Sunday, June 04, 2017

Proofreading

Source: https://www.learning.ox.ac.uk/media/global/wwwadminoxacuk/localsites/oxfordlearninginstitute/documents/pdg/managingyourself/1_guide-to-editing-and-proofreading.pdf

Oxford Learning Institute
University of Oxford

Guide to Editing and Proofreading


Editing and proofreading are often neglected, but they are the crucial final stages of the writing process. Even the smallest error can result in embarrassing or even costly outcomes (misspelling a name, transposing digits in a telephone number, mistakes in a prospectus) so taking time and care to check what you have written is essential. This document explains the processes of editing and proofreading, and provides useful tips for doing both effectively.

What is the difference between editing and proofreading?

To many people, editing and proofreading are one and the same thing. There is, however, a distinct difference between the two.

Editing and Proofreading

Editing is the first task that should be undertaken after finishing the first draft of a piece of text. It involves checking the content of the text to ensure that the ideas are expressed clearly and logically, and form a coherent and meaningful whole.
Proofreading involves checking over the text in finer detail after the editing stage, to detect errors in spelling, punctuation, grammar and format.

The importance of the two tasks is demonstrated by the fact that the publishing and printing industries employ different people who are specifically responsible for each of them.

Before you start

Editing requires careful analysis and critical thinking, and proofreading requires a great deal of attention to detail. As such, they are not tasks that can be done in a rush or squeezed in between other tasks: it is essential to devote sufficient time and concentration to both, and being in the right frame of mind to do this is very important.

Schedule a period of time in your diary for focusing solely on editing or proofing, and find an environment where you can be alone and free from distractions and interruptions. You may even wish to book a meeting room for yourself. Before you start, ensure that you are in a relaxed mood, with no other conflicting priorities or concerns to sidetrack your thoughts. Sit at a clear, uncluttered desk, which should have on it only the things that you need to help you with your task – pen, ruler, dictionary, thesaurus, grammar/punctuation guide, and your organisation’s style guide, if one exists.

As with all types of work, take regular breaks, as it is not possible to concentrate for long periods. Don’t edit or proofread for more than half an hour at a time without taking a break. Take even just a few moments to give your eyes a rest from the text.

Editing

Editing requires focusing on the content of the text. The key goals are to check that the text:
* flows logically
* is coherent and consistent
* forms a meaningful whole
* is clearly expressed
* is accurate in the information it provides
* has an appropriate tone
* is concise
* makes its purpose clear
* is targeted towards the reader

Some key questions to ask yourself when editing a piece of text are:
* Does the opening paragraph provide a clear indication of the purpose of the text and a broad outline of the content?
* Does every part of the text contribute to the key idea in order to form a meaningful whole?
* Does the purpose remain clear throughout the text?
* Is every sentence relevant to the purpose of the text, with no digressions?
* Is there a sentence (preferably the first) in each paragraph that summarises the key point of that paragraph?
* Are the paragraphs unified, i.e. do they contain only one single idea each?
* Has every idea been given sufficient weighting?
* Does the text flow logically from one paragraph to the next?
* Have transitional words or phrases (such as, for example, ‘however’, ‘thus’, ‘therefore’, ‘as a result’, ‘in this way’, ‘furthermore’, ‘above all’ and ‘moreover’) been used, but not overused, to help the reader to make connections between the ideas?
* Are the sentence structure and vocabulary varied, without too much repetition?
* Has the text been worded concisely?
* Have irrelevant and unnecessary ‘filler’ words such as ‘actually’ or ‘basically’ been avoided?
* Is the text free from colloquialisms, slang, jargon and clichés?
* Has evidence been given to back up statements?
* Has consistent terminology been used throughout, or if more than one term has been used to refer to something, is it clear that they are one and the same thing?
* Is a positive and professional tone maintained throughout?
* Is the tone appropriate for the reader?
* Does the text meet the readers’ needs?
* Does the last paragraph neatly and concisely summarise and conclude?

If the answer to all of these questions is ‘yes’, the text is likely to be a well-written piece that will not require too many changes. Don’t be alarmed, however, if it seems that a lot of changes are needed – editing a piece of text to ensure that it forms a coherent and meaningful whole can sometimes involve making major changes or even rewriting.

After the adjustments from the editing process have been made, the text is ready for proofreading.


Proofreading

Proofreading is not merely casting a glance over what you have written: it requires concentration to disconnect your mind from the content of the text in order to focus on the language and layout. Errors can be difficult to spot, so it is essential to read the text word by word to ensure that you don’t miss anything. As it involves correcting small errors (some of which can, nevertheless, have a major impact), it does not require major rewriting.

The aim of proofreading is to spot and correct errors in:

* spelling
* typography
* grammar, punctuation and use of language
* style and format
* anything missed at the editing stage

When proofreading your own work, you are often so familiar with the text that you see what you think you have written rather than what you actually wrote. For this reason, you will get the best results by asking someone else to proofread your work. Find someone to be your ‘proofreading partner’, with whom you can swap and share proofreading tasks. If this is not possible and you have to proofread your own work, make sure that you take a break of at least an hour (or ideally 24 hours) after writing before you start to proofread. This will help to distance you from the text.

One of the most important principles of proofreading someone else’s work is to never make assumptions. If you are unsure what the writer has intended to write, query it rather than jump to conclusions and amend it wrongly.

Print off the text and proofread on paper – it is much easier to spot errors on paper than on- screen. Before you do this, however, it is a good idea to run the spell check on the computer to catch any obvious errors. Don’t rely on this alone to detect spelling and typographical errors, though, as it cannot always be completely accurate. The grammar check is not worth using at all, as a computer cannot cope with all the complexities of grammar and sentence structure, and often ends up being more confusing than helpful.

Use ink that is a different colour from the print so that your corrections stand out and can be easily spotted. Beware of using red if proofreading for your colleagues, though, as it may remind them of the dreaded red pen wielded mercilessly by their teachers back at school!

Read slowly and deliberately using a ruler so that your eyes focus on only one line at a time. Go through the text several times, each time working on a different aspect. This will help you to retain your focus and concentration.
1. On the first read, it is a good idea to focus only on reading rather than on correcting, to
get an idea of the overall content and meaning, and to spot anything missed at the editing stage.
2. Then, on subsequent reads, focus on correcting different types of errors each time.
3. To spot typographical errors, you may wish to do one read backwards, to disconnect your mind from the content and focus fully on the text word by word. This will not help for grammar, punctuation or some spelling errors, though, which can only be spotted in the context of the sentence.
It is also a good idea to view the whole text from a distance, as some of the errors, especially those in style and format, are difficult to spot close up.

Here are some of the most common mistakes with grammar and language use that you should look out for when proofreading:

* tense agreement: mixing past and present tenses throughout a piece of text
* subject/verb agreement: using plural verb conjugations with single subjects (e.g. ‘one in ten people are …’ instead of ‘one in ten people is …’)
* pronoun/case agreement: confusing the subject and object of the sentence (e.g. ‘He sat between Bob and I’ instead of ‘He sat between Bob and me’, or ‘Me and John are working on that project’ instead of ‘John and I are working on that project’)
* confusing similar words, such as the verbs ‘imply’ and ‘infer’, which describe different angles (‘imply’ is when the speaker/writer suggests something without explicitly stating it, and ‘infer’ is when the listener/reader logically deduces something from the information given by the speaker/writer) – another example is ‘affect’ and ‘effect’ (‘affect’ is normally used as a verb meaning ‘to make a difference to’, and ‘effect’ is used as both a noun and a verb – as a noun, it means ‘a change that results from an action or cause’, and as a verb it means ‘to cause or bring about something’)
* misuse of apostrophe before ‘s’ at the end of a word, which is often incorrectly added before the ‘s’ in plural words, e.g. ‘The report’s are finished’ instead of ‘The reports are finished’ – an apostrophe should only be used before ‘s’ to indicate possession (genitive case), e.g. ‘The minister’s cat is black’ or ‘My friend’s desk is tidy’. However, in the case of the pronoun ‘it’, the possessive form is ‘its’ without an apostrophe. Adding an apostrophe and ‘s’ to ‘it’ indicates the abbreviated form of ‘it is’ or ‘it has’. Look at the difference between ‘The dog has lost its collar’ (possessive form, i.e. the collar belongs to the dog) and ‘Look over there – it’s the dog without the collar’ (it is). Apostrophes follow the added ‘s’ when indicating possession by more than one person, e.g. Gents’ toilet, the pupils’ classroom.
* incorrect conjugation of modal verbs, such as ‘should of’ or ‘would of’ instead of ‘should have’ or ‘would have’
* words with similar spelling or pronunciation but different meanings, which cannot always be detected by automatic spelling and grammar checks, such as ‘they’re/‘their’/‘there’, or ‘where’/‘were’/‘we’re’/‘wear’.

Some other common errors relating to typography, style and format are:

* double spaces between characters, especially after a full stop
* wrong or missing headings or titles in a table, or captions
* misaligned columns or rows in a table
* misaligned margins
* incorrect text references
* inconsistent bullet formatting
* incorrect fonts/font sizes
* incorrect capitalisation
* footnotes or endnotes not matching references
* interchanging small words such as: of/off/on, and/an/as, or it/is/if
* incorrect use of trademarks
* missing numbers in a numbered sequence/list
* incorrect dates
* inconsistent use of abbreviations

Also look out for dashes. There are three types:

1. (-) hyphen: smallest dash, normally used to join words that combine together to form a single meaning or that are linked together as an expression, such as ‘decision-making’ or ‘problem-solving’
2. (–) en dash: in typesetting, approximately equal to the width of the type size being used
– normally used to join two words that are separate but related (en dash can be thought of as substitutes for ‘and’ or ‘to’), for example ‘work–life balance’
3. (—) em dash: in typesetting, approximately equal to the height of the type size being used – the least common type of dash, normally used to form parenthetic phrases, for example: ‘parenthetic phrases — such as this one — are separated from the main clause by dashes’, although the en dash is often used instead

It is a good idea to use standard proofreading marks, as they will enable you make corrections neatly and concisely. This is especially useful if you are proofreading for a colleague. Try to avoid squeezing too many marks into a small space, as it will become difficult to interpret. For example, if a word/sentence needs several corrections, score it out and rewrite it completely rather than amending each individual error. Also, try to keep the original text visible, so that the writer can clearly see the error and why it needs to be changed.

Finally, never take for granted that anything in a piece of text will be correct – be sure to check everything. This includes any parts that have originated from templates, as well as marginal parts of the text such as headers and footers, titles, subtitles and footnotes.

The Writer's Handbook
How to Proofread

Source: http://writing.wisc.edu/Handbook/Proofreading.html

Proofreading means examining your text carefully to find and correct typographical errors and mistakes in grammar, style, and spelling. Here are some tips.


Before You Proofread

  • Be sure you've revised the larger aspects of your text. Don't make corrections at the sentence and word level if you still need to work on the focus, organization, and development of the whole paper, of sections, or of paragraphs.
  • Set your text aside for a while (15 minutes, a day, a week) between writing and proofing. Some distance from the text will help you see mistakes more easily.
  • Eliminate unnecessary words before looking for mistakes. See the writing center handout how to write clear, concise, direct sentences.
  • Know what to look for. From the comments of your professors or a writing center instructor on past papers, make a list of mistakes you need to watch for.

When You Proofread

  • Work from a printout, not the computer screen. (But see below for computer functions that can help you find some kinds of mistakes.)
  • Read out loud. This is especially helpful for spotting run-on sentences, but you'll also hear other problems that you may not see when reading silently.
  • Use a blank sheet of paper to cover up the lines below the one you're reading. This technique keeps you from skipping ahead of possible mistakes.
  • Use the search function of the computer to find mistakes you're likely to make. Search for "it," for instance, if you confuse "its" and "it's;" for "-ing" if dangling modifiers are a problem; for opening parentheses or quote marks if you tend to leave out the closing ones.

  • If you tend to make many mistakes, check separately for each kind of error, moving from the most to the least important, and following whatever technique works best for you to identify that kind of mistake.
    For instance, read through once (backwards, sentence by sentence) to check for fragments; read through again (forward) to be sure subjects and verbs agree, and again (perhaps using a computer search for "this," "it," and "they") to trace pronouns to antecedents.
  • End with a spelling check, using a computer spelling checker or reading backwards word by word.
    But remember that a spelling checker won't catch mistakes with homonyms (e.g., "they're," "their," "there") or certain typos (like "he" for "the").

When You Want to Learn More

  • Take a class.
    The Writing Center offers many workshops, including a number of grammar workshops.
  • Use a handbook.
    A number of handbooks are available to consult in the Writing Center, and each Writing Center computer has an online handbook.
  • Consult a Writing Center instructor.
    Writing Center instructors won't proofread your papers, but they'll be glad to explain mistakes, help you find ways to identify and fix them, and share Writing Center handouts that focus on particular problems.

Check for information on how to make an appointment with a Writing Center instructor.

For further information see our handout on Peer Reviews


Proofreading

Source: http://www.chicagomanualofstyle.org/tools_proof.html

The following list is taken from figure 2.6 of the 16th edition of the Manual.

Proofreaders' marks


Wannabe Editors: Can You Pass a Proofreading Test? By Carol Fisher Saller

Source: http://www.subversivecopyeditor.com/blog/2013/03/wannabe-editors-can-you-pass-a-proofreading-test.html

March 4, 2013

Marked copy
                                                                           Photo: Seth Sawyers


When my office hires at the entry level, there’s a proofreading and copyediting test. My preference has been to give the test in person, on paper. That levels the playing field by eliminating access to e-mail and online sources. It shows how a person will mark up copy on the job (a frequent chore for the new kid). It isolates proofing and editing skills from word-processing skills.

Results vary.

So in the interests of helping young editors in search of employment, I’d like to talk about the second-most common* fatal error that candidates make on the test: that is, their failure to understand the concept of proofreading. Every time we hire, I rewrite the test instructions in the hopes of making them flunk-proof, but there is inevitably at least one smart, promising candidate who in spite of alleged experience proofreading and copyediting still manages to miss the point of the exercise.

In the proofreading test, the candidate is given two versions of a document: The first is a typed page, double-spaced and covered with corrections handwritten by a copyeditor. This is typically called the manuscript. The second is a typeset page—it looks like a photocopy of a page of a published book. The second was typeset from the first, and if all has gone well, the hand-marked corrections will have been incorporated into the typeset (final) version.

The test instructions say to proofread the typeset version, not to mark on the manuscript, and to query anything that isn’t clear. Experienced proofreaders know to read the typeset version against the manuscript very closely, comparing the two, looking at every letter and space and punctuation mark to make sure that the two versions are identical and that no text has been added or deleted by accident. In the olden days, two people would share the task: one would read the original aloud, including punctuation and corrections, while the other followed along in the typeset version.

Naturally, the typeset version has errors in it—after all, it’s a test. The errors are of three main types: (1) the typesetters failed to make a requested correction, (2) the typesetters introduced a new error in a place where no correction was marked, and (3) the typesetters followed the editor’s marking accurately, but the editor’s marking was incorrect. The third type should be rare.

The idea is to correct the first two kinds of errors without querying, and query the third kind.** Here is a table demonstrating the idea behind proofreading. The first column shows what is on the original manuscript; the second column shows how the manuscript was typeset; the third column shows what the proofreader should do.

Simple enough? Evidently not quite, for job candidates go wrong in two ways. First, they fail to compare closely enough, so in passages where all seems well in the typeset version, they miss the second type of error.

Worse, they query all three types of errors, instead of only the third. This is profoundly unhelpful in real life. It virtually defeats the purpose of proofreading, which is to flag unresolved issues—and only unresolved issues. Flagging nearly everything the editor marked for correction is tantamount to asking “Did you really mean to correct this?” when it is obvious that she did. It makes extra work, since she will have to check in each case. She might as well have proofread the thing herself.

Perhaps the concept of proofreading is trickier for a generation brought up in the digital age of typesetting, but fortunately, once it is understood, proofreading is the easiest of all editing tasks. And fortunately for proofreaders seeking work, there are still plenty of ways typesetting can go wrong.

______

*The most common error is sloppy handwriting. I feel hypocritical mentioning this, because I know I would never hire myself for a job that required neat writing. But even so, when I write something that I know must be read by colleagues, I take care over it. I make a habit of writing in pencil, and I often erase and rewrite. Bottom line: if a potential employer can’t read your test, and part of the job involves marking up copy for typesetters, you’re toast. So if you are going to be tested, and if you know your usual markings look like the paper in your gerbil’s cage after a week, take a couple of sharpened pencils and an eraser with you. If you forget, ask for them. (Yes, you’ll look like a loser in the moment, but it’s better than making a mess in ink. And depending on the competition, you might still have a chance.)

**In real life, proofreaders are not always charged with querying anomalies, and excessive querying that amounts to second-guessing the copyeditor is not the goal.


What’s the Difference Between Copyediting and Proofreading?

Source: https://nybookeditors.com/2016/05/whats-the-difference-between-copyediting-and-proofreading/

May 2016

One of the most confusing parts of the editing process is simply understanding the different types of edits. There are line edits and copyedits, proofreading and manuscript critiques, and that’s just the beginning. For the new author, the whole editing process can feel overwhelming, especially if you’re not sure which one to choose for your manuscript.

Fortunately, you’ve come to the right place.

In this post, we’re going to break down the differences between copyediting and proofreading in order to help you understand the editing process better. You can also use this post to decide which one you’ll need for your manuscript. Let’s get started.

Are you ready for copyediting? Subscribe to receive a free “ready for copyediting” checklist.

What is Copyediting?

Copyediting is the process of checking for mistakes, inconsistencies, and repetition. During this process, your manuscript is polished for publication.

Contrary to popular belief, the copyeditor is not a glorified spell checker.

The copyeditor is your partner in publication. He or she makes sure that your manuscript tells the best story possible. The copyeditor focuses on both the small details and the big picture. He or she must be meticulous and highly technical, while still aware of the overarching themes at work within your manuscript.

Let’s take a closer look at what a copyeditor does. A copyeditor:

  • Checks for and corrects errors in grammar, spelling, syntax, and punctuation.
  • Checks for technical consistency in spelling, capitalization, font usage, numerals, hyphenation. For example, is it e-mail on page 26 and email on page 143? Or do you use both British and American English spelling variations interchangeably, such as favourite vs. favorite?
  • Checks for continuity errors and makes sure that all loose ends are tied.
  • Checks for factually incorrect statements. This is a necessary part of the copyediting process for non-fiction manuscripts, such as historical pieces and memoirs. The copyeditor must check if the facts in your manuscript are accurate and if the names and dates are correct.
  • Checks for potential legal liability. The copyeditor verifies that your manuscript does not libel others.
  • Checks for inconsistency within the story. This includes character description, plot points, and setting. Does each character stay true to his own description throughout the story? Are there conflicting descriptions of the house? For example, have you described the setting as “a yellow brick home” on one page but “a weathered wooden home” on another page?

As you see, the copyeditor’s job is not just to check grammar and spelling. He or she must make sure that every element of your story is consistent, cohesive, and complete.

Your copyeditor will be different than your general editor. The copyeditor comes with a unique skillset. He or she must be precise, detail-oriented, and adroit in grammar and word usage. The copyeditor is also up to date with the standard practices in book publishing.

Am I Ready for Copyediting?

Copyediting is the final step before production. It should be done after all other edits take place. In a standard timeline, here’s how the copyedit fits in:

Manuscript Critique – An editor reads your manuscript and prepares a broad, comprehensive assessment. You receive specific advice on how to develop a stronger narrative, better pacing, and more engaging characters.

Because the manuscript critique is a big picture analysis of your manuscript, it should be done first before getting into the nuts and bolts of a comprehensive edit.

Comprehensive Edit – In-depth, intense, thorough, a comprehensive edit tackles a manuscript line by line. The editor cuts down on wordiness and tightens the language to create a more enjoyable read. This type of edit hunts down clumsy or awkward sentences that take away from the rhythm of your prose. For more information on a comprehensive edit, especially a line edit, click here.

If you plan to go with a traditional publisher, these are the only two types of edits you’ll need. After your comprehensive edit, you can start querying agents (we can help with that, too). Once your manuscript is accepted, the publisher will perform copyedit prior to production.

However, if you plan to self-publish, we highly recommend that you hire a professional copyeditor to prepare your manuscript for publication.

Why?

As a writer, you’re probably very familiar with the concept of typo blindness. Nick Stockton over at Wired explained it best in his post: What’s Up With That: Why It’s So Hard to Catch Your Own Typos. Brilliant read.

The basic idea is that you’re unable to see your own mistakes because you already know what you’re trying to convey. You need a second pair of eyes—preferably from someone who knows the rules of grammar—to look over your manuscript and correct glaring errors that you’ve gone blind to.

In traditional publishing, copyediting is a required step. Who wants to print off a thousand books only to find that there’s a typo on page two, or a discrepancy in character description from one chapter to the next? Not you, and definitely not your reader.

Unfortunately, many self-published writers skip this crucial step and end up with those exact results. When the flow of the story is interrupted by inconsistencies in the narrative or errors in grammar, not only is it embarrassing for the writer, it can also be confusing to the reader.

As a necessary last step before printing your manuscript, always hire a professional copyeditor to inspect your work with a fine tooth comb. You’ll feel much better knowing that your typo blindness hasn’t negatively impacted your final work.

Remember, copyediting is only available to authors who’ve completed a comprehensive edit. This ensures that the copyeditor isn’t spending time editing content that may be deleted or rearranged after a line edit. The copyedit should always be the last step.

How Long Does a Copyedit Take?

A copyedit of your manuscript takes anywhere from three to five weeks.

What is Proofreading?

In publishing, proofreading happens after the manuscript has been printed. A final copy of the manuscript, or proof, is then examined by a professional proofreader.

The proofreader’s job is to check for quality before the book goes into mass production. He or she takes the original edited copy and compares it to the proof, making sure that there are no omissions or missing pages. The proofreader corrects awkward word or page breaks.

While he or she may do light editing (such as correcting inconsistent spelling or hyphenations), the professional proofreader is not a copyeditor. If too many errors are cited, he or she may return the proof for further copyediting.

Professional proofreading is required by traditional publishers as a quality assurance measure before printing off a mass quantity of books. Many self-publishing authors who have had their manuscript professionally copyedited skip the proofread. If you’re on a budget, you might try to proofread your own work, since there won’t be as many errors to contend with at that stage.

Monday, May 22, 2017

Poster Designs By Seth Wilson - Typography Theory, Color, Design

Source: http://inkfumes.blogspot.com/2011/10/poster-designs-color-design-typography.html

October 11, 2011

I created these poster designs over the summer. They are free to download and print for educational purposes. The posters have been created in a large format but can be printed at any size. I created these for my own classrooms where I teach video production, graphic design, web design and digital photography. Scroll down to the bottom of the page for the download link... if you repost please attribute credit.


Typography Poster:


Color Theory Poster A:

Color Theory Poster B:

Elements of Design Poster:

Principals of Design Poster:

Download the entire poster 8.1 Mb pdf file set by clicking here.

More from Seth Wilson can be found here.

Monday, May 15, 2017

Typography rules and terms every designer must know By Creative Bloq Staff

Source: http://www.creativebloq.com/typography/what-is-typography-123652

March 08, 2016

We explain the fundamental concepts and terminology of typography in words you can understand.

Typography is, quite simply, the art and technique of arranging type. It's central to the skills of a designer and is about much more than making the words legible. Your choice of typeface and how you make it work with your layout, grid, colour scheme, design theme and so on will make the difference between a good, bad and great design.

There are lots of typography tutorials around to help you master the discipline. But good typography is often down to creative intuition. Once you're comfortable with the basics, visit some typography resources to investigate font families and discover some font pairings that are made for each other.

Choosing a font

There's an astonishing array of paid-for and free fonts to choose from online. But with great power comes great responsibility. Just because you can choose from a vast library doesn't mean you have to; there's something to be said for painting with a limited palette, and tried and tested fonts like Helvetica continue to serve us well.

There is a vast selection of typefaces for you to choose from

A typeface, like any form of design, is created by craftsmen over a substantial period of time, using the talent they've been honing for many years. And the benefits of a professionally designed font – various weights and styles to form a complete family, carefully considered kerning pairs, multi-language support with international characters, expressive alternate glyphs to add character and variety to type-setting – are not always found in a font available for free.

Here are some of the most important typographic considerations the professional designers needs to take into account.

01. Size

All typefaces are not created equally. Some are fat and wide; some are thin and narrow. So words set in different typefaces can take up a very different amount of space on the page.

The height of each character is known as its 'x-height' (quite simply because it's based on the letter 'x'). When pairing typefaces – such as when using a different face to denote an area of attention – it's generally wise to use those that share a similar x-height. The width of each character is known as the 'set width', which spans the body of the letter plus a space that acts as a buffer with other letter.

The most common method used to measure type is the point system, which dates back to the 18th century. One point is 1/72 inch. 12 points make one pica, a unit used to measure column widths. Type sizes can also be measured in inches, millimetres, or pixels.

02. Leading

Leading describes the vertical space between each line of type. It's called this because strips of lead were originally used to separate lines of type in the days of metal typesetting.

For legible body text that's comfortable to read, a general rule is that your leading value should be greater than the font size; anywhere from 1.25 to 1.5 times.

03. Tracking and kerning

Kerning describes the act of adjusting the space between characters to create a harmonious pairing. For example, where an uppercase 'A' meets an uppercase 'V', their diagonal strokes are usually kerned so that the top left of the 'V' sits above the bottom right of the 'A'.

Kerning similar to, but not the same as, 'tracking'; this relates to the spacing of all characters and is applied evenly.

04. Measure

The term 'measure' describes the width of a text block. If you're seeking to achieve the optimum reading experience, it's clearly an important consideration.

05. Hierarchy and scale

If all type was the same size, it would be difficult to know which was the most important information on the page. In order to guide the reader, then, headings are usually large, sub-headings are smaller, and body type is smaller still.

Size is not the only way to define hierarchy – it can also be achieved with colour, spacing and weight.

Next page: Glossary of typography A-D

The glossary (A-D)

A visual guide to some common typography terms - see key below

Key to image: 1. Bowl; 2. Stem; 3. Counter; 4. Arm; 5. Ligature; 6. Terminal; 7. Spine; 8. Ascender; 9. Apex; 10. Serif; 11. Ear; 12. Descender; 13. Crossbar; 14. Finial; 15. Ascender height; 16. Cap height; 17. X-height; 18. Baseline; 19. Descender line

Aesc

An aesc is the ligature of an 'a' and 'e'

Pronouced 'ash', this is a ligature of two letters – 'a' and 'e'. The aesc derives from Old English, where it represented a diphthong vowel, and has successfully migrated to other alphabets including Danish and Icelandic.

Aperture

You can see the aperture of the 'A' highlighted in red

The constricted opening of a glyph, as seen in the letter 'e'. Varying the size of the aperture has a direct effect on the legibility of a letterform and, ultimately, readability.

Apex

The point at the top of a character where the left and right strokes meet. The example shown in the header image is the top point of an uppercase 'A'.

Arm

A horizontal stroke that does not connect to a stroke or stem at one or both ends – such as the top of the capital T.

Ascender

The ascender projects above the x-height of the font

The part of a lowercase letterform that projects above the x-height of the font. Ascenders are important for ease of prolonged reading, though the combination of too much ascender-height and not enough x-height can cause problems.

Baseline

The baseline is where the feet of your capital letters sit. Below this line are descenders and loops.

Bowl

The shapely, enclosed parts of letters such as 'p' and 'b'.

Beak

The beak-shaped terminal at the top of letters such as 'a', 'c', 'f' and 'r'.

Bicameral (as opposed to unicameral)

Bicameral refers to alphabets that have upper- and lowercase letterforms, such as Roman and Cyrillic – as opposed to the likes of Hebrew and Arabic.

Bracket

A wedge-like shape that joins a serif to the stem of a font in some typefaces.

Cap height

The height of a capital letter above the baseline.

Copyfitting

The job of adjusting point size and letter spacing in a bid to make text occupy its allotted space in a harmonious fashion.

Counter

Counters are highlighted in red

The enclosed – or partially enclosed – portion of letterforms such as 'c', the lower part of 'e' and 'g'; easy to get mixed up with the bowl.

Crossbar

The crossbar connects two strokes, as in 'H'. Not to be confused with the crossstroke that cuts through the stem of letterforms such as 't'.

Cursive

These are typefaces that imitate handwriting. Ever popular with Joe Public, the design community is often less than thrilled by these sometimes flowery fonts.

Descender

The part of the letterform that falls below the baseline. In lowercase terms, this means 'p', 'y' and 'q', and sometimes applies to uppercase 'J' and 'Q'.

Diacritical

Diacritical marks – such as the grave shown here – indicate how a letter should be pronounced

Is it so critical that you might die? No. Diacriticals refer to accents applied to letterforms by languages including French, Czech and German in a bid to enhance the function of the glyph.

Dingbat

Dingbat are decorative elements such as bullets

Once known as printer's flowers, dingbats are decorative elements that can vary from simple bullets to delicate fauna and flora, often formed into themed collections.

Display fonts

Any typeface intended to be used in short bursts can be defined as a display font. They're often created just for use at large point sizes, as with headlines and titles.

Drop cap

The drop cap 'E' descends four lines

An oversized capital letter often used at the start of a paragraph that 'drops' into two or more lines of text, but can also climb upwards.

Next page: Glossary of typography E-L

Ear

A small stroke extending from the upper-right side of the bowl of lowercase g, as shown in the example. It can also appear in a lowercase r.

Ethel

A ligature of the letters 'o' and 'e'.

Em dash

There are many different types of 'dashes'

Often referred to as 'Mutton' to distinguish it from the very similar-sounding En, Em is a horizontal space equal to the current point size of text.

En dash

'Nut' to its friends, the En is a horizontal measure one half the size of an Em. That being the case, 'lamb' might have been more appropriate.

Eye

The eye is similar to a counter, but instead refers specifically to the enclosed part of the letter 'e'.

Finial

A tapered or curved end, which appears on letters such as e and c.

Fleuron

A subcategory of, or the precursor to, the dingbat. Fleurons are floral marks dreamed up by printers of the past to help decorate text.

<font-face>

The HTML5 tag that brings typography to the internet with typefaces directly embedded in web pages.

Glyph

Glyphs are the singular parts that make up a font

Any singular mark that makes part of a font, whether a letter, number, punctuation mark or even a dingbat. Glyphs are the building blocks of typography.

Grapheme

Very similar to glyph, but possibly a bit broader. A grapheme is a fundamental unit of language, such as a Chinese pictogram, an exclamation mark or a letterform. Still with us in our guide to what is typography? Great! Because we've got more terms coming your way!

Gutter

The spaces between facing pages of, and very often columns of text.

Justified

In a paragraph of justified text, when the contents are arranged so that there is no white space at the end of a line: each begins flush left and finishes flush right.

Kerning

Designers adjust – or 'kern' – letterforms to improve their readability

The art of adjusting the proximity of adjacent letters to optimise their visual appeal and readability.

Leading

Leading describes the vertical space between each line of type

Leading describes the vertical space between each line of type. In olden times actual strips of lead were used to separate lines of text vertically; the naming convention persists.

Legibility

The ease with which one letterform can be distinguished from the next. It feeds into but is not the same as readability.

Loop

The lower part of the letters 'g' and 'y' are known as the loop or lobe

The lower part of the letter 'g' is known as its loop or lobe. Sometimes called the tail – a term that also takes in the lower portion of letter 'y'.

Logotype

The lettered part of any marque or identity. The logotype can be taken separately from its graphic companion.

Ligature

The conjoined but non-identical twins of the typographic universe. Ligatures pull two forms together to produce a new glyph.

Next page: Glossary of typography M-Z

Manicule

Also known as the bishop's fist (stop sniggering at the back), the pointing hand symbol is a popular dingbat.

Monospace

The characters in the monospaced font are all the same width

Fonts in which every letterform occupies the same horizontal space.

OpenType

Designed by Microsoft and Adobe, OpenType supplanted and improved upon TrueType and PostScript fonts.

Oblique or sloped roman

To be distinguished from italics, in which the letterforms are purposefully drawn to be different to their upright cousins. Oblique letters are merely slanted versions of the standard roman form, often arrived at by mechanical means.

Orphan

The first line of a new paragraph stranded at the bottom of a page. This is considered to be as bad as the name suggests.

Pica

One sixth of an inch in length, the pica is associated with line-length and column width. There are 12 points or 16 pixels in one pica.

Pilcrow

The paragraph symbol, it now marks the presence of a carriage return but at one time is thought to have denoted a change of theme in flowing text.

Point

A standard typographical measurement equal to 1/12 of a pica or 1/72 of an inch.

Readability

Readability refers to the ease with which a block of text can be scanned by eye.

Serif

A flare or terminating flourish at the end of a letterform's strokes believed to originate with the Roman tendency to paint letters onto marble before chiselling them out.

Sidebearing

The horizontal space to either side of a letterform, separating it from other letters.

Spine

The main curved stroke of a lowercase or capital S.

Squoosh

Squoosh is the process of squashing or expanding a typeface digitally

This is the inadvisable process of squashing or expanding a typeface digitally either to fit a space or for visual effect. If you do it, make sure you keep it to yourself.

Spur

A small projection from the curve of a letterform, sometimes known as a beak or a beard. G provides a good example.

Stem

A vertical, full-length stroke in upright characters.

TDC

The Type Directors Club is a typography organisation based in New York.

Tittle

Tittle is the name for the dot above the i or j

The brilliantly suggestive name for the dot above letters 'i' and 'j'.

Terminal

A type of curve at the end of a stroke. Examples include the teardrop shapes in: 'finial', 'ball', 'beak' and 'lachrymal'.

x-height

The height of the lowercase x in any given typeface. This delimits the size of the glyph's detail and therefore also of its ascenders and descenders.

This is a revised and updated version of an article published previously on Creative Bloq.

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Friday, April 28, 2017

The Unintended Consequences of Outsourcing By Panos Mourdoukoutas

Source: https://www.forbes.com/sites/panosmourdoukoutas/2011/12/09/the-unintended-consequences-of-outsourcing/#4c41b2ac7e36

Dec 9, 2011

Hewlett-Packard 250 system

Image via Wikipedia

Economists are almost unanimous: Outsourcing is a good business strategy. It improves efficiency, cuts costs, speeds up product development, and allows companies to focus on their “core competencies.” And for the most part, they are right. Outsourcing has helped American companies deal with the destructive forces of globalization; that is, the intensification of competition and the price and profit erosion associated with it. For some companies, outsourcing has made the difference between staying in business and going out of business. But, as with every other business strategy, outsourcing has its own limitations and "unintended consequences" that if not addressed, can turn it into a bad business strategy.

Outsourcing is easy to be replicated by the competition; it leads to fragmentation and disintegration of the supply chain, inviting new competitors into the industry. It also nurtures corporate complacency; and it undermines a company's relations with its labor, customers, and the domestic and local communities.

Outsourcing is easy to be replicated, and therefore, it is not a source of sustainable competitive advantage. Outsourcing provides certain competitive advantages to early-movers --that is, to companies that adapt it first -- but it isn’t proprietary. It cannot be patented, preventing others from adapting it. For example, if outsourcing hardware manufacturing provides IBM (NYSE:IBM) a cost advantage, it also does for its competitors, such as the Hewlett-Packard (NYSE: HPQ), Dell Computers (NYSE:DELL), and EMC (NYSE:EMC) that will follow suit. If outsourcing call centers cut costs for American Express (NYSE:AXP), it also does for its credit card competitors Visa (NYSE:V) and Master Card (NYSE:MA). This means that outsourcing works only as long as some industry members have yet to adapt it. Once this happens, outsourcing is no longer a source of competitive advantage.

Outsourcing leads to the fragmentation and disintegration of the supply chain, inviting new competitors into the industry, and undermining pricing power and profitability. Outsourcing of manufacturing, for instance, is feasible only if it can be separated from other supply chain activities: product development, branding, marketing, distribution, and after sales services. The same is true when it comes to outsourcing marketing or distribution and so on. This means that as more and more activities are outsourced, the supply chain turns from a single integrated process performed within the boundaries of traditional corporations to a fragmented and disintegrated process, a collection of separate and disjointed activities, performed across several independent subcontractors. And although such a fragmentation and disintegration of the value chain offers corporations a number of well publicized advantages, it has an unintended consequence:  It makes entry of new competitors to the industry easier, intensifying competition, shortening product cycles, and squeezing return on invested capital.

To understand how this works, let us imagine that Apple (NASDAQ:AAPL) develops a perfectly fragmented and disintegrated Web TV-supply chain: Every activity from the new TV-concept development, to design, manufacturing, marketing, and so on can be performed by independent subcontractors. This means that any company that has no capabilities in making and selling TVs can enter the TV industry, as long as it comes up with the sufficient capital to pay the subcontractors handling the different value chain activities. The problem, though, is that once the product hits the market, nothing prevents another company from doing exactly the same thing, and then another, and another, until the TV industry becomes crowded with companies pitting against each other in a cut throat competition that eliminates industry profitability. What seemed to be a good strategy for each investor in the beginning turned into a bad strategy for everyone at the end. By carrying outsourcing to the extreme, industry members opened the door widely to competition, reversing whatever outsourcing’s early positive effects, and then some.

But what if outsourcing isn’t carried that far? What if companies outsource only their “non-core activities,” and retain their “core activities”— the things they can do best? Certainly this strategy cuts costs and improves product quality, but it has another unintended consequence: it nurtures corporate complacency. By focusing on things that they can do best, company managers become complacent with their achievements, they think that what is a best product for their customers today will be the best product tomorrow. Corporate complacency, in turn, leads into corporate blindness, the failure of management to see that their markets reach saturation or are undermined by alternative products.

Outsourcing’s unintended consequences for companies and industries that adapt it are not confined to the intensification of competition and corporate complacency. They extend to the relations of these companies with one of their partners—labor. If each and every activity of the value chain is gradually farmed out, what binds labor with management and stockholders? If company engineers and marketers who develop new product ideas can sense that their jobs will eventually be farmed out, why should they be loyal to the company? Wouldn’t it be better to part from the company and pursue their own value chain by farming out the development, the manufacturing and so on, to outsourcing companies?

Outsourcing’s unintended consequences extend to company relations with another partner—the customer. If each and every activity is outsourced, customers may feel betrayed. If I hire Sears (NYSE:SHLD) or Home Depot (NYSE:HD) to make certain improvements in my house because they have a reputation for reliable services, I would feel betrayed if I get services from strangers hired by the said companies, especially if they perform a sloppy job. And I will feel even more betrayed if I end up discussing my medical or financial records with overseas strangers.

Outsourcing undermines relations with a third company partner—the domestic and local communities. By shifting production and jobs overseas, outsourcing has a devastated impact on both levels that often unleash tidal ideological and political waves that may reverse all the gains from outsourcing, and then some. Let’s not forget that people who live in these communities are not just workers, they are customers and citizens, too. As customers, they may end up boycotting the products of the corporations moving from one location to another, just to cut costs and raise profits. As citizens, people may end up supporting legislation that increases the cost of doing business in their community.

What seems to be trendy in business strategy isn’t always a good strategy, especially if it is carried to the extreme. If carried to the extreme, outsourcing turns corporations into opportunistic institutions without a vision, heading into a collision course with its most valuable partners—labor, customers, and the community. True, in a competitive world, it is hard to swim like a salmon against the current. Yet the salmons that swim hard always make it to their destination.


'Very depressing': CIBC staff losing jobs to workers in India, expected to help with training

Up to 130 CIBC finance jobs will be lost due to outsourcing this year


Source: http://www.cbc.ca/news/business/cibc-outsourcing-jobs-india-1.4045759

By Sophia Harris, CBC News

Affected CIBC staff must train other local CIBC employees, who will in turn train workers in India to take over the jobs.

Affected CIBC staff must train other local CIBC employees, who will in turn train workers in India to take over the jobs. (Nathan Denette/Canadian Press)

CIBC is eliminating up to 130 jobs in its Toronto finance department and outsourcing the work to India.

As part of the transition, staff losing their positions must train other local CIBC employees. Those employees then train the workers in India who will be taking over the jobs.

Although they aren't directly training their replacements, the situation isn't sitting well with some affected staff who spoke with CBC News. They asked that their identity be protected because they fear repercussion from CIBC — one of Canada's largest banks.

"It's very, well, depressing," said one employee about having to pass on his work knowledge so that someone in another country can replace him.

"A lot of people would have rather just been let go immediately than to sort of, if you will, suffer [through this]."

"It feels like no one cares for us," said another employee. "The environment is really bad. People are bitter."

The jobs being outsourced are mainly accounting-related positions. CIBC has already let go 16 employees and the layoffs will continue to roll out over the course of the year.

The replacement workers in India are with the global consulting and outsourcing firm, Accenture, which is partnering with CIBC.

$1.4B profit for CIBC

The bank says it has found jobs for 36 displaced staff and is making every effort to find work for others.

But the employees that CBC News spoke with say they feel the bank is more interested in raking in profits than helping them out.

"They want to get rid of us no matter what, because we are old or something," said one worker who claims many of the employees facing layoffs are middle-aged or older.

She said CIBC pulled in a $1.4 billion profit in the last quarter and is still outsourcing jobs to save money. "They said it's cheaper labour and it's 24 hours, because when we are sleeping, they are working."

Another employee said he could accept his layoff if his job had been outsourced to another Canadian company. But he believes sending the work offshore is going too far.

"You have to draw the line somewhere, especially when you're talking about the types of profits that these companies are making," he said. "You're taking these good-paying jobs out of the Canadian economy."

When asked why it's outsourcing the work, CIBC suggested it's a common practice.

"Like most large companies, we selectively outsource," spokesperson Caroline Van Hasselt said in an email.

CIBC currently has 43,000 employees and has created almost 2,500 jobs in Canada over the past five years, she added.

Everybody does it

Many Canadian corporations outsource work to other countries, said Ron Babin, with the Ted Rogers School of Management at Ryerson University.

"It's the way of the world. It's how companies remain efficient, it's how they remain competitive, it's how they keep their costs down."

hi-world-india-outsourcing-852

Many Canadian organizations from banks to government outsource labour, says a business expert. (Vivek Prakash/Reuters)

Although outsourcing is a routine business practice, Babin said it still generates negative attention when people lose their jobs.

"It's a sad story," he said. "You hate to see something bad happen to good people."

In 2013, Royal Bank of Canada faced a tidal wave of criticism following a CBC News report that 45 of its IT employees were being replaced by cheaper workers from India employed by global outsourcing firm, iGATE.

RBC brought several of the replacement workers to Canada, prompting an employee to complain that they had to directly train them to take their jobs.

CIBC says none of its offshore workers are setting foot on Canadian soil.

RBC crossed a line by bringing foreign workers to Canada to be trained by staff facing layoffs, Babin said.

"That was callous, I would say, and I think RBC has learned from that."

RBC won't offshore jobs for money

RBC reacted to the backlash at the time by pledging to never outsource a Canadian job to another country solely to save money.

"RBC will not offshore work where salary savings is the primary reason and will make every effort to source in Canada," the bank said in a statement.

CITY-NATIONAL-M-A-RBC/

A CBC News story about RBC replacing Canadian staff with foreign workers sparked a tidal wave of criticism. (Reuters)

The bank's then-CEO Gord Nixon also published an open letter in national newspapers, apologizing to affected employees.

"We should have been more sensitive and helpful to them," he said, adding that the workers would all be offered comparable job opportunities at RBC.

The CIBC employees that CBC News spoke with also hope that the bank will have a change of heart and do something to guarantee their jobs.

"How are we supposed to make a living?" says one employee who worries about not being able to land a comparable job. "We have family, we have expenses to take care of."

Tuesday, April 25, 2017

Bring Assata Back ASAP By Michelle Malkin

Source: https://www.creators.com/read/michelle-malkin/03/17/bring-assata-back-asap
March 22, 2017

If FBI agents have time to track down Tom Brady's stolen Super Bowl jerseys, why can't they bring back AWOL convicted cop-killer Assata Shakur?

It is time for one of the agency's most wanted women in the world to pay her dues. And President Trump is just the man to force this militant and unrepentant escapee to face justice.

Forty years ago this week, a New Jersey jury convicted Joanne D. Chesimard — aka Assata Shakur — on first-degree murder, assault and other charges in the 1973 traffic stop execution of state trooper Werner Foerster and wounding of trooper James Harper. She received a life (plus 30 years) sentence.

But instead of serving behind bars, Shakur has led the pampered life of a "political fugitive" in socialist Cuba after her radical Black Liberation Army buddies busted her out of prison. The late Fidel Castro's regime provided the fugitive murderer and social justice vigilante an apartment, stipends, books and funding for graduate school.

As she ages in comfort, the BLA's self-styled mother hen is now a campus icon among the Black Lives Matter generation. She's a T-shirt, a poster, an internet meme. Just last week at the University of Illinois at Urbana-Champaign, minority students convened an "Assata Shakur Reading Group" — which the school newspaper described as a "biweekly book club for people of color that focuses on radical, black activism."

Activism? Try bloodstained domestic terrorism. At the time of Foerster's murder, the BLA had been tied to the murders of more than 10 police officers across the country. Before the turnpike shootout, the BLA had ambushed two pairs of NYPD officers in a 48-hour spree, killing two of them; murdered another cop in Atlanta; and executed another pair of NYPD officers in 1972.

Chesimard, her brother-in-law Zayd Shakur (who died in the gunfight with Foerster and Harper) and another BLA member were wanted for questioning in the murder of two of those cops when they were stopped.

BLA's "sole goal," domestic terrorism expert and author Bryan Burrough noted in an interview for my new CRTV.com investigative program on Shakur, "was assassinating policemen." When BLA thugs ambushed rookie NYPD officers Rocco Laurie (who was white) and Greg Foster (who was black) while they walked the beat in the East Village in 1972, they didn't just shoot them. They stood "over them and just continue(d) to shoot into their bodies, into their heads" after they lay dead in the snow, Burrough recounted.

Retired FBI agent and Morris County, New Jersey, Sheriff James Gannon further schooled the ignorant: "This is not a soccer mom, this is a woman who was involved in very high-end, very violent crimes."

Joseph Connor, whose father, Frank, was murdered by the BLA-aligned Puerto Rican terrorist group FALN in 1975, added that these violent left-wing extremists were far from freedom-loving peaceful protesters: "They were looking to subjugate people beneath them. They weren't looking to free people, they were looking to murder people, they were looking to cause mayhem."

Secretary of State Rex Tillerson has vowed to use trade policy to pressure Cuba to extradite Shakur and scores of other convicted criminal fugitives back to the United States. President Trump, who ushered in a new era of respect for law enforcement after eight years of President Obama coddling of the social justice mob, should get this deal done before yet another grim anniversary passes.

Every day they wait is another day the left's violent movement for "armed struggle" against our men and women in blue festers with impunity.

"Cop-killer Assata Shakur: The FBI's Most Wanted Woman in the World," debuts March 22 on CRTV.com's "Michelle Malkin Investigates." To find out more about Michelle Malkin and read features by other Creators Syndicate writers and cartoonists, visit the Creators Syndicate webpage at www.creators.com.

Tuesday, April 11, 2017

Why Heat Exhaustion Is so Dangerous By Dr. Mercola

Source: http://articles.mercola.com/sites/articles/archive/2016/07/06/heat-exhaustion.aspx
July 6, 2016
Heat Exhaustion

Story at-a-glance -

  • Heat stress ranges from mild heat rash to dangerous heat stroke, which claims the lives of nearly 660 people each year, more than from tornadoes, hurricanes, floods and lightening combined
  • Death from heat stroke is preceded by a flood of toxins from your gut into your abdominal cavity, even passing the blood-brain barrier
  • Simple strategies can reduce or even eliminate heat-related illnesses when you know what to do

    According to the Centers for Disease Control and Prevention (CDC), on average, extreme heat causes 658 deaths in the U.S. each year. This is more than those in tornadoes, hurricanes, floods and lightning combined.1 Sadly, many, if not all, of these deaths are preventable.

    Occupational Safety and Health Administration (OSHA) reported 2,630 heat illnesses in 2014. These included all conditions related to overheating, such as rhabdomyolysis, heat cramps, heat exhaustion and heat stroke.2

    In a study released by the CDC in 2013, researchers found 7,233 heat-related deaths in the U.S. between 1999 and 2009. This data also indicates the numbers are rising.3

    In a two-week period in 2012, excessive heat resulted in 32 deaths over four states in the U.S. This is four times the typical average for those same states for the same two-week period between 1999 and 2009.

    Just under 70 percent of deaths happen at home and 91 percent of those homes did not have air conditioning. Most of the people who died were either unmarried or living alone.

    Factors Affecting Your Potential Risk for Heat Stress

    Factors that affect your risk for suffering heat stress include your environment, your work and rest schedules, and your nutrition and training schedules.4 You are most prone to suffering heat stress if you are elderly, have high blood pressure or work or exercise in a hot environment.5

    You might think you can only suffer heat stress when temperatures outside are very warm, but it need only be 57 degrees Fahrenheit (13.8 degrees Celsius) to suffer the effects of heat stress.

    Humidity is another environmental factor affecting your body's ability to evaporate sweat, and cool your core temperature. Days of high humidity reduce sweat evaporation, and therefore affect your body's cooling system. Wind speed will help evaporate sweat and cool your body.

    Acclimating to extreme heat is important if you plan to spend time outside working. In this process, you physically adjust to the temperature in your outdoor environment. In a healthy person, this can take up to two weeks; a little faster in the heat and slower in the cold.6

    Your physical condition, age and weight are all factors in how quickly you acclimate to your environment. However, this is effective only when you have access to cooling off in times of heat stress. You cannot acclimate to living in an apartment without air conditioning during high temperatures.

    Age, medications and metabolic rate are also factors impacting your response to heat.7 As you age, your body's response to temperature change is reduced, causing higher risk in elderly individuals. Some medications may also interfere with your brain's temperature regulation.

    If your metabolic rate is high, you may feel warm at 72 degrees F (22.2 degrees C), whereas someone with a slow rate will feel cool. How often you rest in the heat, seek a cooler environment and schedule water breaks will also affect your response.

    Mild to Moderate Heat Stress

    There are varying degrees of heat stress, starting with heat rash and culminating in heat stroke.8 You may have experienced heat rash or prickly heat in the past. It is caused from heat and humidity and usually disappears quickly once you enter a cooler environment.

    Clusters of red pimples or small blisters may appear on your neck, groin, and chest, or under your breasts or your armpits. You may use powders to keep the area dry and reduce the irritation, but ointments and creams may only exacerbate the discomfort.

    Heat cramps are involuntary muscle contractions. In heavy working conditions and hot temperatures, your body can lose as much as 2 pints (1 liter) of fluid every hour.9 Replacing water is important, but so is replacing minerals and sodium. However, typical sports drinks are not the solution.

    Rehydration with coconut water10 supplies your body with minerals, salts and energy without the disadvantages connected to sports drinks, which can contribute to tooth corrosion and high sugar levels spiking your insulin and increasing your potential risk for metabolic syndrome.

    Heat syncope (fainting) or dizziness happens more frequently after prolonged periods of standing in one place in the heat.11 Dehydration and lack of acclimatization contribute to the problem. You may have sweaty skin but will have a normal body temperature. Go to a cool area and drink to rehydrate.

    Rhabdomyolysis is the medical term to describe a rapid breakdown, destruction and death of muscle tissue. This can happen in times of extreme heat, causing muscle cramps, weakness and exercise intolerance.12

    The large amounts of proteins and electrolytes suddenly flooding your body from ruptured muscle cells can damage your kidneys, and trigger seizures and irregular heart rhythms. It is important to stop what you're doing, drink water, get to a cool place and seek immediate medical attention.

    Heat Stroke and Heat Exhaustion Are Different

    Heat exhaustion is your body's response to a loss of large amounts of water and salt.13 Your symptoms may include:14

    Headache

    Nausea

    Dizziness

    Weakness

    Irritability

    Thirst

    Heavy sweating

    Elevated body temperature

    Decreased urine output

    Vomiting

    Diarrhea

    Clammy or pale skin

    Immediate medical care is necessary to prevent the onset of heat stroke. If a clinic or emergency room is not immediately available, call your local emergency response phone number. Take the individual to a cool area, give them water to drink, remove unnecessary clothing and cool them with cold compresses.

    Avoid drinking ice cold drinks in favor of cool liquids.15 Take a cool shower or get into a bathtub or swimming pool. Spritz cool water over bare skin, or soak your clothing in cool water. Do not cool yourself or someone else to the point of shivering.

    Heat stroke is the most severe form of heat stress, causing dramatic changes in your cells that can potentially lead to death. Symptoms usually include:16

    Confusion (altered mental status)

    Loss of consciousness (coma)

    Hot, dry skin or profuse sweating

    Seizures

    Body temperature 104 degrees F (40 degrees C) or higher

    Death if treatment is delayed

    Act Quickly If You Suspect Heat Stroke

    Heat stroke is a medical emergency requiring immediate medical treatment. Give the same first aid you would for heat exhaustion while waiting for emergency personnel. Heat stroke causes specific changes in your cells, triggering large scale inflammation in your body that may result in death when left untreated.

    When your core temperature rises too high (hyperthermia), it quickly triggers a response as your body tries to correct the temperature elevation.17 Your blood vessels on the surface of your skin dilate in an attempt to cool the blood and body. This results in red (flushed) or blue coloring to the skin.

    To shunt more blood to the skin, the body constricts the blood supply to the gut. This reduces blood flow and increases the movement of bodily fluids between the cells, a structure designed to keep fluids and toxins in your gut from leaking into your abdominal cavity, usually a sterile environment.18

    The leaking that occurs is not the slow trickle of leaky gut, but rather a sudden onslaught of toxins. In fighting the massive amount of toxins, your body also damages other organs and tissues. According to an article in Scientific American, which quotes a chapter in the textbook, "Wilderness Medicine," it can be challenging to differentiate between damage from overheating and from the secondary effects of the toxins.19 As explained by Scientific American:

    "Proteins in the spleen start to clump as a direct result of heat; they're essentially cooked. The blood-brain barrier that normally keeps pathogens out of the brain becomes more permeable, allowing dangerous substances into the brain … and 30 percent of heat stroke survivors experience permanent damage in brain function, according to Wilderness Medicine."

    Treat Heat Stress Early

    Heat stress may move quickly from cramps to heat exhaustion and into heat stroke. It is important to be diligent and to evaluate your symptoms and the symptoms of the people around you. Early treatment and immediate help can prevent heat stroke and the resulting damage to organs, tissues and your brain.

    If you are working in the heat daily and don't experience symptoms, it is prudent to weigh yourself nightly. You are flirting with danger if you lose between 1 percent and 1.5 percent of your body weight in a single day.20 For a 170-pound person, 1 percent loss is 1.7 pounds and 1.5 percent is 2.5 pounds. You might not think such small numbers represent grave danger, but they do.

    Heat stress may make you feel tired, fatigued and irritable, and may cloud your thinking. This increases the likelihood of performance decay, leading to poor decisions or an increased risk of an accident.

    Your goal is to find a balance between the conditions under which you are working or enjoying an athletic pursuit, the amount of rest in cooler environment you get and your fluid intake. Even in perfect balance, you must listen carefully to your body and know the symptoms of heat stress.

    Prevent or Lower Your Risk for Heat Stress

    Preventing heat-related illness is easier than treating it. Be prepared to prevent heat stress or help those who are experiencing the condition.

    Know the Signs and Symptoms

    When you know what to look for, you may be able to prevent muscle cramps from accelerating to heat exhaustion or heat stroke.

    Monitor Yourself and Your Companions

    Be diligent about watching for the signs of heat stress and treat them immediately.

    Block a Direct Heat Source

    Shield yourself from the sun, open flames in hot weather and light when you are suffering from heat stress. Use the shade as much as possible. You may want to build simple reflective surfaces to fit your windows to deflect sunlight in the summer.21 Wrap aluminum foil around cardboard cut to fit your window. Anchor it between window dressing and the window to deflect the sun and reduce the heat absorption in your home. You may want to use this in the rooms you sit in the most.

    Use Cooling Fans and Air Conditioners

    While you may be able to acclimate to high temperatures outside, it is important to have cooling fans or air conditioning indoors where the air is not moving to aid in sweat evaporation.

    Check on Your Friends, Family and Acquaintances

    During a heat wave, check on people you know who live alone, don't have air conditioning or suffer from a medical condition which increases the potential for heat-related illness. Help them find shelters where they will be safe. Create a communication plan with people you know may need help in the heat. Identify when you will call and what will happen if they don't answer.22

    Drink at Least 8 Ounces of Water or Coconut Water Every 15 Minutes

    You will want to replace the fluid lost from sweat in the heat, supporting your body's cooling mechanism to prevent heat stress.

    Avoid Caffeinated Drinks, Alcohol and Heavy Meals23

    Alcohol and caffeinated drinks stress your kidneys under hot conditions, increasing the potential for heat stress. To stay cool, your body will dilate capillaries close to the skin and shunt some blood from your gut, slowing digestion. Eating a heavy meal without adequate blood supply for digestion will be uncomfortable and may trigger nausea.

    Wear Lightweight Loose-Fitting Clothing

    This allows your sweat to evaporate and cool your body more efficiently. It's also important to leave your sweat on your skin and not wipe it off.24 Your sweat is the core of your body's cooling system. By wiping it off, you don't allow the body to cool as efficiently.

    Take the Time to Acclimatize Yourself

    Spend time intentionally getting used to the hot weather before attempting to participate in athletic activities or working outside. It can take up to two weeks to get used to changes in weather. Learn to listen to your body signals during this time and drink plenty of fluids.

    Rest Frequently

    Muscle activity increases the production of internal heat. This in turn increases your body core temperature and your risk of heat stress. Rest for at least 15 minutes every hour to allow your core temperature to stabilize.25

    Turn Off the Lights

    Lights and digital equipment emit heat as they function. When the room is already hot, even additional lighting or computers can raise the temperature enough to trigger heat stress.26

    Track the Local Weather

    Knowing when the heat is expected to rise will help you to plan outdoor activities, fluid requirements and when to activate your communication plan with friends and family.

    Eat Appropriately for the Weather

    It's important you continue to eat during a heat wave when you aren't actively working or participating in athletic activities. Small, frequent meals are more easily digested rather than two or three large meals a day.27

    Do Not Leave Children or Pets in the Car

    The temperature inside your car can quickly rise to 120 degrees F (48.8 degrees C) or higher. Hot enough to kill someone quickly.