2. *+%,)-.%$%/0"#-1%2""3
!"#$%&''(%#$%)*$#+,*)%-$%-%.#$/-0%1*21*$*,3-3#',%'4%3"*%2'*5%67%8#*)%-%93',*:;%&<%=>%?/5#>%
!"*%2'*5@$%A',A*23%'4%1*#,A-1,-3#',%#$%2'131-<*)%3"1'/+"%'0)%4-5#0<%2"'3'+1-2"$%A1*-3#,+%-%
2'131-#3%'4%5<%B1-,)5'3"*1@$%0#4*>%!"*%&''(%#$%&*-/3#4/0%',%3"*%#,$#)*%-,)%1'/+"%',%3"*%'/3$#)*:%
A1*-3#,+%-%C'1,:%.#,3-+*%0''(>

3. :60
:60 :60
:60
:60 :60
:60
:60
:60
:60
12
:60 :60
9 3
6
12
:60 :60
9 3
6
:60
:60
:60
:60
:60
:60
:60
:60
:60
) pa
cifi
ed :60
03
con
ten
tm
en
t
ag
gra
vat
ion
2010
%
!"
"#!
$!%
ambient
&'( pa
cifi
ed
03
con
ten
tm
en
noise
t
ag
gra
vat
ion
2010
456)-#0%7")'-%8"'0-(
ambient
noise
!"#$%#,4'15-3#',-0%2'$3*1%*D20'1*$%3"*%1*0-3#',$"#2%&*3C**,%,'#$*%-,)%*5'3#',>%73%1*21*$*,3$%
*.*1<%,'#$*%"*-1)%4'1%EF%$*A',)$%-3%3"*%3'2%'4%*-A"%"'/1%4'1%3C*0.*%"'/1$>%73%,'3%',0<%1*A'1)$%
3"*%.'0/5*%'4%3"*%,'#$*:%&/3%-0$'%5-(*$%-%A',,*A3#',%3'%-,%*5'3#',-0%1*$2',$*>

4. !"#$%&"'()
*%+&,'#&-./+0
4.)("#.$93%&":#0$)#%;<:6%=">"
!"#$%#$%-%0'+'%4'1%3"*%!"#$%&"'()*+%,&-'#&*./,0>%!"*%0'+'%#$%-,%-&$31-A3%1*21*$*,3-3#',%
'4%3"*%5'/,3-#,%2*-($%#,%3"*%G)#1',)-A($:%A1*-3#,+%-,%*0*+-,3%1*40*A3#',%'4%3"*%$#520*
&*-/3<%'4%,-3/1*>

5. !"#$%&"'()
*%+&,'#&-./+0
1"+(',#%& !(,#2#,#34 53,-6&2%/23" .%&,'(,-74
-$&'.'&',/
*(+, Adirondack Mountain Club has
25 chapters that offer numerous
!"#$%&'() opportunities to get outdoors in the
Adirondacks and closer to home.
ADK’s Adventure Travel organizes
-$&'.'&',/
exciting trips to all parts of the globe.
ADK’s Environmental Advocacy
0,&12).(3.,"
program promotes responsible policies
to protect New York’s wild places. We
4()&%$&15/ even offer school programs to instill a
love of nature in children.
-"'6()"%$7
8(#)&%')143#9
*(+, !"#$%&'() -$&'.'&',/ 0,&12).(3.," 4()&%$&15/
4.)("#.$93%&":#0$)#%;<:6%;"<<$0-($<
!"#$%C*&%$#3*%-,)%#,4'15-3#',-0%&1'A"/1*%4'1%3"*%!"#$%&"'()*+%,&-'#&*./,0%/$*$%&*-/3#4/0%
2"'3'+1-2"<%-,)%A0*-,%0-<'/3%3'%A',.*<%3"*%$#520*%&*-/3<%'4%,-3/1*:%$#5#0-1%3'%3"*%0'+'>

6. e
st s ar
i
art
a
mi
su
nd
br er
ee st
d oo
d
breed
1
i ‘1
aron
Mass
gn:
Desi a pm
pm
Jonn :00
-7:
00
0
00-7 5
5:
12,
12,
ch
ch
Mar
Marc 100
ay,
day,
day 1 21
Y 12
010
1
2010 Frid NY
8,
8, y,
any,
any
r l n:
on: Alba
Alb
pril ptio ion
esi
gn t,
2-Ap
12-A ept Desi
Des reet
ree
t,
rch
rch Rece rt &
Rec t e St il 2
Mar
Ma ing A
Ar tate Apri
Statat
nin
i or , A
r
O e
Open ter fo
er 324
324 y,
day
l,
Cent
en Hall
Hal Fri
t Fr
i
rid
ottte irs
icot
Pico
Pic n FFirs
pen
Ope
stand
under
me at
Co Ro
se
em in
t
Sho
w
th Sa
Art
understand
of
rad Come
g e
le
l g e
der s ar
Co
e
Un
ist
Th
art
a them at
mi
su
nd
br
ee
er
st The College of Saint Rose
d oo
d
Undergrad Art Show
March 12-April 8, 2010
?#.-(>($.:$0-%@AB)6)0)"#%;"<<$0-($< : Friday, March
12, 5:00-7:00 pm
Opening Reception
!"#$%#$%-%2'$3*1%-,)%2'$3A-1)%)*$#+,*)%3'%21'5'3*%3"*%H,)*1+1-)/-3*%G13%ID"#&#3#',%-3%!"*% Center for Art & Design
J'00*+*%'4%9-#,3%?'$*>%!"*%.#$/-0$:%-0',+%C#3"%3"*%2"1-$*%6-13#$3$%-1*%-%5#$/,)*1$3'')%&1**):;% Picotte Hall, 324 State Street
, Albany, NY 12210
Open First Friday, April 2
A'52-1*$%3"*%5#$A',A*23#',$%2*'20*%"-.*%-&'/3%K#3%L/00$%3'%3"'$*%'4%-13#$3$>

7. C)<<D%2$#3%7"0-'
!"#$%$*1#*$%'4%&-,(%,'3*$%,-5*)%6+#00<;:%)*4#,*)%-$%-%A#1A/$%C-+',:%#$%)*$#+,*)%4'1%
-%31-.*0#,+%A#1A/$:%-,)%#,$2#1*)%&<%.#,3-+*%A#1A/$%2'$3*1$>

8. !"#$%!&'()(!&&&&&&&&&&&&&*+,(-&+%.-!'(%)'
!"#$%&'(%)(*"+%",%&'
!"#$%&' %())*$++$$
,-./$
0&#1"23%!"#$
4.*$$.%())*$++
0-.35%4.".$5%6-1%0&)$
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%7"3%85%9:8:
;$"*%())*$++$$<
%%
432 State Street, Suite 230 0&**$+1&2)$2=$%.>".%)$#&2+.*".$+%"2%-2.$?*".$)5%$3$@=".=>-2?%)$+-?2%=&#1/-#$2.+%.>$%1$*+&2%"2)%.>$%
=&#1"23%A$>-2)%-.B%,>$%AC+-2$++%+3+.$#5%D>-=>%-2=/C)$+%.>$%/$..$*>$")5%$2E$/&1$5%"2)%AC+-2$++%="*)5%
Schenectady, NY 12305
+>&C/)%>"E$%"%=&2+-+.$2.%/&&F%D-.>%*$?"*)%.&%.31&?*"1>35%"/-?2#$2.%"2)%1/"=$#$2.%&' %.>$%/&?&.31$B%,>$%
518.382. 758 1 '&*#".%&' %.>$%+.".-&2$*3%+>&C/)%D&*F%D-.>%"2)%$2>"2=$%.>$%)$+-?2%&' %.>$%#&2&?*"#%/&?&.31$B%G2%
)$+-?2-2?%.>$%/$..$*>$")5%.>$%1&+-.-&2%&' %.>$%.31$)%/$..$*%-+%&2$%&' %.>$%#"H&*%)$+-?2%=&2+-)$*".-&2+5%"/&2?%
www.esyo.or g D-.>%.>$%1/"=$#$2.%&' %.>$%/&?&.31$5%.>$%-2)-E-)C"/I+%2"#$5%"2)%"))*$++%-2'&*#".-&2B
!"#$%!&'()(!&&&&&&&&&&&&&*+,(-&+%.-!'(%)'
!"#$%&'(%)(*"+%",%&'
,>-+%/$..$*%-+%.31$)%C+-2?%.>$%'/C+>%/$'.%'&*#".%'&*%=&**$+1&2)$2=$%C+-2?%.>$%+."2)"*)%J%8K9L%M%88L%
-#$#.(/0$$"1
/$..$*>$")B%G2%.>-+%'&*#".5%"//%-2'&*#".-&25%-2=/C)-2?%.>$%-2+-)$%"))*$++5%)".$5%+"/C.".-&25%#"-2%A&)3%&' %.>$%
/$..$*5%=&#1/-#$2."*3%=/&+$%"2)%.>$%+-?2".C*$5%"/-?2+%'/C+>%/$'.B%N31>$2".-&2%-+%2&.%1$*#-++-A/$%-2%"%
AC+-2$++%/$..$*B%;&%2&.%-2)$2.O%C+$%)&CA/$@+1"=$+%A$.D$$2%1"*"?*"1>+B%0&2+-+.$2.%+1"=-2?%.>*&C?>&C.%"%
Empire State Youth Orchestras
/$..$*%-+%-#1&*."2.%.&%=*$".$%C2-'&*#-.3%"2)%$''-=-$2=3B%PC+-2$++%/$..$*+%C+$%+-2?/$@+1"=$+5%)&CA/$@+1"=$+5% Development/Marketing Specialist
&*%#C/.-1/$%)&CA/$@+1"=$+%D>$*$%"11*&1*-".$B% 518.382.7581
% esyoms@esyo.org
4-2=$*$/3,
P*$2.%(B%4&/-2"
Q&C2)$*5%R*$+-)$2.%"2)%SR%&' %,$=>2&/&?3
T#1-*$%4.".$%U&C.>%V*=>$+.*"+
!'(%)'
+,(-&+%.-
rey
0
Suite 23
305 %())*$++$
$
y, NY 12 !"#$%&'
,-./$
3%!"#$
0&#1"2
$++
4.*$$.%()*
)$
5%6-1%0&
0-.35%4.".$
Type Specimen Book
much different than our own human skeletal structures. This holds true for the typeface Ripe, a
geometric post–modern, slab serif font whose strokes and joints mimick those of a skeleton. This
type specimen book uses original illustration to take you through all the elements of this font
while subtly examining this relationship.

9. /0:.)"%EFG%7-H'<-00-(
!"#$%-,,/-0%,*C$0*33*1%21'5'3*$%3"*%G13%8*2-135*,3%-3%!"*%J'00*+*%'4%9-#,3%?'$*>%73%4*-3/1*$%
$3/)*,3%C'1(:%-$%C*00%-$%C'1(%41'5%.#$#3#,+%-13#$3$%-,)%4-A/03<>%ID2*1#5*,3-0%3<2'+1-2"<%-,)%
0-<*1#,+%'4%#5-+*$%1*40*A3%3"*%/,#M/*%-*$3"*3#A%'4%3"*%)*2-135*,3>

10. {William}
CASLON
abcdefghijklmnopqrstuvwxyz
C aslon is classi ed as an Old Style serif
typeface with visual characteristics that
include thick, stubby serifs, heavier strokes,
and a proportionally larger x-height.
Caslon also has a medium to high contrast
between thick and thin letter strokes and
nally Caslon has a near vertical stress.
William Caslon designed the font Caslon
as an extremely readable typeface that is
often used by magazine and book
designers as both a body text font and
display font. Caslon is unique because it
1725
was the nal expression of an Old Style
font and could almost be regarded as a
Transitional face. Caslon can be compared
to an umbrella because both are highly
functional. Caslon was used in the
Declaration of Independence as well as
;$'<"#%IDJ-K$9-%8"'0-( many other important government
documents. e utility of these documents
!"#$%2'$3*1%*D-5#,*$%3"*%#A',#A%3<2*4-A*%J-$0',>%N#$3'1#A-0%#,4'15-3#',%-,)%'1#+#,-0% can be compared to the use and function
2"'3'+1-2"<%5-(*%-%A',,*A3#',%&*3C**,%3"*%4/,A3#',-0#3<%-,)%$31/A3/1*%'4%J-$0',% of an umbrella. e umbrella also mimicks
many of the shapes and letterforms that
0*33*1%4'15$%-,)%-,%/5&1*00-> make up the schematics of Caslon; one
letterform in particular is the lowercase “t”.

11. !"#$%&''()*+$
!"#$%&$'&%()*+,,,- %*+,'+$-,.+$
!"#$%&'&()*+,-.//&-.0001 ,$*+/,*$0123456667
!"#$%&'#()*'+,-.'"#&/)))))))))))))))#")))))))0,& !"#$%&'#()*'+,-.'"#&/)))))))))))))))#")))))))0,&
1--%+2.,)2#*)&'3,#.)(%'*,/)))))))#")))))))0,& !"#$%&'#()*'+,-.'"#&/)))))))))))))))#")))))))0,& 1--%+2.,)2#*)&'3,#.)(%'*,/)))))))#")))))))0,&
1--%+2.,)2#*)&'3,#.)(%'*,/)))))))#")))))))0,&
4%%#.")!"562&&,&) 4%%#.")!"562&&,&) 4%%#.")!"562&&,&)
23720&)+,3'283, 23720&)+,3'283, 23720&)+,3'283,
/::#0"%;"5J$''%4.%/-()-'
!"#$%$*1#*$%'4%-)$%4'1%9//,3'%J'52-$$*$%*,A'/1-+*$%-).*,3/1*1$%3'%/$*%3"*%A'52-$$%#,$3*-)%
'4%)#+#3-0%,-.#+-3#',%$<$3*5$>%H$#,+%A'55',%2"1-$*$:%3"*%-)$%*52"-$#O*%-,)%2'(*%4/,%-3%3"*%
2#34-00$%'4%)#+#3-0%,-.#+-3'1$%-,)%3"*%41/$31-3#',%3"*<%A-,%A-/$*>

12. Rapunzel Rapunzel Please
E very year, Americans spend
billions of dollars caring for
their hair. They lovingly style, color
and add extensions to their manes,
and may invest in hair replacement
procedures and prescriptions to
segment of the population suffers
from the fear of hair. The fear of
Chatophobia.
Some people fear hair because
they feel it is dirty. Their phobia
may be an offshoot of germophobia,
the fear of germs. Since hair can
carry certain bacteria, and can also
be subject to headlice and dandruff,
it can be repulsive to many people.
;B$0"JB"6)$%&$>$L)#-%/J(-$.
!"#$%$21*-)%.#$/-00<%)*4#,*$%A"-3'2"'&#-:%3"*%4*-1%'4%"-#1>%!"*%'1#+#,-0%7,3-+0#'%
#00/$31-3#',%1*.*-0$%?-2/,O*0%*,3-,+0#,+%"*1%21#,A*%C#3"%"*1%)*-)0<%0'A($>

13. Type Specimen Book
much different than our own human skeletal structures. This holds true for the typeface Ripe, a
geometric post–modern, slab serif font whose strokes and joints mimick those of a skeleton. This
type specimen book uses original illustration to take you through all the elements of this font
while subtly examining this relationship.

14. W
hen you break down a let r rm
its most basic components you will find
INTRODUCTION
a struc re not much different than our own human
s le l struc res. This holds true r the typeface Ripe, a
geometric, post–modern, slab serif nt whose stro s and
joints mimick those of a s le n. This type specimen book
s you through all the elements of this nt while
sub y examining this rela onship.
TELLIT ME
WHERE HURTS
TELLIT ME
WHERE HURTS
TELLIT ME
WHERE HURTS TELL ME
WHERE IT HURTS
TELL ME
NEVER
GO TO A DOCTOR
Ripe Bold 125pt
Ripe Bold 50pt
WHOSE OFFICE PLANTS Ripe Bold 38pt
HA DIED
VE Ripe Bold 80pt
Type Specimen Book
much different than our own human skeletal structures. This holds true for the typeface Ripe, a
geometric post–modern, slab serif font whose strokes and joints mimick those of a skeleton. This
type specimen book uses original illustration to take you through all the elements of this font
while subtly examining this relationship.