restrictions of typesetting machines. The design itself was the starting point.
Avant Garde Gothic was one of the first typefaces released by ITC. It is named after the magazine Avant Garde, where Herb Lubalin was art director. Avant Garde was designed with extreme spacing and unique ligatures (see above). These were later omitted from the PostScript version but were re-introduced in the OpenType version released by ITC in 2005.
The first digital type company
Type designer Matthew Carter and divisional manager of Linotype Mike Parker decided to begin their own company in 1980, with the focus purely on design and distribution. They called it Bitstream. They were supported by young producers of hardware such as Scitex that had developed powerful digital machinery but who did not have time to design their own typefaces. Bitstream filled the gap in the market and set to work with its own collection.
Ordinary letter production
It seems as if this period was dominated by technique and to a certain degree this was the case. The new photographic and digital techniques required a great deal of adaptation, but at the same time there was also a great deal of aesthetic innovation in the primary typographic process. In 1975, AT&T commissioned Matthew Carter to design Bell Centennial. The letters contain so-called ink traps, which compensate for the effects of ink flow on thin, absorbent paper during the process of printing telephone books.
Bell Centennial by Matthew Carter with its characteristic ink traps.
Dutch designer Rudy VanderLans graduated in 1980 and then began working at the studios Vorm Vijf and Tel Design in The Hague, but was disappointed that his work was not more creatively challenging. The work of many larger bureaus consists partly of creating corporate identities, where the production process itself actually takes up more time than the creative process. He decided to spend some time travelling through America and enrolled as a student at the University of California at Berkeley, where to his surprise he was immediately accepted. There he met Zuzana Licko, whom he married in 1983. With a few other Dutch designers who had also travelled to the West Coast, VanderLans created the magazine Emigre. The first issue was designed completely with typewriter typography and photocopied photos. Licko was very interested in computers and quickly began to experiment and to programme. In 1984 VanderLans and Licko purchased one of the first Macs, with 128K of memory. Licko subsequently began to design low-resolution typefaces with the FontEditor programme that was available as public domain software. The first typefaces they designed were Emperor, Emigre and Oakland, made for use on the dot matrix printer. In Emigre 2, published in 1985, Emigre and Oakland were used for the first time in sections of the text. Unique to Emigre is that Zuzana Licko's development as a type designer stemmed from the techniques available and was particularly linked to the arrival of the computer as replacement of traditional typesetting machinery. Although she received a lot of criticism about the legibility of her texts, this lessened over time.
Oakland and Emperor by Zuzana Licko. The numbers Eight, Fifteen and Nineteen refer to the pixel height of the capitals. Below is the lowercase 'g' of Oakland Eight. The number of pixels can easily be counted.
FontShop
In his first book, The Graphic Language of Neville Brody, released in 1988, Neville Brody states that he had nothing to do with what he considered the too-easy computer, but he subsequently set up the type foundry FontShop in 1990 together with Erik and Joan Spiekermann. Many type foundries were founded around 1990 but FontShop, like Emigre, spent the following years building a consequently sound collection, which now includes several thousand typefaces. Between 1991 and 2000, Neville Brody and Jon Wozencroft together published the Fuse series under the flag of FontShop. Four designers per publication were asked to submit an experimental typeface that had been designed especially for Fuse. The publication was presented in a cardboard box and included a floppy computer disk with the typefaces in PostScript format and four posters, one by each designer. A number of the typefaces were later completed and included in FontShop's FontFont collection. Dozens of famous type and graphic designers took part in this exercise.
Fuse 1 from the summer of 1991. The box contains four folded posters, one for each of the four typefaces included. From left to right: F State by Neville Brody, F Stealth by Malcolm Garrett, F Can You ...? by Phil Baines and F Maze by Ian Swift. Photo: Joep Pohlen.
Linotype
This type company, which is home to a great tradition in the world of type design, almost missed the boat in the early days of digital type. After Bitstream had tried in vain to acquire licences, Adobe's request in the mid-eighties was granted and URW in Hamburg began digitising famous Linotype typefaces such as Helvetica, Univers, Optima and the Frutiger. This was followed in 1990 by the fusion with the firm Dr. Ing. Rudolf Hell GmbH, a pioneer in the area of digital typesetting. The type collection at Hell consisted almost exclusively of relatively new designs by Dutch designer Gerard Unger and German designer Hermann Zapf. This collaboration once again saw the light of day in 1997 in Heidelberg Druckmaschinen AG. Heidelberg named the type library Linotype Library and in 2005 this was shortened to Linotype, which is now a component of Monotype Imaging.
Two calligraphic typefaces from the Linotype collection. Wilhelm Klingspor Gotisch was designed in 1925 by Rudolf Koch. Zapfino by Hermann Zapf dates from 1998 and is a true digital typeface that was never made for metal typesetting. In fact it could not have been, due to the fine overlapping lines and the intersecting ascenders and descenders.
In 1996 Linotype also launched a significant project under the direction of Olaf Leu to develop a typeface specifically for annual reports. Olaf Leu and his team came to the conclusion that it should initially be a typeface with four styles and four versions. After a thorough comparison of existing typefaces, a list of advantages and disadvantages was formulated and the Compatil was made in four versions: Compatil Exquisit (a humanistic), Compatil Fact (a sans-serif), Compatil Letter (a slab-serif) and Compatil Text (more transitional than didone). In total it comprises sixteen styles with small capitals and Central European character sets. A unique feature is that the four different typefaces can be interchanged because the overall text width is the same in each version.
The examples above clearly show how systematically the Compatil is constructed and how the width of all four styles is consistently equal without the whole appearing forced or out of balance.
The story of Berthold is very different. Even though designer Günter Gerhard Lange returned in 2000 in his senior years as artistic director, the company never regained its leading role in the industry. At Berthold, Lange designed typefaces such as Concorde, AG Book, Arena and Imago and above all he designed various revivals of typefaces like Baskerville, Bodoni, Akzidenz Grotesk and Garamond. Also noteworthy in the Berthold system is that the cap height is given in millimetres and serves as a measurable font size.
Above, the lowercase 'a' from Formata. Right, some designs from Berthold and below them a series of typefaces from Berthold with a font capital size of 18 mm. Below that, a series of typefaces from other foundries that each has a different capital height at a font body size of 54 pt.
Monotype is one of the most prominent suppliers of typesetting machinery and typefaces. Just like Linotype and Berthold, Monotype landed in a crisis when the arrival of the Mac made its hardware obsolete. A wave of new owners came and went. In 1998, Agfa (with the former Compugraphic library) took over Monotype and combined their typefaces under the collective name Agfa Monotype. In 2000, the International Typeface Corporation collection (ITC) was added, which had previously taken over the Letraset library, and under direction of a new owner the company name was changed to Monotype Imaging. Monotype has since also taken over Linotype.
ITC Legacy is a design by Ronald Arnholm from 1992 with a Serif and a Sans. The Serif Bold is shown here.
Adobe Type Library
This collection was started in 1984 to help boost Adobe's sales of software products and desktop publishing as a whole. It is a credit to Adobe that the quality of its typefaces for use in its own software was taken seriously right from the start. The Adobe Type Library is a purely digital collection and brings with it no excess baggage from the traditions of the industry. In order to make a quick start, licences were purchased for the bestsellers from other suppliers. Adobe has also always respected artist's rights and requested licences right from the beginning.
Above, Myriad from 1992, Nueva from 1994 and Chaparral from 1997 by designer Carol Twombly. All are OpenType versions.
Industrious type designers
If you can do it yourself, then why not do just that? More and more type designers came to the realisation that they could promote and sell their own work on the internet. The whole process ultimately begins with the designer. The smaller font suppliers should certainly be and now often are taken seriously and some offer typefaces that equal those of the most famous firms in quality. Jean François Porchez began his own type publishing company after having his FF Angie published by FontShop. Lucas de Groot released the successful FF Thesis through his own company LucasFonts and David Quay began The Foundry after having designed various typefaces for Letraset and Quay Sans for ITC. The American company Font Bureau was also started in this way in 1989 by founders David Berlow and Roger Black. They designed mainly custom (body text) typefaces for publications like the New York Times and Newsweek. Tobias-Frere Jones designed the popular Interstate for Font Bureau and later began his own company with Jonathan Hoefler. In 1991, Matthew Carter left Bitstream, which he had co-founded, and started a new company Carter & Cone together with Cherie Cone.
In Germany there are a few bureaus that are not predominantly active in designing but that provide services between the producer and the user. Elsner + Flake is the design studio of Veronika Elsner and Günther Flake from Hamburg, founded in 1986. They have digitised typefaces for authoritative producers such as ITC, and expanded them with euro symbols and Central European symbols. Turkish, Greek, Arabic and Hebrew typefaces are also available in the ever-growing Elsner + Flake library. Over time they have made their own designs and added revivals and display fonts to their collection. The second Hamburg-based studio to be involved in the digitisation of typefaces from the beginning of the digital era is URW++. Directed by Peter Karow, URW (without plusses in the beginning) developed the programme Ikarus, which was used in the early days of the digital era by large foundries such as Linotype, Monotype and Berthold for the digitisation of typefaces.
In The Netherlands there are still a few type companies that work in a typographic tradition to supply typefaces mainly for use in books. The first is The Enschedé Font Foundry (TEFF). The printing company Joh. Enschedé en Zonen was founded in 1703 and is renowned for its high-quality printing of bank notes, postage stamps and other unique works. The company purchased the type foundry of Hendrik Floris Wetstein in 1743 and began producing its own typefaces. Famous names have since worked for or at Enschedé, including Joan Michael Fleischmann, Jan van Krimpen and Bram de Does. In 1978 Enschedé commissioned De Does to design a new typeface for the phototypesetting system at Enschedé to commemorate its 275th anniversary. This typeface became Trinité. The demand for Trinité was what led Peter Mathias Noordzij to begin TEFF in 1991, thereby continuing Enschedé's tradition of craftsmanship into the digital era. In 1992 Lexicon was introduced, originally designed specifically for the dictionary publisher Van Dale. Fred Smeijers designed the Renard, Gerrit Noordzij the Ruse and Christoph Noordzij the Collis. It is a small company with beautiful, classical typefaces for the discerning user.
Above The Enschedé Font Foundry's 1997 specimen, designed by Marie-Cécile Noordzij, of Bram de Does's Lexicon. The right-hand page clearly shows the different ascender and descender lengths of the various Lexicon styles. The aim of this was to minimise the line spacing, therefore making the face of the letter as large as possible in the typographic and aesthetic balance between legibility and the bulk of a dictionary. Photo: Joep Pohlen.
A second producer is Dutch Type Library (DTL) that, like TEFF, specialises in typefaces for books. Founded in 1990 by Frank Blokland, it aims at supplying high-quality typefaces of Dutch and Flemish origin. Their production levels are higher than at TEFF with half the typefaces new designs and the rest re-releases and revivals. Type designers are asked by Blokland to create a design, and then the subsequent technical processes are carried out by DTL. Re-releases are Albertina from 1960 by Chris Brand and Haarlemmer, designed in 1938 by Jan van Krimpen but never previously put on the market. Both were originally made for Monotype.
Above, Haarlemmer from a 1998 DTL type specimen. Photo: Joep Pohlen.
Autonomous type design
As well as the two extremes of the spectrum, the legible and the illegible typography and all the in-between forms with their corresponding typefaces, there are also designers who take experimentation as their starting point. They explore the boundaries of typography and type design. The Frenchman Pierre di Sciullo is one such designer. He received the Charles Nypels Prize in 1995 for his typographic experiments. He has produced the magazine Qui? Résiste (www.quiresiste.com) since 1983, in which he experiments with quotes, collages and transformations.
Left, Sintetik by Pierre di Sciullo, with the word 'photography' clearly visible, spelled phonetically. On the right, his FF Minimum, which was released by FontShop. Below the Clair, Medium and Noir styles in the first column are the Horizontal and Vertical styles that comprise only the horizontal and vertical lines of the text.
The Dutch designer Max Kisman, many of whose designs can be found in the Fuse series, was experimenting with computers to make new designs even before the introduction of the Mac. In 1986 he and some friends began the magazine TYP/Typografisch papier, which has since then been sporadically produced. The Dutchmen Erik van Blokland and Just van Rossum joined forces to create the studio LettError, winning the Charles Nypels Prize in 2000 for their typographic innovations. They treated the letter as an actor who received instructions via the computer about how he should appear. Each letter can act differently, as in the typeface Beowolf from 1990 where the contour is defined at random, within certain limits. FF Beowolf was also one of the first typefaces of the then-young FontShop.
Above, Network by Max Kisman, a typeface similar in form to the letters he drew in the Tegentonen posters for Paradiso in Amsterdam. Beneath this is Kosmik by LettError. Both the Plain and the Bold have three styles with alternative characters so that the illusion can be created that the text has been handwritten. The Kosmik Glyphs are symbols. At the bottom, Trixie by Erik van Blokland.
In 1992 in Spain, Type-Ø-Tones was founded by four designers: Joan Barjau, Enric Jardí, Laura Meseguer and José Manuel Urós. Production halted in 1999 and their typefaces became available for purchase through FontShop. The collection consists solely of display typefaces. Laura Meseguer, who had previously designed several typefaces for Type-Ø-Tones, decided to follow the 'Type and Media' course at the KABK in The Hague, where she then designed Rumba, a typeface comprising the three styles Small, Large and Extra. Rumba was awarded a TDC Certificate of Excellence in 2005.
Three different forms of Rumba by Laura Meseguer. Below, the complete character set of the Rumba Small. With thanks to Laura Meseguer for the PDF of the typeface.
Two other Spanish designers, Andreu Balius and Joan Carles Perez Casasín, founded the Typerware bureau in 1993. The project in which they made their experimental type designs public, through a website and through printed publications, was called garcia fonts & co. These typefaces were not for sale; they could only be swapped for typefaces by guest designers who would then be included in the garcia fonts & co. project. Type designs by FF FontSoup, ITC Belter and ITC Temble are for sale at Typerware. Balius now has his own type foundry called Type Republic, offering several renowned typefaces such as the classical Pradell (2000 – 2003), inspired by designs of the Catalan punchcutter Eudald Pradell (1721 – 1788).
Pradell (above) and Trochut (below) are designs by Andreu Balius, who was inspired by old Catalan typefaces.
The Englishman Jonathan Barnbrook from the Virus type company began designing typefaces because he believed that designers had significant influence on elements such as image and layout in a design, but not on the typeface. When he got hold of the FontStudio programme in 1989, he finally had the feeling that he had complete control. At Emigre, Barnbrook published the typefaces Exocet and Mason. There are a great many examples of designers that began in the 'rough' years of digital type design, when there was a certain amount of competition to design the most extreme type, and who then returned to the more classical traditions of the industry.
Bukva:Raz!
Organizations founded specifically to serve typography and type design, such as the Association Typographique Internationale (ATypI) and the Type Directors Club (TDC), like to keep a finger on the pulse of developments within the industry. But type companies such as Linotype are also interested in market developments. This is why competitions are held. The TDC does this every year and publishes a book containing the winners. In 2000 the ATypI organized a competition for the first time since its establishment in 1957 and called it Bukva:Raz! From the six hundred submissions, they chose one hundred type designs, including not only Latin typefaces but also Arabic, Hebrew, Cyrillic and Greek designs. They are all illustrated in the book Language Culture Type, published by Graphis and ATypI. The hundred typefaces from the Bukva:Raz! selection show how much has changed over the last two decades and that the worldwide select group of designers has expanded to include a selection of hundreds of designers who are fascinated with both past and present. But most noteworthy is that many of the designs recognised by Bukva:Raz! also come from countries like Russia, Portugal, Mexico, Armenia and Argentina and even more surprising is that many of these are designs that cannot be categorised according to their geographical origins.
Latina, by the Spanish designer Iñigo Jerez Quintana, with a Sans and a Serif. The designer himself says this greatly extended type family may never be finished. The Latina is not yet available but did appear in the book Language Culture Type. Photo: Joep Pohlen.
Typographic recommendations
Typography has a threefold purpose: first, to rouse people's interest to read a text; second, to enhance legibility; and finally, typography determines the direction and speed of reading. These general typographic purposes are furthermore influenced by two other factors: the client's intentions and the graphic designer's or typographer's personality. The intentions of a client are expressed in the 'feel' of a text: Is it long or short, informative or attractive, narrative or demonstrative? The choice of medium is also important: Is it a reading or study book, a magazine or a company brochure, a poster or a business card? Whereas, in order to limit the size, a book will require a type that is more economical, this may be less imperative in case of a brochure. A designer's or typographer's personality, on the other hand, can express itself in either a certain sobriety or a more elaborate use of form and colour.
The general purpose, mainly aimed at serving the reader, is obviously governed by certain rules. It needs to be explicitly stated, however, that every conceivable rule only becomes truly interesting by the grace of its possible exceptions. Or, as a famous designer answered when asked why he had suddenly turned his back on his own strict pattern typography after forty years: 'I invented the system, so I can fuck the system'.
Still, some recommendations for making texts optimally legible have arisen by experience. These recommendations are partly based on the tradition of setting metal type but have also resulted from computer typesetting and editing. Trying out different versions and changing details is done much more quickly on a computer. In this respect, today's typographers are in much closer contact with the end product than during the long period of metal type and the ensuing typographic interbellum, when hot metal typesetting and phototypesetting were used together, and digital typesetting started its advance in printing offices.
Dadaism or dada began in Zürich, Switzerland, but was soon adopted by artists in various other countries. Dadaism played with form and content. This illustration, designed by El Lissitzky, is an example of the style.
As indicated before, typography has a threefold purpose that, from a user's point of view, can be divided into three steps. The first step is the first impression a page makes. This impression often determines whether or not a reader is interested enough to begin reading. Whether the text may be read or must be read is, of course, an important difference. The first example could be a newsletter or magazine where the choice to read or not lies with the reader. The second text could be the theory needed for a driving test or perhaps an instruction manual on how to fill out your tax returns. In the first example, an attractive layout is obviously more logical because the reader needs to be persuaded. In the second example, the informative character is more important because the reader needs to be able to clearly and easily take in the information.
The second step
Enhancing legibility is the second step, which goes deeper than a text's first impression. This stage goes one step beyond asking for attention by means of catchy headlines or a provocative picture. In the case of quality newspapers, by the way, steps one and two can be rolled into one. This second step, however, expressly deals not only with first impressions and encouragement, but also with typographic attention on both word and letter level. This is what we call microtypography, which is all about the detailing of headings, grades, spacing, line interval, line length, ensuring register, indents, tabs, white lines, the alignment of the text, word breaks, the use of punctuation marks, the use of numerals and ligatures, the placement of initials, the proportion of captions and footnotes to the body text, the placement of illustrations in a text, the layout of tables, etc.
The text typography here is largely concerned with legibility and microtypography.
The third step
Equally important are the direction and speed of reading. A number of ways of reading can be distinguished, each demanding a different solution.
Linear reading is applicable to a text that can be read from beginning to end without too many obstacles. An example of such a text is a novel. You could call it invisible typography for the 'voluntary' reader.
Nuanced reading is applicable to a publication that contains continuously structured information, but still allows the reader to start at any random point. Examples are scientific and educational works. The layout usually contains one wide column of text and a narrow column for additional referencing, although a layout of two or more columns is also possible.
Selective reading is applicable to a publication that contains several interconnecting layers that can also be read separately. An example is a schoolbook, since a school child may be less motivated than a college or university student. The layout sometimes consists of one column, but two columns are normal too, plus a lot of space for illustrations. The page contains a lot of white space to allow the eye some rest and in order to isolate the text from its surroundings.
Scanning style of reading is applicable to texts that are aimed at answering questions. Examples are an encyclopaedia, a bibliography, a dictionary and large parts of the internet. Think, for instance, of quick and effective Googling to find information. The layout usually consists of two or three columns in a dictionary or encyclopaedia.
Comprehensive reading is applicable to a text for which an understanding of each sentence is important. Examples are children's books and an anthology of poetry. Speed is of lesser importance. One column often suffices.
Informative reading is applicable when reading a newspaper. We pick and choose what we find important and let our eye wander the page to find what interests us. We seldom read a paper from A to Z. A newspaper has many columns. The supplements usually have fewer columns to enable a story-like structure.
This spread from the Larousse Universel of 1923 shows an example of a layout that is aimed at a scanning way of reading. The eye is caught by the words in bold in the three columns and of course by the wonderful drawings that have been placed in the text. Photo: Joep Pohlen.
Paper and page size
Because of a thorough standardisation, normalised DIN A sizes are usually the starting point for paper sizes for printed matter. The sizes of the sheets of paper that are supplied by paper manufacturers are based on these DIN A sizes, with a bit added for trimming, the gripper margin of the printing press and the finish. DIN sizes use a 1 : √2 ratio. Besides the well-known A sizes, B and C sizes are also used. The B sizes are so-called uncut sizes so the page can be printed with bleed, after which the sheet can be cut to A size.
The grid as base
A useful grid simplifies the systematic and logical rendering of text and images, adds rhythm to the text and image structure and ensures that the visual information is conveyed in a structured and transparent way. A good grid, moreover, offers economic advantages as well. Because design solutions have been set, an assignment can be completed in less time and with less cost.
Over time, a lot of systems have been developed for the proportions of a book. Above left, the 'secret canon' of late medieval handwritings as used by Jan Tschichold. The page proportion is 2 : 3 and the proportions of the margins are 2 : 3 : 4 : 6. The height of the text area is equal to the width of the page. The text covers 44% of the surface of a page. Above right, a system of wider size, proportioned 1 : √2 (DIN size). According to Villard's Canon, the width and height are divided in nine parts. The proportions of the margins are 4 : 6 : 8 : 11. The text area is again 44% of the page's surface.
Column layout, set width and line interval
The length of a line relative to the point size and line interval plays an important role in making a text legible. When lines are too long, the reader will have difficulty finding the start of the next line. Lines that are too short make for a restless read because the reader needs to jump to the next line too often. Word breaks will moreover be inevitable when a text is set to a narrow measure, as will big white spaces between words when a narrow block of text is justified. The latter phenomenon often occurs in newspapers. For lines that are too wide, legibility is enhanced by enlarging the line interval. A suitable guideline is a line length of ten to twelve words or of sixty to seventy characters. But here too, the designer will have to experiment to arrive at the ideal relations between typeface, point size, line interval and set width.
Lorem Ipsum is a dummy text that has been in use for hundreds of years to make proofs before the actual text is available. On the web, these texts can be generated in any desired amount. The texts above are set in a 'classic' way in points on a grid in the 'Swiss typography' style.
The use of white space between characters and words depends on the designer's personal view and on the influence of the prevailing style of the period. A lot of white between characters and words has sometimes been all the rage, while the following year characters were squeezed nearly against each other. However, we must not overlook the fact that the type's designer has looked at letter combinations and indicated their ideal spacing in a so-called kerning table.
Spacing a heading by feel is a matter of assessing the white space with one's eyes slightly narrowed and then inserting or deleting some white. Since this is a partly subjective matter, no two designers will reach the same result. The lower line is visually corrected. The arrows indicate where the spacing needed to be reduced.
A paragraph is a part of a text that is smaller than a chapter and that shows some coherence. Writers divide texts into paragraphs in order to indicate sudden turns in a story or to insert breaks in the reading of a text, and to give the whole a more ordered appearance by means of these visual guides. The way a paragraph is indicated often depends on whether it is short or long. A number of successive paragraphs can also form a whole that is nonetheless not a chapter yet, and that is a problem that needs a solution as well. All in all, designers have to study the structure, pace and dynamics of a text thoroughly to find the best possible graphic translation for the writer's intentions.
Different ways of setting type
Lines of type may be set in various ways. The western eye, used to reading from left to right, is most conditioned to text set ranged left. Left-ranged texts can be justified on the right – i.e. right-ranging – or not. Justified lines of type are seen in newspapers and magazines, where the blocks of text, sometimes separated by a vertical line, result in an orderly and steady image in combination with the headlines, other pieces of text, illustrations and adverts. Because the page is completely filled, the text image has an even grey appearance. Justified lines of type are also used in books like novels, where linear reading is needed with an undisturbed visual impression.
Line interval
A 9 pt character has, without extra line spacing, a normal line interval of 9 points. It is specified as point size 9/9 and is said to be 'set solid'. In general, such solid setting is legible because ascenders and descenders should not touch. But for better legible text it is with almost every typeface better to use some line spacing. This mainly depends on the x-height, the length of the ascenders and descenders of the typeface and the length of the lines. The actual image of the characters may be larger in one typeface than another when they are set with the same body size, so that the larger will require more white space. Other things being equal, however, a larger type needs relatively less white space between the lines. Furthermore, a bolder typeface usually requires a somewhat larger line interval. Wide typefaces will ask for somewhat more white to guide the reader to the start of the next line.
The same text, set to three different measures, each with three different line spacings: set solid in a type size 8.5/8.5, with an extra 1 pt line space in type size 8.5/9.5 and an extra 2 pt line space in type size 8.5/10.5. The typeface used is Quadraat by Fred Smeijers. The general rule is: The longer the lines, the larger the line interval needed. Visually, the type in the left-hand box seems bigger than the other examples. It is not. This should also be taken into account.
Choosing a typeface
Although many designers prefer to work with a limited number of favourite typefaces, it is also important to constantly assess whether a particular typeface is suited to the project in question. Does it include the required styles and symbols? How efficient is the letter? Does it support other languages? Are ligatures or small capitals required? Are old style figures available for use in text containing lots of numbers? Are lining figures available for setting tables and lists? These are the technical conditions that a typeface must meet. If the project is limited and will not be repeated, a typeface without too many trimmings can be chosen – one with a limited number of styles and without old style figures and small capitals, for example. This requires a good relationship with the text writer as the choice of typeface can potentially limit their freedom of expression in particular words or terms.
Children and the visually impaired
In general, it is true to say that some typefaces are less suited for particular uses while others are specially designed for them. Gill Sans, for example, is very popular for children's books because it is a humanistic lineal. Distinct shapes with sufficient differences between the individual letters that, especially in the larger font sizes used in books for small children, are more similar to teaching material than seriffed types.
A few typefaces used for children's books and texts for the visually impaired and dyslexic. Gill Sans is often used for children's books because of its mild character. APHont was specifically designed for the visually impaired. Tahoma and Comic Sans are considered easily accessible alternatives by interest groups for the visually impaired.
Since the introduction of Times New Roman and Excelsior in the 1930's there have of course been numerous developments with typefaces designed specifically for use in newspapers. The emphasis with these typefaces lies, not surprisingly, in legibility on paper of lesser quality as well as in efficiency. Dutch type designer Gerard Unger is particularly interested in this area. The typefaces Swift, Gulliver and Coranto are three of his designs with large x-heights and large counters. Swift can be seen in many newspapers, both in The Netherlands and further afield. Gulliver is the most extreme newspaper type for saving space. The American paper USA Today was able to reduce the size of its newspaper by 3 cm simply by using this typeface. The Gulliver appears even larger than the previously used Bedford. The Frenchman Jean François Porchez also designed 'custom' typefaces for large clients. The typeface Le Monde was, as its name suggests, designed for the quality French paper Le Monde.
An image taken from the folder for Greta by Typotheque. Greta is one of the most extended typefaces for newspapers with three 'grades' (as with the Miller), narrow and display versions and ornaments. Photo: Joep Pohlen.
Signposting
Signposting requires a different set of initial criteria than newspapers. It is noteworthy that many typefaces designed specifically for signposting have also become the most popular sans-serifs for newspapers. This is the case with the American roadways typeface Interstate, which recently has been replaced by the typeface Clearview, and with Frutiger.
Above, the differences in typefaces for signposting. At the top is the Johnston sans-serif drawn for the London Underground in 1916. Akzidenz Grotesk from 1896 was used for the signposting at Schiphol Airport and was later replaced by Frutiger. Interstate is used for road signposting in many countries including the USA, Spain, The Netherlands, Australia, New Zealand and several Central American and South American countries. The DIN 1451 is used in Germany, Czech Republic and elsewhere.
Corporate fonts
The so-called corporate fonts are another important area for type designers. These fonts are often greatly extended and focus on expressing the image of a company or institution and making the typeface fit in with its specific demands. One of the first was the VAG by Adrian Williams from 1979 for Volkswagen AG.
Dictionaries and bibles
Very specific typefaces have been developed for space-saving typography such as is required in dictionaries, bibles and encyclopaedias, as well as the Yellow Pages and other telephone books. A version of Lexicon including phonetic symbols was made for Van Dale Lexicografie, publisher of the most renowned Dutch dictionary. Bram de Does designed Lexicon with special styles including shortened descenders and ascenders.
Mixed typeface families
Mixing typefaces is becoming more and more common due to the use of both seriffed and sans-serif typefaces within corporate identities, with one publication requiring perhaps a less businesslike feel than another. As such, extended typeface families have been created, particularly for corporate typefaces, which include both sans-serifs and types from other categories in the classification.
Body text typefaces
A great many of the available and most widely used typefaces were designed primarily for use as body text. It remains true that a typeface for body text should be technically correct. It should be designed so as to avoid output problems, should be well spaced and the characters available should be useable and numerous. Most typefaces still in use today are revivals of designs hundreds of years old, even from the very beginning of type design. One much used source is the work of Claude Garamond.
A selection of six Garamonds, each with its own character, yet all stemming from the same origins. Outside this selection there are countless versions with the same name and still more with other names, all stemming from the Garamond in form and feel.
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TO > EXTRAS
Leaf through Letter Fountain

redpajama_set_name: RedPajamaCommonCrawl


On behalf of our Licensees we continue to build on all our products and services with some very interesting results. Possibly the most interesting is the work we have done recently with a number of clients on Collections and Complaints. In both of these areas we have been mapping the outcomes based on behaviours and we can now identify the right behaviours to achieve the optimum results. This influences the way Licencees approach new clients and there is a good deal of pull through as we continue to learn more about this approach.


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Hypocrites All
By: Diane Sori / The Patriot Factor
So the left keeps complaining that President Trump is NOT a uniter but they kept their mouths shut when Obama was dividing us all.
'Smoking Gun': Goodlatte Claims Obama DOJ Prevented Conservative Groups From Receiving Settlement Funds
Leah Barkoukis / Townhall Tipsheet
The Chairman of the House Judiciary Committee Bob Goodlatte says he has received a "smoking gun" email that shows former President Obama Justice Department blocked conservative groups from receiving settlement payouts, even though liberal groups were given the money.
"It is not every day in congressional investigations that we find a smoking gun," Rep. Bob Goodlatte, R-Va., said Tuesday. "Here, we have it."
According to the internal DOJ emails Goodlatte released Tuesday, officials chose which groups received the settlement funds, and even may have intervened to ensure conservative groups didn't receive money.
While Eric Holder was U.S. attorney general, the Justice Department allowed prosecutors to strike agreements compelling big companies to give money to outside groups not connected to their cases to meet settlement burdens. Republican lawmakers long have decried those payments as a "slush fund" that boosted liberal groups, and the Trump DOJ ended the practice earlier this year. […]
Robert Mueller is Closing In…On the Democrats
Democrats have been watching, waiting, and hoping that Special Counsel Robert Mueller will bring home the goods and find something so damning that they will be able to throw President Donald Trump out of the White House and into a prison cell. But as we found out this week, the Democrats may wish they had never pursued the Russian collusion investigation with quite this much fury. Because if anyone's going down, it's not President Trump – it's the Democrats.
According to an NBC News report, the Mueller investigation is turning its eye towards the Podesta Group, a lobbying firm run by Tony Podesta, the brother of John Podesta – former Obama White House staffer and former campaign chairman of Hillary Clinton. The Podesta Group is being investigated for their failure to register as a foreign agent when doing lobbying work on behalf of a non-profit called the European Centre for a Modern Ukraine.
From the report:
The sources said the investigation into Podesta and his company began as more of a fact-finding mission about the ECMU and [Paul] Manafort's role in the campaign, but has now morphed into a criminal inquiry into whether the firm violated the Foreign Agents Registration Act, known as FARA.
Supreme Court dismisses second challenge to Trump's travel ban
Every last one of the blocks of Trump's travel bans ignores the statute that gives the President sweeping power to limit immigration: (f) Suspension of entry or imposition of restrictions by President Whenever the President finds that the entry of any aliens or of any class of aliens into the United States would be detrimental […]
NBC: Green Berets Were Chasing ISIS Terrorist in Niger
By James Morrison / NEWSMAX
The U.S. commando unit attacked in Niger earlier this month was tracking an Islamic State terrorist recruiter, NBC News reported Tuesday, citing "multiple" U.S. sources.
The officials did not identify the target of the U.S. Army Special Forces detail that was ambushed by about 50 Islamic State militants, the network added. Four American soldiers and five Niger troops were killed in the fight Oct. 4, but specifics of the attack remain unclear.
Marine Gen. Joseph Dunford, chairman of the Joint Chiefs of Staff, in a press conference Monday outlined the known details of what began as a reconnaissance mission.
"I don't have any indication right now to believe or to know that they did anything other than operate within the orders that they were given," Dunford said.
"That's what the investigation's all about. So I think anyone that speculates about what special operations forces did or didn't do is doing exactly that, they're speculating."
NBC added that one official "with direct knowledge of the military's investigation" into the ambush said the Green Berets were gathering information about terrorist suspect and might have been betrayed by villagers sympathetic to Islamic militants linked to al-Qaida and the Islamic State.
About 1,000 American soldiers are in the West African nation to provide support for Niger troops.
Donald Trump to Kill Boeing Plane Sale to Iran
By Geller Report Staff
President Donald Trump's administration is poised to halt a Boeing sales deal with Iran.
The airline is tied to terror activities. And Congress is concerned Boeing's sales of several Airbus category planes — approved by the former Barack Obama administration — might result in the enabling of Iran's transfer of terrorists across the region.
The Washington Free Beacon has the story:
The Obama administration's nuclear agreement with Iran paved the way for U.S. aerospace corporation Boeing to ink a deal with Iran's state-controlled airline, Iran Air, which was recently caught using its commercial planes to ferry Iranian militants to regional hotspots.
The Trump administration's recent decision to increase economic pressure on Iran and rework the nuclear agreement has prompted a shift in thinking on the Boeing sales, which require special licenses from the Treasury Department to move forward, according to U.S. officials and those in Congress who are familiar with the shift in thinking on the issue.
The Trump administration is said to be viewing the sales with an increasingly critical eye and is moving, at this point, toward killing the sales, according to these sources, who pointed to concerns over Iran Air's use of commercial airplanes for terrorism purposes.
Read entire article here: https://pamelageller.com/2017/10/donald-trump-kill-boeing-plane-sale-iran.html/
RIGHT SIDE PATRIOTS...for those who missed last night's broadcast (or just want to listen in again) where Craig and Diane discussed a vile congresswoman's wrongful battle against the president and a 4-star general; organized crime within the Obama regime; and important news of the day....you can listen to it at your convenience on SoundCloud at:
https://soundcloud.com/right-side-patriots-260798913/right-side-patriots-10-17-24
Labels: American Political Radio, Craig Andresen, Diane Sori, Right Side Patriots
Just a Thought... Hypocrites All By: Diane Sori /...
'Smoking Gun': Goodlatte Claims Obama DOJ Prevente...
Robert Mueller is Closing In…On the Democrats Dem...
Supreme Court dismisses second challenge to Trump'...
NBC: Green Berets Were Chasing ISI...
Donald Trump to Kill Boeing Plane Sale to IranBy G...
RIGHT SIDE PATRIOTS...for those who missed last ni...


2018 Layered Haircuts For Long Hair 2018 The Latest Layered Haircuts For Long Hair could be your advertence if developing about Daily Hairstyle.
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Precious photographic memories of the Kitson Family around the time of the first World War.
This is the story of my 2nd Great Uncle, Joseph Needham, who lived in Conisborough.
John William Murray - had a passion for horses.
Joseph Mason. Twice wounded May 1915. [b: 21 Feb 1890- Jun 1957].


The primary objective was to evaluate the effect of 12 weeks of subcutaneous (SC) evolocumab every 2 weeks (Q2W) and monthly (QM), compared with ezetimibe, on percent change from baseline in low-density lipoprotein cholesterol (LDL-C) in hypercholesterolemic adults unable to tolerate an effective dose of a statin (HMG-CoA (5-hydroxy-3-methylglutaryl-coenzyme A) reductase inhibitors).
Lipid lowering therapy has been stable prior to enrolment for at least 4 weeks.
Cho L, Dent R, Stroes ESG, Stein EA, Sullivan D, Ruzza A, Flower A, Somaratne R, Rosenson RS. Persistent Safety and Efficacy of Evolocumab in Patients with Statin Intolerance: a Subset Analysis of the OSLER Open-Label Extension Studies. Cardiovasc Drugs Ther. 2018 Aug;32(4):365-372. doi: 10.1007/s10557-018-6817-7.
Cho L, Rocco M, Colquhoun D, Sullivan D, Rosenson RS, Dent R, Xue A, Scott R, Wasserman SM, Stroes E. Design and rationale of the GAUSS-2 study trial: a double-blind, ezetimibe-controlled phase 3 study of the efficacy and tolerability of evolocumab (AMG 145) in subjects with hypercholesterolemia who are intolerant of statin therapy. Clin Cardiol. 2014 Mar;37(3):131-9. doi: 10.1002/clc.22248. Epub 2014 Jan 29.
Stroes E, Colquhoun D, Sullivan D, Civeira F, Rosenson RS, Watts GF, Bruckert E, Cho L, Dent R, Knusel B, Xue A, Scott R, Wasserman SM, Rocco M; GAUSS-2 Investigators. Anti-PCSK9 antibody effectively lowers cholesterol in patients with statin intolerance: the GAUSS-2 randomized, placebo-controlled phase 3 clinical trial of evolocumab. J Am Coll Cardiol. 2014 Jun 17;63(23):2541-2548. doi: 10.1016/j.jacc.2014.03.019. Epub 2014 Mar 30.


All organizations must deal with financial uncertainty. The key, as always, is to maximize the level of services provided given your financial resources. The fundamental restructuring of delivery and funding of social services in Ontario has resulted in a state of chaos for many government funded not-for-profit organizations. The degree of uncertainty makes financial management more difficult and yet even more important.
In this issue we will lay out a financial management framework enabling you to use the skills you already have to adapt quickly to changing financial circumstances. For more detailed information on specific skills please refer to articles in prior issues.
Clearly understand its operating objectives and distinguish between core programs and discretionary programs.
Develop both an annual budget of financial resources and a twelve month cash flow forecast that clearly maps out how the organization expects to finance its objectives.
Set up a reporting system capable of providing your Board with relevant, understandable, and reliable information on a timely basis.
Regularly compare actual with budgeted financial and operational results. Have volunteers and staff capable of dealing quickly.
and effectively when change is needed.
Establish effective internal controls to safeguard your organization's resources and ensure resources on hand are used efficiently in delivery of service.
A childcare centre might set its benchmarks based on various enrolment patterns. If enrolment drops below a specific number of children in a room (for example, below 14 preschoolers in a room with a capacity for 16) then that might trigger a marketing campaign to increase enrolment and/or a review of the staffing model to see if costs can be reduced to match the drop in revenue.
A drop in occupancy rates at a women's shelter might trigger a review to see if greater intake efficiencies could be realized.
Cash and investments dropping below a certain predetermined amount might trigger a review of the budget for the upcoming six months to see if a serious cash problem could occur.
Reduction of a single source of revenue might trigger a review of expenses to ensure that costs can be met for the foreseeable future.
Your Finance Committee/Board of Directors must clearly articulate a set of financial and service benchmarks that can be monitored fairly easily and on a regular basis. Failure to achieve these benchmarks should result in a review to see if corrective action is needed. This is when you can use the financial processes you already have to bring about needed change.
Your organization should have an agreed upon set of objectives.
A clear set of objectives or priorities will help your organization focus on what needs to be changed in order to meet key financial benchmarks. Make sure that in setting these objectives you differentiate between core and discretionary services. As an example, consider an organization that runs a full-time childcare centre, a summer camp, a nursery school and a parent drop-in centre. If the full-time childcare centre is deemed to be the essential service then it will be allocated funds first if funding sources diminish.
Setting corporate objectives is best done through a formal process. All Board members, senior staff and possibly general members and the community at large should participate in the process. The outcomes should be well documented and communicated to all members.
Your organization already has an annual financial budget and may also prepare a monthly cash flow forecast for the upcoming year. If financial benchmarks are not met your organization must quickly revisit its budgets.
core programs have sufficient financial resources to function throughout the year.
financial resources are allocated to non-essential programs only after core program resources are secured.
The revised annual budget should be approved by the Board of Directors. Use the approved annual budget to help you prepare an updated monthly cash forecast for the upcoming year. Compare the monthly forecast with actual results throughout the year. Review again the revised monthly cash forecast if the organization continues to fall short of set financial benchmarks.
Budgets should be dynamic and should be seen by the Board of Directors as one of the most critical elements of financial management used by the organization.
For specific guidance on budgeting see The Art of Budgeting. For comments on what constitutes an appropriate level of surplus/net worth see Managing Your Financial Cushion.
relevant to running the organization.
sufficiently summarized to be readily understood by Board members. Information must also be comprehensive enough to provide Board members with sufficient information to make decisions.
accurate and correctly reported. The underlying books and records must be accurate and sufficiently well organized to permit reliable financial reporting.
reported within reasonable time frames (e.g. within three weeks of month end).
Financial reporting to the Board should be done at least monthly if your organization is in a state of financial flux. You can get by with less frequent financial reports only if your organization is blessed with financial stability and if that stability is unlikely to change in the near future.
For a detailed review of aspects of monthly financial reporting to your Board of Directors see Monthly Financial Reporting to Your Board.
to operate at a deficit (assuming the financial cushion is sufficient to permit this).
service levels must be reduced.
To deal with change quickly and efficiently your Board needs the best resources available. Specifically, you need to recruit capable and understanding Board members with the ability to make difficult decisions and implement change. We recommend that your organization set up a Finance Committee and appoint to that Committee capable Board members and outsiders if necessary (see Finance Committees).
In most not-for-profit service organizations staff salaries and benefits account for between 75 and 85 percent of expenses. In times of funding reductions controlling staffing costs is the most effective way to meet financial objectives.
Reducing salary and benefit costs is a complex process that must be properly handled. We strongly recommend that you either recruit a labour lawyer to your Board or, if that is not possible, consult a labour lawyer before making any significant changes to existing staffing models. Failure to do so before laying off staff or reducing their hours or salaries can result in significant unexpected monetary settlements with staff, bad staff morale and use of significant and unproductive amounts of volunteer and paid staff time.
It is important that your Board/Finance Committee devise a set of financial controls to ensure that the organization's financial resources are used only as intended.
Internal financial controls should be applied in the context of the culture of your organization. The Board of Directors sets the tone of internal control at an organization. Consequently, if your organization wants to maintain a set of internal controls for effective financial management then the Board must be prepared to follow up on a regular basis to ensure that the policies and procedures are being followed. Strong support at the Board level for appropriate controls generally results in effective financial management.
For a detailed summary of internal financial controls see, click here.


When I was taking that personal trainer course last semester, we were required to keep a workout journal with a very detailed describtion of all our workouts. I usually can't keep up with keeping so detailed track of my workouts but for those few months I started to enjoy it. I realized that it doesn't … More New Moleskine workout journal!
1 Comment New Moleskine workout journal!


The Strencor Coach's Choice Competition Kettlebells are built tough using an iron ore casting to produce a smooth clean finish in one solid piece each the same size. We finish it off with a matte black powder coat finish and color coded handles with our signature "Coach's Choice" logo displayed on the front. Sizes are displayed as kilograms and pounds. Not sold in pairs.


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Data and ResearchWomen's Fund Admin2021-10-21T08:57:31-04:00
The Women's Fund Miami-Dade (WFMD) is committed to addressing the most pressing issues affecting women and girls in Miami. This includes working to correct gender inequality in pay, leadership positions, education, and healthcare. Now, with WFMD's research initiative, it also includes correcting inequity in data.
Simply put, there isn't enough data collected on the status of women and girls in our community. And when data doesn't have a gender lens, it makes women and girls invisible. In fact, gender data inequality is such a significant problem that the United Nations has flagged it as a major hurdle to achieving gender equality throughout the world.
The Women's Fund works every day to resolve issues and create positive change in the lives of women and girls. To do this, we need to capture the right data and close the data gaps where they exist. Melinda Gates described it best when she said "We can't close the gender gap we all aspire to close unless we first close the data gap."
Today, research is a significant part of the work we do across our four pillars of Economic Mobility, Health and Well-being, Freedom From Violence, and Leadership. And we are extremely fortunate to have our board member Dr. Maria Ilcheva of FIU leading this initiative.
This section of our website presents concluded and ongoing data collection and research projects being conducted by WFMD.
Gaps, Synergies and Needs: Organizational Support for Women and Girls in Miami-Dade County is the first-ever document that captures every community organization serving women and girls by category. This means organizations working on the same issues are now aware of each other and can collaborate to make resources stretch further. It also means that gaps in support can be clearly seen and addressed. Overall, it allows the support ecosystem to be better understood and a more effective support network to be established for women and girls.
The Gender Equity Dashboard highlights select metrics that describe conditions for women and girls in Miami-Dade County across our four key focus areas. This dashboard – part of an ongoing research initiative — helps the private, public, and philanthropic sectors collaborate together on solutions and investment. It will also inform our grant-making initiatives.
And most importantly, it is our hope that all of our research efforts will show the positive progress that the organizations in our community are making. We are proud to lead such critical efforts to define – and ultimately improve – the health and well-being of women and girls in Miami-Dade.
Arathi Ramappa, Vice-Chair of The Women's Fund, on the importance of data.
The Women's Fund Miami-Dade Research and Dashboard – Simpleshow


KOHLUA, India — "It's hard to believe that this is what's melting the glaciers," said Dr. Veerabhadran Ramanathan, one of the world's leading climate scientists, as he weaved through a warren of mud brick huts, each containing a mud cookstove pouring soot into the atmosphere.
As women in ragged saris of a thousand hues bake bread and stew lentils in the early evening over fires fueled by twigs and dung, children cough from the dense smoke that fills their homes. Black grime coats the undersides of thatched roofs. At dawn, a brown cloud stretches over the landscape like a diaphanous dirty blanket.
In Kohlua, in central India, with no cars and little electricity, emissions of carbon dioxide, the main heat-trapping gas linked to global warming, are near zero. But soot — also known as black carbon — from tens of thousands of villages like this one in developing countries is emerging as a major and previously unappreciated source of global climate change.
While carbon dioxide may be the No. 1 contributor to rising global temperatures, scientists say, black carbon has emerged as an important No. 2, with recent studies estimating that it is responsible for 18 percent of the planet's warming, compared with 40 percent for carbon dioxide. Decreasing black carbon emissions would be a relatively cheap way to significantly rein in global warming — especially in the short term, climate experts say. Replacing primitive cooking stoves with modern versions that emit far less soot could provide a much-needed stopgap, while nations struggle with the more difficult task of enacting programs and developing technologies to curb carbon dioxide emissions from fossil fuels.
In fact, reducing black carbon is one of a number of relatively quick and simple climate fixes using existing technologies — often called "low hanging fruit" — that scientists say should be plucked immediately to avert the worst projected consequences of global warming. "It is clear to any person who cares about climate change that this will have a huge impact on the global environment," said Dr. Ramanathan, a professor of climate science at the Scripps Institute of Oceanography, who is working with the Energy and Resources Institute in New Delhi on a project to help poor families acquire new stoves.
"In terms of climate change we're driving fast toward a cliff, and this could buy us time," said Dr. Ramanathan, who left India 40 years ago but returned to his native land for the project.
Better still, decreasing soot could have a rapid effect. Unlike carbon dioxide, which lingers in the atmosphere for years, soot stays there for a few weeks. Converting to low-soot cookstoves would remove the warming effects of black carbon quickly, while shutting a coal plant takes years to substantially reduce global CO2 concentrations.
But the awareness of black carbon's role in climate change has come so recently that it was not even mentioned as a warming agent in the 2007 summary report by the Intergovernmental Panel on Climate Change that pronounced the evidence for global warming to be "unequivocal." Mark Z. Jacobson, professor of environmental engineering at Stanford, said that the fact that black carbon was not included in international climate efforts was "bizarre," but "partly reflects how new the idea is." The United Nations is trying to figure out how to include black carbon in climate change programs, as is the federal government.
In Asia and Africa, cookstoves produce the bulk of black carbon, although it also emanates from diesel engines and coal plants there. In the United States and Europe, black carbon emissions have already been reduced significantly by filters and scrubbers.
Like tiny heat-absorbing black sweaters, soot particles warm the air and melt the ice by absorbing the sun's heat when they settle on glaciers. One recent study estimated that black carbon might account for as much as half of Arctic warming. While the particles tend to settle over time and do not have the global reach of greenhouse gases, they do travel, scientists now realize. Soot from India has been found in the Maldive Islands and on the Tibetan Plateau; from the United States, it travels to the Arctic. The environmental and geopolitical implications of soot emissions are enormous. Himalayan glaciers are expected to lose 75 percent of their ice by 2020, according to Prof. Syed Iqbal Hasnain, a glacier specialist from the Indian state of Sikkim.
These glaciers are the source of most of the major rivers in Asia. The short-term result of glacial melt is severe flooding in mountain communities. The number of floods from glacial lakes is already rising sharply, Professor Hasnain said. Once the glaciers shrink, Asia's big rivers will run low or dry for part of the year, and desperate battles over water are certain to ensue in a region already rife with conflict.
In the United States, black carbon emissions are indirectly monitored and minimized through federal and state programs that limit small particulate emissions, a category of particles damaging to human health that includes black carbon. But in March, a bill was introduced in Congress that would require the Environmental Protection Agency to specifically regulate black carbon and direct aid to black carbon reduction projects abroad, including introducing cookstoves in 20 million homes. The new stoves cost about $20 and use solar power or are more efficient. Soot is reduced by more than 90 percent. The solar stoves do not use wood or dung. Other new stoves simply burn fuel more cleanly, generally by pulverizing the fuel first and adding a small fan that improves combustion.
That remote rural villages like Kohlua could play an integral role in tackling the warming crisis is hard to imagine. There are no cars — the village chief's ancient white Jeep sits highly polished but unused in front of his house, a museum piece. There is no running water and only intermittent electricity, which powers a few light bulbs.
The 1,500 residents here grow wheat, mustard and potatoes and work as day laborers in Agra, home of the Taj Majal, about two hours away by bus.
They earn about $2 a day and, for the most part, have not heard about climate change. But they have noticed frequent droughts in recent years that scientists say may be linked to global warming. Crops ripen earlier and rot more frequently than they did 10 years ago. The villagers are aware, too, that black carbon can corrode. In Agra, cookstoves and diesel engines are forbidden in the area around the Taj Majal, because soot damages the precious facade.
Still, replacing hundreds of millions of cookstoves — the source of heat, food and sterile water — is not a simple matter. "I'm sure they'd look nice, but I'd have to see them, to try them," said Chetram Jatrav, as she squatted by her cookstove making tea and a flatbread called roti. Her three children were coughing.
She would like a stove that "made less smoke and used less fuel" but cannot afford one, she said, pushing a dung cake bought for one rupee into the fire. She had just bought her first rolling pin so her flatbread could come out "nice and round," as her children had seen in elementary school. Equally important, the open fires of cookstoves give some of the traditional foods their taste. Urging these villagers to make roti in a solar cooker meets the same mix of rational and irrational resistance as telling an Italian that risotto tastes just fine if cooked in the microwave.
In March, the cookstove project, called Surya, began "market testing" six alternative cookers in villages, in part to quantify their benefits. Already, the researchers fret that the new stoves look like scientific instruments and are fragile; one broke when a villager pushed twigs in too hard.


We're 2 updates behind PC. Both patches are big so we'll need one before the other. I'd imagine they will submit the other patch for certification soon after.
Can we please get more info on what dinos will eat which new kibbles.
Yeah yeah this is cool and all but when is the extinction crash/blackscreen on Xbox gonna get fixed? Heppens to me atleast 2 times an hour and I've lost many element veins that I had already beat and was mining to this because I crash and then log back in and it's all gone.
When you say fix for this person veiw....I hope you don't mean remove it?! Why would you?
Also Ragnarok 63 had been terrible the play on since game pass. Could you please do something about the connecting players causing lag, the Blue ob and other DC issues? To guys are great, it's just that the joy is being sucked right out of the map for those reasons ?
Also Pretty please make it so bugs can breed? ESPECIALLY since Primal survival is not even mentioned anymore. The reasons to have was it wasn't realistic life cycle..... Who cares?! What is in ARK? I want baby spiders, mantis, and scorpions!!!
Thank you WildCard for not giving up on your game and your community.
As a console player I am really eager to see and feel the improvements, especially on split screen.
Keep on guys ! Be proud of your craft.
ainda sem previsão para atualização das novas estruturas?
HEY! Nintendo SWITCH is also a consola and have ARK! When you fix switch version?


text:
John F. Kearney
Of Irish descent, John Kearney began his career as a journalist in England, UK before moving to the US to pursue a career in film. The majority of his work was in extra or "walk-on" roles and some bit parts in prestige films. His only starring role to date is "Dr. Jekyll's Dungeon of Death," a role he won exclusively for having an "... See full bio »
August 26, 1931 in Gravesend, Kent, England, UK
1965: Underground Cinema, Film Poets May Be Pulling Viewers' Limbs
11 November 2017 | Underground Film Journal
Horrible Histories, Professor Branestawm lead BAFTA Children's nominations
22 October 2015 | Digital Spy - TV news
Chichester's Taken At Midnight, Starring Penelope Wilton, Heads to the West End Tonight
15 January 2015 | BroadwayWorld.com
How much of John F. Kearney's work have you seen?
Fictional Book in Movies & TV That We Wish We Could Read (16.4.14- Librarian Day)
Top 35 Shows By Number of Votes
TV's Most Memorable First Kiss
25 Shows of the 90's That Paved the Way for the New Golden Age of TV
Favorite Supernatural TV Show
Face-Off: 'Serenity' vs. 'Avengers' vs. 'Much Ado About Nothing' vs. 'Avengers 2'
Laboratory Conditions George Lockwood
Buffy the Vampire Slayer Elderly Man
Firefly Old Man
Indecent Exposure Harmon
2017 Laboratory Conditions (Short)
George Lockwood
2015 P%L Bo¥z (TV Series)
Regal British Man
- Pilot (2015) ... Regal British Man
2012 Mrs. Henderson's Cat (Short)
Harvard Dean
2006/II Escape (Short)
Old Stuart
2002 Firefly (TV Series)
- Serenity (2002) ... Old Man
2002 Buffy the Vampire Slayer (TV Series)
- Doublemeat Palace (2002) ... Elderly Man
1992 Bram Stoker's Dracula
Waiter (uncredited)
1992 Hitz
Guest at Wedding (uncredited)
1985 Final Jeopardy (TV Movie)
Corpse (uncredited)
1985 The Compleat Al (Video)
1985 Girls Just Want to Have Fun
Copy shop clerk (uncredited)
1984 American Dreamer
Train Passenger (uncredited)
1982 Breach of Contract
1982 Giro City
1982 Society Affairs
Priest (as Jonathan Church)
1981 Indecent Exposure
1979 Dr. Jekyll's Dungeon of Death
Professor Atkinson (as John Kearney)
(June 10 to July 6, 2014) He directed Roger Crane's play, "The Last Confession," in a Taper Subscription Production and American premiere presented at the Ahmanson Theatre in Los Angeles, California with David Suchet in the cast. See more »
Jonathan Church | John Kearney
Father of Mike Justice.


text:
UCLA falls to Stanford in overtime for first Pac-12 loss
DCTCRS January 24, 2021 3 min read
It was a wild swing of emotions, one clutch play followed by another.
Tyger Campbell looked like the hero in one instant, making an old-fashioned three-point play to put UCLA ahead of Stanford by a point in overtime.
Jalen Hill made it seem as if it would hold up, blocking a shot to preserve the Bruins' advantage with eight-tenths of a second left.
Then came the inbounds pass that could haunt UCLA for eternity.
Michael O'Connell threw it. Oscar da Silva caught it on a backdoor play, slicing through the paint for a layup that gave the Cardinal a 73-72 victory over the Bruins on Saturday at Kaiser Permanente Arena.
While Da Silva's teammates swarmed him in celebration under the basket, the Bruins waited for confirmation that the basket counted.
It was good, and UCLA's lengthy winning streak was over.
The Bruins (12-3, 8-1 Pac-12) persevered through a game in which they played poorly for long stretches, but ended up watching their seven-game winning streak and unbeaten start to conference play end in inglorious fashion.
"We got what we deserved," UCLA coach Mick Cronin said.
Not even an insanely hot stretch from sophomore guard Johnny Juzang in which he propped up his team with 21 consecutive points on the way to a career-high 27 could sustain their winning streak.
Campbell looked like he was going to make UCLA a winner when he made a floater in the lane and got fouled with 5.5 seconds left in overtime, sinking the free throw to give the Bruins a 72-71 lead. Hill then stepped over to block Jaiden Delaire's shot out of bounds with eight-tenths of a second left.
As a warning shout of "Lob!" could be heard from the Bruins' bench, it was a line-drive pass to Da Silva that was UCLA's undoing. Da Silva finished with 26 points on a day the severely short-handed Cardinal (9-5, 5-3) needed every point.
Campbell's driving layup had pulled UCLA into a 58-58 tie with 38 seconds left in regulation, and when Da Silva missed a layup after running into a wall of Bruins defenders, UCLA had a chance to win in regulation.
But Campbell missed a mid-range, fadeaway jumper with four seconds left and the game headed to overtime.
Stanford's Jaiden Delaire, right, reacts as he is fouled by UCLA's Johnny Juzang during the first half. Juzang scored a career-best 27 points.
(Tony Avelar / Associated Press)
Stanford was missing three of its top five scorers. Point guard Bryce Wills was out with a leg injury and guard Daejon Davis and forward Ziaire Williams were out for unspecified reasons, taking a combined 34.9 points off the board for the Cardinal.
It was UCLA that looked like it was missing something in the game's early going. The Bruins were out of sorts, missing 13 of their first 15 shots, including their first five three-pointers, while also lacking intensity on defense.
Stanford took a 17-6 lead on a Da Silva up-and-under layup, and the Cardinal had all the momentum before Juzang singlehandedly wrested it away.
Juzang scored the final 16 points of the half for the Bruins, making four three-pointers, to help them pull into a 27-27 halftime tie. His 18 points by the game's midpoint were a career high and helped his team withstand some of its worst basketball of the season.
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April 3, 2021 DCTCRS
Olympic champion Chloe Kim speaks about dealing with racism
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text:
DPA's 25th Anniversary GET CLOSER World Tour starts its second leg and advances into Europe
The acclaimed microphone manufacturer is continuing its hugely successful educational masterclasses in Europe and Asia.
After resounding success in the USA, DPA Microphones' 25th anniversary GET CLOSER World Tour continues on. The first stop is Canada and then it moves on to Europe and Asia. The tour focuses on educating participants; combining theoretical learning, with panel discussions and miking technique demos from the best Masters of Audio in the business.
More than 200 people attended DPA's GET CLOSER sessions in New York and Los Angeles and feedback from participants was overwhelmingly positive. DPA's GET CLOSER World Tour allows audio enthusiasts to learn from recognised experts from the audio industry, as well as network with their peers at full day educational masterclass events. At each event, well-respected Masters of Audio share their experiences, reveal their best tips and give hands-on demos of miking techniques for achieving the best result in various applications.
These masterclass events are tailor-made to appeal to specific target groups in the different countries and the Masters of Audio that are chosen to participate change accordingly. One presenter who has participated in multiple classes, sound engineer and mixer Donal Hodgson, shares his experiences from working with Sting, Tina Turner, Arrested Development, Primal Scream and Duran Duran. Film sound engineer Stéphane Bucher, who has worked on films like Taken II and III, Valerian and Lucy, is also on the speaker list. In addition, microphone experts from DPA's headquarters in Denmark are on-site to tell about miking theory and demonstrate miking techniques. These include miking expert, Bo Brinck, who has been doing workshops for many years together with DPA distributors all over the world as well as audio expert, Eddy B. Brixen, who has a unique knowledge about acoustics.
The first coming World Tour dates will find place on:
Sept. 19, Hamilton, Ontario, Canada with Gerr Audio
Sept. 22, Bologna, Italy, with M. Casale Bauer
Oct. 4, Paris, France with Audio2
Oct. 12, Amsterdam, The Netherlands with Amptec
Oct. 17, Barcelona, Spain with SeeSound
Nov. 14, Sydney, Australia with Amber Technology
Nov. 16, Melbourne, Australia with Amber Technology
Nov. 23, Leuven, Belgium with Amptec
"We are extremely happy with the overwhelming interest for our DPA GET CLOSER World Tour. Having these focused days with such a dedicated crowd is a fantastic opportunity to get even closer to existing and new users of our microphones. DPA is constantly increasing our level of activities and the interaction with the users is of utmost importance for us. Through the many years of developing high-quality microphone solutions for the pro audio market, DPA has gained a lot of knowledge that we want to share to give others the opportunity to take advantage of our findings." says Kalle Hvidt Nielsen, CEO for DPA Microphones.
DPA has been doing successful workshops with its distributors for many years and in connection with DPA's 25-year anniversary the idea of the DPA GET CLOSER World Tour was born. It consists of 25 masterclasses throughout the world focusing on giving the participants a thorough introduction to different theoretical as well as practical miking topics.
There are limited seats for all GET CLOSER World Tour events and tickets, along with full details of finalized events, are available here:
www.dpamicrophones.com/25yrs/world-tour


I spent the weekend with a group of Christian women writers at a retreat in Chicago, IL. At the beginning of the retreat on Friday morning, we were asked to set our intentions for the weekend by identifying the specific thing(s) that we expected to receive from our time together or what words we hoped to hear from God. I simply set my intentions to listen. I looked forward to a weekend of being in one location with limited noise, no responsibly, and pulling away from the distractions of the internet and social media. I also looked forward to reconnecting with old friends and meeting new ones. I wanted to see the faces of these women and hear their stories…what was God speaking to their hearts? What was their spiritual condition? What did they need? What did they expect from our writing community?
So I listened. I also talked a lot, but I mostly listened to what was said and not said and what was bubbling under the surfaces in the hearts of these, God's daughters. As I reflected on the weekend with my husband in the car ride from the airport on yesterday evening, I was reminded of the diversity of our writing community and how that diversity was indeed a good thing. From the weekend retreat, I was reminded of our times of celebration and encouragement, of the tears and disappointments. I was reminded of the stories where God's daughters were vulnerable and cried out for justice, help, love, and safety. I was reminded of the privilege that I have to love them, sometimes with a word, a smile, a prayer, by offering an ear to listen, by silencing the lies of the devil, by affirming the truth of God's Words. I was reminded of the simple gift of "presence" that we offered by showing up. "Showing up" for another person communicates that you are important to me and we need each other.
Well said, my sister. What a privilege it was to be with you and have you pray over me last weekend. Much love to you!


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Count on: Death, Taxes and a memorable stay the Hotel del Coronado.
Doesn't an outdoor brekkie just taste better?
Last week I was taking my sister for a well-deserved spa getaway to Rancho la Puerta, recently rated the #1 destination spa in the world by Travel & Leisure. We were flying in from both sides of the country and meeting in San Diego for the short drive across the border to the spa. However, with all the recent weather craziness, she was worried about arriving on time. Since the point of our getaway was to De-stress, I suggested we come a few days early and chill someplace lovely in San Diego and do a little exploring.
While checking out hotels I read that the Hotel del Coronado had just been named the #1 Hotel in the U.S. by the readers of Celebrated Living -a luxury magazine for American Airlines. Cool…We have a theme.
The pristine white-washed wooden walls capped with fairytale red-shingled turrets zigzagging against the beachy-blue Pacific Ocean create a very upscale Gilligan's Island effect. The newly renovated rooms are still loaded with Victorian charm but discreetly offer all the "necessary" modern touches which all together make the "Del" an idyllic locale for your next Girlfriend Getaway.
The spectacular new spa/salon addition, with 21 treatment rooms tucked away in an underground oasis, assures that you and your gal pals can all get pampered simultaneously.
*Insider tip: You can't go wrong with any of their signature treatments, such as the Shell Coronado Massage or the Goddess of the Sea Body Wrap but for some yummy decadence, book the "That's S'moré" massage package that includes beachfront s'mores and champagne. Or Mimosa Monday's when discounted treatments include a muffin and Mimosa.
* Insider tip: The Spreckels candy store offers sweeties galore in darling red, white and black packaging perfect for "just thinking of you" gifts to take home.
Our fave dining spots were Sheerwater's for their bountiful breakfast buffet. Whether you dine inside or al fresco overlooking the beach, don't miss the scrumptious savory soufflés (loved the spinach, onion and cheese variety) assorted island fruit, breakfast meats and eggs, biscuits and gravy and I just dare you to try and choose between their freshly baked pastries, whole-grainy muffins and steaming hot cinnamon rolls (no worries, you can work off the cals in the fully equipped gym or during a complimentary spinning, Zumba, Pilates or Yoga class).
*Side bar: HUGE kudos to the management team. The entire staff, from the smiling young woman who greeted us the front desk (and promptly took care of all my special requests, like switching out the down bedding to hypoallergenic) to our housekeeper, who always left us extra water, to every one of our restaurant servers, provided some of the most helpful, gracious, downright sweet service I've ever received. Thank you.
Don't leave without experiencing a dinner at 1500 Ocean, The Del's signature restaurant, offering sparkling fresh Southland Coastal Cuisine, a superb wine list and that billion dollar ocean view. Chef de Cuisine Brian Sinnott works closely with local farmers and producers to ensure fresh from the garden, land and sea offerings guaranteed to tantalize the palate. There's even a tranquil little fruit, veggie and herb garden nestled in front of the spa, where we saw buckets of lettuce and cauliflower taking their last breath before appearing on our salad plate later that evening.
*Insider Tip: The Tasting menu offers incredible value for this caliber of cuisine, allowing you to choose 4 courses from the run of the menu for only $75 (wine pairing is $45).
Just right for those in between times or when you just want a fun, light meal, the trendy Eno Wine Room offers the holy trinity of culinary indulgences: perfectly paired Wine, Cheese and Chocolates!
Cheese Flights are served with Membrillo, Spanish Marcona almonds and Bread & Cie Breads and arrive as beautifully arranged as a Flemish still-life painting. The fanciful offerings change often but keep an eye out for "The Blues Brothers" and "The Roaming Goats". Charcuterie selections and a variety of olives round out your nibbles.
"Exercise is a dirty word…Every time I hear it; I wash my mouth out with chocolate".
Get serious with a trio of Dark Single Origin chocolates or break boundaries with the artisanal cinnamon roll or sea salt caramel chocolates.
Insider tips: Stretch out that weekend stay through Tues to take advantage of their generous "Tasting Tuesdays" where from 5-8 pm, ENO sommeliers offer guests the opportunity to sample 10 wines for just $10.
Studious girlfriends might want to sign up for "ENO-Versity" calss where renowned winemakers, cheesemakers and chocolatiers join Wine Director and Sommelier Ted Glennon in guided tastings.
Since we didn't stay over the weekend my sister is already hinting (actually, she's downright nagging me) to bring her back for the infamous Sunday Brunch at The Del's historic Crown Room, voted the Best in San Diego…another #1.
For more information and reservations see Hotel del Coronado website.


WB Turkey Trot 2015 — Fasse bldgs.
It's that time of year again! Fasse bldgs. is a proud sponsor of the 2015 Wrightsville Beach Turkey Trot! Come get your run (or walk) on before you gobble til' you wobble! All proceeds go to Cape Fear Habitat for Humanity . Cape Fear Habitat helps many families in New Hanover and Pender counties buy decent, affordable housing. Sign up by Nov. 6th so you can be sure to get a t-shirt. We look forward to seeing everyone there to support this amazing cause!


1. Agent: select one that has local knowledge and that is on the major portals: Rightmove & Zoopla, as over 90% of all property searches start online!
3. Presentation: take advantage of your agents services on how to present your home to maximise its saleability and price. As themore appealing the photographs are, the more interest you'll get from buyers and the closer you will achieve to the asking price.
4. The Right Price: it is important that the price is right for the current market and your agent has fully justified their valuation. Beware of an Estate Agent giving you an artificially high valuation to win your property!
5. Buyer: choose one in a good position, that your agent has verified financially and checked that they have a complete and robust chain below yours with equally good buyers too. If they are in rented, your agent will check the viability of their rental agreement fitting in with the timescales you want to achieve.
7. Finances: ensure your own finances are in place. Speak to your bank or a mortgage broker, and budget for stamp duty, legal, agent, surveyor & removal expenses.
8. Solicitor: a notoriously slow process so it is important to make sure everyone is working towards the same goal! Try to get ahead of the game by being contract ready, which means that your solicitor has started the paperwork in advance of you finding a buyer.
9. Surveyor: have one ready to appoint - all properties require ongoing maintenance but it is a good idea to know upfront if there are any immediate or urgent works required.
11. Removals: invite a couple of reputable companies out to agree a quote.
At Patrick Oliver we offer a local, personalised service from start to completion, that is committed to obtaining you the best price at a fraction of the High Street fee! Contact our Bishops Stortford team on 01279 510300 to arrange a free valuation.