Book Creativo ...

Diseñadora Grá[email protected]

Tel: 777 2927 / 312-372 9230

Book Creativo

Mejorar mis conocimientos y seguir desarrollando mis habilidades y talentos en la comunicación gráfica, para el beneficio de la empresa y el cliente, así como mi crecimiento personal y profesional.

A FUTURO especializarme en áreas de gerencia y pedagogía de diseño.

Profesional en Diseño GráficoCorporación Escuela de Artes y Letras Institución Universitaria2011

OBJET I VO

D I ANA ANGAR I TA BAUT I S TA

C o n c e p t o s l o g o s / C o n c e p t o s l o g o s / C o n c e po s l o g o s / C o n c e p t o s l o g o s /

ArquiHectorProyecto personal

2008

concepto Logo concepto Logo concepto Logo concepto Logo concepto Logo concepto Logo co

Óp t i c a

Global - ÓpticaProyecto personal

2010

concepto Logo concepto Logo concepto Logo concepto Logo concepto Logo concepto Logo co

/ E d i t o r i a l / E d i t o r i a l / E d i t o r i a l E d i t o r i a l / E d i t o r i a l / E d i t o r i a l / E d i t o r i a l / E d i t o r i a l / E d i t o r i a l

/ E d i t o r i a l / E d i t o r i a l / E d i t o r i a l / E d i t o r/ E d i t o r i a l / E d i t o r i a l / E d i t o r i a l E d i t o r i a l / E d i t o r i a l / E d i t o r i a l / E d i t o r i a l / E d i t o r i a l / E d i t o r i a l

Carteles políticos, revolución y guerra

El cartel se consolido en la sociedad como un medio de exhibición y como objeto

buscado por los coleccionistas. De aquí se puede decir que se convierte en una afi-

ción por mas difundida la cual disponía de recursos diferentes en técnica de aplica-

ción de diseño y publicación. Si bien se decía que se llevaban a coleccionar carteles

del mismo país debido al aislamiento entre países y naciones por el menor desarrollo

de las comunicaciones, se puede decir que estas colecciones no se dieron a conocer

sino hasta después de la postguerra europea.

El mundo industrializado de finales del siglo XIX entre 1870 y la primera guerra

mundial fue quien hizo el aspecto de que los carteles se asociaran al arte y al co-

mercio. Viéndose en obras realizadas por los artistas más destacados de la época a

los cuales se les pedía desarrollaran muestras graficas para productos que querían,

fueran reconocidos por la gente pues se llegaba a pensar que los productos que eran

de artistas reconocidos tenían la misma calidad y buen nombre. Las obras hechas

por Chéret, Toulouse-Lautrec y Mucha contribuyeron a la evolución de la pintura,

los carteles generalmente reflejaban los estilos de moda en decoración o hablaban

el lenguaje más claro para la mayoría. Se utilizaron para la guerra y la política, pero

dado el acuerdo influyente sobre lo que debía ser un cartel, las consignas de las fuer-

zas en el poder se presentaban sin traspasar los límites aceptados. Las revoluciones

políticas de Rusia y otros países señalaron una nueva dirección al cartel político, mu-

chos artistas y gobiernos no apreciaron este cambio, trayendo como consecuencia

que hasta los años cincuenta han seguido siendo una variante más de atracción

comercial.

capitulo

1

/ 7

término se conoció diferente en: Alemania, se

llamo “jugendstil”; en Francia “le Style Moder-

ne”; en Austria, “Secession”; en Italia, “Stile

Liberty”; en España, “modernista”; en cambio

siguió llamándose igual en gran Bretaña y Es-

tados Unidos. De este movimiento podemos

decir que fue el precursor para los artistas al

atreverse a publicar sus obras y convertirlas

en un arte al alcance de todos pues es donde

la publicidad pone la mirada sobre ellos y sus

excelentes artistas quienes con su ingenio plas-

man perfectamente los elementos de diseño

de este movimiento. Como “arte popular” se

vinculo a espectáculos como el cine y todas las

artes escénicas: a momentos políticos y a reali-

zaciones colectivas de todo tipo. Conocido po-

pularmente por la masiva aceptación que ob-

tiene desde el momento mismo de su creación;

por constituir una alternativa más económica

para poseer arte. Cabe distinguir que la influen-

cia del Bauhaus5 coincide con la primera etapa

decorativa de la sociedad de consumo que se

inicia tras la segunda guerra mundial, este he-

cho hace que aparezcan diferentes manifesta-

ciones en pro y contra de ideas de gobierno y

diseño respectivamente.De allí en adelante el cartel se manifestó en

los diferentes movimientos artísticos que sur-

gieron desde finales del siglo XIX, al igual de

forma de vida y expresión como los carteles

hippies, cubista, futurista, de suprematismo,

movimientos artísticos decorativos, abstraccio-

nismo, expresionismo, realismo, surrealismo,

etc.

5. la Bauhaus, fue la escuela de diseño, arte y arquitectyura fundada en 1919

por Walter gropiius en Weimar. La Bauhaus sentó las bases nomrativas y

patrones de lo que hoy conocemos como diseño industrial y gráfico.

Y el cartel político…

Del cartel político, lamentablemente se obtiene poca biografía aunque en nues-

tro país se ha manejado mucho el estudio del diseño de la gráfica y a tenido tema de

que inspirarse para crear opiniones gráficas y literales, en pro o en contra, no se ha

buscando aún al afiche o cartel como medio de expresión popular.

Aunque de este espacio la publicidad vuelve a ser protagonista colocando al car-

tel político, como medio de información de las campañas de los candidatos para

alcanzar un posible cargo público.

Color, Lápiz y algo de humorProyecto personal

2008

ortada Diagramación + Arte final Portada Diagramación + Arte final Portada Diagramación + A

cap

itu

lo 1

The Breath of AllahGDS Editorial

2009


1

hen Cyrus Randall the First died, he was found to have dual

citizenship in both the United States and Great Britain. But

he only had one will, and that was British. His only son, Charles

B. Randall, never lived long enough to inherit his firstborn legacy.

The three steel boxes sat patiently for another fifty years in a Brit-

ish lockbox awaiting his daughter’s firstborn son. That firstborn

son had to be fifty-five before the inheritance was accessible.

Cyrus Randall the Second was the only surviving son who

reached the appointed age. Thus, Randall, at fifty-five, was off to

find a British barrister and a British court to represent his inheri-

tance as a just claim. The bureaucratic paperwork took just under

two weeks. Two different judges signed off and then sent Randall

on his way, five hundred pounds sterling poorer.On a cold, wet, December day, Randall walked up the long

stone steps to the Bank of Scotland in Edinburgh to claim his grand-

father’s history. The barrister and bank manager placed three steel

boxes on a table and said “sign,” then quietly walked out of the

room, leaving Randall in silence. There it was—the three boxes that

represented the end of a fabulous, romantic, swashbuckling life.

The first box contained his personal papers and items of no

real consequence, except a diary that read like a novel.

TEMPEST O’ROURKE

vi

executed an idea and changed the world. But there were others

necessary for such an idea to succeed, and one of those was a mul-

lah, a religious cleric who could read and interpret Mohammed’s

Breath of Allah. His communication between tribes was respected

by all, and all would listen. Without this integral part of Lawrence’s

equation, the campaign would have been “dead in the sand.”

The last part of this trio was a war correspondent from the

London Times, originally forced on Lawrence by the British State

Department. In short order, he was accepted, respected, and in time,

revered by all. Cyrus B. Randall was a man’s man, a brother-in-arms,

a lover of Islam and its people. Randall relished his assignment, and

with his pen made Lawrence known around the world. It was these

three men that made Lawrence’s idea come to life.

Lawrence’s rules were simple but unwavering. If you were

with Lawrence, you fought by his side, you were his sword, you

prayed next to him, ate from the same common cookstove, drew

blood from your common enemy, and—if need be—died for the

cause. No quarter given, no exception made—period.

The winds of Arabia cooled during the course of the long night

as they passed over the cold sands of Arabia, for the sands retain

no warmth of the day’s sun, and evenings are long and bitter with

the wind’s bite. Soon the sun would commence its rise, while the

black sky and its starry diamonds still seemed to fall into the dis-

tant sands of the west.

On such a moment in time, in 1918, three hundred miles west

of Damascus, where the eternal sea of sand covers all things, a long

black line appeared on the horizon, approached, passed a single

water tower, and continued on—disappearing in the far oppo-

site horizon. It was the railroad tracks of the conquering Turkish

Empire that, almost as a metaphor, divided the sand’s unification

of Arabia and its sovereignty.

v

ith the Arabs’ defeat of the Turkish-held Acaba, the winds of Arabia had turned against the Ottoman Empire. The stun-

ning victory had been masterfully conceived, yet foolhardy and daringly executed. It was Lawrence of Arabia’s gamble that had done the impossible. His name was now seared in every Arab’s mind, for he was unquestionably chosen by Allah to lead Arabia in its quest for total sovereignty.

Until Lawrence’s great victory, the Islamic populace was useless in the defense of its motherlands. They were disunited, fragmented, and undisciplined. Even Mohammed’s fourteen-hun-dred-year quest for unity among the tribes had never come to fruition. It is true that Mohammed had given them a religion—but not a nation.

Lawrence gathered the warring tribes, dispelled their age-old fears about one another’s traditions, and molded them into an Islamic movement to rid Arabia of its Ottoman oppressors.

abcdefghijklm

History suggests that it was Lawrence, with one man’s abil-ity to look into the future of what could be, and should be, who

Principios de Micología AgrícolaENO Editorial

2009

Arte final Portada Arte final Portada Arte final Portada Arte final Portada Arte final Porta

Hiking ThroughGDS Editorial

2009


Drawn to the LandGDS Editorial

2010


Wendy N. Powell

132

progress on a weekly basis for purposes of mutual feedback.” �is leaves the length of the time frame of correction up to you. (Refer to Appendix C for a sample Last Chance Agreement.)

Wendy N. Powell

10

A typical error is illustrated by a want ad seeking an

administrative assistant to perform high-level administrative

support to an executive, when, in reality, the company is

looking for a personal assistant to maintain the boss’s cal-

endar and type letters. �e person the company hires will

not remain in the position if the expectations and duties are

incorrectly described.

�e same applies to qualifications. Be realistic. �e

office assistant to the chemistry department chair does not

need a master’s degree in chemistry to perform basic admin-

istrative support. Again, don’t make this mistake; describe

the whole picture well so the employee will not be surprised

with the work. Unwanted turnover will take you away from

your own work—and your bottom line.

�ink carefully about the selection criteria and other

qualifications for the job. Develop qualifications that you

will use to measure candidates for your job. Careful exami-

nation and creation of specific criteria will help protect you

from any claims against your selection, as you will be able to

quickly point to the reasons you selected the candidate who

most closely matched your criteria.

When creating your selection criteria, take a look at job

postings on online recruiting sites such as Monster.com or

CareerBuilder.com. You’ll notice that job qualifications are

generally well-defined.

For example, the following job posting for a payroll

employee on the web site CareerBuilder.com outlined the

company’s selection criteria. �e expectations are clearly

http://captainamerica.marvel.com/http://captainamerica.marvel.com/

Management Experience AcquiredGDS Editorial

2009

ación interna Diagramación interna Diagramación interna Diagramación interna Diagramación

Líneas y Ángulos

47

Paso 1. Sitúa el ángulo de tal forma que el vértice y el lado inicial coin-

cidan con el origen O de la espiral y la posición inicial OA de la

semirrecta que gira.

Paso 2. Sea E el punto de intersección del segundo lado del ángulo con

la espiral.

Paso 3. Divida 𝑂𝐸 en tres partes iguales por medio de los puntos G y F.

Paso 4. Trace las circunferencias de centros en O y radio OG y OF.

Paso 5. Estas circunferencias cortan a la espiral en los puntos C y D, en-

tonces las semirrectas OC y OD trisecan el ángulo AOB (figura

2.66).

EJERCICIOS PROPUESTOS

1. Construye una paralela a otra recta utilizando otro método

distinto al realizado en la construcción 1.

2. Hallar dos ángulos complementarios por defecto y por exce-

so, tales que el doble del menor es seis grados menor que el

mayor.

3. Hallar el valor del ángulo 𝑥, si: 5𝑥 − 22°30′ = 2𝑥 + 11°

4. Hallar el valor del ángulo 𝑥, si: 51°20′ − 𝑥 = 5°1′ + 3𝑥23

5. Hallar dos ángulos suplementarios por defecto y por exceso,

tales que el menor mide 20 grados menos que el mayor.

6. Hallar la medida de un ángulo que coincide con su comple-

mentario.

Líneas y Ángulos

37

DEMOSTRACIÓN

1. 𝑚(∡𝐴𝑂𝐵) =𝑚(∡𝑇𝐶𝐸)

Lados respectivamente per-

pendiculares

2. 𝑚(∡𝑇𝐶𝐸) +𝑚(∡𝐹𝐶𝐸) = 180° Ángulos adyacentes

3. 𝑚(∡𝐴𝑂𝐵) +𝑚(∡𝐹𝐶𝐸) = 180° Sustitución de 1) en 2

APLICACIONES: CONSTRUCCIONES DE

TRISECCIÓN DE ÁNGULOS

2.79 TRISECCIÓN DEL ÁNGULO DE 90°.

Paso 1. Construya un ángulo recto AOB

Paso 2. Trace un cuarto de circunferencia cualquiera con centro en O

que intersecará a los lados del ángulo AOB en los puntos C y D

Paso 3. Con radio 𝑟 =𝑂𝐶 y centro en C corte el cuarto de circunferencia

en E

Paso 4. Construya Δ𝑂𝐶𝐸 equilátero, luego: 𝑚(∡𝐸𝑂𝐶) = 60° y

𝑚(∡𝐸𝑂𝐷) = 30°

Paso 5. Trace la bisectriz 𝑂𝐹 del ángulo COE. Los ángulo EOF y FOC son

congruentes, luego miden 30° cada uno. Entonces, el ángulo

AOB se ha trisecado; es decir, se ha dividido en tres ángulos

iguales de 30° cada uno. (Fig. 2.51).

Geometría Plana, ¡De Euclides al Cabri!

72

3.51 COLORARIO II. Los ángulos agudos de un triángulo rectángulo son complementarios

por defecto.

TEOREMAS DE CONCURRENCIA

3.52 TEOREMA.Las mediatrices de los lados de un triángulo concurren en un mismo

punto que equidista de los tres vértices del triángulo.

HIPOTESIS: Δ𝐴𝐵𝐶; k, l, m mediatrices

TESIS:

Las mediatrices concurren en O, 𝑚(𝐴𝑂) = 𝑚(𝐵𝑂) = 𝑚(𝐶𝑂)

Construcción Auxiliar: Se trazan los segmentos 𝑂𝐴, 𝑂𝐵 y 𝑂𝐶DEMOSTRACIÓN

1. Las mediatrices k y m se cortan

en O

Rectas no paralelas se cortan en

un punto

2. 𝑚(𝐴𝑂) = 𝑚(𝑂𝐵)Punto de la mediatriz equidista de

sus extremos

3. 𝑚(𝐴𝑂) = 𝑚(𝑂𝐶)Punto de la mediatriz equidista de

sus extremos

4. 𝑚(𝐴𝑂) = 𝑚(𝑂𝐵) = 𝑚(𝑂𝐶)Transitividad de 3). y 4).

5. O es equidistante de los vérti-

ces del triangulo Las distancias a los vértices son las

mismas

1

CAPÍTULO

DEFINICIONES PRELIMINARES

1.1 GEOMETRÍA.Es una parte de la matemática que estudia las propiedades intrínsecas de las figuras, o sea, aquellas que no se alteran con el movimiento de las mismas.

1.2 CUERPO.Todo lo que ocupa un lugar en el espacio, ejemplo: una caja, una mone-da, un libro. La existencia del lugar ocupado se denomina volumen.

1.3 EXTENSIÓN.La extensión de un cuerpo es la parte del espacio ocupada por él, ejem-plo: el vacío que queda en una pared al sacar un ladrillo.

1.4 SÓLIDO GEOMÉTRICO.Es toda porción limitada del espacio, esté o no ocupada por materia.

1.5 DIMENSIONES.Las dimensiones de un cuerpo son tres bien definidas: longitud o largo, ancho y altura, espesor o profundidad. Todo sólido tiene tres dimensiones. En algunos sólidos como la esfera, no puede decirse con propiedad que

1

ortada Diagramación + Arte final Portada Diagramación + Arte final Portada Diagramación + AGeometría PlanaENO Editorial

2010

The Retiring MindGDS Editorial

2010


46

Robert P. Delamontagne, PhD

47

The Retiring Mind

Enchanter, you are only moderately susceptible to

depression and emotional stress during the early and

middle stages of retirement because of your large net-

work of friends and family and your unique ability to

maintain long-standing relationships. No other E-Type

places as much emphasis on personal relationships

as The Enchanter. If, however, close personal friend-

ships are lost due to retirement separation, emotional

stress could be experienced. It would be beneficial for

you to make a special effort to stay in close contact

with your work associates after retirement. More than

anything you need love.

The Story of L L retired after a successful career as a speech

pathologist, special education teacher, and school

administrator. As an administrator in a special

education center, she was responsible for overseeing

many of the programs implemented by one-hundred-

and-thirty staff members for six-hundred students.

She possesses a BS in speech pathology and a mas-

ter’s in special education. She won a coveted “Teacher

of the Year” award for the entire county school system

while teaching in the classroom. She describes her-

self as somewhat of a perfectionist who devoted much

of her time and attention as an administrator and

teacher to ensuring that she performed in a highly

effective fashion. She observes, “Sometimes I was too

dedicated and committed to my job and missed out

on some enjoyable activities with family and friends.

My husband helped me to see the value of living a

more balanced life, particularly toward the end of my

career.” The fact that she was considered a distin-

guished member of the educational leadership team

and was highly successful in attaining her career

goals, has given her a sense of ongoing satisfaction

during her retirement years.When she retired, she and her husband, who is

also a retired educator, decided to move to a resort

community within close driving distance to the beach.

Purchasing a new home gave her a sense of purpose

and joy during the early months of her retirement.

She said, “Moving was a good decision for us. We

had made the decision prior to my retirement and it

was not done on the spur of the moment. I wanted

to make a fresh start in a new community away from

my old life. I think we just wanted to try something

new and different.”

viii

Robert P. Delamontagne, PhD

ix

• David Hawkins, MD, PhD, for completely

altering my understanding of human con-

sciousness through his book Power vs. Force:

The Hidden Determinants of Human Behavior.

Preface

The quality and texture of our lives are greatly deter-

mined by the challenges that occupy our minds and

confiscate our thinking. I have learned this through

many years of experience as an entrepreneur and

educational psychologist. For whatever reason, my life

has largely focused on trying to understand why peo-

ple are the way they are (including myself). How does

the mind work? How does learning occur? What is the

most effective way to teach? At the time of my retire-

ment, I felt that I was well prepared for the transition.

I had financial security, good health, a loving family,

and hopes for the future. What I actually experienced

when I retired were fleeting moments of happiness,

much longer periods of boredom, and feelings of

aimlessness. It got worse over tim

e until I realized I

was living in a self-imposed “dead zone” where my

usual zest for life was nowhere to be found. Was my

chronic malaise unique only to me? After reviewing

the research and talking with many friends and family 1

Chapter 1

Is That All There Is?

When I retired at age sixty-three, I calculated that I had about seventeen years left to live. I simply subtracted my age from the average life expectancy of an adult male, which is approximately eighty years. I knew that I had a better chance of living longer since both of my parents lived into their nineties; however, I also knew there are no sure things in life and that I would be lucky to live seventeen more years. I had never really thought seriously about my own mortality. I believe I subconsciously felt as though I would live forever. To actually put a time limit on my life was sobering. What did I want to do? How did I want to live? What things were most important to me? How long would I be in good health? Had I met the requirements for eternity, whatever they may be? For the first time in my life, I had no answers. I had fallen into a black hole where there were no guideposts for me to follow.

What had happened to me? I built a successful company and lived a very active and dynamic life. I

When no one is watchingGDS Editorial

2010


The Road TripGDS Editorial

2010

Arte final PortadaArte final Portada Arte final Portada Arte final Portada Arte final Port

v

Momentos Dulces del Corazón

Índice

TORTAS CON FRUTAS Y VERDURAS ix

Torta de Auyama

1

Torta de Zanahoria con Manzana 3

Torta de Remolacha con Crema de Chocolate 5

Torta Invertida de Piña y Caramelo 8

Torta de Piña con Avena

10

Torta Invertida de Agras

12

Torta de Zanahoria con Banano 14

Torta con Ciruelas

16

Torta de Ciruelas en Crema de Almendras 18

Torta Invertida de Ciruelas

20

Torta Húmeda de Naranja

22

Torta-Chiffón de Limón con Amapola 24

Torta de Frutas con Almendras 26

Torta de Manzana “Canción de Otoño” 28

Torta-Chiffón de Fresas

30

Pastel de Fresas “Glamour”

32

Torta de Fresas, Limón y Almendras 34

ortada Diagramación + Arte final Portada Diagramación + Arte final Portada Diagramación + AMomentos dulces del corazón

ENO Editorial2010

2

Tatiana Bondarenko

2 t (250 ml) puré de auyama

0,5 t de uvas pasas

0,5 t de nueces cortadas grueso

Para la crema:

3 claras de huevo

2 cdas azúcar glas

10 masmelos grandes o 20

pequeños color rosado

2-3 cdas agua

Procedimiento:

Precalentar el horno a 180 C.

Engrasar un molde hondo “corona” (preferiblemente de silicona) de 24 cm.

- Tamizar la harina, sal, polvo para hornear y especias.

- Batir los huevos, azúcar y aceite. Agregar puré de auyama y revolver bien.

- Incorporar los ingredientes secos, añadir las pasas y nueces.

- Hornear 1 hora 20 min a 180C. Hacer prueba con palillo de madera.

- Cuando la torta se enfrié, untarla con crema y adornar a su gusto.

Para preparar la crema:

- Derretir masmelos mezclados con el agua en el horno microondas a potencia

100% por 40 segundos. Revolver con un tenedor y conservar.

- Batir las claras y añadir poco a poco azúcar glas. Añadir sin parar la batidora la

preparación anterior y mezclar por unos segundos más hasta obtener una crema

espesa y brillante.

Inmediatamente untar la torta por encima y adornar. 3Momentos Dulces del Corazón

Torta de Zanahoria con ManzanaEngrasar y enharinar un molde desarmable de 23 cm.Precalentar el horno a 180C.

Ingredientes:

1,5 t harina1 t azúcar2 ctas polvo para hornear1,5 cta canela en polvo

The Lone Star SkateGDS Editorial

2010


Mis Primeros Grafo-trazosProyecto personal

2011

Mis Graf

o-trazos

2 | Trastornos del Aprendizaje

ejemplo, cambios co

nstantes de centro de estu-

dio o inasistencia escolar.

“Un trastorno de aprendizaje es un im

pedi-

mento psicológico o neurológico para el lengua-

je oral o escrito, o para las co

nductas precep-

tuales, cognitiva

s o motoras1 .

Es importante analizar que cada caso en

particular debe ser to

mado de

manera diferente, porque es

importante analizar: l

a causa,

significado y m

odalidad de per-

turbación. Cada niño es único;

la forma en que se manifieste el

problema de aprendizaje está

relacionada con la individ

uali-

dad de quien aprende, por lo

tanto no existe “el niño dislé

xi-

co”, existe un niño que presenta

dislexia; ca

da niño responderá

diferente frente a su aprendi-

zaje, ya sea por su

estructura

biológica, emocionalidad y en-

torno sociocultural. Por ello es

importante reconocer al niño,

entender su problemática es-

pecífica, ayudarle a reconocer

sus fortalezas y

también debilidades buscando

siempre herramientas de apoyo que le permitan

» Se manifiesta por discrepan-

cias entre las conductas espe-

cíficas y s

us ejecuciones, o en-

tre la habilidad evidenciada y

el rendimiento académico.

» Es de tal naturaleza y exten-

sión que el niño no aprende

con los métodos instructivos y

materiales apropiados para

la mayoría de niños, por lo

que requiere de procesos es-

peciales para su desarrollo.

» No es principalmente debido

al retraso mental, problemas

emocionales o falta de oportu-

nidades para aprender”

1. Dificultades Infantile

s de Aprendizaje: Detención y estra

tegias

de ayuda; Ed. Grupo cultural; Madrid, España;

Estrategias de ayuda en dificultades de la Lectoescritura | 41

de ayuda en dificult

ades

de la Lectoescritura

Actividades para el

proceso escritorEl aprendizaje de la escritura es

>

una actividad imprescindible para continuar con

la enseñanza de nuevos conceptos al subir cada

año de nivel escolar. Para que la escritura se dé

sin problemas es imprescindible que el niño haya

alcanzado la madurez necesaria en el área per-

ceptiva, psicomotora, lingüística, atencional, cog-

nitiva, etc. El inicio precoz o mal aplicado, puede

generar dificultades más adelante, entorpeciendo

su desarrollo, produciendo en el niño rechazo a la

actividad pues le resulta difícil realizarla.

La lateralidadAntes de introducir al niño en el

>

aprendizaje es importante recalcar la importan-

cia que tiene la lateralidad en el aprendizaje de

la escritura.

¿Qué es la lateralidad?, la lateralidad con-

siste en el dominio funcional de la parte derecha

Estrategias de ayuda en dificultades de la Lectoescritura | 55

para EscrituraFichas lectoescritura: vocales y consonantes

Material: Fichas vocales y consonantes (Nombre de las fichas)

Ficha tabla de escritura grafomotricidad

(Tabla pauta y cuadrícula)MarcadorPañito para limpiar

Tipo de letrasEs importante conocer los dos

>tipos de letras que se pueden utilizar para el

aprendizaje del abecedario en los niños. Tene-

mos la letra imprenta o script, utilizada en los

teclados y en los libros; este tipo de letra son le-

tras que se escriben por separado no van unidas

una de la otra por líneas conectoras; esta letra

nos ayuda a practicar ejercicios con círculos,

semicírculos y líneas rectas verticales y horizon-

tales. Algunos profesionales no están de acuer-

do con enseñar inicialmente este tipo de letra,

la razón, es porque la consideran una letra que

debe ser escrita por separado, lo que le implica

al niño levantar el lápiz cada vez que realiza el

trazo para una nueva letra.

Son las primeras dos etapas de >educación para el desarrollo cognitivo y lingüís-tico de los niños. Actividades que el niño logra realizar durante estas dos etapas:

Clasificar objetos en categorías (color, »forma, etc.), cada vez más abstractas. Ordenar series de acuerdo a una dimensión »particular (longitud, peso, etc.).Trabajar con números. »Comprender los conceptos de tiempo »y espacio. Distinguir entre la realidad y la fantasía. »Desarrollar la grafo-motricidad. »Lectoescritura. »

PreescolarEtapa Escolar


The LightsGDS Editorial

2011


1

Introduction

Well, well, well, I m

ust congratulate you on one of the

most powerful decisions you will ever make pertain-

ing to slot machines. Now, before I get started, I must

tell you that every single word of advice in this book is

of my own opinion! All of these ideas, which may seem

basic, are my own thoughts, and I’m only giving you

something to think about or experiment while gaming.

And the decision to use any method or modes that you

are about to read is your own. My affiliates, my spon-

sors, and I are not responsible for any possible outcome.

(�at’s the gamble!) Please don’t play with money you

cannot afford to lose…remember, the casino is a business!

However, I want to pass on information the everyday

person can use, because I am an everyday person!

I also want to note that some of the things you are

about to read might sound kind of contradictory, and

too simple to be true. Well, take it from someone who

is doing it night in and night out. Yes, there are a lot of

�e Lights Winning at Slots: From de Winning Edge Series

Published by Bridgeway BooksP.O. Box 30071Austin, Texas 78755

For more information about our books, please write us, e-mail us at

[email protected], or visit our web site at www.bridgewaybooks.

net.

Printed and bound in TO COME. All rights reserved. No part of this

book may be reproduced in any form or by any electronic or mechani-

cal means including information storage and retrieval systems without

permission in writing from the copyright holder, except by a reviewer,

who may quote brief passages in review.LCCN: TO COME

ISBN-13: 9781934454510ISBN-10: 1934454516Copyright© 2011 by Earnest Cobb

10 9 8 7 6 5 4 3 2 1

Table of ContentsIntroduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

What’s On My Mind When I’m Walking

Into the Casino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Remember but Forget . . . . . . . . . . . . . . . . . . . . . . . . 11

Always Be Polite . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Talk When You Feel Like It . . . . . . . . . . . . . . . . . . . . 13

Always Help the Elderly . . . . . . . . . . . . . . . . . . . . . . 14

High Limits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Do I Use My Players’ Card? . . . . . . . . . . . . . . . . . . . 18

What’s on My Mind as I’m Playing Slots? . . . . . . . . . . 19

How I Act After a Jackpot . . . . . . . . . . . . . . . . . . . . . 21

Different Playing Styles and Techniques I Have Learned

over the Years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Some of the Different Types of Players That I Have

Noticed at the Casinos . . . . . . . . . . . . . . . . . . . . . . 25

8

What’s On My Mind When I’m Walking Into the Casino

A ttention to detail; as I walk through the casino on my way to high limits, I’m always looking around for

those blinking lights. If for nothing else, I’m looking for the area the lights are going off in and making mental notes on that area (no particular machine, just the gen-eral area). �en later that night or one day in the future, I’m going to play in those areas. Just the idea that the lights are going off lets me know the casino is paying someone, and that’s a good feeling. On my way to my slot section, I hear people on the card table hollering for twenty-five bucks they just won. I look, smile, and keep on moving toward my area with lights on my mind. �e card tables and dice tables bring out a lot of intensity from people and make them scream and shout. �e slots also have a way of making a person scream and shout, as you will find out!

Once I arrive in the high-limit area, I scope the area; then, if there aren’t any lights going off, I try to

Me and TennesseeGDS Editorial

2011

Tennessee

me and

Sheridan Hernandez

1

______

Chapter 1

I was fourteen years old when I first m

et Tennessee, although he

had told me his name was Jed. He had been named after his father

and his full name was Tennessee Jed, like the Grateful Dead song,

but hardly anybody called him Tennessee except his grandmother.

It was mid July in 2004, and, as in years past, I had recently

arrived in Dunedin, Florida, where I was to spend the summer

with my grandparents. Debbie and Jack Jones were m

y mother’s

parents, and several years previously they had retired to Florida as

many Americans do. My grandparents had been old as long as I

could remember, and they were as traditional and boring as apple

pie and ice cream on the Fourth of July. �ey went to church and

busied themselves with community services, such as volunteerin

g

at the garden club and helping at church bake sales. My grandma

v

______Prologue

�e cold, hard feel of the gun, though menacing, was also soothing to the boy, as he nervously fingered the smooth metal. His hands shook as he caressed the loaded weapon, his palms sweating so pro-fusely that the deadly steel slipped against his skin. He leaned back against a palm tree and watched as the morning sun poured down on the calm water of the Gulf of Mexico, giving the appearance of sparkling liquid gold. He felt the warmth of the new day upon his face, but the sensation brought him no comfort. He raised the gun’s barrel to his open mouth and closed his eyes.

And so it had finally come to this. She was gone, too. His mother was dead, killed. He had not yet reached his fifteenth birthday, but he was now an orphan. He felt completely alone. Once again, tears began to trickle down the bronze skin of his young face. He tasted


The Cyclops ConspiracyGDS Editorial

2011


Champagne Undressed

vii

Preface

A hobby study of the province of Champagne, its history and wines, e

ventually took me to France, in

1978. While studying viticu

lture and Champagne tec

hnique through three vintages, I

also learned that

the cuisine of Champenois is just as

individual as their w

ine.

I have pursued the marriage ever sin

ce, and first th

ought of writing a book on the subject t

en years

ago. It has, in

the interim, been a sta

rt/stop labor of love, with much trial

, and just a little

less error.

I term this a n

o-nonsense book. It is not intended for the coffee ta

ble alone, but also

for the kitchen.

I have kept it concise,

yet within its p

ages is all y

ou may ever need to know about Champagne (the

province) and champagne (th

e wine).

�e recipes ar

e a basic

introduction to the fundamental suitability of champagne to various food

types. �ey have been teste

d by my colleagues, an

d proven. With these culinary experien

ces, I expect t

o

stimulate y

our imagination and widen your boundaries of epicurean

pleasure.

�e pictures are m

eant to arouse the tra

vel bug which is within us all.

�rough thirty years, I have

visited many wine an

d vine locations, an

d met with interes

ting people. �ese r

epresent my favorite

experiences. M

y wish is that th

ey become yours also.

64

George Truby

Bottles of Cava aging peacefully. �ey will remain here with only spiders

as company for three years before being disgorged, then spend another

year resting before release onto the market.

Today’s most innovative Cava producer, Juve Y Camps, sits majestically

at the feet of Montserrat, Sant Sadurni d’Anoia, just thirty minutes from

Barcelona. �ey have brought a modern-day elegance to the traditional

Cava blend, and introduced a varietal chardonnay Cava to their family

of fine wines.

As modern as the wines of Juve Y Camps are, the meticulous care given to

harvesting their prized grapes is still by way of traditional handpicking.

Champagne Undressed

45

Wine PeopleStan Anderson was one of the pioneers of

top quality Napa sparkling wine, understanding, as he did, the importance of prolonged aging on lees for achieving character. Alas, this thorough gentleman left us too early in life.

Little wonder that Australian wine became a “flavor of the month” (every month in the eight-ies), when it had the personal backing of then

Prime Minister, Paul Keating. Here he helps launch yet another Australian brand, Sutherland, at the Austrade offices in

New York with vigneron Neal Suther-land and the author.

�e who’s who of American wine media join celebrated author Hugh

Johnson at �e Wine Press Club in Lon-don. Can you spot your favorite wine

writer?

South of France? Italy? No, this is Chateau Woltner, with a “French connection” nevertheless. Estab1ished by Francis and Francoise De Wavrin in 1982 when they moved from Bordeaux. Francoise is the granddaughter of Otto Woltner, manager of the esteemed Bordeaux house of La Mission Haut Brion. Chateau Woltner is in the delimited Napa viticultural district of Howell Mountain, where individual single-vineyard Chardonnay of great character is produced.

(From left to right) Neil Sutherland, Prime Minister

Keating, and the George Truby.

Champagne UndressedGDS Editorial

2011


Prejudice UnveiledGDS Editorial

2011

Arte final Portada Arte final Portada Arte final Portada Arte final Portada Arte final Port

Peac

e by

Pie

ce

52

Now, things by hand were always

something I chose to avoid.

The teacher was the very best,

“You know, she is Jean Boyd!”

I went to class that Friday morn

with a sense of apprehension.

I liked her samples and her style.

She gave detailed attention.

She showed us how to pick and choose

the colors that would go,

how you basted ’round the edge

of paper as you sewed.

This wasn’t bad and, actually,

quickly passed the time.

After basting flowers and leaves,

it was appliqué time.

Straight up and down and over one,

careful not to show.

Take stitches all along the edge,

catch just the tiny fold.

I threaded up my needle

to match my flower of red.

I pulled it through, but somehow,

I had lost the fine silk thread.

I tied a knot, and set my jaw,

a new determined mind.

I sewed the flower and to my awe,

no stitches I could find.

Jean said the class was over.

They all let out a moan.

But I was on a roll and knew

I’d finish them at home.

I quilt no more on my machine,

to hand stitch is my plight.

Today I stitched a leaf of black,

with thread of snowy white!

Written after taking my first hand appliqué class with Jean Boyd and loving

the challenge of hidden stitches. I still prefer my machine!

IntroductionI was never going to learn to quilt. When I asked my mom to teach me to sew, she sent me

to 4H club. There I learned the difficult lesson that if you do something in a hurry or incor-

rectly, it is better to start over. An apron was overwhelming, but quilting made no sense at all.

Why would anyone choose to cut up perfectly good fabric into squares that you just sewed

together again! I would never quilt.One evening, longing for some “girl time,” I joined my friend for a quilt guild fall open

house. The projects I saw there were art in fabric. As I ran my hand along the beautiful fin-

ished projects (gloved, of course), I entered a world that I became quickly attached to. It is not

only the love of fabric, design, and needing to slightly change every pattern I try that makes

me love quilting, it is the people. When I first started quilting, I had been an experienced

seamstress, sewing most of my clothes in high school (except for the zippers; I always brought

those home for Mom). I even designed my own graduation dress.

I had no idea I had so much to learn. My friends were patient, encouraging, hilarious,

and loved a great cup of coffee and some yummy treat (except for when we were all dieting!)

when it was time for a break.The great thing is this gift of friendship is not unique to our small guild. It is univer-

sal. I was instantly welcomed in our new home by the quilting group. I have met so many

From th

e Han

ds w

ith H

eart

45

A LegacyA LegacyI guide her choice in color,but allow it to be hers.We use straight lines in random form,over points on edge or curves.I show her how to press with care,stand the iron as she ends her task.I try to listen carefullyto the questions that she will ask.I show her how to run the threadthrough the needle of her machine.I teach her how to “frog stitch”when she makes a crooked seam.I love the days when my grandchildcomes to sew with me.I treasure this time beyond our quilt.I’m leaving a legacy.

For Fran, an example of the kind of grandmother I hope to be.

Introd

uction

xiii

Peace by PieceA quiltfabric as a wholedividedto make a kaleidoscopeof patternformed by the designerto create an object of beautypiece by piece

A lifethough wholedividedhappiness and sadnessfailure and successlaughter and tearspatterns in partformed by the designerto create a person of beautypeace by piece.

Peace by Piece

Chosen GiftsChosen Gifts

Oh, I can’t cook and I can’t sew.

Where was my mother’s head?

The only thing she gave to me

was a rag quilt on my bed.

My checkbook does not balance.

My plants just do not live.

Why couldn’t Mom plan better

of the gifts she had to give?

My brother spent his Saturdays

and Sundays with my dad.

With wrenches, sockets, nuts, and bolts,

they toiled in our garage.

Dad changed our oil, rotated tires,

made sure our cars would run.

Now the things he learned from Gramps,

he’s passed on to his son.

My brother bought an old Ford truck.

I thought it was a wreck.

Praise for Peace by PieceGDS Editorial

2011


/ D i s e ñ o g r á f i c o / D i s e ñ o g r á f i c o / D i s e ñ o g r á f i c oD i s e ñ o g r á f i c o / D i s e ñ o g r á f i c o© 2011 por Diana Milena Angarita Bautista

Bogotá - Colombia

D I ANA ANGAR I TA

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