#cover letter sample pdf

[aelinfireheartgalathynius]

My ADHD goblin has decided our new project is formatting and lightly editing all 1,500+ pages of All the Young Dudes to create a four-volume book set.

I know people usually make ATYD into a there-volume set, but I actually have one of those sets and the print is absurdly tiny and laid out pretty unprofessionally. I wanted to do it in a more thoughtful way so that I can actually read and enjoy the finished copies!

I spent 8 hours today typesetting and lightly editing the first volume, which is 708 pages, and now I have to wait a couple of weeks for a sample to get here to make sure the margins look right. I've used InDesign consistently for years, so I'm able to create various paragraph styles for different types of text (letters, articles, song lyrics) and add little finishing touches, like small designs at the end of chapters. I'm also going to custom design the covers!

If anyone wants the PDFs when they're all done let me know, we shall see how it goes

[comicgoblinwrites]

WIP Folders Tag

thanks for the tag, @magic-is-something-we-create !

Rules:

Post the names of all the files in your WIP folder, regardless of how non-descriptive or ridiculous.

Let people send you an ask with the title that most intrigues them, & then post a little snippet or tell them something about it!

Tag as many people as you have wips

So, I know that having file names like “lsdfllkjhshkj” or “unnamed 3” or “document5” is a trope among writers, but I’ve always had somewhat coherent names for my files. One fallacy that comes up is I have multiple copies of most things, so a lot of files end up with "copy 2, copy copy 3, copy 2 copy" tacked onto them. I also JUST went through most my files to organize.

This is also just what’s on my laptop, and also just my prose stories. I’m not going to subject y’all (or myself) to my entire library. Maybe someday. Maybe I’ll do another one of these for my comics.

It looks like there are… 8ish WIP folders here, so that’s 8 people 😬 @writewithfire, @faelanvance, @kiraofthewind @mjjune @gailynovelry @author-audrey-simmons @arijensineink @elizaellwrites

The list is Under the Cut--

Adventure Story - Adventurer Story Snippets

Darkness Inherent - Darkness Inherant 2023 - Query Letter Template - Darkness Inherent Draft 2

Divide - Cover Letter Divide - Divide 2018 - Divide 2023 - Writing Sample - Divide - Final copy

Fever - Fever - Revision_Misha Gehr copy - Fever 2023 - [name] Notes - Fever - Annotations- Misha - Feedback for Misha - Note For Misha

Left Behind - Left Behind - Left Behind 2023 - Wasteland Feedback - Workshop story 2_Misha Gehr_Left Behind - Misha_Letter (1) copy - Misha_Letter (1) - Workshop story 2_Misha Skinner-Gehr_Left Behind

Misc. Stories and Drafts - A Reflection on Magic - A Splash of Red and White - Library Door - Montana - Nymph - Freeze - Rain - Sunny Sunday - The Mouse and the Void - The Nuances of Sleep - The Start of Something Akin to Horror - TSOTE Short story - Wake - Writing Compilation - Writing Group - “Awakening” - Writing Group #3- Societal Suicide - Writing Group #4- When it happens

Night Market - Feedback [folder] - Misha Gehr_Workshop 2 - Night Market 2023 - Night Market 2023 Version B - Misha Gehr_Workshop 2 [pdf]

TFBS • Images [folder] - Maeve - Marcelene - Reference

-Book 2 Snippets - Maeve drabble NSFW - Mage and Knight Graveyard - TFBS 1 - Maeve Character Sheet - Marcelene Character Sheet

TSOTE • Book 1 [folder] - As We Run Beta Reader Questionnaire - Feedback Master - As We Run Beta Reader Questionnaire - Template - AWR Draft March 2020

• Book 2 [folder] [there’s nothing in this folder]

• Book 3 [folder] - TSOTE book 3

• Book 4 [folder] [another empty folder]

• Darcy Aesthetic [folder] - [a shit ton of downloaded photos]

• Querying [folder] - Synopsis - TSOTE 1 query letter

[zoanzon]

Friend, for you I have made a gift.

The Boy with Klippel-Feil Syndrome: Archaeologists find prehistoric humans cared for sick and disabled | Link from Denver Post, article originally from NYT (fuck their paywall)

The Westminster Throne Graffitti: King Charles' Coronation Artifacts: Orb, Sceptre and a Vandalized Chair

“Halfdan carved these runes”: Wikipedia - ‘Runic Inscriptions in Hagia Sophia’, Viking Graffiti in Hagia Sophia: “Halvdan Carved These Runes”

A Paleolithic Dog & Its Bone: Prehistoric Dog Found with Mammoth Bone in Mouth

The White Dog from Melita (ft. other heartbreaking dog-grave epigraphs): Historians Discover Ancient Dog Tombs With Tear-Jerking Inscriptions

Letter of Apion: Academia.edu article: “Greetings from the camp. Memories and preoccupations in the papyrus correspondence of Roman soldiers with their families” [Takes you to the overview page where you can choose to download the PDF of the article], P.Oxy. III 533 (TM/HGV 28373) - Letter of Apion | Heidelberg University

Carnuntum Child’s Footprint: Honestly I can’t find anything about this other than that image re-uploaded to different Tumblrs and stuff like iFunny, so...unsure where to properly cite this one from.

Martial 5.34: The Classical Anthology, Poem analysis on feminaeromanae.org, Wikipedia - ‘Martial’, [bonus: ‘Sadie’ by Bill Coyle, a modern poem which seems directly inspired by Martial 5.34]

The Whitehawk Woman: National Geographic (also cited below for the Slonk Hill Man), LiveScience (also cited below for the Slonk Hill Man), Brighton & Hove Museums: ‘One of Brighton and Hove’s earliest known residents – Whitehawk Woman’

The Slonk Hill Man: LiveScience, National Geographic (could not find the article whose exact words are in the photo)

Adelasius Ebalchus: SwissInfo: ‘Facing up to Switzerland’s Roman past’, National Geographic,

The Wari Queen: Bored Panda (ft. all three of the above people too), LiveScience, Peru.Travel - ‘Four female representations of ancient Peru’, National Geographic article on the tomb she was found in (unfortunately paywalled for NatGeo subscribers only)

Guooey’s post on the boy who’d own a Minecraft Creeper in present day: Original post ending with @evilswampchicken​​ art, original post with contributions from @fontain on reconstruction, original post with note-compliation of people comparing the boy to kids they know now

Image of the child holding a carved figurine: Cannot trace the image further than Tumblr

Herbert of Reichenau and his brother Werner: photographed post from @elucubrare​, no clue what book this itself was cited from, [bonus: apparently this is the same post that the next two bits comes up in too? so...the extended version of the post]

Medieval parenting manual: The extended post mentioned above (started by @elucubrare​ and expanded on by @marzipanandminutiae​)

Letter from Michael Psellos to his infant grandson: The same extended post mentioned above (started by @elucubrare​ and expanded on by @marzipanandminutiae​ and then @theoutcastrogue​), Psellos’ letter is noted to be found in “Mothers and Sons, Fathers and Daughters: The Byzantine Family of Michael Psellos (University of Notre Dame Press, 2006).”

Children frolicking in puddles: LiveScience: “Ice age children frolicked in 'giant sloth puddles' 11,000 years ago, footprints reveal”

Onfim: Wikipedia: ‘Onfim’, TheVintageNews

Baby with Down Syndrome: Keranews: “Ancient Bones Offer Clues To How Long Ago Humans Cared For The Vulnerable”

Dawn, the Mesolithic Teen: Reuters: “Scientists reconstruct face of 9,000 year-old Greek teenager”, BBC.com

‘Marcus loves Spendusa’ (ft. some fun bonus carvings): United Streets of Art: “Graffiti of the Ancients: Pompeii”, Classical Wisdom: “The Dirty World of Ancient Graffiti”

I can’t find half of the graffiti included in that compilation image, but I did also find one or two articles covering ancient Greek graffiti in general: “A Sampling of Graffiti and Other Public and Semi-Public Texts from Pompeii and Herculaneum”, Haaretz.com: “Largest Collection of Ancient Graffiti Ever Found in Pompeii. Some Are Hysterically Funny”

Wet nurse terracotta statue: Wikimedia Commons file directory

Viking graffiti compilation: Stencil Archive: “Viking Graffiti in Scotland”

‘Someone will remember us’: Sappho, fragment 147

‘do you really think that people in the past were not people?’: original post by @natequarter​

Toddler with a pillow: CNN.com: “The oldest human burial in Africa was a toddler laid to rest with a pillow”

I have a folder called Time is a Flat Circle in which I collect evidence of humanity. Here is most of them.

[celestialmazer]

That mysterious font is Festive, not Stymie

By Ray Newman - April 22, 2024

Source: https://precastreinforced.co.uk/2024/04/22/that-mysterious-font-is-festive-not-stymie/

What is that font? You know, THAT font? The chunky italic lettering you see on launderettes and council blocks, on post-war churches and new town butcher’s shops, across the UK.

The font you’re thinking of might well be ‘Festive’, a lettering style designed by Maurice Ward of Ward & Co, a sign-making company in Bristol, founded in 1952.

Launched in the early 1960s, Ward’s ‘Inter-signs’ product, manufactured under the Lettercast brand, used injection moulding.

Lettersigns was available in two styles, Festive and Block, and made it possible for anyone to mount their own custom signs with professional-looking 3D lettering.

Or, of course, the specific sign you’re thinking of might be in one of any number of similar lettering styles in the broader category of ‘Egyptian italic’.

Samples of lettering styles similar to Festive cobbled together by me from various sources including The Studio Book of Alphabets, 1963.

Those include:

Egyptian Italic (an earlier Ward & Co style)

Festival Egyptian (an official style of the Festival of Britain)

Stymie Bold Italic

Clarendon Bold Italic

Profil

Amigo No. 1

First, then, let’s pin down how to spot Festive in particular.

How to spot Festive

Trade catalogues from Wards of Bristol include samples of Festive in print.

From this, we can see the most distinctive features of Festive, which can help us distinguish it from similar lettering styles in the wild.

A sample of Festive from a Ward’s catalogue from, I think, 1971.

A shop sign in Bristol in Festive, author’s own photo.

First, there’s the unexpected serif at the apex of the capital A.

Then there’s the relative flatness of the round letters, like C and G.

And, of course, there’s the built-in beading – that outer line that traces the edge of each letter.

The origins of Festive

There’s a clue right there in the name: like almost every bit of flair in Britain’s mid-20th century public spaces, it came indirectly from the 1951 Festival of Britain.

One of its official lettering styles was ‘Festival Egyptian’, as depicted in the typographic handbook for designers.

A page from A Specimen of Display Letters Designed for the Festival of Britain 1951 via Chris Mullen at The Visual Telling of Stories.

But why Egyptian? In around 1817, London type founder Vincent Figgins created a typeface he referred to as ‘Antique’.

An 1834 sample of an italic variation of Antique. SOURCE: archive.org

It was fat, bold and easy to read from a distance.

Earlier examples of this style have been found but Figgins commercialised it and prompted imitations from other foundries worldwide.

These days, they’re known as slab serif fonts but in the 19th century, they were usually referred to as antique, after Figgins; or as either Ionic or Egyptian, in variations on the theme.

You can certainly see in Antique, especially when italicised, the seeds of the 20th century launderette signs and tower block titling.

But these in-your-face, ungainly display typefaces went out of fashion, like everything associated with the Victorians. They spoke of slums, music halls and Gothic mausoleums. They weren’t fit for the world of motor cars, aeroplanes and Streamline Moderne.

Then, in the 1930s, a revival began, achieving its full flowering with the 1951 Festival of Britain. This is documented in detail by Paul Rennie in this 2001 essay (PDF) but here are the key points.

First, the cover of John Betjeman’s first book Ghastly Good Taste, published in 1933 when he was still in his twenties, showcased a jumble of Victorian typefaces.

Then, in 1938, came Nicolette Gray’s book Nineteenth Century Ornamented Typefaces, celebrating Victorian lettering styles.

And in the same year, the architect and townscape designer Gordon Cullen personally produced (non-italic) slab serif lettering for the starkly modern Finsbury Health Centre. It is clearly ahead of its time and wouldn’t look out of place on a municipal building erected 20 years later.

The Finsbury Health Centre in 1979. SOURCE: Gillfoto, via Wikimedia Commons, under a Creative Commons Attribution-Share Alike 3.0 Unported licence

Though the British Government generally clung to clean, uncluttered sans serif typefaces such as Gill Sans for official posters (Keep Calm and Carry On, chaps) advertising designers and publishers dabbled in Victorian styles throughout the 1940s.

After World War II, In the run up to the Festival, committees and working groups were put together to consider every small detail, including typography. Gordon Cullen and Nicolette Gray were both on the Festival of Britain Typographic Panel.

Once the Festival was over, Festival style lingered. Lettering catalogues from the 1950s and 60s include, for example, Egyptian Italic, Rockwell Italic and Ultra Bodoni Italic.

A sample of Egyptian Italic from a Ward’s catalogue of 1971.

Maurice Ward wrote this of his Egyptian Italic, the immediate precursor to Festive, in a catalogue from 1962:

[This] face, together with its vertical counterpart is a harmonious combination of the best features of the Egyptian family of characters and is perfectly suited as an architectural letter on buildings. The popularity of these Egyptians is unquestionably due to the Festival of Britain in 1951 and no face characterises more aptly the word ‘Festive’.

And when Ward & Co (Lettercast) launched Festive in around 1963 it was labelled as “based on Egyptian Italic”, which was in turn a take on Festival Egyptian.

The A from Egyptian Italic (left) and from Festive (right).

Feelings about fonts

What’s fascinating about Festive is how it moves people emotionally, and obsesses them.

The writer Jason Hazeley has been trying to identify it for years, for example, referring to it as “That Font” or “Everywhere Bold Italic”.

And he is not alone. For a generation of British people, it represents the vanishing landscape of their childhoods, tied into ideas of nostalgia and even hauntology.

Graphic designers have often resorted to Profil as a close match – and, of course, Festive was never really intended to be used in print.

On social media, including a popular Flickr group, Stymie Bold Italic has incorrectly been used to describe this entire category of lettering styles.

It’s only recently, however, that illustrator and designer Richard Littler of Scarfolk fame managed to unlock the mystery – or, at least, bring together all the threads.

When he put out a call on social media his significant reach across multiple platforms, with exactly the right kind of people, brought to light:

previously overlooked material at archive.org

detailed research into the British soap opera Crossroads (Wayback Machine)

The latter, a spectacular piece of work, has been sitting there for anyone to find since 2020, in a different domain of geekiness – if only type nerds had known to search ‘Inter-signs’ and ‘Lettercast’.

Personally, I’m a bit embarrassed not to have got there sooner. Back in 2020 I spent some time researching this seriously. I got in touch with Andy Ward, Maurice Ward’s son, who tipped me off to Egyptian Italic, and sent me photocopies of material he had at hand, at home, during lockdown.

And then Christine Daniel sent me photos of the back of some sign letters in her collection with ‘Inter-signs’ clearly marked on the back. But I couldn’t quite make those final links.

Together, though, we got there. The mystery has been solved. What a relief.

With thanks to Christine Daniel, Jason Hazeley, Richard Littler, Paul Rhodes and Andy Ward.

[evoldir]

Fwd: Postdoc: LundU.ElephantConservationPalaeogenomics

Begin forwarded message: > From: evoldir@evol.biology.mcmaster.ca > Subject: Postdoc: LundU.ElephantConservationPalaeogenomics > Date: 26 October 2024 at 06:16:31 BST > To: rdmpage@gmail.com > > > > Post-doctoral fellow in Palaeogenomics and conservation genomics > Lund University, Sweden > > We are recruiting a postdoc for 2 years (with possibility of extension > for one more year) at the Department of Biology, Lund University, > Sweden. The project aims to quantify the loss of genomic diversity > through five millennia of elephant ivory trade. It includes a genomic > analysis of elephant ivory confiscated in illegal imports to Europe and > historical ivory from museums and archaeological collections as a source > of key insights into elephant evolutionary history and the present-day > poaching crisis. > > The project is led by Dr. Patrícia Pečnerová (patriciapecnerova.com) > who is based at the University of Copenhagen.  The postdoc will be > hosted by Prof. Bengt Hansson at the Molecular Ecology and Evolution Lab, > Department of Biology, at Lund University. > > Work description > > The project will use an interdisciplinary approach combining ancient > DNA, population genetics, and conservation genetics. Collaboration with > archaeologists, palaeontologists, historians, curators, conservationists, > and forensics officials is an integral part of the project. The postdoc > will help inform study design and perform research including recovering > and analyzing ancient DNA using state-of-the-art genomic methods and > writing up the results for publication in scientific journals. The > position includes opportunities for participating in international > conferences/meetings, sampling trips, and visits to collaborators > across Europe. > > Requirements > > A PhD, or an international degree deemed equivalent to a PhD, within > the subject of the position.Documented ability to develop and complete > high-quality research.A comprehensive understanding of evolutionary > and population genetics theory.A demonstrated track-record in handling > high-throughput DNA sequencing data and bioinformatic analyses.Experience > with wet lab analyses of ancient DNA or molecular lab work.A curious, > collaborative, and cross-disciplinary mindset.Interest in biodiversity > conservation.Very good oral and written English skills. > > Application > > Applications shall be written in English and be compiled into a PDF-file > containing: > > A cover letter stating reasons for applying for this position, > outlining why you are suitable for the position, and giving a general > description of past research and future research interests (no more than > 2 pages).Résumé/CV, including degrees and other completed courses, > skills and work experience in laboratory and computational analyses, > and a list of publicationsContact information for 2-3 references.Copy > of the doctoral degree diploma. > > Application deadline: 25 November 2024 > Expected starting date: 20 January 2025 or as soon as possible thereafter > Apply at > https://ift.tt/yaNEl0q > > Contact > > Further information about the position can be obtained from Dr. Patrícia > Pečnerová, patricia.pecnerova@bio.ku.dk, and Prof. Bengt Hansson, > bengt.hansson@biol.lu.se. > > Patrícia Chrzanová Pecnerová

[jobs4grabs]

Rice Materials and Quantum Sciences Communications and Marketing Specialist

Houston, TX, United States,, Special Instructions to Applicants: Applicants are required to submit three writing samples, preferably a variety that includes marketing copy/materials, science and research writing and public relations writing. Please save it as one PDF file and attach it under the document section of the application materials along with your resume and cover letter. Links may also…

[cleverfoxpublishing-blog]

The process for submitting a manuscript to a hybrid publisher

Submitting a manuscript to a hybrid publisher involves a process that blends traditional publishing practices with self-publishing approaches. Hybrid publishers typically offer professional services, such as editing, design, and marketing, while requiring the author to invest in the process. Here’s a step-by-step guide to submitting a manuscript to a hybrid publisher:

1. Research Hybrid Publishers

Understand the Model: Hybrid publishers vary in their services and cost structures, so it’s important to know how they work and what they offer. Look for reputable hybrid publishers that specialize in your genre and have a track record of successful book releases.

Check Submission Guidelines: Each hybrid publisher will have its own submission requirements. Visit their website or contact them directly to understand their submission process, which may differ slightly from traditional publishers.

Verify Credibility: Ensure the publisher is credible and transparent about their fees, contracts, and royalties. Research reviews from other authors to avoid vanity presses disguised as hybrid publishers.

2. Prepare Your Manuscript

Polish Your Work: While hybrid publishers often provide editing services, it’s important to submit a manuscript that’s as polished as possible. This means thorough editing, proofreading, and formatting.

Follow Formatting Guidelines: Adhere to the submission guidelines provided by the publisher, which typically include specifics on font, spacing, margins, and file format (e.g., Word document or PDF).

3. Write a Query Letter or Proposal

Create a Compelling Query: A strong query letter introduces you and your manuscript to the publisher. It should include:

A Hook: A brief, engaging summary of your book.

Summary of the Manuscript: Describe the plot, themes, and target audience of your book.

Author Bio: Include your background, writing experience, and why you're the right person to tell this story.

Submit a Book Proposal (if required): Some hybrid publishers might request a book proposal, particularly for non-fiction, which could include a synopsis, target market analysis, marketing plan, and sample chapters.

4. Submit to the Publisher

Use the Publisher’s Submission Portal: Most hybrid publishers have an online submission portal. Follow the instructions carefully, ensuring you upload the necessary files, such as your manuscript, query letter, and any additional documentation they require (e.g., marketing plans).

Email Submissions: If email submissions are accepted, include all requested documents as attachments and clearly outline the content of your email. Always use a professional tone.

5. Be Prepared for Fees and Contracts

Understand Costs: Unlike traditional publishing, hybrid publishers often require authors to share the cost of publication, which may include editing, cover design, distribution, and marketing. Be sure you understand the financial commitment before submitting.

Review the Contract: If your manuscript is accepted, you’ll receive a contract outlining the terms of your partnership. Carefully review the contract, focusing on royalties, rights, distribution, and the scope of services provided by the publisher.

6. Be Ready for Marketing and Promotion

Collaborative Marketing: Hybrid publishers typically expect authors to be involved in marketing and promotion. Prepare to discuss your marketing ideas and be an active participant in promoting your book.

Assess Marketing Services: Many hybrid publishers offer marketing support, but you may need to supplement their efforts with your own promotional activities, such as social media engagement, book signings, or partnerships.

7. Wait for a Response

Response Time: Hybrid publishers usually take several weeks to respond to submissions. Be patient, and follow up if you haven’t heard back within their stated timeframe.

8. Revise and Resubmit (if necessary)

Revisions: The publisher may request revisions before moving forward with your manuscript. Take these suggestions seriously, as they can increase the chances of your book's success.

By following these steps, you can successfully submit your manuscript to a hybrid publisher and start your journey towards publication with a balance of professional support and creative control.

[fineartsjournal]

213341 Art Studio IIIA ⋆ Week 4 - Ducks in a Row

With my Age of Empires 'beat-tape' published and critiqued, I set my sights towards sampling the Super Mario 64 soundtrack. I had the idea back in June. I made a minute's worth of music, sampling the in-game song Cave Dungeon in Audacity, looping it to a soft layering.

The tongue-in-cheek attitude towards nostalgia in my current project is already present in the title "Ouroboros", referencing an ongoing cultural cycle of longing for the past.

This got better refined in a title I came up with for this new project:

This particular font is taken from the in-game text in SM64.

Better yet, the title can be rearranged.

This June prototype also consisted of two iterations of a potential album cover for the whole thing - I collaged different 'skybox' graphics from the game with an edited screenshot; small segments of the in-game experience, identifiable if only by the corner of one's eye. I won't be using these, but will draw inspiration from them.

Our group got together after class for another meeting.

✦ WHAT DO WE (as a group) NEED BY NEXT WEEK?

Proposal with everyone's statements.

A chat with Mike about our tech needs.

Following proposal and space selection... -> Scope out our space.

Link planning slides to workbook!

Following this catch-up, I drafted up an idea for my piece:

The work, under the title discussed before, centres around a mixer, with four [chosen so I don't get overwhelmed] MP3 players hooked up to it. Playing on loop (each at different speeds), the whole setup is connected to speakers, which not only project the piece, but accompany the group exhibition as a whole.

I also decided to change the title to "Everything [IS] Better Yesterday", as this more effectively covers the retroactive lumping of the past into a 'glory day' of anything not 'now'.

I got to work creating our group proposal - necessary for securing a gallery space of our choice, but also doubling as a means to create a visual style for our whole group.

I went HAM with all manner of formatting tricks, letter sizing and typography - creating this kooky reinterpretation of early-90s office aesthetics, with as many instances of Microsoft Wingdings as I could muster.

This black-on-white-default-font-straight-out-of-a-1995-online-learning-manual look fits within a visual style typically accompanying a deeply style-centric music genre of the same name, called 'Utopian Virtual', nostalgically evoking a time where the possibilities of computing were bright, and Microsoft Word was king.

Style comes at a cost however, as the amount of Wingdings and Webdings and otherwise Google Doc-specific formatting means that Word is not compatible, and a straight-to-PDF conversion ended up erasing half of the symbols. At least we had our pamphlet to look forward to.

Of course, the main goal for the exhibition proposal is to secure a space; and we set our sights on T24 Dark for its spaciousness, built-in projector, and pitch-black immersion.

To legitimize our request, we'd need to give a good idea of how we'd use the space, and I decided that two perspective drawings would do the trick.

Being terrible at drawing perspective myself, this involved 'rebuilding' the space in Minecraft. From there, our team drew rough estimates of their work onto the space.

I then re-mapped this into Minecraft.

From there, I traced up our space, along with labelling each person's works, framing them to the best of my knowledge. The whole process took about two hours.

We didn't end up getting the space. Instead, we were assigned 2E Dark - a fair deal smaller, but hey - less painting!

That Friday, we had our first workshop class! I chose Mike's tutorial, which guided my group through the Block 6 Studio, showing off the ins and outs of the gear at hand.

Passing through Block 1 afterwards, I took note of a stripped back, four-input mixer, all hooked up for talks. Perhaps it could be worth borrowing?

Around this time, I was browsing forums for fresh ways to get the most out of my SP-202. I stumbled across this neat suggestion - will I use it in my current project? Maybe not. But it's good to keep building my knowledge of this machine.

[scholarshint]

Oxford University Rhodes Scholarship 2024

Rhodes Scholarship 2024:  Are you interested in studying in the UK? Great news! The Rhodes Scholarship is now accepting applications. To Help you navigate the Rhodes Scholarship smoothly and without stress, we have provided all the details in this article, including its benefits and how to apply step by step. Make sure you read to the end. Rhodes Scholarship Details: Mandela Rhodes Scholarship is a prestigious international scholarship program that allows outstanding young individuals from around the world to study at the University of Oxford in the United Kingdom. The Mandela Rhodes Scholarship 2024/2025 is a fully funded scholarship for international students. This scholarship is available for master's and Ph.D. studies and it provides an opportunity to study in the UK. A living stipend (£15,144 per annum) is part of its benefit, all University and College fees and the University application fee. - Level of Study: Postgraduate, Masters, Ph.D. - Institution(s): University of Oxford - Study in: United Kingdom - Duration: Two (2) Years - Required Language: English - Deadline: Depending on your Country Eligibility Criteria: To be Considered eligible for the Rhodes Scholarship, an applicants must meet all of the following requirements: - To be eligible for the Rhodes Scholarship, applicants must meet the citizenship and residency requirements of the specific Rhodes constituency. Click Here to refer to the list of eligible countries to know if you meet these requirements. - The age requirements for the Rhodes Scholarship differs depending on the area you are applying from. The minimum age is 18 and the maximum is 28 by October 1st of the year after selection. Most areas require candidates to be 24 or 25 years old. It is important to double-check the specific age requirements for your location before submitting an application. If selected, you will need to be - Applicants must have completed an honors bachelor's degree by October. Additionally, their academic standing should be of a high enough standard to meet the University of Oxford's rigorous entry requirements, as competition for admission is intense. In Canada, a minimum GPA of 3.75 out of 4.0, or its equivalent, is expected. Rhodes Scholarship Benefits: The Rhodes Scholarship is a prestigious award that provides recipients with - A living stipend of £15,144 per year, covering all University and College fees. - one economy class airfare to Oxford at the start of the scholarship and one economy flight back to the student’s home country at the conclusion of the scholarship. - Additionally, the University application fee is also covered. - The Scholarship lasts for two years, but can be extended for a third year if the recipient takes a recognized route to the DPhil (PhD), subject to an application process. Recipients must maintain satisfactory academic performance and personal conduct throughout their tenure. How to Apply for Rhodes Scholarship? Here is a  List of Required Documents and a step-by-step approach to apply for the Rhodes Scholarship: Note:  All constituencies will require the following materials in differing forms: - Evidence of academic record / transcript (completed or in progress) of undergraduate degree and any postgraduate study - English Language proficiency (where English is not the first language). Check requirements here. - Curriculum vitae/resumé or list of principal activities. - Personal statement or essay (including, a clear statement of what you wish to study and your reasons for applying) - Evidence of age / birth certificate / passport - Photographs - Four reference letters from appraisers who can attest in confidential references to the character and intellect of the applicant, including academic, personal, extra-curricular and leadership achievements SCHOLARSHINT RECOMENDATION FOR YOU! 😃 - How to write Sample Motivation Letter for Scholarship Application (Pdf) - Best way to use Google Bard (AI) to Write Scholarship Essays - Must-Have Documents for Scholarship Applications in 2024 - Examples of Recommendation Letters for Scholarships - 10 Common Mistakes to Avoid When Applying for a Scholarship - You can apply online at http://www.rhodeshouse.ox.ac.uk/scholarships/apply via the scholarships website. - You must submit your application online, with all supporting documents, before deadline. -  In preparation for making your application, you should read carefully the general information, particularly that held on the Scholarships tab, on the Rhodes website, the Conditions of Tenure for the Rhodes Scholarship, the information in this document and the graduate admissions pages of the University of Oxford: www.ox.ac.uk/admissions/graduate. - Shortlisted candidates will be invited to a social engagement and a final interview. You must be available to attend both, in person, as no accommodations can be made on date and time, or mode, of these events. No candidate will be selected without an interview. Travel expenses will be paid by the Rhodes Trust, and will cover the round trip cost of a First Class rail ticket, but excluding hotel expenses. International travel for those attending from overseas cannot be funded. - All applicants will be emailed with the outcome of their application. Selection Procedure: - Selection for the Rhodes Scholarship is made without regard to financial means. - Selection for the Rhodes Scholarship is made without regard to marital status, race, ethnic origin, color, gender, religion, sexual orientation, social background, disability, caste or other irrelevant distinction. The provision of such information in the ‘Outreach’ section of the application form is optional, but helps us to ensure that our selection processes are fair and that our outreach efforts are effective; those involved in selection will only see summary statistics of these responses in an anonymized format that cannot be tracked back to the individual. - You are applying for a Rhodes Scholarship for entry to the University of Oxford in October 2024; the scholarship cannot be deferred. - The Rhodes Scholarship is confirmed only upon successful admission to the University of Oxford. - No selection will be made if a sufficiently qualified candidate cannot be found. - The decision of the Selection Committee is final. Procedure after Selection: - Please note that successful applicants will need to apply to the University of Oxford very soon after selection. Full details will be given upon selection. - The full application of successful candidates will be accessible to Rhodes House, Oxford, where the Scholarship references can be re-used, if appropriate, in support of the successful candidate’s subsequent application to the University of Oxford. - Successful candidates will be encouraged to disclose, in confidence, any medical condition or special needs which may require academic or personal support in Oxford. This disclosure is entirely voluntary and is requested only to enable Rhodes House to provide suitable support in Oxford and to make the transition to Oxford as smooth as possible. We hope you found this article helpful. If you have any questions, thoughts, or experiences you’d like to share, we encourage you to leave a comment below. Also, don’t forget to subscribe to more update via the bell icon. Disclaimer: Scholarshint is an independent publisher, The information provided is for educational purposes only and we encourage you to seek more clarified details from the source official website Read the full article

[iamdjtumza]

Free Charity Event Proposal Template - Download in Word, Google Docs, Apple Pages

[career-newton-22]

The Perfect Resume Builder: Crafting a Winning Resume Made Easy

To stand out in today's competitive employment market, it is essential to have a well-written resume. Creating a flawless resume, however, can be a daunting task, particularly if you are unsure of the best format, content, or design to use. A dependable resume builder can make all the difference in this situation. In this article, we will discuss the advantages of using a perfect resume builder and offer advice on how to select the ideal one to create a resume that attracts the attention of potential employers.

Why Utilize a Resume Maker?

Time and Effort Savings: By providing pre-designed templates and prompts, a resume builder facilitates the entire resume-creation process. It eliminates the need to begin from beginning, thereby saving you time and effort.

Professional Appearance: Perfect resume builders provide a variety of professionally designed, aesthetically appealing templates and layouts. These templates guarantee that your resume is refined, visually appealing, and organized.

Customization Options: A decent resume builder allows you to tailor the content, sections, fonts, colors, and other visual elements to your personal preferences and the job you are applying for.

Assistance with Formatting and Organization: Perfect resume builders offer advice on the most effective formatting techniques and provide suggestions for the optimal organization of each resume section. This ensures that your resume has a logical flow and effectively emphasizes your qualifications.

Resume builders frequently provide industry-specific recommendations and samples for the various sections of your resume, including the summary, work experience, talents, and education. This allows you to modify your content to prospective employers' expectations.

Selecting the Ideal Resume Builder:

User-Friendly Interface: Look for a resume builder with a user-friendly interface that simplifies navigation and resume creation. Features such as drag-and-drop and real-time modification can further enhance the user experience.

Variety of Templates and Customization Options: Ensure that the resume builder provides a variety of templates that are tailored to specific industries and job positions. In addition, ensure that you can readily modify the templates to make your resume stand out.

ATS Compatibility: Employers frequently use applicant tracking systems (ATS) to scan resumes for keywords. Choose a resume builder that generates resumes that are compatible with applicant tracking systems (ATS) to ensure that your application passes this initial screening.

With the proliferation of smartphones and tablets, having a resume builder that is interoperable with mobile devices enables you to work on your resume at any time, from any location.

Consider resume builders that include cover letter builders, spell-checking, resume analytics, and the ability to obtain your resume in multiple formats (e.g., PDF, Word).

Creating a flawless resume is now simpler than ever with the help of a dependable resume builder. Using the supplied time-saving features, professional templates, and customization tools, you can generate a visually appealing, highly targeted resume that will impress potential employers. Remember to select a resume builder that meets your needs and provides the necessary tools to effectively highlight your skills and experience. Start crafting your ideal resume immediately and take a major step toward landing your dream position.

[leeonline]

Cover Letter Sample PDF

[premiumresume]

Legal Assistant Resume Examples

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[xeluxe]

Documents Required for Façade DCD Approvals

Documents Required for Façade DCD Approvals

A façade DCD approval is a document that is required to construct or alter the façade of a building. This document must be obtained from the Department of City Planning before any work can begin.

The purpose of the façade DCD approval is to ensure that the proposed changes to the façade will not adversely affect the appearance of the building or its surroundings. The department will consider the size, height, and location of the proposed changes when making its decision.

What are the drawing submission requirements?

Façade, Cladding, curtain wall & roofing proposals and drawings shall be in accordance with the following:

➢ Authorized Applicant - Submissions of Façade, Cladding, Curtain Wall, and Roofing to Civil Defence may only be made through a House of Expertise approved by Civil Defence OR the Main Consultant OR the Façade Consultant with certified employees.

Understanding the requirements of the UAE Fire and Life Safety Code of Practice, material test requirements, Civil Defence registration of contractors and suppliers, and the report submission format is the responsibility of the House of Expertise or Main Consultant OR Façade Consultant.

➢ Format of the Report - Reports must generally adhere to the following structure.

a. PDF files are required for all reports.

b. It is the duty of the applicants to produce soft copies of the required formats and also follow the submission format.

c. It is the obligation of the applicants to present error-free pdf files so that the Civil Defence "watermark" can be seamlessly placed into the pdf files.

d. A cover page, one page long, in accordance with required Cover page format and example.

e. Stamped undertaking declarations from each party engaged, one page in length as per given Table. It is then followed by their civil defence valid certificate and a maximum of five pages, as indicated in the sample. The maximum length for an engineering review and assessment is three pages, as per the given format and table. Non-compliance must be made apparent in the evaluation.

g. Sectional schematics must be of 3 pages in the required format. Schematics must show the precise design and site circumstances. It must include labels that clearly identify the parts, measurements, and materials.

h. A report on the inspection can be of a maximum of 3 pages, as per the given format and table.

➢ Un Acceptable Format

Reports that don't adhere to the required format and table won't be reviewed and won't be accepted.

Reports from sources other than the houses of expertise designated by Civil Defense are not accepted.

Product catalogs and brochures ARE NOT ACCEPTABLE.

A generalized technical explanation of how and why fire spreads are NOT appropriate.

DON'T provide Test standardized methods and information.

Must Not submit without the appropriate stamps and signatures as given in the format.

AVOID including pointless and needless attachments.

Reports for projects where suppliers are not registered with Civil Defence should not be submitted. Getting suppliers to contact Civil Defence for their registration is mostly the duty of consultants and contractors.

Effective reports that do not point out non-compliances are not acceptable.

Reports justifying non-compliant roofing & cladding must not be submitted.

➢ Declarations Of Stamped Undertaking - Each party involved in the project must provide the following undertaking statements.

Format and example of an undertaking letter (1 page) from a house of expertise, main consultant, or façade consultant.

Main consultant undertaking letter format and sample (1 page).

Main Contractor Undertaking Letter Format and Sample.

Sample and format of an undertaking letter from an ACP/MCM/SOLID METAL/PEWFS/GRC panel supplier.

EIFS/ETICS Supplier Undertaking Letter Format and Sample (1 page)

Format and example of an undertaking letter from a natural stone supplier (1 page).

Firestopping system Supplier undertaking letter type and sample (1 page).

Insulation material supplier undertaking letter type and sample (1 page).

Format and example of an undertaking letter from a roofing panel supplier (1 page).

Format and example of an undertaking letter from a roofing panel (glazing) supplier (1 page).

Tips for getting your façade DCD approval quickly

Make sure you have all the required documents: Before you start the approval process, make sure you have gathered all the required documents, including plans, drawings, and any other supporting materials.

Know the requirements: Familiarize yourself with the requirements for façade dcd approval so that you can be prepared to submit everything that is needed.

Submit everything in a timely manner: Be sure to submit all required documentation in a timely manner so that your application can be processed as quickly as possible.

Follow-up: Once you have submitted your application, follow up with the appropriate office to ensure that everything is moving forward and that there are no delays.

The process of getting façade DCD approval can be a bit daunting, but don’t worry – we, the Xeluxe Fire Safety Consultants, are here to help. It is doable if you have all the required documents. Make sure to submit all the necessary paperwork and don't forget to include any relevant supporting documentation. Once you have everything in order, the approval process should go smoothly. Xeluxe has been involved in many projects & the General Directorate of Civil Defense in Dubai has certified and given permission to function as a "House of Expertise" (Fire Safety Consultant) through our sister firm Agura Consultants.

[duotheism]

whenever i'm feeling sort of at a loss i can just look through your blog and i feel so inspired and warm,, thank you for creating such a beautiful lil space!! do you have any sapphic/wlw literature to recommend by any chance? veel liefde!

omg schatje ik hou van jou dankjewel 💗

of course i have some recs but always looking for more so friends please reply with some ❕❕

Stone Butch Blues by Leslie Feinberg is of course a favourite, you can get the PDF here

Audre Lorde’s poetry and essays cover a lot about being a gay woman, she’s an incredible person and incredible writer, here’s a sample and here’s a PDF of her poems

The Well of Loneliness by Radclyffe Hall is something that’s been on my reading list for a while, as it’s a foundational piece of sapphic literature in Europe. it’s available to read here

Oranges Are Not the Only Fruit by Jeanette Winterson is an amazing read, I finished it in one sitting, and especially recommend it for repressed Christian sapphics <3 I love Winterson’s other work too

Tahuri by Ngahuia Te Awekotuku is a short story cycle by and about a gay Maori woman. it’s the first time I’ve come across indigenous sapphic literature, especially from my corner of the world, and I can wait to get my hands on it

Virginia Woolf and Vita Sackville-West’s love letters look so beautiful, I’d love to read them when I have the time

Under the Udala Trees by Chinelo Okparanta is one I came across a while ago but again, have never had to chance to buy or read. here’s a synopsis if you’re interested, again has a lot of Bible dialogue and reinterpretation. just before the book came out Nigeria (the author’s birthplace) passed yet stricter laws criminalising homosexuality, and Okparanta wrote: “It’s the Church that has interpreted God’s words to its own benefit…My point is that business is the reason for things like doctrines. Business is the reason for words like ‘abomination’.”

again please leave more recs below if you have any!

[evoldir]

Fwd: Job: CaliforniaStateU_Fullerton.ArthropodEvolution

Begin forwarded message: > From: evoldir@evol.biology.mcmaster.ca > Subject: Job: CaliforniaStateU_Fullerton.ArthropodEvolution > Date: 27 August 2024 at 05:12:36 BST > To: rdmpage@gmail.com > > > > TERRESTRIAL ARTHROPOD BIOLOGY AND/OR ECOLOGY > > Assistant Professor, California State University Fullerton > > The Department of Biological Science at California State University > Fullerton (CSUF) invites applications for a full-time, tenure-track > Assistant Professor in Terrestrial Arthropod Biology and/or Ecology > to begin Fall 2025. CSUF is an R2 public University and a federally > designated Hispanic-Serving Institution situated in Orange County, > which serves primarily undergraduate and master�s students. We seek > a candidate with a strong research record and commitment to excellence > in teaching and mentoring a diverse student population. The successful > candidate will be expected to maintain an active research program > that leads to peer-reviewed publications and external funding. > Research may be related to any area of terrestrial arthropod > biology/ecology and will involve undergraduate and Master�s students. > They will teach lecture and laboratory-supervision of Principles > of Ecology or Evolution and Organismal Biology and possibly courses > in entomology, plant-animal interactions, animal behavior, disease > ecology, including upper-division and graduate-level courses in the > candidate's area of expertise. The successful applicant will have > a Ph.D., postdoctoral experience, and potential for excellence in > teaching and research. > > To apply, please visit https://ift.tt/qNHYymU, > choose full-time faculty, search for the position # 541175, and > provide the following required materials (in pdf format): (1) Cover > letter (up to 2 pages); (2) CV (including grant activity); (3) > teaching and mentoring philosophy and experience (up to 3 pages); > (4) research plans (up to 3 pages); (5) one file containing a sample > course syllabus and two representative peer-reviewed publications; > (6) candidate Statement on Commitment to Inclusive Excellence > (describe past efforts or future aspirations to address diversity, > inclusion, equity, and excellence in teaching, research, and/or > service; up to 2 pages), and (7) contact information for three > references who will submit recommendation letters.  For full > consideration please apply by September 15, 2024. > > Review of applications will begin on September 16, 2024 and continue > until the position is filled. Position #541175. > > See full job announcement at > https://ift.tt/iWczaTX. > Cal State Fullerton is an Equal Opportunity/Title IX/503/504/VEVRA/ADA > Employer. > > Any questions from candidates can be directed to: > ArthropodBiolSrch@fullerton.edu > > > "Walter, Ryan"