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FAQs
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What are the best productivity tools for entrepreneurs?
I now accept Suggested Edits, as they come in. Include the price of the product/service.Pre Launch:Javelin. Start and grow your product faster. javelin.com/?ref=p5eybNFKResearch:Clipular http://www.clipular.com (free)Evernote http://www.evernote.com. Free, and $45 per year.Launching Soon Page:LaunchRock http://www.launchrock.comLaunchSoon http://launchsoon.comLanding PagesSelf Hosted:ThemeForest http://www.themeforest.net $8+Hosted:UnBounce (landing pages) http://www.unbounce.com $50/moKickOffLabs: http://www.kickofflabs.com/ $15/monthOptimizely: https://www.optimizely.com/ $17/monthTurnkey...
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What is Respect (Aretha Franklin song) about?
Per Wikipedia:"Respect" is a song written and originally released by Stax recording artist Otis Redding in 1965. "Respect" became a 1967 hit and signature song for R&B singerAretha Franklin. While Redding wrote the song as a man's plea for respect and recognition from a woman, the roles were reversed for Franklin's version. Franklin's cover was a landmark for the feminist movement, Franklin's version of the song contains the famous lines (as printed in the lyrics included in the 1985 compilation album Atlantic Soul Classics):R-E-S-P-E-C-TFind out what it means to meR-E-S-P-E-C-TTake care ... TCBThe last line is often misquoted as "Take out, TCP", or something similar, and indeed most published music sheets which include the lyrics have this incorrect line in them. "R-E-S-P-E-C-T" and "T-C-B" are not present in Redding's original song, but were included in some of his later performances with the Bar-Kays. There seems to be some confusion over who first used "T-C-B" in the song."TCB" is an abbreviation that was commonly used in the 1960s and 1970s, meaning Taking Care (of) Business, and it was particularly widely used in African-American culture. However, it was somewhat less well-known outside of that culture, yielding a possible explanation as to why it was not recognized by those who transcribed Franklin's words for music sheets. Nevertheless, TCB later became Elvis Presley's motto and signature, from his necklace to his private jet plane.http://en.wikipedia.org/wiki/Res...
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What is the pettiest complaint you have heard from a home-owners association (HOA)?
In my very first condo building, one of the other residents didn’t like me. Most people also didn’t like her, but she was a lawyer (she told everyone, I knew she was just starting law school), so they deferred to her. She somehow convinced them that they didn’t need to do the 2 things required for association meetings per the laws in my area - send a notice of the meeting date, time, and location to all owners at the address the association has for them by mail, and post a notice of the same in public areas of the building that all owners can access, both at least 21 days in advance - and held an association meeting that specifically excluded me and 2 other owners using this tactic. Keep in mind this was an 8-unit building, so excluding 3 units from representation meant that they didn’t have a 2/3 (67%) vote, required for many things.During that association meeting, they passed 3 rules (two of which were completely bunk because they were amendments to the bylaws which required a paper ballot, mailed, which at least 2/3 of owners agreed to)…(1) Any owner who did not park their car in their designated parking spot at least 3 nights a week forfeited the use of that parking space to the association to assign or use as they saw fit (parking spots were limited common elements, and any amendment to their use constituted a change to the bylaws; I and one other owner did not own cars, but occasionally let friends park in our spaces, and the car owners wanted our spaces for guests of their own). To best accomplish this, “resident use” spaces could only be used by a car the owner notified the association they possessed, with the license plate and VIN and proof of ownership by a resident, at least 2 weeks prior to that car parking in the space. Guests could not use “resident” spaces, nor could owners for rental cars. Yeah;(2) No one could consume alcohol “on the premises” within “plain view” of other residents. This was precipitated by an uber-”christian” owner who kept us “heathens” out of the association meeting. Everyone thought this meant in just the common spaces, but they were WRONG. Banning having a beer in our big yard was bad enough, but this owner meant if she could see you at all. So, I ended up being the first one “rung up” about it. Since I didn’t even know the rule had passed (minutes and vote results were also not mailed as required by law), she had our management company blowing up my phone on a Friday evening about HAVING A BEER ON MY PRIVATE BALCONY. She could see me from the parking lot, that was “in plain view of other residents,” and I needed to stop. BUT WAIT, THERE’S MORE. A neighbor on the first floor was sitting on her couch having a glass of wine when Ms. Perfect walked up to the main door of the building. HER BLINDS WERE OPEN, THAT VIOLATES THE RULE, SHE EITHER HAS TO CLOSE HER BLINDS OR STOP DRINKING *INSIDE* HER OWN HOME. Edit, and I don’t know how I forgot this before: the woman who was hassled for drinking wine in her own living room WAS AN ORDAINED MINISTER. And I don’t mean online just to marry your friends (not necessary in DC…for $30 to the city anyone can perform a wedding, and for $0 beyond the cost of a marriage license you can self-signNow a marriage if both parties are over 21 and sign the proper paperwork)…in an actual, physical, local church, one with a pretty conservative bent (I attended her wedding in her church…they ain’t “progressive” (in a weird stroke of “it’s a small world,” she got engaged to a fairly close coworker of mine just a few months after we both moved into the building…they actually met before either of us moved into the building and didn’t know that we had this weird connection until after they were engaged, when I walked out my door to see my coworker standing in the front yard and said “what the hell are you doing here???”))! And SHE’S being heckled for having a glass of wine with her husband on a Friday evening in her own living room!(3) The building was sold as pet-friendly, with no restrictions. The lawyer neighbor moved in a big, poorly mannered dog just before said association meeting where they excluded several of us. She then proposed to ban all pets, even down to a goldfish in a bowl, except those already in the building. The allowance of pets was actually written into the bylaws (unusual, but it does happen), so, again violating the bylaws except for her own benefit. I was in the process to adopt a dog at that time (appropriate to a small condo and less than 1/3 the size of hers), and I only found out about the bylaw change when I asked the management company for a letter stating dogs were allowed to present to the rescue.Thankfully, all this was resolved pretty quickly when the 3 of us who were excluded from the meeting and a fourth who objected to most of the rule changes paid (payment is necessary unless there’s a good reason for them to do work pro bono) a lawyer friend of mine to write a simple letter asking for proof the meeting and bylaw changes had been properly conducted. The “lawyer” girl sent a letter back saying, without proof, they had, but upon further insistence, the management company stepped in, said that the proof was not there, please don’t sue (since they would be on the hook for not conducting the meeting properly), and asked for permission to re-do the association meeting, with proper notice, in a proper place, and with proper balloting for bylaw changes. We agreed, all measures failed when properly voted upon, and the “lawyer” and “christian” could only get revenge on us through disapproving stares and putting their units up for rent as soon as they could afford something else.
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Which tools help to boost work productivity?
First things first, from all the tools I use, I’m listing a few that save me an immense amount of time. Thus helping me focus on things that matter. Here goes my list:Pocket - A handy tool to save useful links. After a while, my bookmarks are just unorganised and Pocket made it simple to save links. I could save everything in one place and hence retrieval is easy. Also, If I ever come across something during work that might be a distraction, I Pocket it and read it later.Buffer - Primarily I use this to manage posts and content from our SM handles. I schedule posts at one time and never have to look at it again. This saves a lot of time as I can dedicatedly work on the content and push them to the pipeline.LearnBee - (Disclaimer: my team built it and I use it every day). I use it to find a specific work file quickly or to attach multiple work files in an email or to search for a file to show to the team during a meeting. The Chrome extension just saves me an immense amount of time, which I otherwise waste searching for a file.Jira and Trello - Both of these tools help me individually as well as my team to prioritize, organise and complete tasks in a better and efficient way.
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Is the cryptocurrency Bitcoin a good idea?
Yes.Here’s the problem: most people who know a lot about Bitcoin can only speak “tech”.I was at a conference recently. I was the keynote speaker but had zero talk prepared (as usual). It was a crowdfunding conference so I “crowdsourced” my talk.I asked the audience: I can talk about entrepreneurship or I can take fifteen minutes to explain Bitcoin without using any technical jargon. Clap for which one you want.Almost 100% of the people wanted to learn about Bitcoin without the technical jargon.People are hungry for this. They don’t want to hear about “crypto” or “blockchain”. They just want to know what all this Bitcoin stuff is about.Back in 2013, I thought Bitcoin was a scam. I was wrong.First, some credentials.In early 2013 I had my doubts. I started reading everything I could. Then I got my hands dirty.I’ve been a coder / programmer since 1985. I decided to code up a Bitcoin only store (maybe the first ever) and sell my book, “Choose Yourself” on it before it was released on Amazon.It was very hard. I had to develop the store from scratch since there were no easy tools to help me. There still isn’t (hint: business opportunity).Once I launched it, quite a few people bought my book. I sold a PDF of my book for 0.1 Bitcoin. Bitcoin was then $60 so I sold it for about $6 per PDF. Right now, it’s as if I sold each PDF for $1600. I sold many copies.I went on CNBC when they heard I was doing this. The anchor asked me, “Did you just do this for publicity?”I said, “Well, I’m on national TV so I guess it worked.”Another thing worth noting: Most of my customers came from one domain name (they had to submit their email addresses for me to process the sale): Amazon.com. Make of that what you will.A few months ago I started writing about cryptocurrencies again. I saw so many people getting involved in scams, I wanted to help.The other day I had an Uber driver who thanked me during the car ride for helping him “get it”.And last night at a restaurant, the waiter at the end of the meal shook my hand and thanked me for helping him “finally” begin to understand what Bitcoin was about.In order for crypto currencies to succeed, people need to understand at a basic level what they are. Nobody needs to learn complicated cryptography or blockchain.Just understand why now. Why this is important for us a society.TWO CRITICAL REASONS BITCOIN IS HISTORICALLY IMPORTANT AND HERE TO STAYJust understand these two reasons. Then you will know the potential for Bitcoin. And you will be popular at cocktail parties.A) THE HISTORY OF MONEYEvery new style of money solves the major problems of the last style of money.BarterIf I have a bag of rice and I need shoes, what if you make shoes but you only need 1/2 bag of rice. Do I get 1/2 a pair of shoes?Barter has a lot of problems. In the above, coming up with the rice to shoes exchange rate is difficult.Then coming up with 1000s of exchange rates just to go out and buy groceries is almost impossible.PLUS, what if you have to move (your kingdom is attacked). How are you going to carry all that rice? All of those shoes?Money has two purposes:as a store of wealth / savingsto make transactionsThere’s a third, which Ray Dalio, the head of the largest hedge fund in the world, Brigewater, told me the other day. But we’ll get to that later.Barter is horrible as a store of wealth. And for transactions, best case it’s very difficult.But problems lead to opportunities. Which leads to…2. PRECIOUS METALS / COINSGold and silver are scarce. It’s hard to mine them.But it’s hard to forge them because you can measure by weight.So the scarcity combined with the lack of forgery makes them good choices for money. I can convert my rice into gold coins, you can convert your shoes into gold coins, and now we can trade and now we can buy whatever we want.(Marcus Aurelius on a gold coin)As a store of wealth, it’s not great but not horrible.If my kingdom is attacked and I have to move, gold and silver are easily stored and carried as designed jewelry.BUT, two problems.One: what if you live in a country that doesn’t have any gold mines. Now you either have to trade for gold or start attacking countries: (this did not work out so well for the Aztecs).Two: What if you wanted to buy a house right now: are you really going to bring a truck of gold bars to the closing? Or if you have to move to another country and you have a lifetime worth of savings: are you going to ship all of your gold bars to your new home?People say that gold is “real” as opposed to (later) paper money and cryptocurrencies.This is not really true. Gold is a rock. But it does have industrial uses (silver is better for this because of price but still…). Gold and silver are great electric conductors, can be used as SILVERware. Can be used as antibiotics (hence great for fillings on teeth).So we can say that gold money is “backed” by something that has real use with value associated with it.But we still have to solve the problems above.3) PAPER MONEY BACKED BY GOLD AND…PAPER MONEYCountries made paper money that was like a contract with the government that all of that money can be converted into gold.This was great for transactions (easy to carry paper money).This was great for store of wealth (put the money in a bank and you can go anywhere). The first banks for paper money backed by gold helped fund every war in Europe in the 1800s. Good job!When paper money is backed by gold it also puts a clamp on inflation. You only have as much paper money in a country as there is gold in that country.(yes, there is a 100,000 dollar bill in the US. Woodrow Wilson is on it).So you can trust the government to not go crazy printing money that is not backed by gold (like German in the 1920s when trillions of Marks were printed and Germany went into an inflationary death spiral that was at least one cause for World War II).BUT, why benefit the countries where gold is easy to mine and punish the countries where gold is hard to mine.Also, the world is expanding in every way: more people, more technology, more innovation, more THINGS.I’m not sure this is a good thing or a bad thing (see: Germany above) but sometimes countries need to balance debt with money printing to manage their fiscal policy.The US went off of gold in the early 70s in order to fund the financial needs of both the Vietnam War and the social improvement programs of Lyndon Johnson.This created inflation.Paper money will often lead to this situation. Someone will say: why do we need the gold part?Again, might be good or bad. There’s a lot of debate. Did money printing save the US in 2008 and 2009? Maybe. Or will their be future problems caused by this? Maybe.Nevertheless, there are other problems with paper money that need to be solved:a. No privacy.If I’m making a sizable (greater than $1000) transaction I’m usually not using cash but either a credit card or a money wire.So that means your bank knows. Other banks know (the bank you are sending money to, the Federal Reserve, the local Reserve bank, etc).Government agencies know (the IRS, the NSA, etc etc).Potentially sites like Google and Amazon know depending on what payment services you use and what you are buying.So you have no privacy on your transactions with paper money.b. Fees.If I send a friend in Korea money, I go through my bank (fee), local reserve bank (fee), Federal Reserve (fee), International wiring system (fee), their central bank (fee), their local reserve bank (fee), their local bank (fee).That’s a lot of fees. Those fees help create inflation because every transaction needs to have a profit on top of those fees.c. Forgery. Something like $200 billion in forged money is circulating right now.d. Human error. This is a CRITICAL problem. There are so many opportunities for human error. When you transfer money, they can send to the wrong account. Or a bank’s software can be hacked and you lose all of your money.Or, most importantly, the Federal Reserve in the US can decide to print another trillion (Like 2009) and, without your permission, the value of your dollar has gone down.In the US we’ve been lucky. But all of South America hasn’t been so lucky (all of their currencies crashed in the 80s. Most of Asia wasn’t so lucky in the 90s (their currencies wiped them out). Russia in 1997 was wiped out.Many countries have relied on humans to print (or not print) money and the slightest human error can wipe out an entire country’s economy.The United States has been lucky. For now. But this is a HUGE error we risk every day.These are the basic problems. There are more (theft, for instance).e. What is backing paper money?Only our trust. I don’t want to be a conspiracy theorist. But the reality is: a dollar is a piece of paper. Just like gold is just a rock.How do they make us trust that the money has value?They put “In God We Trust” on it. They put George Washington. They put the signature of the Secretary of Treasury (pretending it’s a contract.).And, for the weirdos, they even put a pyramid with an eye on it.And that’s supposed to be why we trust it. I don’t trust it.4) BITCOIN (and, btw, Bitcoin is not the end. There will be a “5”).Bitcoin solves the problems above.a. Human error: there is no printing of money. There is a fixed supply of 21,000,000 coins.How do I know this? I’m a skeptic. So I read the software behind Bitcoin. I read it over and over until I could figure it out. In one part of the code they clearly define how many coins can be “mined” / printed (printed is the wrong word but I’m using it here to make the connection with paper money). And there’s another part of the code which “enforces” the first part.(part of the code that limits the total # of bitcoins to 21,000,000. I found this by reading ALL of the code for bitcoin).b. Theft. Like with every other form of currency, an exchange (like a bank) that stores your Bitcoin can be hacked and money stolen.BUT, I only keep a small amount of money in an exchange. You can get a storage drive, store your money, and put it in a safety deposit box. So even if the exchange is attacked, you still have your money.ALL theft can be prevented this way with Bitcoin. You can’t do this with paper dollars because if you have too many dollars, how will you store it? Ditto for gold.c. Forgery. The software guarantees that Bitcoins can’t be forged.d. Privacy. I can send you a Bitcoin and nobody knows who is sending it, who is receiving it, and no government institutions are aware of it.e. Fees.Some bitcoin transactions have small fees. But it’s nothing like the fees of going through six banks in the transaction described above.What’s backing it?There’s about 1000 man-years of science backing Bitcoin.The underlying technology of Bitcoin which involves heavy amounts of cryptography, financial know-how, and basics of contract law, plus the “blockchain” have 100s of use-cases that we have only just begun to play with.EVEN IF Bitcoin is never used as a coin (although note: it’s being used every day as money) there are 100s or 1000s of other uses for Bitcoin that have nothing to do with the basic money use.I won’t get into the weeds here: but suffice to say that ALL of contract law can be (and will be) eventually replaced by Bitcoin.And ALL of logistics will be replaced by Bitcoin (e.g. UPS is replacing all of their internal logistics (tracking millions of packages every day going from millions of locations to millions of other locations) by Bitcoin technology.There’s nothing behind paper money or gold like this.Now…Bitcoin has problems also.Hence the need for other cryptocurrencies. But that’s ok and not the topic for here. Suffice to say, Bitcoin solves all the basic problems of paper money, which solves the problems of gold, which solves the problems of barter.HOWEVER, there is another reason why Bitcoin is here to stay and it’s so compelling.——EVOLUTION OF EVERY INDUSTRYEverything in life evolves. Not only species but ideas.Let’s look at some industries.MEDICINETheism: 500 years ago if you got sick, you’d either pray to a god to get better, go to a shaman, make a sacrifice, or assume you committed a sin that made you sick and would try to undo the sin.Humanism: Post-rennaissance, we had human “experts” called doctors who would either leech us to death, perform horrible surgeries that would kill us, or would pat us on the back, hammer our knee and say, “take two aspirin”.Doctors aren't bad. They’ve saved many many lives. But Humanism has it’s limits. A known fact is that, on average, the moment when a doctor is most effective is his or her first year out of medical school. After that, statistically downhill.Data-ism:Now when if you go to a doctor, you get tests. You get blood work, you get an MRI, an EEG, an X-Ray, the X-Ray might go into a database and an AI algorithm matches it against other X-rays (does it match a tumor X-ray or a non-tumor X-ray?). We even get genetic testing to see if our illness is in our chromosomes.Then, armed with data, often a computer will tell us the correct solution (and even a computer can do the robotic surgery needed), or a human will help interpret the data (but there’s room for human error here).(source: National Genome Research Institute)So Medicine has evolved fromTheism → Humanism → DataismLet’s pick another industry:WARTheism: 3000 years ago if two countries went to war, the kings would perform massive sacrifices to their gods the day before.In the Bible, whosever God was stronger (Baal versus Yahweh being a notable Hebrew battle), that group would win the war.Fragments of this exist right now: May the Force Be With You, said to Luke before he flies out to fight the Death Star.Humanism: For the past 500 years, whoever had the most humans on the ground, the most bullets, then the most planes, then the most bombs. ,would win the war.Data-ism:War is being fought every day now. EVERY SINGLE DAY. Every day, some country tries to bring down the electric grid of Poland.Every day, every Fortune 500 company is attacked by “bot armies” coming from…nobody knows.I’ve been involved in the cyber security space for 25 years or more.I once was talking to a company who helps Fortune 500 companies fight “bot armies”. All of the employees were top Phds who were the experts in their fields.One guy told me, “No matter how smart we are, they are smarter.”Who are “they?” The people making the bot armies. Where do they come from? We don’t know. They come from everywhere. They are just smarter than us.Elections are rigged. Companies are attacked. Information is stolen.We have been in World War III for at least 20 years and it will never end. Dataism has taken over war.Ok…MONEYTheism: “In God We Trust”Humanism: “George Washington”. A picture of Independence Hall. Or the White House. Anything. Anything at all so that we trust humans with what we are given in exchange for the hard labor we do every single day.Do we trust humans? I tend to trust humans. But that is maybe not so smart all of the time. Humans make a lot of mistakes and that’s been the downfall of so many companies, so many families, and so many…everything.Data-ism. Bitcoin and now other cryptocurrencies.1000s of man-years of science. 100,000s of lines of code that has been checked by 10,000s of the best programmers.Data-ism prevents forgery, keeps privacy, re-creates all contract law, avoids fees, avoids theft. And this is just a small sample of what data does for money.“In Data We Trust” for better or worse. But it works.The natural evolution of money has arrived. And it’s not only Bitcoin but other cryptocurrencies.FAQ:Why do we need other Cryptocurrencies?Why do we need more than one currency at all? Why is there a US dollar and a Canadian dollar.FOR NO REASON. Just an artificial border created in 1770 and we have two different currencies.Cryptocurrencies have what I call are “problem borders”.One coin is better than Bitcoin for making contracts (Ethereum).Another coin is better for privacy ((Zcash. A problem with Bitcoin is that although there are no names on a transaction, I can see the size and the time. So privacy is still a slight problem).Another coin might be better for solving a problem of decentralized storage (as opposed to storing all of your photos on one centralizes spot that can be hacked like Google Drive). Bitcoin doesn’t address this problem.Problem Borders create new currencies.Is it too late to invest in Bitcoin and other cryptocurrencies?Right now, this reminds me of the Internet in 1995–6. There’s a bit of irrational exuberance in new coins. Prices are going crazy.There will be a massive pullback. BUT, the legitimate coins are here to stay and will keep going.Amazon, of course, pulled back, when the Internet pulled back. Now it will eventually be a trillion dollar company. Many companies that started in the 90s have survived and thrived and were great long-term investments that have paid off.Cryptocurrencies are the “internet of money”. The internet is here to stay and so is the internet of money.We are only in inning one of the cryptocurrency shift in our money.Will cryptocurrencies replace paper money?Yes. Eventually. It might not be Bitcoin although Bitcoin will always exist.But each country, to solve the problems of paper money, will eventually switch. Countries that are debating it include: Israel, Estonia, Venezuela, Argentina.Countries that will use some aspects of cryptocurrency technology in their central bank will soon include China, Korea, Russia, and yes, the United States.And many countries will reject cryptocurrencies but their population will shift en masse to cryptocurrencies in order to avoid corruption, human error, theft, etc. First on my list for this is Argentina.What will the value of cryptocurrencies be?When I first wrote about this, all cryptocurrencies added up was about $200 BILLION. Now it’s around $750 Billion. Although I do view many of the currencies as scams so the number is really less.That’s the “SUPPLY” of cryptocurrencies.The DEMAND is the amount of paper money + gold that exists.That number is $200 TRILLION.So in order to go from ONE TRILLION to 200 TRILLION that’s a 200x gain. In other words, $10,000 turns into $2,000,000.And if you focus on the legitimate currencies, the gains are much greater.So, again, we are very much in the beginning of this. There is no other investment opportunity in our lifetime greater than this. And we ARE at the beginning.What are the legitimate cryptocurrencies?There are many. I don’t want to get into the weeds here and discuss all the technology.And I also don’t like all the speculative trading that is going on in cryptocurrencies. Speculation leads to scams and bubbles.But just like there were Internet companies that survived the bust and became the companies we use every day, there are cryptocurrencies that exist now that we will use every day ten years from now.You said on CNBC that Bitcoin will go to a $1,000,000? Were you kidding?No.Bitcoin hit $20,000 recently. We just said it could go at least as much as 200x higher. That’s $4,000,000. So even at $1,000,000, Bitcoin will be a buy.How else can one make money in the Bitcoin sector?You don’t have to be a software developer.When the gold rush hit in the 1800s, Levis Jeans became the big winner. And the companies that sold “picks” and “shovels”.There will be many picks and shovels companies in the Bitcoin space.Sites that have the latest bitcoin news and analysis will do well. Exchanges will do well. Companies that help integrate traditional companies with the deeper parts of Bitcoin technology will do well (like whoever is helping UPS integrate blockchain tech into their logistics).Companies that help new cryptocurrencies launch will do well.And on and on.Someone said you called “Bitcoin is a Ponzi scheme” in early 2013. Why should we trust you now?First, I’m always a believer that the best investment is in yourself. This will provide greater than 200x returns.That said, I was wrong in early 2013.I’ve been a software guy for 25+ years. I’m able to do my research. Which I did.By May 2013 I had already done enough research to build my own bitcoin store, go on CNBC and discuss Bitcoin, and be an advocate when it was just $60. This is all public info.But, for me, focusing on my physical health, emotional health, creative health, and spiritual health, will always be the most valuable “Currency” I can develop and trade in.Could Bitcoin be just a fad?No.Paper money DOES have the problems described above. Someone has to solve those problems. Bitcoin and other cryptocurrencies solve them.And every industry evolves. Cryptocurrencies are the “In Data We Trust” way in which money is evolving.And $750 BILLION believes in me on this.Who is Satoshi?Satoshi is the secretive founder of Bitcoin. He is worth many many billions in Bitcoin right now. He is anonymous and reporters, governments, etc have never figured out who he is.That said, a number of people know who he is. I read his blog every day, He is a secretive person and nobody wants to blow his cover.Well, what should I do now?Don’t listen to me.a. Get an account on Coinbase (or wherever). Buy $10 worth of Bitcoin just to taste and feel it.b. Then read. Read a lot.Here’s some books not about Bitcoin that are worth reading:Sapiens by Yuval HurariThe Evolution of Everything by Matt RidleyThe Ascent of Money by Niall Ferguson.Antifragile by Naseem TalebThere’s a lot of discussion of cryptocurrencies on Reddit and Twitter. DO NOT read those. Most of those discussions are filled with trolls although there are some decent sources there.Blogs / Sites: start with Coindesk and CoinTelegraph. You'll find the rest as you read more.
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What is the birthday gift I can give to my best friend who is a bibliophile?
How about one of these?An Annotated Bibliography of Typography, Letterpress Printing and Other Arts of the Bookby David S. Rose • Five Roses PressThe explosion of desktop-based, digital pre-press technology at the end of the twentieth century brought to a wide audience the previously specialized world of typography. Modern type design applications give users the ability to create new digital typefaces from the imagination, to recreate classic faces that are otherwise unavailable in digital form, and to adapt existing faces for specific needs.For those artisans who still hand-set and print with traditional letterpress technology, a dozen type foundries continue to provide a constant stream of classic metal faces. And for designers who combine the two worlds by printing letterpress from photopolymer plates, the options are unlimited.As with any powerful tools, the more one knows of the history behind them, the better able one will be to utilize them. The books listed here are just a few of hundreds that have been written on the subject of typography over three centuries, but they will provide a solid start for reading in this area.While many of the works listed are classics in the field, not all of them are currently in print. Those that are not available from the publisher (or from reprint houses such as Dover Publications) may often be found at antiquarian dealers who specialize in the field of Books about Books. A number of such dealers are listed at the end of this bibliography, and the rapid adoption of the Internet by antiquarian book dealers now means that most of these books are a simple click away. Overviews of Printing TypesPrinting Types: An Introduction by Alexander Lawson with Dwight Agner [Boston: Beacon Press, 1990] is a short (120 pages) easy-to-read overview that is exactly as advertised: an introduction. For over thirty years, Lawson has taught a course in the history of printing types at the Rochester Institute of Technology School of Printing, and this book grew out of his need for a simple handbook on the subject for his students. It is a well designed and illustrated inexpensive paperback, and would probably be your best bet if you have a casual interest in the subject and only want to read one book. The latest edition, brought current through 1990, covers electronic typography as well.Printing Types: Their History, Forms, and Use by Daniel Berkeley Updike (1860-1941) [New York: Dover, 1980 reprint of the second (1937) edition]. This is the classic work in the field of typographic history. Updike was a leader in the revival of traditional printing typefaces in the United States, and was the founder of the Merrymount Press (1893). A series of lectures he gave at Harvard from 1910-1917 served as the basis for Printing Types, which was first published in 1922. This Dover reprint is in two volumes, 618 pages of text plus 300 unnumbered illustrations. As Dover says in the jacket notes, "Printing Types presents the standards, the landmarks in typography that anyone connected with printing must know. In its mammoth, illustrated coverage, it is without a doubt the definitive guide to the subject.Letters of Credit: A View of Type Design by Walter Tracy [Boston: David Godine, 1986. 224 p, ill.] A beautiful and profusely illustrated step-by-step demonstration of type-design aesthetics that traces the beginnings and the path of modern-day typesetting.Fine print on type; the best of Fine print magazine on type and typography by Charles A. Bigelow, Paul Hayden Duensing, Linnea Gentry [San Francisco: Fine Print: Bedford Arts, 1988] is an excellent selection of articles from Fine Print magazine, the late indispensable periodical with which anyone concerned with type should be familiar. Each issue was designed by a different typographer, printed by letterpress and included scholarly articles, typographic overviews, reviews, and notices of new books on typography. Fine Print was published quarterly through about 1990, after which the publication led cliff-hanging existence as various groups and institutions tried to save it. While long gone, a final retrospective index is currently nearing production, and will also be a must-get.Typographical periodicals between the wars; a critique of the Fleuron, Signature, and Typography by Grant Shipcott [Oxford: Oxford Polytechnic Press, 1980. xiv, 111 p. :ill.]. These classic periodicals (particularly the Fleuron) were to their time what Fine Print was to typography and book design today, but because of the ferment in the world of design during the 20s and 30s and because of their illustrious contributors, they had a much greater effect on the typography of the time.Type and Typefaces by J. Ben Lieberman [New Rochelle: The Myriade Press, 1978] is an alternative to the Lawson book, but rather less accurate, bigger (142 pages, 8 1/2 x 11, hardcover) and harder to find. Ben Lieberman was an enthusiastic amateur printer and the father of the American Chappel movement of hobby printers. This book is an exuberant look at the history, classification, identification, and personalities of typography. It includes examples of over 1,000 type faces, and is well illustrated. Lieberman was not a scholar, but if you like unabashed 'boosterism,' you might find this book fun to read, despite its errors of both omission and commission.History and Development of Lettering and Letter formsThe 26 Letters by Oscar Ogg [New York: Thomas Y. Crowell, 1948]. A nicely done book by a well known American calligrapher, tracing the evolution of the alphabet from prehistoric times to the invention of printing. 250 pages, well illustrated.Letters by James Hutchinson [New York: Van Nostrand Reinhold, 1983]. A stylishly designed, very readable history of alphabets, writing, and printing types.The History and Technique of Lettering by Alexander Nesbitt [New York: Dover Publications, 1957]. A thorough history of type design from its origin through the mid-twentieth century, this book covers some of the same material as the Ogg book, but includes much more information on the development of letter forms since the invention of printing. It is written from an artist's perspective, and has a how-to section on lettering.The Alphabet and Elements of Lettering by Frederic W. Goudy [New York: Dover Publications, 1963. Reprint of 1952 University of California edition]. This falls somewhere between the Ogg and Nesbitt books, from Goudy's unique perspective as the most prolific type designer of the twentieth century.Roman Lettering by L.C. Evetts [New York: Taplinger, 1979] includes a character-by-character analysis of the letters on Trajans Column in Rome, which have served for centuries as one of the foundations of roman (serif) letter design. Evetts also includes charts showing the evolution of the roman alphabet through the centuries. Handsome lettering, with little text to clutter the presentation.An ABC Book: ABC of Lettering and Printing Types by Erik Lindegren [New York: Pentalic, nd ca. 1976]. A survey of type, calligraphy, and design, with examples of work from all periods, with an especially strong representation of lettering by Swedish, English, German, and American scribes and designers. A lively, well-designed introduction to letters.Writing, Illuminating and Lettering by Edward Johnston [New York: Taplinger, 1980]. The comprehensive calligraphy manual by the man who led the twentieth century revival of calligraphy. Johnston's influence on English, American and German lettering and design was immense.History of Lettering by Nicolete Gray [Boston: David Godine, 1987. 256 p].Type Designs from Various PeriodsArt of the Printed Book, 1455-1955; masterpieces of typography through five centuries from the collections of the Pierpont Morgan Library, New York by Joseph Blumenthal, (1897- ) [New York: Pierpont Morgan Library; 1984. Boston, MA: D.R. Godine, xiv, 192 p. : ill.]. Available both in hardcover and paperback, this collection by one of the great printer/scholars of the century is a must have for anyone interested in original source material. More than a hundred full pages facsimiles from the Morgan Library provide an instant overview of the development of typographic design from Gutenberg to the mid-twentieth century.Anatomy of a Typeface by Alexander Lawson [Boston: David R. Godine, 1990, 428 pages] A great book from one of the leading typographic experts of the late twentieth century, this substantial work examines a wide variety of typefaces in great detail, and explains why they look the way they do. An excellent reference work for the designer and printer that will both improve your eye for the detail of font design and inform the choices you will make in specifying and setting type yourself.Selected Essays on Books and Printing by A. F. Johnson [Amsterdam: Van Gendt, 1970]. Johnson was a scholar at the British Museum, and along with Daniel Berkeley Updike and Stanley Morrison was considered one of the experts in the field of typographic history. This lovely, massive (500 pages), and very expensive collection of some of his writings from 1927-1957 concentrates primarily on the typographic work of sixteenth century calligraphers and printers.A view of early typography up to about 1600 by Harry Carter [(The Lyell lectures 1968) Oxford, Clarendon P., 1969. xii, 137 p. 45 plates. illus., facsims., col. map].A history of the old English letter foundries; with notes, historical and bibliographical, on the rise and fall of English typography by Talbot Baines Reed, 1852-1893 and A. F. Johnson [Folkestone: Dawsons, Reissued 1974 xiv, 400 p., fold. leaf : ill., facsims].Notes on a Century of Typography at the University Press, Oxford, 1693-1794 by Horace Hart [Oxford, Clarendon Press, Reissued 1970 (1st ed. of 1900 reprinted) with an introduction and additional notes by Harry Carter. ix, 16, xvi, 203 p., plate. illus. facsims]. History of the types and typography of the Oxford University Press, generally regarded as the preeminent scholarly press in the western world.Nineteenth Century Ornamented Type Faces by Nicolete Gray [Berkeley: University of California Press, 1976]. Reprint of a classic from 1938, this large format 240 page work is the definitive book on its subject.American Wood Type, 1828-1900 by Rob Roy Kelly [New York: Da Capo Press]. Notes on the evolution of decorated and large wood types, and comments on related trades. As with the Nicolete Gray book, this is the definitive work in its field. The book was issued in several editions, of which this (paperback) is the least expensive.The Typographic Book 1450-1935 by Stanley Morrison and Kenneth Day [Chicago: University of Chicago Press, 1963]. A lush, expensive, visual treasury of almost 500 years of typography, including 357 plates.American typography today by Rob Carter [(New York: Van Nostrand Reinhold, 1989. 159 p. : ill. (some col.)].The Liberated Page Edited by Herbert Spencer [San Francisco: Bedford Arts, 1987]. An anthology of the major typographic experiments of the 20th century, as recorded in Typographica magazine.TypographyA Typographic Workbook: A Primer to History, Techniques, and Artistry by Kate Clair. A good place to start for a basic grounding in typographic design.The Elements of Typographic Style by Robert Bringhurst. A highly acclaimed, although somewhat more advanced, standard work in the field.The Crystal Goblet; sixteen essays on typography by Beatrice Warde [Cleveland and New York: World Publishing Company, 1956]. From a major woman in the field of typography come some thought-provoking pieces, including the famous analogy that gave the collection its name. Mandatory reading for would-be typographers.The Case for Legibility by John Ryder [London: The Bodley Head, 1979] "Not a typographer's manual nor a 'do-it-yourself' guide to book design, it is a personal statement of great sincerity and conviction by a distinguished practitioner of the art." Ryder also wrote “Printing For Pleasure”, one of the touchstones of the avocational letterpress printing movement.Better Type by Betty Binns [New York: Watson-Guptill, 1989. 192 p]. A trade book from the early days of the desktop publishing revolution that shows by copious examples the subtle differences in relationships between typefaces, letters, and spaces. From the preface: "This book systematically trains designers to make these fine discriminations, with the aim of specifying text type that is not only readable, but also beautiful and expressive." Only released in this one edition, and not readily available, but a nice book nevertheless.Introduction to Typography by Oliver Simon [London: Faber & Faber, 1945]. Not a bad place to start. This edition is out of print, but there has been at least one reprint in recent years. Simon's introduction is designed for the layman, and discusses many of the basic principles and theories of designing with type.First Principles of Typography by Stanley Morrison [Cambridge: at the University Press, 1951]. An important book from the man who designed Times Roman for the London Times.Asymmetric typography by Jan Tschichold [(Translated by Ruari McLean) New York, Reinhold Pub. Corp. 1967. 94 p. illus. (part col.) facsims]. Jan Tschichold (1902-1974), a well-known typographer, caused many people to rethink 'conventional' theories of typography when this seminal work was published in the mid-60s. Whether or not you agree with his approach, this book is required reading and will widen your typographic horizons.An essay on typography by Eric Gill [1st U.S. ed. Boston: D.R. Godine, 1988]. A classic typographic manifesto on the art and craft of letterforms from the designer of Gill Sans and the famous typography of London Underground.Typography, A Manual of Design by Emil Ruder [Niederteufen, Switzerland: Arthur Niggli Ltd, 1977. 3rd Edition]. A fascinating, disciplined, and very Swiss analysis of typography and letterforms. Ruder's discussion and illustration of the importance of white space in letter forms and graphic designs is excellent background reading.Report on the typography of the Cambridge University Press by Bruce Rogers [Cambridge, Cambridgeshire: University Printer, 1950. viii, 32, (3) p. : ill.]. Bruce Rogers (1870-1957) is regarded by many as having been the greatest typographer and book designer of the twentieth century. After World War II he was commissioned by the Cambridge University Press to undertake a thorough review of all of the Press' publications and standards. The resulting Report had a major impact not only on the C.U.P., but also on the general typographic theory in both Britain and the U.S.Designing with type; a basic course in typography by James Craig and Susan E. Meyer [Fourth. ed. New York: Watson-Guptill Publications, 1999. 176 p]. A modern 'how-to' book, often used as the primary textbook in college design courses, that is available at many large bookstores and graphic arts dealers.Finer Points in the spacing & arrangement of Type by Geoffrey Dowding.Book DesignMethods of Book Design: The Practice of an Industrial Craft by Hugh Williamson. An excellent book, not only for the author's typographical observations, but also as a comprehensive survey of printing at the height of letterpress.The Design of Books by Adrian Wilson. A classic on the design, layout, and typography of traditional pages and books, written by a great letterpress printer in 1967. Bookmaking: Editing, Design and Production by Marshall Lee Originally written primarily about letterpress in 1965, this 500+ page work has recently been re-issued in a greatly updated third edition for the computer era.Printing Poetry: A workbook in typographic reification by Clifford Burke. A very informative work on this subject that also applies to other letterpress printing. Issued in an edition of only 1000.Type DesignersTwentieth Century Type Designers by Sebastian Carter [New York: Taplinger Publishing Company, 1987]. An excellent look at the people behind the type faces, with in-depth profiles of designers such as Goudy, Morrison, Zapf, etc.Typologia; studies in type design & type making, with comments on the invention of typography, the first types, legibility, and fine printing by Frederic W. Goudy (1865-1947). [Reissued 1977. Berkeley: University of California Press, xviii, 170 p.: ill.; 24 cm.]. Written by the most prolific type designer of the 20th century [creator of, among others, the eponymous Goudy Oldstyle], this reprint of the 1940 edition discusses the history, function, and meaning of type, and gives some very good insights into how a type designer works.Jan Tschichold: typographer by Ruari McLean [Boston: David R. Godine, 1975]. This puts Tschichold's career and writings in the context of developments in society around him. It is informative and thought-provoking on its own, and serves as useful background to his writings on the subject.Manuale Typographicum; 100 typographical arrangements with considerations about types, typography and the art of printing selected from past and present, printed in eighteen languages by Herman Zapf [Frankfurt, New York: Z-Presse, 1968]. Herman Zapf is known to most desktop typographers primarily for giving his name to the Zapf Dingbat font. He is, in addition, one of the most respected and creative typographers and type designers of the century, who created not only the Dingbat and Zapf Chancery fonts, but also Optima and many other faces. Manuale Typographicum is a breathtaking 'tour de force,' consisting of 100 broadsides about type design in a wide variety of faces and styles. Superb as a source of inspiration and example.Herman Zapf and His Design Philosophy by Herman Zapf, Introduction by Carl Zahn [New Haven: Yale University Press, 90 color plates]. While the Manuale shows the master at work, this volume is a discourse on Zapf's insights into type design. An excellent book.Edward Johnston by Priscilla Johnston [New York: Pentallic, 1976]. This biography of the twentieth century's most important calligrapher, written by his daughter, traces his career and influence. Unlike many printing books, this one is a delightful read.Of the Just Shaping of Letters by Albrecht Dürer [New York: Dover Publications, 1965. (reprint of the Grolier Club translation of 1917)]. Originally part of Dürer's theoretical treatise on applied geometry, here is the source for those famous capital letters set against a gridded background.Champ Fleury by Geoffrey Tory, translated into English and annotated by George B. Ives [New York: Dover Publications, 1967. (reprint of the Grolier Club translation of 1927)]. The other famous humanistic alphabet similar to the one discussed in the Dürer book, but this is the one with the letters shown against naked human bodies in addition to the grid system.Pioneers of modern typography by Herbert Spencer [Cambridge, Mass.: MIT Press, 1983. Rev. ed. 160 p. : ill.].Typeface Reference WorksAmerican Metal Typefaces of the Twentieth Century by Mac McGrew [New Castle, Delaware: Oak Knoll Books, 1994, 2nd rev, ed. 376 p. : ill]. The definitive work on the subject, and an essential reference for both graphic designers and current letterpress printers. Currently in print from the publisher.The Encyclopedia of Type Faces, 4th Edition by W. Pincus Jaspert, W. Turner Berry, and A. F. Johnson [Poole, Dorset: Blandford Press, 1983]. A standard, comprehensive reference in the field, this work is a detailed listing of over 1,000 faces, arranged by name, with full information on their history, designers, etc. Although even after several editions it has numerous uncorrected errors (dates, foundries, names, even occasionally an incorrect specimen shown) it is still a required reference work on the subject.A.T.A. Type Comparison Book by Frank Merriman [Advertising Typographers Association of America, 1965]. An indispensable handbook for identifying typefaces. Hundreds of faces are grouped together by design, making it easy to find the one you want. Still in print, possibly in a more recent edition.Graphics Master 7: Workbook of reference guides & Graphic Tools for the Design, Preparation & Production Print and Internet Publishing by Dean Phillip Lem [Los Angeles, Calif.: D. Lem Associates, 2000. 7th ed. 158 p. : ill. (some col.)]. Although it covers much more than just type design, and is fairly expensive, this is one of the most important and continually useful reference work that a desktop designer and/or publisher should have.Font & Function [Mountain View, California: signNow Systems] was signNow's biennial catalog of their latest font offerings. But this tabloid size, four-color publication was also quite a bit more. It included articles on typographic history, the background to many signNow PostScript fonts, technical information and a graphic listing of over 1500 signNow fonts. While it is no longer being published, back issues are available from a number of sources.The typEncyclopedia; a user's guide to better typography by Frank J Romano [New York: R.R. Bowker Co., 1984. xii, 188 p. : ill.].Type and typography; the designer's type book by Ben Rosen [New York: Van Nostrand Reinhold Co., 1976 Rev. ed. 406 p. : ill.].History of PrintingA Short History of the Printed Word by Warren Chappell [Boston: Nonpareil Books (David Godine), 1980]. A once-over-very-lightly in 240 pages of large type, hitting the highlights in the development of type, printing and bookmaking.Five Hundred Years of Printing by S. H. Steinberg [Baltimore: Penguin Books, 1974]. A 400-page small-print paperback which is still in print, this covers Gutenberg through the early 20th century. Steinberg's style is a little dry. Since his death, the book (starting with the third edition) has been edited by James Moran.A Dictionary of Book History by John Feather [New York: Oxford University Press, 1986, 278 pp] is a concise one-stop reference, in alphabetical order, to topics including bibliography and bibliographical terminology, the history of printing, the physical history of the book (including typography, binding, etc.) and book collecting. It has over 650 articles ranging from a few lines to several pages, and covers the ground pretty thoroughly. Although not a classic work (and, indeed, poorly designed itself as a book), it serves as a very handy reference to the history of books. An expensive purchase at the original price of $45, it is often available on remainder for about $10.The Making of Books by Seán Jennett [New York and Washington: Frederick A. Preager, 1967]. A good overview of the entire art and craft of the book, including a little history and a fairly detailed examination of every stage of the process. If you are interested in books in general, this is a good place to start. Out of print, but rather ubiquitous at second-hand and antiquarian dealers.The Book: The Story of Printing & Bookmaking by Douglas C. McMurtrie [New York: Oxford University Press, 1943]. Almost 700 pages of large type devoted to the history of the book, by one of the most prolific writers in the field. Easy to read, anecdotal, and illustrated. Although out of print, it is not particularly scarce and, if you can find it, probably the quickest way to get up to speed on printing history.Letterpress Printing InstructionIntroduction to Letterpress Printing by David S. Rose.: [New York: Five Roses Press, 2003, 32pp.] The complete 21st century Getting Started Guide to everything you need to know about acquiring a press, finding supplies, learning to print, and setting up your very own letterpress shop. (Note: this indispensable little reference gets first place on the list because it was written by [ahem] the author of this very bibliography. A fully hyperlinked electronic version with up to date sources can be downloaded from www.fiveroses.org/intro.htm)General Printing by Glen U. Cleeton and Charles W. Pitkin.: [Bloomington, Ill: McKnight & McKnight Publishing Company, 1941-1963, 195pp.] Probably the best all-around introductory book for traditional letterpress printing, this manual is profusely illustrated with detailed and useful photographs. It is the one most recommended on the Letpress list, and several members personally knew the authors. Copies of the book are readily available in both paperback and hardcover.The Practice of Printing by Ralph W. Polk (in later editions, together with Edwin W. Polk) [Peoria, Illinois: The Manual Arts Press, 1937-1945; later editions Charles A. Bennett & Co., 1952-1964, 300+ pp]. The most ubiquitous letterpress printing manual of the twentieth century. This is the standard, in print for over 40 years, from which many current letterpress printers first learned in school print shop classes, and is a good basic reference for the letterpress printer. Although out of print, it is readily available, in one or another of its many editions, from most book arts dealers and online sources. In later years, it was distributed by the Kelsey Co. as the advanced printing manual for their mass-market presses. By 1971 it was updated to de-emphasize handset type, and was re-issued as "The Practice of Printing: Letterpress & Offset". If you are primarily interested in letterpress printing, try to get one of the earlier editions.Platen Press Operation by George J. Mills [Pittsburgh, Carnegie Institute of Technology, 1953, 150 p. illus.] This manual is the first choice of letterpress cognoscenti who are printing on platen presses, and serves as the missing "owner’s manual" for traditional platen presses such as Chandler & Price, Gordon, Pearl and other floor-mounted job presses. It should be read in conjunction with one of the above books, which provide more thorough coverage of hand type-setting and composition. This invaluable book is still available, in a reprint of the 1959 edition, from NA Graphics.Printing Digital Type on the Hand-Operated Flatbed Cylinder Press by Gerald Lange (Second Edition). California: Bieler Press, 2001 This is one of the few letterpress manuals currently in print, and the only one specifically addressing both Vandercook proof presses (the gold standard for current fine letterpress printers) and photopolymer plates. This book is the authority on the technologies of "modern" limited edition letterpress printing. Subjects covered include digital type and computer practices; letterpress configuration; photopolymer plates, flat-bases, and processing equipment; photopolymer plate-making; plate registration and travel; impression; cylinder packing and makeready; presswork; ink and inking; press operation and maintenance, as well as an updated listing of manufacturers and distributors. Newly included with this edition are troubleshooting guides to problems encountered during the processing and printing of photopolymer plates.Printing on the Iron Handpress by Richard-Gabriel Rummonds is the most comprehensive book ever published on the subject, and is still in print from Oak Knoll Press. (Note that "handpress" here means something specific when it comes to letterpress printing, and doesn't refer to ordinary hand-operated presses such as a Kelsey or a Pilot.) Precise techniques for printing on the handpress are presented in lucid, step-by-step procedures that Rummonds perfected over a period of almost twenty-five years at his celebrated Plain Wrapper Press and Ex Ophidia. In tandem with more than 400 detailed diagrams by George Laws, Rummonds describes every procedure a printer needs to know from setting up a handpress studio to preparing books for the binder. The author also maintains a constantly updated web-site to accompany the book.Printing for Pleasure, A Practical Guide for Amateurs by John Ryder [published in multiple editions from 1955-1977, in England and the US, by publishers including Chicago: Henry Regnery Co., (1977) and London: The Bodley Head (1976) This is still in print from The Bodley Head in the UK or Oak Knoll Books in North America]. A lovely, classy, little (12 mo) book, both pleasing to look at and inspirational for the novice amateur printer. This introductory work gives a light overview of the hobby of letterpress printing on both sides of the Atlantic, covering how to choose a press, type, paper and ink, as well as planning, design and production. A good place to start if you are just considering taking up this avocation, and a nice place to come back to every now and then to remind you why you are still printing.A Composition Manual: PIA Tools of Industry Series by Ralph W. Polk, Harry L. Gage et al. [Printing Industries of America 1953, 4to, 311 pp., index, biblio., 433 pps] A really excellent tutorial and reference work, sponsored by the printing industry trade association as the definitive manual for apprentices. It is a thorough overview of the entire typesetting and proofing end of the business that took four years and several experts to write. Because it was published in 1953, it came out just at the inflection point between hot and cold type, and is a fascinating final masterwork from an industry that feels the winds of change approaching. In addition to very detailed and well-illustrated tutorials on hand-setting and proofing metal type, it includes surprisingly useful overviews and illustrations of all the other composition-related tools of the shop, including Elrod, Ludlow and Monotype casters. To quote from the Forward, "The industry recognized the need for a manual containing basic principles of good typography that are fundamental to the presentation of the printed word, irrespective of whether that word is composed by hand, by machine, by photo-typesetting or by some yet unnamed method of the future…"I.T.U. Lessons in Printing [Indianapolis: International Typographical Union, 1927-1972, Various paginations] Published in many editions across half a century, these ten volumes were created by the printing unions as the standardized training course for American printers. While not as elegantly written or produced as many of the other letterpress manuals, these thousands of pages cover just about everything the journeyman printer was supposed to know, eventually encompassing Unit One (Elements of [Letterpress] Composition) through Unit Ten (Photocomposition, Ruling and Pasteup). Along the way is detailed information on topics including Display Composition, Imposition and Lockup, Trade Unionism, Linotype Operation, Design, and even English ("because English is a 'reasoning' subject which may have caused the student difficulty in school."). The first volume, covering the history of printing through typesetting and a proofing, is probably the most useful one for the modern letterpress printer. The original edition of 1927, written by John H. Chambers, was replaced by a much better text in the 50's that was almost certainly ghost-written by Ralph W. Polk, who also wrote the even better manual on behalf of the employers, as well as his own manuals (see above).Printing For School And Shop by Frank S. Henry [New York: John Wiley & Sons 1917, B&W photos and drwgs 318pp] Subtitled "A Textbook for Printers' Apprentices, Continuation classes, and for General Use in Schools" and updated with another edition in 1944, this was the original vocational course textbook which was eventually supplanted for the most part by Polk. Nevertheless, it provides detailed technical instruction and illustrations and—particularly in the later edition—can still serve as a useful learning tool for today's printer.The Essentials of Printing by Frank S. Henry [New York: John Wiley & Sons 1924, B&W drwgs 187pp + index] Subtitled "A Text-book for Beginners" and half the length of the preceding book. "It develops that there is an insistent demand for a shorter text, one that shall cover only the absolute essentials of printing...this volume attempts to present to the novice, in sequence, the operations necessary to the production of a piece of printed matter." Useful and relatively short, but somewhat outdated (even for letterpress!)Printing as a Hobby. By J. Ben.Lieberman [New York: Sterling Publishing Co. & London: Oak Tree Press, 1963. 128 p. Index.] is the brash, bigger, and less restrained American counterpart to the quintessentially British book by Ryder. Lieberman was an enthusiastic amateur printer, and this book is an exuberant well-illustrated pitch for his hobby. The author was not a scholar (nor particularly an aesthete), but if you like unabashed 'boosterism,' you might find this book fun to read, despite its errors of both omission and commission (not unlike his later book, Type and Typefaces, described above.)Printing, A Practical Introduction to the Graphic Arts by Hartley E. Jackson [New York; McGraw-Hill, 1957, 8vo., 286 pages]. Organization and use of the type case, hand setting, use of the platen press, and basic binding, with short sections on linoleum blocks, silk screen and photography in this industrial arts text. Not as good as Polk, but more than acceptable as an apprentice course book.Graphic Arts by Frederick D. Kagy [Chicago: The Goodheart-Willcox Co., Inc., 1961, 8vo, 112 pps.] Another (and probably the last) of the high-school vocational textbooks designed for once-over-lightly printing classes included as part of a longer graphic arts program, this short book gives a simple but well-illustrated quickie introduction to hand type-setting and platen press printing in about twenty pages. Nowhere near as comprehensive as many of the others, but certainly better than learning through pure trial and error.Introduction to Printing, The Craft of Letterpress by Herbert Simon, [London: Faber and Faber, 1968]Getting Started in Hand Printing & Binding by Van Waterford, [TAB Books, Blue Ridge Summit, Pennsylvania, 1981]Other Book ArtsHand Bookbinding: A Manual of Instruction by Aldren A. Watson. A clear, thorough, inexpensive introduction to hand binding.The Papermaker's Companion: The Ultimate Guide to Making And Using Handmade Paper by Helen Hiebert. Extensive step by step instructions.How to Marbleize Paper: Step-By-Step Instructions for 12 Traditional Patterns by Gabriele Grunebaum. A slim, inexpensive, but useful paperback.Practical Typecasting by Theo Rehak. The ultimate and definitive book on the subject, by the dean of American typefounders.Miller's Collecting Books by Catherine Porter. A modern, illustrated guide to all aspects of book collecting.BibliographiesA Typological Tally compiled by Tony Appleton [Brighton, (T. Appleton, 28 Florence Rd., Brighton, Sussex BN1 6DJ), 1973. 94 p. ill.]. Thirteen hundred writings in English on printing history, typography, bookbinding, and papermaking, compiled by one of the world's top dealers in the field.A Bibliography of Printing with Notes and Illustrations by F. C. Bigmore and C. W. H. Wyman [London: Oak Knoll Books, 1978]. Universally known as "Bigmore and Wyman," this is to printing bibliographies what Updike is to books about printing types. Published in 1880 (editions since then have been reprints) B&W provides excellent commentaries on just about every book that had been written on the subject as of the year it was published.Book Dealers/Publishers Specializing in Typography and the Book ArtsOak Knoll Books, ABAA 310 Delaware St. New Castle, DE 19720 USA tel:302-328-7232fax:302-328-7274 www.oakknoll.com email: oakknoll@oakknoll.comThe Veatches Art of the Book P.O. Box 328 140 Crescent Street Northampton, MA 01061 tel: 1-413-584-1867 fax: 1-413-584-2751 www.veatches.com email: Veatchs@veatchs.comFrances Wakeman Books 2 Manor Way, Kidlington, Oxford OX5 2BD, UK tel: +44 (0)1865 378316 fax: +44 (0)1865 378934 www.fwbooks.com email: info@fwbooks.comThe Bookpress Ltd. 1304 Jamestown Road Williamsburg, Virginia 23185 USA tel:(757) 229-1260 fax:(757) 229-0498 email: bookpress@widomaker.comTimothy Hawley Books 915 S. Third St. Louisville, KY 40203 U.S.A. tel: 502-451-3021email: hawleybk@home.comFrits Knuf Antiquarian Books P.O.Box 780, Oss NB, Netherlands, 5340 AT. tel: +31 412 626072. fax: +31 412 638755 email: info@books-on-books.comColophon Book Shop 117 Water Street Exeter, NH, 03833 tel: 603-772-8443www.colophonbooks.com email: colophon@nh.ultranet.comNA Graphics Attn: Fritz Klinke P.O. Box 467 Silverton, Colorado 81433 tel: 970-387-0212fax: 970-387-0127 email: nagraph@frontier.netDavid R. Godine, Publisher 9 Hamilton Place Boston, MA 02108-4715 tel: (617) 451-9600fax: (617) 350-0250 www.godine.com email: info@godine.comPeachpit Press 1249 Eighth Street Berkeley, CA 94710 tel (800) 283-9444 tel (510) 548-5991www.peachpit.comDawson's Book Shop 535 North Larchmont Blvd. Los Angeles, CA, 90004 tel: (213) 469-2186Many thanks to Howard Gralla, Alvin Eisenman, Robert Fleck, Kathy Schinhofen, Chuck Rowe, Earl Allen, Susan Lesch, Kathleen Tinkel, Michael J. Boyle, John Horn, Chris Simonds, Fritz Klinke, Roberta Lavadour, David Norton, Tom Parson, David Goodrich and the many members of the Letpress Internet mailing list for their suggestions before and during the compilation of this bibliography.An earlier version of this bibliography was originally published by Aldus Corporation in conjunction with their release of the Fontographer type design application. That version was, in turn, adapted and expanded from an earlier annotated checklist by the same author prepared for members of the MAUG Forums on Compuserve.Copyright © 1988-2014 by David S. Rose david@fiveroses.org The current version of this bibliography is always available online athttp://www.fiveroses.org/bibliog... and hyper-linking to it is encouraged. For any other publication inquiries, please contact the author. Revision: August 20, 2003 / December 18, 2014
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What are the limits of using the skin microbiome in forensic identification?
'What are the limits/potential of using the skin microbiome in forensic identification?'Back in 2010, one of the first papers to moot the idea of using skin microbiome in forensic identification compared and found a statistical correlation between microbiome signatures recovered from nine computer mice and the palm surface of the dominant hand of their owners (1).A more recent study on 25 to 105 samples from different body sites also mooted the forensic idea (2).Meantime, the latest study referenced in the question included sampling a mere 12 healthy individuals (3).Could a case for forensi...
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Do agreements signed online by EchoSign or signNow have the same legal position as signed by hand?
Online signature software such as EchoSign or signNow use electronic signatures, also known as digital signatures.Most countries now have legislation that provide for the use of electronic signatures.However, these countries may have slightly different requirements for what constitutes a legally binding electronic signature.The United Nations has attempted to provide some unifying features through the UNCITRAL Model Law on Electronic Signatures 2001 but this model law has only been adopted in 32 states including the UK, China, Mexico and India.In the UK, the Electronic Communications Act 2000 was enacted to comply with the UNCITRAL Model Law but it has now been replaced by Europe’s Electronic Identification and Authentication Services Regulation (910/2014/EC)(eIDAS) which came into force on July 1 2016.This new law applies to all EU member states, but since BREXIT, it is uncertain whether the UK will continue with eIDAS.The eIDAS states that only "qualified electronic signatures" will be mutually accepted by all the EU member states. A qualified electronic signature must be uniquely linked to the signer and based on a qualified electronic certificate that is issued by an approved authority.In the USA, the Electronic Signatures in Global and National Commerce Act (ESIGN, 2000) and the Uniform Electronic Transactions Act (UETA, 1999) give similar recognition to online signatures as paper signatures.Under these two acts, the term "electronic signature" means an electronic sound, symbol, or process, attached to or logically associated with a contract or other record and executed or adopted by a person with the intent to sign the record.Briefly, the following requirements must be met for an electronic signature to be valid:The signer intended to sign, consented to the use of electronic records for the transaction and did not withdraw his or her consent.The electronic transaction system must keep a record of how the signature was created or make a textual or graphic statement that must be attached to the agreement.The signer must have received a copy of the UETA consumer consent disclosures.The electronic signature records must be capable of being retained and accurately reproduced later by all parties. In other words, all parties must be allowed to reprint the agreement and the signatures if they want to.In Canada, electronic signatures are governed by the Personal Information Protection and Electronic Documents Act (PIPEDA, 2000). A secure electronic signature must be:Unique to the person signing.The person signing has sole control over the signing process and his or her identify can be verified.The electronic signature is linked to an electronic document in a way that any attempt to change the document can be determined.In general, there's a lot of similarity in requirements governing electronic signatures, mainly because this is necessary to promote the growth of international e-commerce and trading.However, to avoid uncertainty, you should always state in your agreement which country’s law applies to the agreement. If there was going to be a dispute later on, you then know which country’s law will apply to the agreement and what the likely result will be.Also, even though you sign an agreement online using these software, ensure that you print a copy of the agreement and the signatures and keep these paper copies for your own records.For more info, you can check out our article on 4 tools to sign NDA agreements electronically.Credits: Icon "edit" by Chameleon Design from the Noun Project.
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What are common programming errors or "gotchas" in C++?
Plain Arrays are just as dangerous in C++ as they are in C. you can overshoot them, or give a bad index parameter and the whole thing goes off the rails.Pointers in C++ are the same pointers as in C, with all the things you need to do to make them safer to use, plus they can point to classes.Type restrictions are stricter in C++ than in C, so porting a C code base to C++ is mostly trivial unless some loose typing is involved, then you will have to be more explicit with the types.Arrays declared in C++ have their declared size as part of their type (stricter typing).int a[10] ; // type int[10] , not int*Structs are first class objects in C++ just like classes but with all public members.Struct declarations automatically generate the Big 5 default functions:Constructor,Copy constructor,Assignment constructor,Move constructor,Destructor.Function overloading is based on parameters being unique. C++ ‘mangles’ the function names internally to be unique based on return type and parameter type.Declaring an object causes its allocation and then runs its constructor. The object is fully ready once its construction is complete. If the object has members, they are constructed as well with sane default values.An object’s default initialization values for members of classes and structs:integer types set to zero;floating point types set to 0e0pointer members are not set. They must be explicitly initialized. Ifthe member will not be assigned at construction, you can specify aninitial value of nullptr in the definition or a constructor initialization list.Arrays are allocated but the values are not set if the array contents are not initialized by default. An array of class objects will have its contents initialized, but an array of ints or floats or pointers will not.reference members must be bound to initialized objects in the definition or the constructor.C has malloc() and free() — C++ has those too, but generally uses new and delete.new creates and initializes objects, leaving then in a ready to use state. If the object has initialization beyond that it is performed, then a pointer is returned.If any members of the object need initialization they are performed as well.In other words the full constructor code is performed when invoked with new.The object is created on the heap memory, and persists until deleted or the program ends.delete does a complete destruction of an object, and all its members, calling any destructors its members may have.Copying an object instance allocates a new instance and makes a binary copy of its contents. This is a shallow copy, though. If the object contains pointers or references to other objects as members, the pointers and references are copied, not what they point to. You have to write code to do the copying in that case.STL containers such as std::array, std::vector, std::string, etc, have code to automatically copy their entire contents, but custom classes need it to be written out.An initializer list is efficient in C++. If the class or struct is “trivially constructed”, that is all members are ready after calling the class constructor, then an initializer list can be used to automatically construct an instance with the members of the list. No extra copying needs to be done; the compiler will optimize the instantiation most of the time.std:string s[4] = { "one", "two", "three", "four"}; /* four std::strings are created with the contents of each char array. s is created and the addresses of each std::string instance are placed in the array. When x goes out of scope, the destructors of each element are called. */ struct K { int x[4]; int total; }; K k = { {1,2,3,4}, 10 }; // const double pi(3.1415926); // optimized by compiler double twopi = 2.0 * pi; // not optimized const double tau = pi + pi; // optimized // compiler is smart with this new syntax int a[] = { 4, 5, 6, 7, 8, 9, -1, -2, 0,-3 }; int x = 0; for(auto i : a) { std::cout << i << "\t" x = x + i; } std::cout << "\n" << x << "\n"; 4 5 6 7 8 9 -1 -2 0 -3 34 for( long x : { 0,1,2,3,4,5,6,7,8,9} ) { std::cout << x << ",\t"; if (x%5 ==0) std::cout << "\n"; } 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, A C++ reference (&) is not a pointer. You have to declare a reference type with an initialization to a valid object. Copying a reference does not copy the object, but adds another reference to the object. You do not need to use pointer syntax with references; it is more like an alias than a pointer. References cannot be reassigned to any other object. When a reference goes out of scope, it unbinds from the object, but the object will still be around, bound to its declared label, until that goes out of scope, then the object destructs.Object obj; // declaration Object& objref = obj; // or references o // a becomes a reference to the input reference. void print( Object& a) { a.print(); } // both calls work // print(obj); // a is ref to obj print(objref); // a is copy of objref Object b(obj); // copy constructor Object c = obj; // copy assignment Object& d = objref; // copy reference, // objref and d refer to same object Object e(objref) // copy constructor // objref dereferenced automatically auto f = obj; // copy obj auto & g = obj; // reference obj auto h = objref; // copy obj auto & j = objref; // copy reference This makes references safer than pointers, yet you still get the pass by ref advantage, without the pointer hassle and syntax. Also you are guaranteed thatyou will not get a NULL pointer by accident passed in.C++ prefers nullptr over NULL, because NULL is a constant integer (0) so can be misused or ambiguous if functions are overloaded to accept integer parameters.nullptr cannot be converted to an integer, so always will refer to a “pointer to nothing” as intended. Any type of pointer can be assigned nullptr.The C++ template system is amazing, but it has to be able to create an actual legal C++ function or class with actual types and variables to compile. A template is not generic, it synthesizes a specific function with all the template parameters filled-out and then compiles that, from the template recipe and the parameters passed in at compile-time. It cannot ‘figure out’ at run time if the parameters are correct; it will probably catch any ambiguities though. Templates are confusing for beginners because they can not see the actual code produced by them, but eventually they get the idea that the template code is not what is being run, the actual code created by the template is run.#include
template T add(T a, T b) { return a + b; } void f() { int i = add(5, 6); std::string x("kitty"), y("doggy"); std::string c = add(x, y); } generates:template int add(int a, int b) { return a + b; } // std::basic_string is what std::string really is template > std::basic_string add(std::basic_string a, std::basic_string b) { return a + b; } template T add(T a, T b) { return a + b; } ; void f() { int i = add(5, 6); std::string x("kitty"), y("doggy"); std::string c = add(x, y); }
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