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Hi MaryHazel,

Thanks for your important point and for simplifying those test sentences. As you can guess, I was focused on people testing their understanding, not on writing crisp sentences. I like your versions.

Lynn

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| January 13, 2015 at 09:57 AM

Hello. I always enjoy your blog and email magazine. Thank you very much for your helpful lessons.

I looked up some dictionaries, and they say that "comprise" and "be comprised of" can be used in the same way. OALD, for example, shows the two examples: - The collection comprises 327 paintings. - The committee is comprised of representatives from both the public and private sectors. Could I understand from this that "Our wine team comprises devoted wine lovers." can be also written as "Our wine team is comprised of devoted wine lovers."? I am a little confused, and would appreciate your advice.

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Hello Rainbow,

You will find "comprised of" in dictionaries. However, good dictionaries typically include a usage note about "comprised of." They explain that strict grammarians use only "composed of" and "comprises."

Language rules change. Some people--language purists--try to maintain distinctions and rules about what is correct.

In this blog, I typically explain what careful writers and editors prefer. If you follow their rules, you can be confident of your correctness.

Lynn

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Hi Lynn,

Thank you very much for your clarification. I will follow your advice in this blog and try to become a careful writer.

Posted by: Rainbow | January 18, 2015 at 11:25 PM

Excellent! I really like your blog. I am from Germany and your blog helps me writing business correspondence in English. Thank you!

Posted by: fuggi | September 16, 2015 at 03:39 AM

Fuggi, you are welcome! Perhaps you will write in English more effectively than native English speakers.

You may be interested in my book, "Business Writing With Heart." You can learn more here: Rag amp; Bone Woman Studded Leathertrimmed Suede Sandals Beige Size 39 Rag amp; Bone Cheap Excellent Cheap Footaction Cheap Sale Get Authentic IyIPo

Lynn

Posted by: Lynn Gaertner-Johnston | September 17, 2015 at 01:24 PM

Will the additional processing power required for interpolation outweigh the benefits of variable fonts?

Like many things today, especially on the web, it depends on the complexity of the computation, processing speed, rendering engine, etc. If interpolated styles are cached to memory as static instances, the related processing may be negligible. It’s also worth noting that calculations of comparable or higher complexity happen constantly in web browsers without any issues related to processing (think SVG scaling and animation, responsive layouts, etc). Another relevant comparison would be the relatively minimal processing power and time required for Adobe Acrobat to interpolate styles of Adobe Sans MM and Adobe Serif MM when filling in for missing fonts.

But what about hinting? How would that work with interpolation for variable fonts?

Any data that is stored as numbers can be interpolated. With that said, some hinting instructions are better suited for interpolation than others, and some fonts are less dependent on hinting than others. For example, the hinting instructions are decidedly less crucial for “PostScript-flavored” CFF-based fonts that are meant to be set at large sizes. Some new hinting tables may be helpful for a variable font format, but more experimentation would be in order to determine the issues.

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was used as a variable font model, it could be even more efficient because it wouldn’t require data for multiple masters. Why not focus more on a parametric type system like that?

Parametric type systems like MetaFont are brilliant, and indeed can be more efficient, but in my observation the design results they bear are decidedly less impressive or useful for quality typography.

What about licensing? How would you pay for a variable font that can provide a range of stylistic variation?

This is an interesting question, and one that I imagine would be approached differently depending on the foundry or distributor. One potential solution might be to license ranges of stylistic variation. So it would cost less to license a limited weight range from Light to Medium (300–500) than a wide gamut from Thin to Black (100–900).

What if I don’t need or want these fancy-pants variable fonts? I’m fine with my old-school static fonts just the way they are!

There are plenty of cases where variable fonts would be unnecessary and even undesirable. In those cases, nothing would stop you from using static fonts.

Web designers are already horrible at formatting text. Do we really want to introduce more opportunities for bad design choices?

People said similar things about digital typesetting on the Mac, mechanical typesetting on the Linotype, and indeed the whole practice of typography back in Gutenberg’s day. I’d rather advance the state of the art with some growing pains than avoid progress on the grounds of snobbery.

Theatre

Tributes paid to the former dancer and choreographer whose West End hits included The Phantom of the Opera

Chris Wiegand

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Gillian Lynne, the leading British choreographer who created the slinky moves of Macavity, Grizabella and other feline stars of the West End hit Cats, has died aged 92. Lynne, who worked on more than 60 shows in the West End and Broadway, had a long-running collaboration with the composer Andrew Lloyd Webber and choreographed The Phantom of the Opera and Aspects of Love. The composer paid tribute to her on Twitter, saying: “Farewell dearest Gillie, three generations of the British musical owe so much to you.”

Choreographer Matthew Bourne tweeted that Lynne “supported and inspired me from the very beginning … [her] spirit and love of dance and dancers lives on in all of us”. The actor Bernadette Peters also paid tribute, writing: “RIP dear Gillian Lynne. Your talents created so much joy for us all.”

Last month, Lynne became the first woman to have a West End theatre named after her when Lloyd Webber renamed his New London theatre. In a ceremony to mark the event, she was carried to the stage on a golden throne, surrounded by dancers from Cats.

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Lynne started out as a classical ballerina and was a leading soloist at Sadler’s Wells Ballet as it became the Royal Ballet in the postwar years. She danced at the London Palladium, choreographed her first film and her first ballet in the early 60s and became a prolific director and choreographer for the stage. In film, she acted with Errol Flynn on The Master of Ballantrae, and choreographed for Barbra Streisand on Yentl and Tommy Steele on Half a Sixpence. Her television credits included The Muppet Show and A Simple Man , a ballet about the life of the painter LS Lowry, performed at the Palace theatre in Manchester and broadcast on the BBC. It won a Bafta award for best TV arts programme in 1987.

Cats, an adaptation of TS Eliot’s Old Possum’s Book of Practical Cats, produced by Cameron Mackintosh, opened in 1981, and won her an Olivier award. It became one of the longest-running West End shows in history. By the time it closed, 21 years later, it had been performed around 9,000 times.

Lynne received a special Olivier award in 2013 and was made a dame in 2014 for her services to dance and musical theatre. She died on Sunday at the Princess Grace hospital in London. “She leaves behind a huge legacy and was adored by many,” said the actor Peter Land, who she married in 1980. Theatres across London’s West End will dim their lights at 7pm on Monday in her honour.

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Ryan Heffington is an experienced choreographer whose credits include the videos for Sia’s “Chandelier” and Arcade Fire’s “We Exist.” But a couple of years back, Heffington could never have imagined that he would wind up overseeing the movement of actors in an action movie, specifically Edgar Wright’s just-released crime thriller, Baby Driver . “Six months ago, I didn’t think I’d be doing this at all ,” Heffington told Entertainment Weekly on the movie’s Atlanta set last year. “But it’s been so interesting. It’s a shoot-’em-up film — cars crashing, killing people — but it’s choreographed, but with a straight face.”

Baby Driver stars Ansel Elgort as a tinnitus-stricken getaway driver who listens to music to drown out the ringing in his ears. A huge amount of action in the film, big and small, occurs in time to the tunes chosen by Elgort’s Baby, hence the need for a choreographer on the film, which costars Kevin Spacey, Jamie Foxx, Jon Hamm,Eiza González, and Lily James, among others. “There are certain dance elements in the film,” says Heffington. “But the timing is essential to a lot of the scenes, whether it’s a fight scene, or a car chase scene, or general street movement when it comes to extras. The whole scene tends to be timed out, so that’s been my job.”

Luca Teuchmann/Getty Images

When Heffington was first approached about working on the film, he was unfamiliar with the movies previously directed by Wright, whose credits include the comedies Shaun of the Dead and Hot Fuzz . “I researched [Edgar] after I had my first interview,” says the choreographer. “I tend to take on projects that I haven’t done before, or are experiences I haven’t had before. I thought,‘I don’t know what this choreography is going to be like, or how it’s going to fit into the film,’ but I was so intrigued by the script and the action, I couldn’t put it down. I was like, ‘Okay, there’s no way I’m not going to do it. It sounds like a really cool adventure.’ And it has been. Edgar isgreat to work with and he’s so meticulous. I mean, he knows my choreography better than I do. He knows everything . I mean, most directors do, but not to this degree.”

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