Sentences with phrase «screen than on paper»

You can still address the same points; it's just that long paragraphs can be harder to read on a screen than on paper.

Before 1992 most studies concluded that people read slower, less accurately and less comprehensively on screens than on paper.

Not exact matches

Keep files on your computer instead of in file cabinets, review documents on your screen rather than print them out, and send emails instead of paper letters.

Our plans for the spring are a more than vague and I'm finding myself unable to commit to anything on paper (screen).

Last summer, Italian and Dutch groups separately published papers suggesting that children are at wildly different risks for cancer depending on which defect they carry — with the risk ranging from less than 3 % to about 25 % — and argued that for lower - risk children, screening might not make sense.

Results of the research reported in the paper show that the new decoder preserved BCI performance much longer than before and even contributed to improving users» accurate typing speed on an on - screen keyboard.

Breakfast: This Sunday morning I began with Irish Breakfast Tea and read the actual paper, rather than viewing it on my phone's screen.

This will prove more challenging to you than it sounds on paper, as the make - up work is some of the most extreme ever seen on screen.

On paper, Motorcycle Boy seems like an almost impossible character to portray — a walking enigma who is always speaking in philosophical aphorisms and who may indeed be more symbol than man — but Mickey Rourke finds just the right notes to play him so that he seems world - weary and otherworldly in equal measure; he practically burns up the screen with his astonishing charisma and intensity.

Of course, the gamer has access to variety of weaponry in the streets such as chains that can be smashed against your opponents and also some entertaining but nothing more than button mashing combos that would of looked great on paper but unfortunately didn't make the transition to the small screen.

That is to say, it's different and would probably play out a whole lot scarier on paper than on screen.

As a result, even with over-the-top performances from Spacey, Farrell, and Aniston, Horrible Bosses still looks better on paper than it does on the big screen.

Also making a mark is Hamish Linklater, playing an enthusiastic young man who follows Sophie around like a puppy, singing her romantic»20s pop tunes on his ukelele (a sight ten times funnier on screen than it is on paper).

Typing and reading from screens is less effective and efficient for one's memory than doing the same thing on paper.

We can't get much further away from reality than reading about it on paper or screen.

One study found that young students, digital natives, absorbed material better on paper than on screen, even though they were convinced the opposite was true.

With so much reading going on, it's possible that print books are preferred for another completely practical reason: reading on screens tires out your eyes much faster than reading on paper.

I have read conjecture that Amazon may never upgrade the 300 pixel - per - inch screen, because it is enough to convince the human eye it is reading solid, ink on paper words, rather than assembled dots.

I want to report that after two years of indiscriminate book reading on paper and screens, I have come to the conclusion that I like reading on - screen more than paper.

Just the fact alone that color illustrations look so much better on screens than they do on paper... And yet people keep making and buying illustrated books on paper, like it was 1917.

It said the device «will approximate the size of a standard sheet of paper, rather than the six - inch (15 - centimeter) diagonal screen found on Kindle.»

Neither has as good a screen as a Kindle Oasis or Kobo Aura One, but they're more than good enough — and anyway, it would be excruciating reading an academic paper on a Kindle.

This will help those who are more adept at writing on paper than on screens.

Of course, it is still a backlit screen rather than restful - on - the - eyes paper, but this is the first iPad to be a better e-reader than the Kindle in terms of sharpness.

«We hope to capture a set of readers who perhaps don't read on paper, as well as a new generation who will grow up reading and writing on computer screens in school and will have different reading habits,» said Maru de Montserrat, agent at International Editors Co. and president of ADAL, «It's important to meet that demand, rather than waiting for readers to take matters into their own hands and create a black market of scanned books.»

He claims that «There will always be plenty of people who welcome the opportunity to read words on paper rather than staring into yet another glowing screen.»

At $ 399 (available in either a black or a white case, price as of March 15, 2010), the Alex eReader is more expensive than competing devices, but the $ 120 to $ 150 premium is worthwhile: The dual - screen Alex offers the best combination of an electronic paper display (EPD) and a separate LCD screen I've seen yet, and the reader impresses on almost every level.

Third bias, reading a book on a paper - white e-reader screen is easier on the eyes than a tablet screen.

Kirk Biglione told me: re READING on paper surfaces VS reading on screens and there NEED, perhaps, Maybe, one day, organically, naturally, for a new word or term fo reading on a screen or maybe more than just one word:

As Plastic Logic has said all along, the Que is based on its proprietary plastic transistor technology (which allows for a large, lightweight, glass - free display), has a screen the size of an 8.5 - by - 11 inch piece of paper, uses a touchscreen interface, and is aimed at businessfolk who «need to read» rather than those who read for pleasure.

(Yep, the old fashioned way because one great publishing truth is that text looks different on paper and you find different typos than you do on screen.)

And certainly some elements of the industry will always live more comfortably on paper than screens.

The Bookseller's Philip Jones in his leader piece on Friday (February 16) writes of how travel books have yet to make a good transition to digital formats: «Mobile - screen size, roaming charges, battery life, and the lack of wi - fi in some destinations has given paper a longer flight time than once we imagined,» he writes.

On the plus side, the Nook Touch weighs 7.5 oz making it 35 % lighter than the original NOOK, 15 % thinner than the original NOOK, 32 mm shorter despite having the same screen size, battery like of 60 days instead of 10 days and high contrast Pearl screen gives the closer experience to printed paper.

People understand and remember text better on paper than on screens.

Further, brain activity in children reading paper and physically writing is higher than children reading screens and typing on keyboards.

Its black and white ink - on - paper look is achieved with a resolution of 170 ppi (pixels per inch), far better than most portable devices (computer screens are normally 72 ppi).

More than 300 works are illustrated, including small sketches in ballpoint and felt - tipped pen, larger sheets in watercolor and gouache and still others stamped with a dot screen process, as well as pages from over a dozen small sketchbooks and several monumental works on paper.

A snapshot of contemporary drawing practices, the exhibition includes more than 200 new and recent works on paper by leading international artists, including the Still Life with Screen and Heart (2016) by David Haines.

Gregory writes: «Wax paintings, plate paintings, works on paper, sculpture and works on novel materials like Kabuki screens are held together through conversation the pieces have with each other, rather than through a linearly progressive motif... Four massive plate «landscapes»... operate like a 3D movie, where one's presence before them in person is like the glasses one uses to see such a film.

«a / drift: Scenes from a Penetrable Culture,» curated by Josh Decter, Bard Center for Curatorial Studies, Annandale - on - Hudson, NY, October 26, 1996 — January 5, 1997 «On Paper II,» Schmidt Contemporary Art, St Louis, MO, January 23 — February 20, 1996 «Tangles,» Otis College of Art and Design, Los Angeles, CA, November 2 — December 21, 1996 «Community of Creativity: A Century of MacDowell Colony Artists,» Currier Gallery of Art, Manchester, NH, 1996; traveled to the New York School of Design, New York, NY; Wichita Art Museum, Wichita, KS «The Inner Eye: Art Beyond the Visible,» Manchester City Art Galleries, Manchester, UK, 1996; traveled to the Museum and Art Gallery, Brighton, UK; Glynn Vivan Art Gallery, Swansea, UK; Dulwich Picture Gallery, London, UK; catalogue «Hotter Than July,» Margo Leavin Gallery, Los Angeles, CA, 1996 «a / drift,» Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY, 1996; catalogue «Inclusion / Exclusion: Art in the Age of Post-Colonialism and Global Migration,» Steirischer Herbst 96, Graz, Austria, 1996; catalogue «Art at the End of the 20th Century: Selections from the Whitney Museum of American Art,» National Gallery, Alexandros Soutzos Museum, Athens, Greece, 1996; traveled to Museu d'Art Contemporani, Barcelona, Spain; Kunstmuseum Bonn, Bonn, Germany; catalogue «Burning Issues: Contemporary African - American Art,» Museum of Art, Fort Lauderdale, FL; brochure «Thinking Print: Books to Billboards 1980 - 1995,» Museum of Modern Art, New York, NY, 1996; catalogue «10th Biennale of Sydney: Jurassic Technologies Revenant,» Art Gallery of New South Wales, Sydney, Australia, 1996; catalogue «The Mediated Object: Selections from the Eli Broad Collection,» Fogg Art Museum, Cambridge, MA, 1996; traveled to Forum for Contemporary Art, St Louis, MO «An American Story,» Whitney Museum of American Art, New York, NY, 1996 «Festival Exit,» Maison des Arts de la Culture, Paris - Creteil, France, 1996 «Screen,» Friedrich Petzel Gallery, New York, NY; video catalogue «Prospect «96,» Frankfurt Kunstverein, Frankfurt, Germany, 1996; catalogon - Hudson, NY, October 26, 1996 — January 5, 1997 «On Paper II,» Schmidt Contemporary Art, St Louis, MO, January 23 — February 20, 1996 «Tangles,» Otis College of Art and Design, Los Angeles, CA, November 2 — December 21, 1996 «Community of Creativity: A Century of MacDowell Colony Artists,» Currier Gallery of Art, Manchester, NH, 1996; traveled to the New York School of Design, New York, NY; Wichita Art Museum, Wichita, KS «The Inner Eye: Art Beyond the Visible,» Manchester City Art Galleries, Manchester, UK, 1996; traveled to the Museum and Art Gallery, Brighton, UK; Glynn Vivan Art Gallery, Swansea, UK; Dulwich Picture Gallery, London, UK; catalogue «Hotter Than July,» Margo Leavin Gallery, Los Angeles, CA, 1996 «a / drift,» Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY, 1996; catalogue «Inclusion / Exclusion: Art in the Age of Post-Colonialism and Global Migration,» Steirischer Herbst 96, Graz, Austria, 1996; catalogue «Art at the End of the 20th Century: Selections from the Whitney Museum of American Art,» National Gallery, Alexandros Soutzos Museum, Athens, Greece, 1996; traveled to Museu d'Art Contemporani, Barcelona, Spain; Kunstmuseum Bonn, Bonn, Germany; catalogue «Burning Issues: Contemporary African - American Art,» Museum of Art, Fort Lauderdale, FL; brochure «Thinking Print: Books to Billboards 1980 - 1995,» Museum of Modern Art, New York, NY, 1996; catalogue «10th Biennale of Sydney: Jurassic Technologies Revenant,» Art Gallery of New South Wales, Sydney, Australia, 1996; catalogue «The Mediated Object: Selections from the Eli Broad Collection,» Fogg Art Museum, Cambridge, MA, 1996; traveled to Forum for Contemporary Art, St Louis, MO «An American Story,» Whitney Museum of American Art, New York, NY, 1996 «Festival Exit,» Maison des Arts de la Culture, Paris - Creteil, France, 1996 «Screen,» Friedrich Petzel Gallery, New York, NY; video catalogue «Prospect «96,» Frankfurt Kunstverein, Frankfurt, Germany, 1996; catalogOn Paper II,» Schmidt Contemporary Art, St Louis, MO, January 23 — February 20, 1996 «Tangles,» Otis College of Art and Design, Los Angeles, CA, November 2 — December 21, 1996 «Community of Creativity: A Century of MacDowell Colony Artists,» Currier Gallery of Art, Manchester, NH, 1996; traveled to the New York School of Design, New York, NY; Wichita Art Museum, Wichita, KS «The Inner Eye: Art Beyond the Visible,» Manchester City Art Galleries, Manchester, UK, 1996; traveled to the Museum and Art Gallery, Brighton, UK; Glynn Vivan Art Gallery, Swansea, UK; Dulwich Picture Gallery, London, UK; catalogue «Hotter Than July,» Margo Leavin Gallery, Los Angeles, CA, 1996 «a / drift,» Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY, 1996; catalogue «Inclusion / Exclusion: Art in the Age of Post-Colonialism and Global Migration,» Steirischer Herbst 96, Graz, Austria, 1996; catalogue «Art at the End of the 20th Century: Selections from the Whitney Museum of American Art,» National Gallery, Alexandros Soutzos Museum, Athens, Greece, 1996; traveled to Museu d'Art Contemporani, Barcelona, Spain; Kunstmuseum Bonn, Bonn, Germany; catalogue «Burning Issues: Contemporary African - American Art,» Museum of Art, Fort Lauderdale, FL; brochure «Thinking Print: Books to Billboards 1980 - 1995,» Museum of Modern Art, New York, NY, 1996; catalogue «10th Biennale of Sydney: Jurassic Technologies Revenant,» Art Gallery of New South Wales, Sydney, Australia, 1996; catalogue «The Mediated Object: Selections from the Eli Broad Collection,» Fogg Art Museum, Cambridge, MA, 1996; traveled to Forum for Contemporary Art, St Louis, MO «An American Story,» Whitney Museum of American Art, New York, NY, 1996 «Festival Exit,» Maison des Arts de la Culture, Paris - Creteil, France, 1996 «Screen,» Friedrich Petzel Gallery, New York, NY; video catalogue «Prospect «96,» Frankfurt Kunstverein, Frankfurt, Germany, 1996; catalogon - Hudson, NY, 1996; catalogue «Inclusion / Exclusion: Art in the Age of Post-Colonialism and Global Migration,» Steirischer Herbst 96, Graz, Austria, 1996; catalogue «Art at the End of the 20th Century: Selections from the Whitney Museum of American Art,» National Gallery, Alexandros Soutzos Museum, Athens, Greece, 1996; traveled to Museu d'Art Contemporani, Barcelona, Spain; Kunstmuseum Bonn, Bonn, Germany; catalogue «Burning Issues: Contemporary African - American Art,» Museum of Art, Fort Lauderdale, FL; brochure «Thinking Print: Books to Billboards 1980 - 1995,» Museum of Modern Art, New York, NY, 1996; catalogue «10th Biennale of Sydney: Jurassic Technologies Revenant,» Art Gallery of New South Wales, Sydney, Australia, 1996; catalogue «The Mediated Object: Selections from the Eli Broad Collection,» Fogg Art Museum, Cambridge, MA, 1996; traveled to Forum for Contemporary Art, St Louis, MO «An American Story,» Whitney Museum of American Art, New York, NY, 1996 «Festival Exit,» Maison des Arts de la Culture, Paris - Creteil, France, 1996 «Screen,» Friedrich Petzel Gallery, New York, NY; video catalogue «Prospect «96,» Frankfurt Kunstverein, Frankfurt, Germany, 1996; catalogue

In the legal world, this means lawyers, paralegals, clients, and even judges are reading on screens rather than paper, causing them to skim pages and have a constant source of distraction.

That makes perfect sense, but reading on a screen is slower — about 25 % slower — than reading in paper.

A colleague once asserted that there was a bunch of literature showing that reading on screen was slower than reading from paper, and he was right.

People read content on screens differently than they do content on paper.

However, more than two sheets of paper actually need to fit on the screen.

A majority of respondents believe that firms will be paperless by 2020, though many still prefer reviewing a document on paper rather than a screen

Because more and more judges are reading briefs on computer screens, rather than on paper, in Part 1 of this program, attendees learned how to leverage technology as well as principles of document design and web usability to maximize the persuasive power of their briefs.

More and more judges are reading briefs on computer screens, rather than on paper.

I much preferred reading things on paper than a screen (there are a few physiological and psychological reasons why many of us do).