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Top cowboy is your basic MacGyver version, able to leap tall buildings with a single roll of string and somehow roll out just enough cable wire to connect San Francisco to a defunct hydro-electric dam on Mount Tamalpais. With a staple gun and some boulder-shifting, he manages to make the lights go up in the city, the jukebox play, and save the day at they very last moment before all hell breaks loose and things turn to shit. This happens (spoilers! because it turns out that the only bad injun is a sneaky, traitorous lying injun (whose followers are so ignorant and inept they willingly turn into vicious monsters en masse or peace-loving cave-dwellers just as en masse depending on which leader they decide to bow down before at any given moment, he naturally being the strongest with the biggest dick). A writer with genuine vision sees the franchise turned over by corporate overlords to a movie director raised on John Wayne and the Lone Ranger. The original Planet of the Apes came around at a time when dystopias were rather fresh and refreshing. Nuclear nightmare scenarios were just off the boat, pre-detente and all that. What was nice about the original was that it was really okay that the Apes got a chance. This new one has only Keri Russell’s occasional appearance to heal the sick, console the strong, worry over the weak, and basically be everybody’s sexy background mom. It’s unfortunate and seriously there is no reason why many of the male roles could not have been female (human and ape alike), no reason at all. Movies have got to get to the point where people are people and it doesn’t fucking matter what gender they are, what they look like, what they wear, what they sound like, what their name is or their sexuality or the color of their hair or their skin or their eyes, because we can all be anything that any of us can be and it really should be obvious to everyone by now. Many people complained about the pacing (it was kind of slow and boring at times; often when it should have been crackling it felt lethargic), but I went along with that. It seems they introduced too many leads to tidy up, but I’ve never been one to demand total cleanup. One could well ask, what happened to the immortality-seeking billionaire. Or, sheesh, someone call the police on the terrorist maybe. Or, did the space center blow up with the android kid or not. Nobody seemed terribly concerned about anything, “five days later”. The husband was sort of a pussy with a weird accent.

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TeamouseLX, TeamouseVS, TeamouseVS (all 2001) are Miller's versions of Times Roman. Prolific master calligrapher and type designer, born in Nuremberg in 1918. Most of his life, he lived in Darmstadt, where he died in 2015. He is best known for Palatino, Optima, Melior, Zapf Dingbats, Zapfino, and ITC Zapf Chancery. He created alphabets for metal types, photocomposition and digital systems. He studied typography from 1938 until 1941 in Paul Koch's workshop in Frankfurt. From 1956 until 1973, he was consultant for Mergenthaler Linotype Company, Brooklyn and Frankfurt. From 1977 until 1987, he was vice president of Design Processing, Inc. New York (which he founded with his friends Aaron Burns and Herb Lubalin), and professor of Typographic Computer Programs, Rochester Institute of Technology, Rochester, New York. Students at RIT included Kris Holmes and Charles Bigelow, who together created the Lucida type family. He retired in Darmstadt, Germany, but consulted on many font projects until a few years before his death. In the 1990s, Zapf developed the hz program for kerning and typesetting. It was acquired by Adobe who used ideas from it in InDesign. Typographic Variations (1964), or Typografische Variationen (1963, Stempel), of which only 500 copies were printed. Orbis Typographicus (1980) Hermann Zapf and his Design Philosophy (Chicago, 1987) ABC-XYZapf (London, 1989) Poetry through Typography (New York, 1993) August Rosenberger (Rochester, NY, 1996). Arno (Hallmark). Aldus Buchschrift (Linotype, 1954): Italic, Roman. Alkor Notebook.

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Each dialog has a section labeled Source Space and a section labeled Print Space. Source Space has only two options (except in Illustrator): Document uses the Document profile (or profiles, in the case of In- Design) as the source profile for any conversion specified in the Print Space section. Proof Setup (Proof in InDesign) makes the application perform a con- version from the document profile (s) to the profile specified in Proof Setup. In Photoshop, it uses the rendering intent specified in Proof Setup. In InDesign, each object in the document has its own renderingintent. If you choose Composite RGB, onlyRGB profiles are available, while ifyou choose Composite CMYK or Sepa-rations, only CMYK profiles are available. While the number of possibilities that exist is extremely large, the print-ing controls offer easy support for three fairly obvious workflow options: In an early-binding workflow, where all the color is already in final out- put space, setting the Source Space to Document and the Print Spaceto Same as Source lets you print the document values unchanged tothe final output device. You can also print proofs to some other device by selecting its profilein Print Space. If you choose absolute colorimetric rendering, the proofing printer will lay down ink in the paper white areas to matchthe paper white of the final output, while relative colorimetric will scale the final paper white to the paper white of the proofer. In a late-binding workflow, where the document is in a space otherthan the final output space, choosing the profile for the final outputdevice in Print Space makes the application convert the color to the final output spaceyou'd use this when you're actually printing to thefinal output device. To generate proofs in a late-binding workflow, you can set Proof Setupto the final output space, then select Proof in the Source Space, and the profile for your proofing device in Print Space. This instructs the application to first convert the color from the source spaces to the final output space specified in Proof Setup, then to convert that color to the space you've specified in Print Space. The result is that the printer sim- ulates the final output. Again, absolute colorimetric rendering makes the proofer simulate the final paper white, while relative colorimetric scales the color to the paper white of the proofer. One caveat: InDesign only applies absolute colorimetric rendering to the contents of frames. It leaves the paper white areas paper white, which defeats the point ofthe excercise since our eyes promptly adaptto the blank paper white. An easyworkaround is to place a blank frame on the background of the master page. Other arrangementsare possiblesome cameras use CMY filters instead ofRGB, because theytransmit more light, while still others may add a fourth color.

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but also his informal style: Will he chew gum in front of the emperor. Duterte arrives in Tokyo later Tuesday for a three-day visit, his first as Philippine leader. For diplomats and political leaders, the main issue is Duterte's foreign policy toward Washington and how Japan can help mend those ties. Tokyo is a major ally of the United States, and has watched as Duterte increasingly attacked the U. S. and said he would scale back America's military engagement with his country. And he has worried Japan and the United States by reaching out to China. Japanese Foreign Minister Fumio Kishida acknowledged Duterte's remarks have triggered concern, and told reporters he planned to ask what his real intentions were when the two have dinner Tuesday. They are particularly concerned about his meeting with Emperor Akihito on Friday. Japanese TV shows have repeatedly shown Duterte apparently chewing gum — at meetings, shaking hands and at other public occasions. He walked in with his hands in his pockets and chewed gum during the hand shake and a signing ceremony. Hundreds of camp dwellers, many carrying all their possessions in backpacks, waited for busses to take them on to temporary accommodation across France, as the start of a massive operation to demolish the site. Some kept warm around piles of burning rubbish in the camp, a filthy expanse that has become a symbol of Europe's failed migration policies as member states bicker over who should take in asylum-seekers and economic migrants. There was no repeat of the minor skirmishes with security forces seen over the weekend and French officials said the early stages of the demolition operation were going peacefully. London and Paris have been at odds over the fate of about 1,300 unaccompanied child migrants. The French government last week urged Britain to step up its efforts and resettle child migrants. On Monday, British Interior Minister Amber Rudd said Britain would take in roughly half of the camp's children who are alone. Her French counterpart Bernard Cazeneuve said that all unaccompanied children with family ties in Britain would be taken there.

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