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Font or Typeface?
As we're collaborating with multiple authors on the FontFeed, we compiled a list of guidelines for ourselves and guest contributors. One of our concerns is that we should attempt to "speak the same language" when using typographic and related terms. Because these terms evolved over a considerable period of time and saw several transitions in technology, they can sometimes be interpreted in varying ways. This resulted in a terminology that is often perceived as at best esoteric, at worst plain confusing.
The first terminology we agreed upon was in which situations we'd use font and when typeface. Mark Simonson once recapped it handsomely in this discussion on Typophile. The gist of it is that
the physical embodiment of a collection of letters, numbers, symbols, etc. (whether it's a case of metal pieces or a computer file) is a font. When referring to the design of the collection (the way it looks) you call it a typeface.
Nick Sherman used an interesting analogy in a comment on Typographica's Our Favorite Typefaces of 2007:
The way I relate the difference between typeface and font to my students is by comparing them to songs and MP3s, respectively (or songs and CDs, if you prefer a physical metaphor).
Stephen Coles agrees:
When you talk about how much you like a tune, you don't say: "That's a great MP3". You say: "That's a great song". The MP3 is the delivery mechanism, not the creative work; just as in type a font is the delivery mechanism and a typeface is the creative work.
Update, Nov. 12 2008 – Norbert Florendo commented with this concise explanation:
font is what you use, and typeface is what you see.
The exact origin of the word font isn't entirely clear. Type designer and SOTA Typography Award 2007 recipient David Berlow claimed that "it's mostly believed to have originated in France, where the idea of a spring of water (fontaine) was close enough to the ideas that spring from words, I guess, to merit the additional definition of the word…" Jim Rimmer expounded a variation on that theory. "Font sprung fom the word fount (still used today in the UK) meaning a source from which words gushed."
However another theory seems more plausible (please keep in mind I have no academic background in typography whatsoever; I'm just your average graphic designer). As Norbert Florendo explained in that same Typophile discussion:
The term font would be derived from fount and foundry going back to the manufacture of type using molten metal. The fount was the reservoir or pot of molten lead/tin/antimony which was used for casting individual type characters, and eventually complete lines of type (linecasters, Linotype contraction of 'line-of-type').
Originally – when type still were little blocks of metal or wood and thus only fit for a specific size – a font was a single point size of a complete set of characters for setting text, so for example Centaur Roman 16 point (according to living legend Matthew Carter the most beautiful size of Centaur). With the advent of film type and eventually scalable outlines the term font became size-independent.
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I must have taken a dumb pill this evening. That didn't clear things up for me one bit.
there was a great post on an aiga message board a few years ago- http://www.aiga.org/content.cfm/theyre-not-fonts
in which someone said the following:
"a font is a quantity, not an entity"
The way I remember it is that referring to, say, Helvetica as a nice font is like saying that my wife wore a nice wardrobe on our wedding day. I expect equal punishment should be meted out in response to either statement.
according to living legend Matthew Carter the most beautiful size of Centaur
According to to living legend Sir Matthew Carter the most beautiful size of every typeface! :)
A colleague of mine uses the term "type font" all the time. It sounds very wrong to me and bugs the hell out of me. Yes, I should get a life but until then does anyone know if the term has any history. Is it right in some way or just plain wrong, as I suspect?
Richard, I have never heard or read from any respected typographer who uses the word "type font". Perhaps the term came out of the photocompositor era, maybe picked up in the '70s and '80s — like bad architecture and fashion — and then mercifully dropped by the majority.
This reminds me of an old post on InspirationBit, about when it's a typeface, when it's a font:
I like Jon Tan's explanation about this:
There is a nice discussion about the issue on Jon Tan's blog: http://jontangerine.com/log/2008/08/typeface–font
Thanks for linking to Jon Tan's entry on the subject; very interesting explanation indeed. :)
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Jon Tan's interpretation seems to be a little different than this one. He's says that the typeface is (also?) the type family, and fonts are the individual members of the typeface/type family. I like your font definition better, the font is the carrier; either metal type, or the software. Would it be reasonable to say that the type family consists of all the individual typefaces? For example: Helvetica is the type family, Helvetica Bold Italic is the typeface.
David, thanks for linking to my post re: font vs. typeface. I too liked Jon Tan's interpretation the best.
Yes, you've got it, Kevin. Though for clarity I try to say "the Helvetica family" when referring to the various styles and weights.
The distinction between typeface and type family is a classic grey area in type terminology, which I was going address in the next episode of Typography Basics. Basically there are people that say typeface and type family basically mean the same thing, while others insist that a typeface is a single variant or style within a type family. There is no clear consensus. If you have a little patience it will be rewarded very soon. 8)
Also, I have received a very nice sketch by Peter Bruhn which I will turn into a graph, showing visually which is which. I hope that will make it clear for hcabbos. ;)
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"fonte" is the french for "melted"
As I understand it, "fondre" is French for "melt" and "fondu" for "melted".
It's entirely possible that "font" is the result of a non-French speaker hearing "fondre" and interpreting it as "font".
the great debate « a girl named fred referenced this article:
[…] have waded into the great "font or typeface" debate with some pretty definitive definitions. Their advice? Think of it terms of […]
As a linguaphile as well as a typophile, I think this discussion could really use an injection of something that's pretty well-established among linguists: that is, whether or not it's necessary to try to be prescriptive about the differences in the definition of font vs. typeface when it's in clear conflict with the descriptive reality of the situation.
What I mean to say is whether we as typographers like it or not, font has become synonymous with typeface or type family in the common lexicon. And why shouldn't it? What use is the distinction in most instances? How often do you really need to distinguish between the face itself and the file that carries it? And in the case of the physical font setting made of the individual lead characters, surely that usage is only needed for historical discussions.
The fact is that when someone refers to a font, you know what they're talking about. Correcting that person and telling them they really mean typeface is likely just a kind of snobbery, unless there's a good reason to make the distinction.
Fair enough, but for example when foundries advertize they have that many thousand fonts in their library, you mustn't complain there are considerably less typefaces or type families, as every type family consists of several fonts.
It's not like we're going to go about correcting everyone who may use those terms incorrectly. I think the least we ourselves as FontFeed editors can do is use the proper words. That's why the list are guidelines for contributors. :)
What use is the distinction in most instances?
Like any trade, typedesigners and typographers use terms that have specific meaning. I design a typeface and then i make (or someone else makes) a font out of that. Those can be two very separate activities, different skills, fee structures, processes and even have different clients. A carpenter and a joiner make different things from wood, as do mechanics or fitters from metal.
To me, this distinction is as important as the difference between woodwind and brass instruments to a tuba player. To the layman it's all type or music, respectively. That is, however, no reason to use fuzzy terms when precise ones exist.
For the record, I knew the difference between the two. It's just that the quotes referenced in this post were more eloquent than helpful. In contrast, Tan's article was refreshing. Thanks to all for posting.
Yves, thanks in advance. I'd love to see the graph :)
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A typeface is like a work of art, a creation. A font is like this work of art, when it becomes mass produced into prints and gets framed on the wall of peoples homes to become named -a painting. I see the names being used by the public interchangably but maybe a more sophisticated, educated, art and design savvy individual would use 'typeface' instead because this represents the creation of the design or the work of art.
It's really not that difficult to keep the two terms clearly defined — font is what you use, and typeface is what you see.
Someone can design a typeface that might never become a font (in fact, most don't). A hand-painted sign might display letter-forms strikingly similar to Garamond, though no font was used to create the sign.
It can also be argued that the inventing of new font technologies (metal to film to vector to outline and beyond) is an astounding engineering feat in itself, and not to be confused with the creation of new letterforms or glyph systems.
font is what you use, and typeface is what you see.
Brilliantly concise, Norbert. Thank you!
I do have a quibble with your hand-painted sign example, though. I don't think that qualifies as a typeface either. It's lettering. A letter design is a typeface when the intended end result is a font.
I completely agree, Stephen, regarding the difference between lettering and typeface. I was just pointing out from the viewer's perspective that "seeing" letterforms in practical use does not always mean fonts were involved in the production.
In Norway they use the word font and in Sweden they say typsnitt (typeface) nomatter if you see it or not:-)
Very interesting Yves, something I've never actually thought about before. I like the song & mp3 analogy
These distinctions are very nice but nonetheless it's not possible to impose definitions like this onto language. Computer users who are not typographers already use the word 'font' when we might prefer 'typeface' – and will no doubt do so more and more in the future.
When I hear someone say (about letterforms in print, or on the screen) "that's a nice font" I can understand perfectly clearly what they mean. Which makes me wonder if there is really any point in making this distinction: there are plenty of other things where terms are used with similar imprecision, yet this doesn't cause us any problems with comprehension.
We (typographers) can often come across as pedants when we think we are acting as protectors of 'standards'. To paraphrase the old terrorist/freedom fighter dichotomy, we might even say that 'one man's font is another man's typeface'.
As a graphic designer, I know what most of my clients mean when they use the word "font." And, seeing as the client is always right (even when they're wrong), I give them a pass. However, I would expect a vendor in the industry to use the term correctly. If I ask a vendor what font they used in a section of a particular project, I do not want to hear, "Garamond" — I want to hear, "Berthold Garamond italic, 12 point."
The correct hierarchy of typographic terminology, as I learned it, is broken down into the four Fs.
FOUNDRY: The designer and/or manufacturer of sets of type. Berthold Direct Corporation is a type foundry.
FAMILY: Related typefaces from the same foundry. Berthold Garamond is a type family.
FACE: The style of the type (regular, medium, bold, etc.). Berthold Garamond regular is one typeface while Berthold Garamond italic is a different typeface.
FONT: A typeface at a specific size. Berthold Garamond italic, 10 point is one font while Berthold Garamond italic, 12 point is a different font.
Excellent article. Gives me something to think about. Personally, I use the word… ::hangs head:: …font.
As I know and I think I know this thing well, as I read a lot on this subject, a font comes from the old days of metal typesetting, when
all the metal pieces that shared the same characteristics: type size,
and type style(roman or italic, light or bold or heavy or black, condensed or normal or extended), where put toghether by means of having them together for practice. So they formed a FONT. So a font is a type face in specific size and specific typestyle!
Jacci Howard Bear is very clear about this:
"Back in the days when all typefaces were made of little pieces of metal that had to be arranged one character at a time in a big tray for use in a printing press, the word font referred to one specific style of type in a single size. 12-point Times New Roman and 72-point Times New Roman were two completely different fonts, one small, one large."
I am very unhappy that a lot of good authors are ambiguos about this, when a hundred years ago or not even so long things very clear.
My definition is this: The type or typeface is the design of the letters in a font. A font is the sum total collection of glyphs hewn in the type's design and assembled in one source, or font. Check the etymology of Font in a decent dictionary such as the Shorter Oxford English Dictionary, and it turns out the origin of "font" is "source". So a font is a source of letter or type sorts crafted in accordance with a particular typeface design.
> That is, however, no reason to use fuzzy terms when precise ones exist.
Erik, you have completely ignored the very sound and sensible reasoning Miles offered, and without good reason. Clear definitions and precision of reference are all very well, but relevance and context count too.
Most of the font snobs on this thread seem oblivious to context and relevance, as if they cannot deal with reality and refuse to play with a full deck of unmarked cards, like bad children.
James, what does relevance and context have to do with what we explain in this post? I don't see why anyone would be against us FontFeed authors adhering to a certain terminology and explaining why, especially since we are in no way forcing anyone else to do the same. This post is meant to be educational, not dictatorial. Call them fonts or glyph sets or alphanumeric thingamagogs or whatever you feel like for all I care. We certainly won't lose sleep over it.
And it's typeface snobs, not font snobs.
Read Miles' post again. He explains why context matters and should be the determinant of which term is used, depending on the setting. It's simply common sense.
…what does relevance and context have to do with what we explain in this post?
That is so dismissive. Once again you're conveniently trying to limit the range of this discussion to this discussion thread only. Such a black & white view. A flaw has been found in Erik's rationale and to cover that up you change the range of the discussion topic.
And it's typeface snobs, not font snobs.
Heh! At least you've got a sense of humor.
Relevance: yes!
That is precisely why I insist on the difference. When somebody calls me a fontdesigner or asks me to design a font, I have to contradict, as this is not what I do. I design a typeface, and then other people get involved in making this into a font, eg running routines that combine flying diacritics into fully accented characters, re-arranging the character set to allow for different code pages, applying hints, kerning, etc. The result is a font, the carrier of the typeface I designed. As a client will have to pay for the whole process, it helps if he understands it, the ensuing time constraints and technical issues.
I wrote my comment not in response to anybody else's, so I did not intend to contradict Miles. Having worked in this business for 40 years now has made me more pragmatic than you can imagine. Which does not mean that I do not appreciate clear definitions for their own sake.
The one definition I make sure my graphic students get is that typeface is the look of the font – what makes it recognisable – made obvious because we all recognise each other by looking at each other's face mainly. I used to struggle with the definition of font but now I'm clear. I do think it is the delivery of the typeface the designer designed. I agree with erik and appreciate the work that goes into a well designed typeface. My graphic design students in their ignorance think that it's just the look of the type characters alone. I try to set them straight.
Things are generally simpler than we make them. A font in ancient times [as now] was a vessel made for the holding of liquids, the remnant of which is to be found in churches. My information is that the typeface when produced in whatever material, however small, was kept in a 'font' [or watertight vessel] until required by the printer when the typeface was removed from the appropriately labelled 'font' and placed in what became the printers tray. QED
great thread—i really like what erik, and everyone actually, has had to say on the subject. my wonderful professor, Dina V. at RISD described it this way: font is the cookie-cutter, typeface is the cookie. i think of it as font=typewriter key, typeface=what it types. but… back in the OLD days (of metal type)?! letterpress is alive and well! it's not the worst thing in the world to be called a font, er a typeface snob—it implies a passion for one's craft. consider how many people who happen to know a certain software call themselves "designers" or how many frustrated marketing professionals wish they could "play".
since i am still familiarazing myself with the topic i realoy font this helpful but the thing is i wanted to know the procaution necessary for video production
I think of fountain pens..original fonts?
Originally – when type still were little blocks of metal or wood and thus only fit for a specific size – a font was a single point size of a complete set of characters for setting text, so for example Centaur Roman 16 point (according to living legend Matthew Carter the most beautiful size of Centaur).
That "complete set of characters" would not just be one each of a, b, c, and so on. When you ordered a font of, say, 16pt Centaur from the foundry, you would receive a lot more 16pt Centaur e's than x's. If you were ordering type for a different language, with a different average frequency of some letters, you would get different numbers of those particular letters. A font, in practice, was a package of metal sorts (individual pieces of type), sufficient to set an average page of text in that size.
This was all from the days when "type is something you can hold in your hand."
In a remembrance about his designer father Jef Raskin in FastCompany's Design Weekly today (2/8/11), Aza Raskin says his father was the Macintosh designer who "…misnamed what should be "typefaces" as the "fonts" menu. He never forgave himself for his incorrect usage of English." But I'd say Jef should rest easy.
Regardless of the original and largely obscure usage of the word "Font" in pre-computer days, Jef's so-called error promoted "font" into meaning "discrete family of typefaces," and that's a far more elegant and efficient use of the term… as a gazillion artists and designers who've used and loved the Macs since the mid '80's will attest.
That's how languages evolve.
In digital terms the term 'font' still makes sense to me. The bits and bytes (the .otf or .ttf) that are the instructions for rendering a typeface is a font seeing as (at it's simplest) there is a single description for each character, and characters can be duplicated from that single source limitlessly.
What seems to be missing from this conversation is the origin or usefulness of the word font as opposed to typeface. Go to any letterpress studio that still has fonts(lead or wood)of type and you will get it immediately. The typeface is what is impressed on the paper and the font, a box with all the characters of that typeface family (usually wood or lead pieces) are divided alphabetically and numerically. Font is the box that holds all those pieces of lead or wood of that a particular typeface being impressed on paper. So, on your computer, those folders that hold your "Typefaces" with names like Helvetica and ugh!, Arial, are actual fonts. But with the advent of the computer, I think a font/folder can hold a whole type family! Where-in the old school physical world of letterpress the shear physical weight of lead type would make it impossible to put the entire helvetica family for example in one font!
1) a particular punchcutter, usually the designer of the style of the letters, weighting, etc. filed the letterforms of all the characters, punctuation, and diacritical marks onto the end of a steel punch.
2) about eight families of faces existed in the 14-17th centuries: rotunda, gothic, italic, roman, bastarda blackletter ("English letter" in England until the 1620) etc.), which were derived from scribal letterforms stretching back through manuscript history to about the 8th century A.D. when a particular script/style was developed, used and then replaced, but only to emerge in the later 15th century as the model for the "roman" family with the capital copied directly from roman temple and public building inscriptions and other sculptured images. The "italic" face evolved from letterforms that leaned right rather than standing erect, but quite similar to "roman" letterforms. Both were "perfected" and adopted in Italy, France by 1500, followed in England by 1554 and the arrival of the Geneva Bible from Switzerland in 1560 or so. Before the 1554 introduction, the romans and italics seen in English prinnting were crudely cut, poorly proportionated, and generally ugly. The major manuscript letterforms characterised by thick vertical strokes, very thin diagonal strokes (i.e., joining the left vertical of an "n" with the right vertical. The "gothic" and other related faces in his family spread primarly through the the Low Countries (Holland etc.) and Germany.
3) a set of punches transferred the letterforms onto brass matrices; the molten composite of lead + tin + antimony was poured into a mold (Gutenberg's design of mold is not known; the earliest description of a handmold is from 1547 which uses the names of the parts of the mold that are found later in Joseph Moxon's 1683 precise "as good as CAD" drawings of the parts of his mold, which then are repeated in 18th and 19th century descriptions and drawings.
4) The punchcutter's name was attached to the set of punches, and contemporary type specimens describe the main characteristics: italic family, designed and cut by Garamond, in sizes such pariel, pica, auguste, Double canon etc. etc. sizes. Although eight sizes of roman type could carry Garamond's name, unlike TruType scalable fonts, each size was an independent design generated from another set of punches and matrices. So, a Garamond pica roman was usually an attempt by Garamond to produce the exact same characteristics of the next sizes up and below, but there were never any exact duplicate designs across the range of sizes even though they all bear the same punchcutters' name. Another twist is that in the apprenticeship system, the master Garamond contracted teach the "mystery" (i.e., the secret tricks of the trade) of letterform design and proportions to the apprentice. An early 16th century comment indicates that it took the typical apprentice four years to master the technique of cutting a pica "g" on the end of a punch.
5) The thousands of individual pieces of type consisting of the long vertical "shank" topped by the letterform on the shoulder of the shank all together formed a typefont. Each casting operation with a set of matrices to fill a "full bill" or "half-bill" order (the proportion of letterforms were determined by the frequency of each letter in the target language) of a complete alphabet, numerals punctuation, and diacritical marks produced another typefont. Usually a sequence of typefonts cast in the same set of matrices turned out pretty nearly identical except that the technology could not produce perfectly duplicated type "sorts". As soon as the new type was set and pounded level with a mallet, that typefont began to be distguishable from every typefont produced by the same set of matrices.
cheers, A
boom Bap Bada Bop Boom POW
Type face : what you see
Font :what you type
Font is the variation of type in styles (bold, italic) and sizes (12pt, 1in).
Typeface describes the shape of characters, created by typographers.
The blueprint for the font is the typeface.
OK, so a font is like a technical term of the thing that designers call a type face? Did I get it right? Please advise.
my understanding:
font – collection or "family" of typefaces (ie. helvetica)
typeface – specific style within the font family (ie. neue)
"Cure for the Common Font" — A Web Designer's Introduction to Typeface Selection | Typography Commentary | Typographica referenced this article:
[…] Font vs. Typeface […]
On Typography « Revelry Reverie referenced this article:
[…] simply by number; 500 or 700, for example. A font is the variation in style, so Helvetica Roman. See the discussion on FontFeed here. The comments are especially interesting. That said, most people use these […]
This etymology links the word "font" to "foundry" as a cognate:
As a cartographer and typographer, (and old enough to remember lead type) may I point out that to a typesetter the typeface is the design of the type and the font is the typeface and size. Printers and typesetters would purchase a range of fonts depending on the publications they produced; very rarely would they purchase a complete typeface.
So a typeface is Clarendon Bold, a font is 14point Clarendon Bold.
To echo others here, the distinction between typeface and font is probably easiest to consider in terms of hierarchy. Type Family – 'Helvetica'. Typeface – 'Helvetica Bold'. Font – 'Helvetica Bold 12pt'. With that in mind, understanding the practical distinction in modern everyday usage is fairly intuitive. Obviously it isn't possible to instruct InDesign merely to set a subhead in 'Helvetica'. You haven't provided enough information to perform the task as you have only told InDesign which type family to go to and no more. You also cannot instruct InDesign to set the subhead in just 'Helvetica Bold'. You have given InDesign more information in terms of the particular cut/design of the Helvetica type family you wish to use, but it still doesn't have sufficient information to render your subhead. To do this, you must also specify the point size that you wish to reproduce the typeface at. As soon as you do this, you are specifying a particular font (the typeface Helvetica Bold at x point size). A font in essence contains the minimal amount of information required to render your subhead.
In that everyday practical example I'm obviously ignoring default font settings in applications such as InDesign. In actual practice you can of course initially render text without selecting anything other than the type tool, but whether provided manually or by default, information right down to font level still needs to be provided in order to produce the text.
The way I learned to use these correctly is simple:
In my head I thought: font = 'font', Typeface = 'font design'.
In any circumstance, if it would be suitably appropriate to say 'font design' then I use the word 'typeface'.
After a bit it becomes ingrained and hey-presto, no more smarmy corrections from LaTeX snobs. :D
This discussion is quaint and it's perfectly acceptable to use them interchangeably – no one will be confused. The differences were so subtle that only imbeciles still point them out. It's like making a distinction between "sneaker" and "tennis shoe." Carry on.
You are fighting a completely lost cause.
And, even amid your pedantic sumpsimus, you're wrong.
To be completely proper, one would need to discuss typeface families where normal English has already gotten on with it's business using font. That's never going to happen:
(a) because it's much too cumbersome and
(b) because it's confusing.
An olde-time printer would need many piles of fonts to adjust his text the way we can today and readily understand discussing a "typeface family". Someone adjusting text on a computer is clicking on a single file and then making other adjustments as a secondary matter.
"Font" has added this definition to its meaning. Move on.
Apologies for the poor layout of the above comment. Your page should mention that HTML tags within the comments won't work.
I'm a little confused. I teach Typography and I have always taught pretty much the opposite. The comment above mine, JJ, has it right. You should take note and maybe reconsider your post as to not misinform.
Before getting to my point, I just want to let Simon know that if you wear sneakers on, say, a squash court, you are liable to be thrown out, whereas you will not if you wear tennis shoes. Who's the imbecile now?
1. When I buy a set of characters of a particular design, I do not buy a typeface: I buy a piece of software — a font — that generates the glyphs on my screen or my printer.
2. When a type designer creates a typeface, s/he typically draws AT LEAST a Roman and an Italic, and typically also bold variants of these. When I buy a complete set of such variants, once again I am buying a font, or if you prefer a family of fonts, not a typeface.
3. Presume, for a moment, that there were no restrictions on what foundry could legally sell a font implementing the design of, say, Optima. In that case, it would be clear that font and typeface are not the same thing: a font is a means of generating glyphs whose shapes are intended to reproduce the characters in the typeface design called Optima. It's only a matter of law that there aren't a dozen different Optima fonts, one from vendor X, one from vendor Y, etc. If a vendor other than Linotype wants to sell a font that reproduces the design of Optima, that vendor has — for legal reasons — to call it something other than Optima, but they're not fooling anyone: Optimum is Opus is Optima. So for all practical purposes, they're all implementations of the typeface Optima, i.e. different fonts that generate via different code the forms in the design of Optima.
The moderators were not saying that all people must use a particular nomenclature, just that — for the sake of precision and clarity — a common set of terms should be used IN THIS FORUM. Anyone who objects to this should probably go elsewhere, because a set of common definitions is a sine qua non for rational discussion among members of any profession.
So a type face is basically a technical term that designers call a font?? Jon Tan's interpretation is great!
A font, as I came to understand it working in an ancient print shop some 65 years ago, is a distribution of letters of a single size of a single typeface, the distribution representing the typical use of the letters in the alphabet in a given language, much as the uneven distribution of letters in a Scrabble game. The more fonts you have of a given typeface size, the larger a project you can take on before having to toss the individual pieces of type you have already set back into the case and set some more. A printer can then tell a client, "Yes, I can typeset your book. I have 20 fonts of 10pt Caslon Roman.
As a brazilian I am quite skeptical of the french origin of the word "font" from "fondre", melted.
For a start, the latin fons means spring of water, but the word has long ago been modified and used in all romance languages to mean "SOURCE"/"ORIGIN". Fonte in portuguese and italian. Fuente in spanish.
Considering the translation for Font is Fonte in portuguese and Fuente in spanish…
Considering that typography is much older than the medieval movable typeface printing system by Gutenberg…
Considering that "source" makes much more sense for a set of types with same size and typeface than the "spring of water" as an analogy for literature…
… it seems to me there is really a chance that the origin of the word is the latin fons, maybe through the italian fonte, rather then french fondre.
font ~ element
typeface ~ gestalt
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text: SteriPack (Clara, Co. Offaly, Ireland) has launched a new version of its SteriBag, which is similar to the conventional headerbag, but combines Tyvek and film in the headerstrip. As a result, the packaging can provide an excellent peel system and with high breathability. SteriBags are suitable for large or bulky items such as surgical kits or drapes. They can be sterilised using ethylene oxide and gamma. Using clear LLDPE film allows full product visibility. Amongst the advantages are a more cost-effective packaging solution, reduced sterilisation cycles while retaining the integrity of the product.

subset: commoncrawl


text:
It's abominable _ trying to pick this game
Nice work by Erok with a 4-3 Stars win and Robidas and Iginla among the three stars of the game.
I'll also give props to adam-in-calgary for a 3-2 OT pick and Eriksson, Modano and Auld with big games.
But, really, aren't we all winners here?
OK, I'm riding the home magic in this one.
Stars 4, Avalanche 3
Alex Auld saves: 27
Craig Anderson saves: 32
Stars PP: 2-for-5
Avalanche PP: 2-for-3
First goal: Jamie Benn at 10:12 of the first.
Three Stars
1. Brad Richards
2. Matt Duchene
3. Loui Eriksson
What say you?


text:
|Maternal and fetal insulin-like growth factors and their binding proteins in the second and third trimesters of human pregnancy.
MedLine Citation:
|PMID: 9647578 Owner: NLM Status: MEDLINE
|The insulin-like growth factors (IGFs) are mitogenic polypeptides which circulate bound to a series of at least six binding proteins (IGFBPs). An increasing body of evidence supports a major role for the IGF in the control of human fetal growth although normal values in the human fetal circulation have not been established. In order to provide an accurate reflection of fetal IGFs and IGFBPs in utero, we have sampled fetal blood direct from the umbilical cord at 18-38 weeks of gestation using the technique of cordocentesis. We have measured IGF-I, IGF-II and IGFBP 1-3 in 91 fetuses in order to establish concentrations for these parameters in the second and third trimesters of human pregnancy.
|K Langford; K Nicolaides; J P Miell
Related Documents :
|9259708 - Fetal growth is associated positively with maternal intake of riboflavin and negatively...
911668 - Coxsackievirus b3 infection in pregnancy and its influence on foetal heart development.
1913818 - Genetic analysis of growth cone guidance in drosophila: fasciclin ii functions as a neu...
8490088 - Fetal size and growth.
25066688 - Rubella and pregnancy: diagnosis, management and outcomes.
23143408 - Does mode of delivery affect neonate oxidative stress in parturition? review of literat...
Publication Detail:
|Type: Journal Article
Journal Detail:
|Title: Human reproduction (Oxford, England) Volume: 13 ISSN: 0268-1161 ISO Abbreviation: Hum. Reprod. Publication Date: 1998 May
Date Detail:
|Created Date: 1998-09-21 Completed Date: 1998-09-21 Revised Date: 2004-11-17
Medline Journal Info:
|Nlm Unique ID: 8701199 Medline TA: Hum Reprod Country: ENGLAND
Other Details:
|Languages: eng Pagination: 1389-93 Citation Subset: IM
|Department of Medicine, King's College School of Medicine, London, UK.
Export Citation:
|APA/MLA Format Download EndNote Download BibTex
|MeSH Terms
Fetal Blood / metabolism*
Gestational Age
Insulin-Like Growth Factor Binding Protein 1 / blood
Insulin-Like Growth Factor Binding Protein 2 / blood
Insulin-Like Growth Factor Binding Protein 3 / blood
Insulin-Like Growth Factor Binding Proteins / blood*
Insulin-Like Growth Factor I / metabolism
Insulin-Like Growth Factor II / metabolism
Pregnancy / blood*
Reference Values
Somatomedins / metabolism*
Reg. No./Substance:
|0/Insulin-Like Growth Factor Binding Protein 1; 0/Insulin-Like Growth Factor Binding Protein 2; 0/Insulin-Like Growth Factor Binding Protein 3; 0/Insulin-Like Growth Factor Binding Proteins; 0/Somatomedins; 67763-96-6/Insulin-Like Growth Factor I; 67763-97-7/Insulin-Like Growth Factor II
From MEDLINE®/PubMed®, a database of the U.S. National Library of Medicine
Previous Document: Successful pregnancy outcome following Tompkins metroplasty done early in pregnancy.
Next Document: Trends in male:female ratio among newborn infants in 29 countries from five continents.


text: On 1 Sep, 2008, at 06:15, Rolf Schmolling wrote: > Hi > > [...] > > Now on TL2008: > The ftp-server appears to be password protected. Does one have to be > a member of TUG to access it? I am a member of Dante.ev in Germany > and wonder what to put into the login. It is already in some mirrors, e.gr., http://gentoo.chem.wisc.edu/tex-archive/systems/texlive/Images/ But I think you better wait for MacTeX (remember it sets the corresponding paths, .texdist, etc.). Also, if I'm not mistaken, today is Labor Day in the USA (hope Richard Koch had taken the weekend off). Best, Axel -------------- next part -------------- ----------- Please Consult the Following Before Posting ----------- TeX FAQ: http://www.tex.ac.uk/faq List Reminders and Etiquette: http://www.esm.psu.edu/mac-tex/list/ List Archive: http://tug.org/pipermail/macostex-archives/ TeX on Mac OS X Website: http://mactex-wiki.tug.org/ List Info: http://email.esm.psu.edu/mailman/listinfo/macosx-tex


text:
Image copyright:
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We have had a brief respite from relentless, torrential rain which has caused awful widespread flooding, with beautiful sunny days and frosty nights. But more rain is forecast, so my camera had to make the most of the dry days!
Oooh, you have a wee bit of blue sky showing, Lorna. We've had dark and gloomy skies here the past few days; no rain, just the gloom. I'd sooner have some rain than boring old gloom day after day.
Thank you pkin.
Beautiful thanks
Thanks Ank; I hope so too, and thanks Jack.
Nice one Lorna!
Then he must be real strong, I hope he will make an other 20. Beautiful photo.
It has Gladstone, but it has looked no different in the 20 years I have lived here, and shows no sign of giving up just yet!
That poor old tree has seen better days. Thanks.
Thanks chickie.
Nice shot goingsilver!


text:
Free, guided snowshoe trips allow you to enjoy some solitude amidst the glittering white stuff and a breathtaking Rockies backdrop.
Posted by Guest Blogger
Tracy Greenhalgh
on March 9, 2014
When you think Copper, you probably think steep, powdery pitches down Spaulding Bowl and the Tucker Mountain snow cat access trails, Resolution Bowl's black diamond Drain Pipe with its precipitous and sharp-mogul descent, and the playful cruisers shooting down Collage and Andy's Encore that lead to more après ski adventure.
But did you know Copper also offers free, guided snowshoe tours leading into some pristine backcountry trails? I wasn't aware that Copper offered this jewel of an activity, and I've been skiing here for years.
I got a taste of the fun last week when friendly Copper Mountain Resort Ambassadors Steve Cornwell and Will Chester led a small group of us on a 3-mile, 3-hour tour from Union Creek up toward Vail Pass. These helpful and spunky guides in the bright green coats thoroughly know the mountain, plus they graciously offer up hand warmers, snacks, and water to keep their guests happy along the way.
This was a bluebird day, perfect for soaking in the gorgeous landscape. While we journeyed into the wilderness, Cornwell entertained us with interesting tales of nesting owls in the rafters of the I-70 underpass, lynx resettlement from Tucker Mountain, the necessity of tree-well avoidance and avalanche safety, the process by which Ponderosa pines suffer from pine beetle kill, and why exactly that striped bra is decorating a small pine tree also laden with boxer shorts and shiny beads.
The time flew by and I was hungry for even more adventure as we reached our half-way mark. At that point Chester and Cornwell sparked my wanderlust by motioning toward the sign marking an adjacent trail leading up to popular Janet's Cabin - part of the 10th Mountain Division's extensive system of huts used for backcountry lodging. I would definitely plan that in for another day.
"You can take a day trip up to the hut for a picnic, or you can reserve it for a night or two and make a longer trip either via the West Tenmile trail at the top of Copper's K and L lifts, or by starting at the trailhead at the top of Vail Pass," our guides told us.
(I've stayed in a couple of huts in the Tenth Mountain Hut system, and it's definitely worth the sign-up and wait for these backcountry treasures.)
"Copper's snowshoe tours are great for acclimating to altitude if you're visiting Copper from lower elevations; for orienting you to the snowshoe trail options nearby; and a perfect alternate activity for friends and family who just really don't like to ski," says Cornwell.
Click here for more Copper Ambassador Snowshoe Tour details and call Guest Services at 970.968.2882 x45862 to make reservations.
More trail resources from Copper's awesome Ambassadors:
Trying to find the Copper Mountain snowshoe and cross country trail maps, but the link for the cross country trail maps on this page takes me to a Microsoft Outlook sign in page (?). Is there another link you can provide? Please advise.
Comment posted by Theresa Seem on January 3, 2015 8:39 AM MST
Copper's snowboarding geek.
Lover of All Things Outdoors
The Eye of Copper
You can take the girl out of the mountains, but you can't take the mountains out of the girl.
Updates, photos and the insider scoop from Copper Mountain's Ski Patrol.
East Coast Transfer
Please enter your trip details below.
Copper Mountain Is Open For The 2015/16 Season!
Lifts open 8:30 am weekends and Holidays and 9:00 am weekdays


text:
Bull Pine Hollow Farm
We are a small family-owned farm striving to provide locally grown produce, meat, and poultry using natural, sustainable methods. This farm is a trail site on the New River Artisan Trail in Radford, and a member of 'Round the Mountain Artisan Network. Call ahead to arrange your visit to this working farm.


text:
Narrow Your Results: 6 Items Found
THE AMAZING SPIDER-MAN Mega Blaster Web Shooter With Glove Set
Imagine SPIDER-MAN adventures at a whole new level with this incredible Mega Blaster Web Shooter set! You'll be able to fire web fluid or water just like your favorite web-crawling hero when you pull on the glove and attach the Mega Blaster Web Shooter to it. Use your middle two figures to trigger ...More
MARVEL ULTIMATE SPIDER-MAN Motorized String Web Shooter
You can blast just like your web-slinging hero with this ULTIMATE SPIDER-MAN Motorized String Web Shooter! When you're ready to fight crime, attach your Web Shooter to your wrist and load your reusable strings. You'll feel like you're slinging all over the city just like SPIDER-MAN as you fire the ...More
MARVEL ULTIMATE SPIDER-MAN Power Webs Spider Strike Crossbow
Launch your own Spider Strike with this incredible Power Webs crossbow! You'll feel like a well-armed version of your hero, SPIDER-MAN, as you fire web darts at targets up to 20 feet away! Pull back as far as you can for a long shot, and then fire your dart at evil! Is there any villain who can ...More
THE AMAZING SPIDER-MAN From the Makers of NERF Web-Grip Football
Game on! Start up an awesome game with this THE AMAZING SPIDER-MAN Web Grip Football! This blue and red NERF football has easy-grip web armor that looks like the web-slinging hero's costume and lets you play like a hero in all kinds of weather. Grab it, lob it, and get your game going! Ages 5 and ...More
THE AMAZING SPIDER-MAN Rapid-Fire Web Shooter
Strike a blow for truth and justice SPIDER-MAN style with the Rapid-Fire Web Shooter! Attach the Web Shooter to your wrist and you'll be able to blast web missiles at targets up to 15 feet away with moves just like your favorite web-crawling hero. Use your middle two fingers to trigger the shooter ...More
MARVEL ULTIMATE SPIDER-MAN Micro Blaster Web Cannon
Blast just like SPIDER-MAN with this strap-on Micro Blaster Web Cannon! When you attach this blaster to your wrist, you'll feel like the wall-crawling hero, and you'll be ready to launch the special ball at evil all over the neighborhood. Stretch and blast in all your web-slinging adventures with ...More


text:
- Megan RomighStaff Judge Advocate at US Forces-Afghanistan, Regional Command-NorthProvidence, Rhode IslandMegan Romigh http://www.yatedo.com/p/Megan+Romigh/normal/2e92fda7286d75fe2ab7d7b40a0b76f0 http://media.linkedin.com/mpr/mprx/0_1C0R3cdtLgnun7QU1LpH3NSydj8yq7cUl_Ik3Nah94NuIIhRxkfc7qsaFPh_Be9B-TjLa1yQiKoa Megan Romigh Staff Judge Advocate at US Forces-Afghanistan, Regional Command-NorthUS Forces-AfghanistanProvidence, Rhode Island
Locality Providence, Rhode Island
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- Ryan Santicola
- Navy, U.S. Navy, Albany Law School of Union University
- Greece
- 2011 - PresentI am the Command Judge Advocate for USFOR-A Det North, advising the Deputy Commander on a variety of US issues including fiscal law, claims, discipline, administrative law, and international agreements.I am also the Deputy Legal Adviser to ISAF Regional Command North, advising the Deputy Commander and multinational staff on many issues involving international law and the rules of engagement.2007 - PresentI am stationed at Naval Legal Services Office (NLSO) Pacific at Yokosuka Naval Base, Japan, providing defense and legal assistance to the Forward Deployed Naval Forces (FDNF) of the Seventh Fleet. I am certified to practice law as a JAG attorney under Article 27(b), UCMJ, and I am a federal notary public under 10 U.S.C. 1044(a). I am primarily a defense attorney for Sailors at general or special courts-martial. I also provide personal representation advice for Sailors or Marines facing administrative separation, non-judicial punishment ("Mast"), or other similar issues. In my legal assistance practice, I draft wills and ancillary health care documents, give advice on divorce, separation, child support, and child custody for all American states, territories, and Japan, advise on realty (landlord-tenant) and default judgment matters based on state law and the Servicemember's Civil Relief Act (SCRA), review contracts for legal sufficiency, and work on identity theft and consumer fraud issues affecting Sailors, Marines, and their families. My collateral military duties include Supply Officer, Social Committee Coordinator, and Librarian. I am an articles editor on the Naval Law Review. I attended Naval Justice School's Basic Lawyer Course (#09030) from May-July 2009. I am licensed to practice law in New Jersey and the District of Columbia and before the Court of Appeals for the Armed Forces.2008 - 2008Chambers of the Honorable Scott W. Stucky2007 - 2007I worked in the Chief Attorney and Legal Services Directorate, Contracting Center of Excellence, at the Pentagon as a law clerk, processing Freedom of Information Act (FOIA) claims for approximately 55 Army agencies that fall under the Secretary of the Army's authority.2006 - 2006I worked as a general law clerk in the Office of General Counsel, Executive Office of the President, on a variety of administrative law and employment law matters involving the various agencies within the White House Office.2006 - 2006I worked in Code 14, General Litigation, Office of the Judge Advocate General on a variety of federal litigation cases in which the Navy was named as a defendant. I prepared a weekly report of the Guanatanamo detainee habeas filings and wrote a summary for the Judge Advocate General of the Supreme Court decision in Hamdan. I also processed Freedom of Information Act (FOIA) appeals and conducted small and large scale research projects on a variety of federal and military matters.2003 - 2005I worked as the principal legal assistant on corporate litigation and regulatory investigation matters (SEC, NASD, NYSE, and NY Attorney General) involving Fortune 500 companies and other high-profile corporate clients. I managed cases at all stages of the litigation, including initial discovery and production, deposition preparation, summary judgment motions, and trial preparation. Additionally, I supervised clerks and temporary paralegals on short- and long-term projects, and served as a liaison between the client, attorneys, and litigation services.2007I will attend the Naval Justice School's Basic Lawyer Course from May-July 2009. After that, I will relocate to Yokosuka, Japan to provide defense and legal services at Naval Legal Services Office (NLSO) Yokosuka.Show All Professional Experiences (5)
- 2005 - 2008
Extra-activity: Associate Symposium Editor, American University Law ReviewMember, Moot Court Honor Society - Jessup International Moot Court Competition 2008: Quarterfinalist- Niagara Cup Moot Court Competition 2007: 2nd Best Advocate; Best Team Argument--Applicant; Best Team Memorial--Applicant; Runner-Up- ABA Regional Negotiation Competition 2006: 4th Place1999 - 2003
Extra-activity: President, Columbia University College RepublicansChair, Barnard College Honor BoardColumnist, Columbia Daily Spectator1997 - 1999
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text:
Many successful Walk to School programs begin with just one or two volunteers organizing a Walk to School Day event. Other programs are created through community task forces organized by public officials to address traffic issues.
There is no "right" way to get started – the important thing is just to start. Here you'll find everything you need to prepare for and organize your own Walk to School event.


text:
was a weird Washington Park day back in the early 1970s. A
thick fog hanging close to the ground made the earth disappear.
It also obscured the lower half of people walking through
the Albany park.
As I walked behind the statue of Moses amid the parks main
flower beds (which had also disappeared beneath the mysterious
fog), a surreal scene emerged. Moses, above the fog on his
mountainous pedestal, with arms outstretched and staffless
(his rod had gone on unauthorized loan via the late-night
intoxications of a band of Albanian hippies) achieved a dramatic
dominance over the scene. Then I heard him.
Passing before the outstretched arms of Moses, a guy who appeared
to be in his early 20s had stopped about 15 yards from me
and began shouting. He appeared to be shouting at me. He wasnt
anyone I knew, but from his raised voice, I suspected that
he was not too happy with me. Then he went into a crouch.
As more of his body disappeared into the strange fog, I saw
that he was bringing his arms up as if he were aiming a gun.
I instinctively hit the wet grass, awaiting the gun blast.
Nothing happened.
I lay there for a short while, listening to the guys continuing
shouts. I started to figure out what he was agitated about.
He thought I was Viet Cong. He was back in Vietnam and I was
the enemy. He was having a flashback, and taking it very seriously.
It was kill or be killed.
He had so convincingly raised his arms as if he had a gun,
that I stayed low for a bit until I could catch a clear view
of his hands in the low-visibility conditions. He didnt have
a gun. It was as unreal as the rest of the scene he was acting
out. I scooted out of the park and let the folks over at the
Refer switchboard (now Equinox) know there was an apparent
Vietnam vet in the park in need of help.
That whole bizarre scene in the park that day has stayed with
me for more than 30 years. I realized that day that there
were additional war costs that I had failed to give much notice.
I realized there was a whole other range of collateral damage
inflicted by the war. I realized that some of those returning
from the war had serious wounds that one couldnt immediately
see. As I recently passed through the park checking out blooming
tulips, I wondered what had happened to that Vietnam vet.
Now, 29 years after the last U.S. casualties occurred in that
war, a growing issue in this presidential election year is
the Vietnam War. One issue is what the candidates were doing
during the war. Another looming issue is whether the current
war in Iraq indicates a failure to learn from the Vietnam
War. Some claim that whats past is past and that the Vietnam
War should not matter in the debates that will fill this election
year. I disagree. I think Vietnam matters.
I grew up with the Vietnam War. Until I was 15 I didnt pay
it much attention, though I did note that the war was somehow
tied to the game of dominos and a threat of communist world
domination. But then things changed as the number of troops
sent rose and I started to see that there were other games
besides dominos involved. I decided that the carnage in Southeast
Asia was wrong and joined the growing demonstrations against
the war that marched down Albanys streets.
As I prepared to go to college, student deferments were no
longer granted. I was classified 1A by the draft board, which
meant that I could be called to the induction center at any
time. My fate tumbled about in a large canister on a stage
as the luck of a lottery determined if I would be drafted
or not. My number was in the 70s, but I had no idea what that
meant as far as the likelihood of being drafted. It turned
out that the draft that year didnt get near my number, but
some of my friends werent so lucky.
Ironically, all these years later, George W., who is centering
his election campaign on being a war leader, apparently cant
account for what he was doing during the Vietnam War. After
he secured preferential treatment and a National Guard slot,
taxpayer funds apparently were wasted on this warrior who
got pilot training, but soon lost his pilot status for failing
to comply with requirements.
George W.s war-hungry confidant and sidekick Dick Cheney
was able to duck the war entirely through a series of student
and family deferments. Many of George W.s top defense department
appointees also were able to avoid Vietnam service. Perhaps
this helps explain how these born-again war hawks are so capable
of repeating the mistakes of the Vietnam War. They remained
insulated from the war. They never learned that Vietnam mattered.
With more than 58,000 Americans killed and more than 300,000
wounded, and millions of Vietnamese dead and wounded, Vietnam
should matter. Much of this death was set into motion following
an attack on a U.S. ship in the Gulf of Tonkin in August 1964
that never happened. The authority to wage war in Vietnam
was handed over to Lyndon Johnson based on a lie. No telling
how many would not have died, or been wounded or traumatized,
if the truth had been known on Aug. 7, 1964, when Congress
voted the president the power to wage war in Vietnam.
As the death toll in Iraq rises, the lessons of the Vietnam
War continue to be ignored by George W. As another distant
war expresses its casualties, I take a simple walk in search
of brilliant tulips in the park while ghosts of the past pass
through the fog of my memory, refusing to be forgotten. For
me, Vietnam will always matter.


text:
By Loretta Easley A very Merry Christmas to all of you. When most of you read this it will be Christmas Eve and you will be entertaining your families with food and presents. The Christmas program, "The Night Before Christmas" was presented by the children of all ages Sunday night and was very good. There […]
Eastern Lights for Dec. 24, 2010
Main Street Youth Committee collects canned goods
Union County Sheriff's jail docket for Dec. 24, 2010
Billy Jack Walker, 1019 Megginson Lane, Myrtle, 26, was charged with domestic violence and disorderly conduct at 10:49 p.m., Dec. 17, 2010. Scottie McClure, 1089 CR 219, Blue Springs, 32, was charged with a DUI (mittimus) at 5 p.m., Dec. 18, 2010. Willie Bo Dixon, 404 Garfield St., New Albany, 51, was charged with a […]
Ya Ya Girls enjoy the holidays
Renasant Bank gets in the holiday spirit with giving tree for cancer survivors
In honor of the season of giving and sharing, Renasant Bank put up a "Giving Tree" in the bank's lobby to represent cancer survivors and cancer victims. Customers can purchase the purple ribbons for $10 and write a person's name to go with the ribbon. The ribbons are in memory of or in honor of […]
Gault named secretary-treasurer of Miss. School Board Association
Bobby Gault, a long-time member on the New Albany School Board of Trustees, was recently elected as the Secretary-Treasurer of the Mississippi School Board Association (MSBA). This election happened during the Fall Leadership Conference that was held in Nov. in Jackson, Miss. Gault has been a member of the New Albany School Board of […]
Contributions reach $14,211 for 'Sharing at Christmas' fund
Gazette readers contributed $14,211 toward the 36th annual Sharing at Christmas program. The program, sponsored by the Gazette, provided 250 families with food assistance and toys for their children during the holidays. Most of the food and toys were distributed Friday. Each selected family received a large box of food. Families with children 10 and […]
Meeting Ms. Bertha
I've become quite the connoisseur of concession stand food over the last two years, writing about several experiences, including a stint working at the New Albany Sportsplex. My next food journey takes me to East Union, where I had the opportunity to speak with the one and only, Ms. Bertha. Bertha Burgers are synonymous with […]
Moser named Dean of Students at BMC
Jack Moser, a member of the Blue Mountain College faculty for more than 20 years, has been named the college's Dean of Enrollment Services and Student Life/Dean of Students. His appointment is effective Jan. 1. Moser, associate professor of physical education and assistant men's basketball coach, will fill the position when Becky Bennett retires […]
New Albany Huddle House receives recognition for St. Jude fundraising efforts
New Albany's Huddle House restaurant raised more money than any other restaurant in the corporation for St. Jude Children's Research Hospital in Memphis, Tenn. From Oct. 1-31, approximately 400 Huddle House restaurants participated in a St. Jude fundraiser titled '2010 St. Jude MillerCoors Halloween Promotion.' The general manager, cooks, waitresses, and servers combined their […]
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text:
Epic temper tantrum
Need an explanation about whats going on with the government shutdown? Matthew Yglesias at Slate.com offers a quick read:
The shutdown happened because the most recent continuing resolution (was) set to expire. House Republicans keep writing new continuing resolutions that fund the government while simultaneously delaying or repealing key elements of the Affordable Care Act. Senate Democrats keep taking those provisions out and sending the 'clean' continuing resolution back to the House.
Translation: The shutdown is happening because House Republicans keep trying to kill the Affordable Care Act (Obamacare) that was proposed and signed by the president, passed by Congress and upheld by the U.S. Supreme Court.
In other words, all three branches of our government have already approved this law yet a small minority of rogue Republicans are throwing tantrums and demanding to get their way, even if it means bringing the government to a near standstill.
We really don't need to be wasting our time on this.
You maniacs! You blew it up!
Unable to get their way, Republican extremists in the House issued a statement after forcing a government shutdown.
Become a fan of Mike Thompson on Facebook and follow his updates on Twitter.
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text:
Posted on February 03, 2014
Friday, October 21, 2011 12:49:16 PM America/New_York
Instead of just bringing your own bottled water, now we say: Bring filtered water. bobble - by iconic industrial designer Karim Rashid - boasts a unique and inventive built-in carbon filter to make sure your water is really new, the filtration is instant and your actions are sustainable. Go green, or yellow, blue or pink in this case.


text:
I recently gave a very short Tesla demo drive to my friend Bill. He is very experienced and active in organizing TSD rallys, and since then we have been chatting about a Tesla rally, or perhaps a Tesla Class in one of his club's Friday night rallys. Either way, Tesla drivers would be competing against each other, not against folks with years of experience and cars using very specific rally computers.
Bill is the Rally Master tomorrow (May 8) evening. He has extended a special welcome to all Tesla drivers for this fun event. Just show up at the EastGate Park & Ride off I-90 by 7 pm. Bring a teammate to navigate and a watch with a second hand. Unless you have been in three or more rallys, you will be entered in the Novice Class. You will be given directions to the first check point, and the average speed to keep to get there, all on good roads and streets and always within all speed limits. Teams are given points for each second they arrive early or late. They then receive directions to the start of the next leg, where they are held until told to start again.
Teams with the lowest total points at the end of the final leg are given awards in each of four classes, depending on experience and equipment. This takes place about two hours after starting, all while enjoying pizza with all the other participants.
No advance registration required. Just show up for an evening of driving fun!
The NCC rallys are much different from this sort of rally.
The Tea Party winning team is decided on lowest mileage through the course. The route is set in a location with numerous T intersections and ends at a park or watering hole.
At each T intersection the driver/Navigator have a option of which way to turn and within a given distance, usually a 1/2 mile, a sticker (in this case the Tesla logo) can be found indication the correct choice. Making the wrong choice means backtracking and adding mileage. Of course missing the sticker also adds miles.
The great thing about this rally is random chance so no techy knowledge of handling ability play.
Traditionally in South Florida, the rally master wore a top hat and set the "Mad Hatter" flavor. Competitors were also encouraged to bring outrageous hats. Additionally, teams were told it is best to find another partner since spousal arguements were common because of wrong way choices.
In all it was great fun.
Sounds fun!
@ Epley
May see you there if my navigator can make it............
My navigator showed up just in time last Friday evening to find our way to the Bellevue Park-&-Ride, then find the rally group. We registered, got a number, then a short Q & A session, aimed particularly at us and all the other novices. Teams left at one minute intervals, with instructions to drive exactly one MPH below all posted (Black on White) speed limit signs. Sounds simple, except for a bunch of yellow arrow sign warning about 15 MPH corners on dark, narrow, shoulder-less country roads!
We would catch up with a few earlier cars at each check point, then wait until our newly assigned times to start the next leg. Navigator was constantly reminding driver to maintain the specific speed; the Tesla cruise control was most helpful when driver could pin the exact target speed. Only to have it change at some later speed limit signs.
After two hours and perhaps fifty miles, everyone arrived in Maltby and devoured pizza while scores were calculated. First, second and third place trophies were awarded in each class. Noisy, but everyone was having lots of fun.
Our Tesla received even more than the usual attention and questions. We used the clock on the big nav screen, until that screen went dark for about two minutes. Next time we'll synchronize that with a watch with a second hand, so we can be more precise when told to "pause for xx seconds" etc. A very small flashlight would also be useful for our clipboard.
There were perhaps a dozen experienced volunteers handling registration, check points, score checking and awards. The Rally Master and a partner had pre-run the course on Monday, entering data into a special computer program. They ran it again on Tuesday to confirm everything before preparing the detailed instruction handouts. Many volunteer hours of preparation and years of experience resulted in a very smoothly run event.
With the ever growing number of Tesla owners in the area, there is certainly potential for future Tesla only rallys. Until that time, several organizers suggested adding a "Tesla Only" class or classes to one or more of their forthcoming events, with separate awards and trophies. That would let folks compete only against one another, while gaining experience and momentum to someday organize their own. Before they are asked to set up a Tesla Class, there should be at least a tentative commitment from enough Tesla teams to make that extra effort worth their time, expense and expertise. That can be done here, or better yet on the Northwest Tesla Owners Club site.
It certainly sounds like fun to me. I've always wanted to do a rally. I just need to get Tessie back from the rebuild shop. (They've had her longer than I did before she went in for repairs after an encounter with a cement truck's trough on the Narrows Bridge. Glad I'm not paying for the repairs $$$. I hate the rental car. Tesla needs to get a great deal better about providing replacement parts.)
I'll keep an eye out for more discussion on the NWTOC site.
Plug-In NCW invites you all to the Wenatchee Ice Age Floods EV Rally. We called it a Rally, but it is not really a road rally, we have a guided tour of the geologically significant features around the Wenatchee Vally area. It is an EV only EVent and there is no entry fee. We are hosting this event to commemorate the opening of the Highway 2 electric route last year. Springhill Suites is our starting and ending point. Plug-In NCW will host a BBQ at the Springhill after the tour. There will be music, food and EV drivers what more could you want for a 29 June Saturday? Springhill is offering reduced room rates for anyone wanting to stay overnight. They have L2 charging at the property and Wenatchee has several charging opportunities. If you are interested send me an e-mail: firstname.lastname@example.com (Start 1 PM, BBQ Approximately 4:30 PM Saturday 29 June 2013)
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Syrup was adding wasteful calories and too sweet for me, well I've discovered apple sauce is just as good and tasty. Try it and let me know what you think! I use it on French toast, pancakes and my Belgium waffles to name a few
- Submitted by SUNSET09 10/22/2013 in Healthy Eating | 1 Comment
I drink my water as the first and the last drink of my day. I also drink it with every meal to get my 8 or more glasses in per day!
- Submitted by SUNSET09 6/6/2013 in Weight Maintenance | 0 Comments
I have learned how to read while on the treadmil and it, too blocks the time. I feel like I'm really doing thing(s) for myself and using the time wisely. Even when I find myself wanting to read, I jump on the treadmill!
Submit Your Concerns to Companies
the good, the bad and the ugly! I decided to submit compliments to the companies I support and the products I buy. I received an e-mail, and a letter whcih incldued $3 worth of coupons. Everyone get sbad news, let's spread some cheer and get paid!
- Submitted by SUNSET09 6/1/2011 in Saving Money | 0 Comments
Soups are very filling and most are low in calories. Whenever I don't know what to eat, I grab a can of soup. Stay away from the creams!
- Submitted by SUNSET09 5/19/2011 in Weight Loss | 3 Comments
When I travel, I carry packs of oatmeal with me. When I need breakfast, you can almost always find hot water. Packs of fruit helps as you can add it as well.
- Submitted by SUNSET09 5/16/2011 in Saving Money | 4 Comments
Try the natural remedy of vinegar and water in a jar around the house. It helps eliminate unnecessary odors.
- Submitted by SUNSET09 2/22/2011 in Around The House | 0 Comments
It's A New Season, It's A New Day
Your bank statement tells a lot about you. Reveiw it, check out the hidden fees and extras and get rid of things you no longer need. I had a Netflix and a Blockbuster account. Who need two?!?! Do the same with credit cards, spring cleaning and spending! It's your money, why give it away?!
- Submitted by SUNSET09 1/15/2011 in Saving Money | 1 Comment
I love to travel and will pick the cheapest, best way to do it. I've drivien to other airports to get a better deal and count my savings. There may be pay for parking issues as well so consider your options. Works for me! Always check the web before taking your trip!
- Submitted by SUNSET09 12/6/2010 in Everything Else | 1 Comment
Believe, Become, Be
- Submitted by SUNSET09 11/16/2010 in Motivation | 1 Comment


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best of craigslist
all the things I should have said this week
Originally Posted: 2005-08-05 7:41pm
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all the things I should have said this week
To the metro driver who blew right by me on Lake City Way on Monday afternoon, SCREW YOU! You made me late. Again! At least it wasn't raining this time. Please at least pretend like you care that someone is waiting! Grrrr.
To the cute guy on the #2 to downtown on Tuesday(?) morning who liked my dog, I wish I had said something. You had a really nice smile, and looked like you were reading something interesting. You at least thought my dog was cute, maybe I had a shot? Either way, too late now. Maybe I'll run into you again and actually say more than three words.
To the group of sailors who rather indelicately made a collective pass at me, it was vaguely flattering, and a bit of an ego boost. Thanks! I realize I have breasts, and that therefore makes me a potential for you to get lucky while on shore leave, sadly it's really not likely that I'm going to go off with 7 of you at once. Y'all had really nice buns in those white uniforms, though!
To my favorite coffee shop on First, you still make the best cup of coffee I've had in this town. You rock. Keep it up. Starbucks hasn't killed you yet, and if you were gone, I'd cry. A lot. And probably stop drinking coffee.
To the #2 that REFUSED TO COME ON TIME Thursday afternoon, I am *very* put out with you. Standing in front of Benaroya hall for an hour and a half is not my favorite way to pass the time. You came eventually, though, so I guess I can't stay mad forever.
To the smelly guy with the man-purse on the bus this afternoon, please don't act like my dog sitting quietly on the floor is any worse than you spreading your fat behind over three seats. She's quiet, well behaved and being a dog at least has an excuse for smelling less than clean. You, on the other hand, really should take a shower.
To the guys who made my coffee this morning at Diva Espresso, you totally cracked me up. Thanks for starting my morning in a good way.
To the older businessman in the nice suit with the long hair, please cut off your ponytail. You're going bald in front, and really, it just looks like the hair is sliding off the back of your head. Trust me, you'll be better off if it goes.
To the guy who was a total jerk to his 8 year old daughter who just wanted to pet my dog, and even asked me nicely, I really hope you shape up. She looked underfed and dirty, and just wanted to say hi to a friendly fuzzy thing. Yanking her back by her collar was really not necessary. You should probably also curb that habit of drinking in public with a child in tow - I think I'm not the only one who realized that was an open 40 in that black plastic bag you had.
To the 4 year old with the super cute mini chuck taylors on the bus today, thank you for reminding me that it's much more fun to get excited at trees and motorcycles and trucks and birds than to be grumpy at the end of a long work week.
To the guy who thought an acceptable pick-up line was implying that I have horrible music taste, it's really easy to see why you're still single. I might not be an alt-rock goddess, but at least I'm not a music snob. Also, being a music snob isn't attractive, nor does it mean you have good taste in music. Get over yourself.
To the woman who had to have her cat put down the other day, I'm really sorry for you, I almost cried when you came through the waiting room at the vet with him in his carrying case, and I did cry when you came out later without him. It's awful, and my heart goes out to you.
To Craigslist, thanks for helping me effectively waste another hour of my life. I don't know what I'd do without you!
post id: 89261944
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this wiki
|Vital Statistics
|Hair color
|Eye color
|Other Statistics
|Gill Littlefoot
|To tarnish the reputation of his wife, and get her money
|Powers and abilites
|Production Details
|First appearance
|SDMI: The Grasp of the Gnome
|Played by
|Frank Welker
The Gnome was a zombie-like disguise of Gill Littlefoot, used to frame his wife, Amanda, the queen of the Royal Knights Faire, and to attack attendants at the faire who were dressed as pirates.
Physical appearance
The Gnome has green skin, a yellow beard, a red hat, gloves, and shoes, a brown shirt, a belt, black pants, and glowing blue hands.
Powers and abilities
Gill put jellyfish toxin on his gloves to paralyze his enemies. It was however, inneffective against steel, as revealed by Daphne Blake.
Scooby-Doo! Mystery Incorporated
Season one
When the Gnome paralyzed as many 'pirates' as possible, Mystery Inc. started to investigate while they were there. Unfortunately the gang hit a snag when Shaggy Rogers, also dressed as a pirate, was kidnapped by the Gnome.
Scooby-Doo and the gang formulated a plan to look for Shaggy and capture the Gnome.
Fred Jones and the girls were chasing the gnome, while Scooby found Shaggy bound and gagged by the gnome. The Gnome eventually fell into the trap and was unmasked to reveal Gil Littlefoot underneath.
Amanda arrived with the sheriff, angry and asked why he was the gnome. Gil told them that he had tried to frame Amanda for the gnome attacks by planting her earrings on the paralyzed victims and would get her money. Posing as the Gnome revealed his very small stature; he was actually smaller than his wife and wore stilts to make himself look much taller than he really was. Amanda said, "All this time you've been looking down on me, turns out I'm taller than you!"
Sheriff Bronson Stone took Gil to jail calling him "Littlefooty". (The Grasp of the Gnome)
- From the online game.


text:
We created Pandora to put the Music Genome Project directly in your hands
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Street Spirit 'Fade Out'
I can feel their blue hands touching me
All these things into position
All these things we'll one day swallow whole
I can feel their blue hands touching me
All these things into position
All these things we'll one day swallow whole
Features of This Trackbasic rock song structures
a subtle use of vocal harmony
mild rhythmic syncopation
call and answer vocal harmony (Antiphony)
demanding instrumental part writing
thru composed melodic style
mixed minor & major key tonality
mixed acoustic and electric instrumentation
a good dose of acoustic guitar pickin'
electric rhythm guitars
a dynamic male vocalist
acoustic rhythm guitars
subtle use of strings
emphasis on instrumental arranging
These are just a few of the hundreds of attributes cataloged for this track by the Music Genome Project.show more
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DEFINITELY one of My faves by them. Just gorgeoussss
Regardless, an utterly incredible and haunting song, among Radiohead's finest (even if Yorke claims to have not written it).
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David Ramey rushes in to meet me straight from a meeting with a very well-known winery, to discuss the fruit they buy on contract from a Sonoma vineyard, which David has just purchased. This is the first ever vineyard owned by Ramey Wine Cellars, until now a strictly négociant company set up in 1996 and owned by David and his wife. "Just us, no investors, it's all down to us," says David.
The bulk of the Ramey winemaking will continue to use contract fruit from both Napa and Sonoma counties, but there are more plans afoot including a new visitor centre due to open soon, on a riverside location across from the cellars of Williams Selyem. For now offices and cellars are based within the town limits of Healdsburg.
David tells me that his appellation series of wines (i.e. those that are not vineyard designated) are all made identically, in the belief that it is the sites that will show through in the finished wines. Chardonnays in this series typically see only 25 to 30 percent new oak, and spend less time in barrel with whole cluster pressing, native yeast ferments, ageing on the lees with battonage and full malolactic. "Everything is made the way it used to be 100 years ago," says David. "It's neo-Burgundian Chardonnay."
Though he professes a deep and abiding love for Scotland (where he once had a sun-soaked holiday that he enjoyed so much he almost sold up in California to buy a small distillery), it is France that is in his heart. Though having made wine at Matanzas Creek and Chalk Hill, David worked at Pétrus too, making acclaimed vintages including the 1991 and 1994, spent "many winters working in Burgundian cellars," and was the man that Christian Moueix choose to set up Dominus in the Napa Valley.
David's approach to winemaking leans on a European model. For example: "Acidification of the juice is commonplace in Burgundy," he tells me, "so I do it too. Robert Parker doesn't like acid, so too many people make fat wines with the structure of a white Hermitage." David has plenty to say on the subject of wine making, or more pertinently, the trendy soundbites one hears from so many winemakers: "I also reject the notion that 'we don't want to mess around with it, we don't want to add anything.' That's like saying 'I want to cook great food but won't use salt.'"
But that's not to say everything can be organised in a strict Bordeaux or Burgundy model. "Our soils have much more vigour than in France - their soils have seen 1,000 years of farming, ours maybe only 50 years, so they are much richer in organic matter. Our vines can produce really good quality, even at only seven or eight years old." Though for his single vineyard wines, age of vine is one factor he does consider: "Generally they'd have to be at least seven years old, but what really makes a vineyard suitable for single vineyard treatment is clone. My Chardonnays are almost all from Sonoma and the old Wente clone, which is originally from Burgundy. It has small berries and a 'hen and chick' tendency (which the French call 'Millerandage') with some underdeveloped seedless grapes, and clusters that are half the size of many common clones."
the wines
UK importer of Ramey Wines is Fields, Morris &' Verdin and the wines are available through Berry Bros. & Rudd. See all stockists on
Ramey Wine Cellars, Russian River Chardonnay 2009, California
A 'village wine', from the Russian River AVA which has a slightly warmer climate compared to coastal sites. Charming hazelnut nose, with a little orange and crunchy apple fruit. The palate has delicious roundness and full fruit sweetness, a really delightful, shimmering balance and fresh acidity, there is even a little salty mineral tang to this, a pithy clarity. 90-91/100.
Ramey Wine Cellars, Russian River Chardonnay 2010, California
A little tighter, a little leaner aromatically, with a really fresh grapefruit and orange character in the mouth, lots of tang, lots of energy and vivacious character, ending with a touch of toast and a touch of spiced and tobacco as well as that mineral freshness coming through. 91-92/100.
Ramey Wine Cellars, Platt Vineyard Chardonnay 2010, California
From Sonoma Coast, four miles from the Ocean. First of the vineyard designate Chardonnays, planted in 2003, originally went into Sonoma Coast bottling but has been bottled as a single vineyard. Lots of minty freshness here and a minty oak quality, but also such fruit intensity, with really good acidity, very nice lemon and lime peel tang and grip, the density of the fruit really needs that acid balance and the creaming touch of extra oak to smooth it out. 92-93/100.
Ramey Wine Cellars, Ritchie Vineyard Chardonnay 2009, California
Russian River Valley, planted in 1972 in the old 8 x 12 system of wide planting. Goldridge loam soils. Less flamboyantly aromatic, the oak seems a little more background, with hazelnut and creaminess and a very ripe apple fruit quality coming through. Juicy and fresh, but a weighty and concentrated wine, with a big stripe of lemon pith and lime acidity running through this, long and powerful stuff this. 92-93/100.
Ramey Wine Cellars, Hyde Vineyard Chardonnay 2009, California
Carneros, Napa Valley. 11- to 30-year-old vines. Very clear and clean stuff, lots of freshness here, even a touch of grassiness amongst the aromatics, a blast of grapefruit and lemon zest, this is very dry on the finish, very lean and linear, that pithiness again that great succulent core to this wine, mouth-watering and has massive acid presence. 91-92/100.
Ramey Wine Cellars, Rodgers Creek Vineyard Syrah 2010, California
Sonoma Coast. From vineyards at 800 metres on mount Sonoma. Poor volcanic soils, 20-25% whole bunch, 27 months in 100% new French oak. Very highly aromatic, loads of apricot and floral aromatics, the 7% Viognier really marking the nose, lovely lift to the black fruit too making this a very aromatic style. The palate is delicious, with a lovely streak of red and black berry fruit wrapped in chocolate, the tannins supple and firm, the cocoa and toast of the barrel just adding a charry but not overdone oak note, spice, a touch of meat stock and lots of decisive character here, delicious, pure stuff with bags of character. A big wine, but a hugely successful one. Interesting this is aged on its lees. 93/100.
Ramey Wine Cellars, Napa Valley Cabernet Sauvignon 2007, California
Aged on the lees, two years in oak, half of it new and a mix of French and American. 88% Cabernet with Malbec, Merlot, Petit Verdot and Cabernet Franc, there's a touch of something herbal here - a pleasing green edge that is very CS, with cedar, meat stock and loads of deep bramble and blackcurrant. In the mouth a delicious edge to this wine, has the acidity again and has lovely richness and supple texture: fills the mouth, stopping short of 'hedonistic', yet with loads of flavour and of rich, chunky fruit amongst the more refined tannins. 92/100.
Ramey Wine Cellars, Napa valley Cabernet Sauvignon 2009, California
96% Cabernet Sauvignon in this vintage, with no Malbec component. Cedary, quite floral, with the oak a little more prominent at this stage, but again that lightly herbal , lightly briary note. There's a bit of a resinous quality on the palate here that suggest to me that this needs a little bit of time. But then there is such fantastically refines and supple fruit on the mid palate, really suede-like, smooth tannins and lovely juicy acidity, but has the freshness and that chicory and liquorice edge. 93-94/100.
Ramey Wine Cellars, Pedragal Vineyard Cabernet Sauvignon 2009, California
Pedragal means stony place in Spanish, this was the 6th vintage form these iron-rich stony soils, converted to organic farming in 2008. 24 months in new French oak, 7% Petit Verdot in the blend. Fabulous, big nose, with a great purity to the fruit, that little wild yeast, slightly sauvage character is delicious, animal notes, very savoury, with fabulous length and concentration, the smoky, tobacco-scent and incense of the oak and fruit quality comes through in a superbly layered and complex wine. 94/100.
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The Society of Industrial and Applied Mathematics (SIAM) has just published a book by Professor Bengt Fornberg titled,
Maiden is a graduate student in the Applied Mathematics Department working with Applied Mathematics Assistant Professor Mark Hoefer. Her research combines asymptotic analysis, numerical simulation, modeling, and physical experiments in fluid dynamics. The system under study is a model of magma migration through the Earth's mantle and, counterintuitively, yields superfluid-like behavior. A diverse range of nonlinear dispersive phenomena are observable in this system, including solitary waves, dispersive shock waves, periodic waves, and modulational instability.
Stephen Becker is an assistant professor in the Applied Mathematics Department. His research centers around optimization and its applications to extracting information from big data sets. In particular, he focuses on first-order methods for matrix completion and robust PCA models, on convex analysis, and on applications to signal processing such as compressed sensing and quantum tomography. He joined the department in 2014, after being a postdoc fellow at Paris 6 University and the Goldstine postdoctoral fellow at IBM Research in New York.
The Learning Assistant Program at CU Boulder brings the benefit of individual instruction to large science courses. The program assigns accomplished science majors to courses in order to "improve the quality of science education for all undergraduates". Michelle Duggan and Bridget Morales are learning assistants for Fourier Series and Boundary Value Problems (APPM 4350). Learn more about the Learning Assistant Program here.
What are the duties of a learning assistant? How is a typical class period structured?
Plumley is a graduate student in the Applied Mathematics Department working under the advisement of Applied Mathematics Professor and Department Chair Keith Julien. Her research includes the development, investigation and simulation of reduced PDE multi-scale models that accurately capture the turbulent dynamics of the geodynamo. The geodynamo operates over disparate spatial and temporal scales that prohibit direct application of the Navier-Stokes equations even with massively parallel high-performance computing architectures.
Jeffrey Gay, mechanical engineering major and applied math minor, won the 2015 Telemark National Championship for ski racing. This year the National Championship took place at Sunlight Mountain Resort on Sunday, March 15th. Gay grew up skiing with the Steamboat Springs Winter Sports Club based out of the local Steamboat ski area, Howelsen Hill. He attributes much of his success in balancing his high level of ski racing with an engineering course-load to that of the Engineering Honors Program in Andrews Hall. Gay, heading into his fifth year at CU Boulder, began and will finish his CU career within the program. He attended the Championship proudly wearing an Applied Math Department hat and shirt, thus blending two of his high achievements together.
Read more about the Telemark National Championship here.
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Everyone loves Caesar salad! Here's one big enough to serve the whole gang!
Embellish the salad with sliced ripe or pimiento-stuffed green olives, chopped sun-dried tomatoes or marinated artichoke hearts for a unique twist.
Spread Caesar dressing on a large prebaked pizza shell and top with other ingredients for Quick Caesar Salad Pizza.
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