Much of the text alignment issues are occuring because you are using 'spaces' to move the text around instead of standardized HTML or CSS.
If you wish to make bullet items in a list then use tables or HTML to do so. Pushing things around with "spaces" until they look right on your monitor does two things. One, it makes the site look okay on your particular browser and monitor settings. Two, makes the site look messed up on everyone elses browser.
fall2005.htm has some real funky code. I suggest you start that page over and stick to the standards. As an example, here's that page done with Dreamweaver using simple tables that will look the same in different browsers and won't have any layout problems.
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<h2>Introduction to Photolithography and Silk-screening
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<p align="center">Evening and Weekend Studies<br>
Fall quarter 2005<br>
Tuesdays and Thursdays, 6 – 8 pm<br>
360-867-5246 office phone<br>
<a href="mailto:JudithBaumann@gmail.com">JudithBaumann@gmail.com</a></p>
<p align="left">Howdy, all! My intent with this site is to have a handy list of resources for you to peruse at your leisure. I'll be adding information as it comes up in class. Included here are some of my favorite contemporary artists, fine art press links, resources and general printmaking information, equipment and suppliers, and hopefully a bit of print history as well. Enjoy. </p>
<h2>Course Syllabus </h2>
<p>Both drawing and photographic methods will be combined in these two unique printmaking processes, photolithography and silk-screening. Students will create multiple layer color prints, develop registration skills and experiment with printing techniques. Demonstrations will be given weekly through the first half of the quarter while the second half will be primarily designated for individual printing time. Prompt attendance is necessary. It is highly recommended that class participants purchase <a href="http://www.amazon.com/exec/obidos/tg/detail/-/0500284253/qid=1127491499/sr=1-1/ref=sr_1_1/102-5231147-3220123?v=glance&s=books" target="_blank">Screen Printing: The Complete Water-based System</a> by Robert Adam and Carol Robertson as well as Tamarind Institute’s <a href="http://www.unm.edu/~tamarind/bookstore.html" target="_blank">Photolithography: A Manual</a>. Regular class critiques will be held throughout the course to discuss technical printing issues as well as conceptual development. The class will culminate with a print exchange.</p>
<h2>Course Objectives:</h2>
<p><strong>Technical/ Craft:</strong></p>
<ul>
<li>develop an appreciation of proper print and paper handling, correct storage procedure and conservation issues of works of art on paper.</li>
<li>create a consistent edition of prints on paper using both silk-screening and photolithography. </li>
<li>understand the difference between water based and oil inks, and how to manipulate these inks for the best printing possible, including opacity and layering techniques.</li>
<li>develop basic registration skills for multiple layers of color.</li>
<li>through the printing process, develop an appreciation of basic color theory. </li>
<li>understand basic image exposing with photolithography positive working plates and Ulano silk-screening emulsions based on image density.</li>
</ul> <p><strong>Conceptual:</strong></p>
<ul>
<li>create a body of work on paper that clearly shows a sophisticated progression of personal ideas, thought pattern and/or aesthetic.</li>
</ul>
<p><strong>Materials:</strong></p>
<p> It’s suggested that you start to build your own printmaking toolbox. It’s always best to have your own assortment of handy tools at your disposal. Things that will come in handy: </p>
<ul>
<li> 2” masking tape</li>
<li> scotch tape</li>
<li> ink knives, from stiff to pliant</li>
<li> heavy duty rubber gloves that are large enough to shake off your hands
roll of shop towels</li>
<li> registration pins</li>
<li>plastic containers with lids like yogurt and cream cheese containers</li>
<li> safety glasses</li>
<li> sharpie black marker</li>
<li> an assortment of paint brushes and drawing pencils</li>
<li>Decco black paint marker</li>
</ul>
<p align="center"><strong>What you will be required to purchase: </strong></p>
<ul>
<li> multiple sheets of fine art cotton rag paper for print editions</li>
<li> some photolithography positive working plates</li>
</ul>
<h2>Course layout (may change):</h2>
<p>Because of the large number of people enrolled in the class and limited printing areas, please be prepared to work on both photolitho and silk-screening projects simultaneously. It may be necessary to split the class into modules halfway through the quarter.</p>
<p>For the first few weeks of class, it is highly recommended that you work with a printing partner. This will enable you to feel more comfortable printing, using equipment and will make trouble shooting much easier. Technical assignments will be given throughout the course and will be due at the end of the quarter.</p>
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<strong> Course Layout
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<TD><EM>Week 1</EM> - introduction to printmaking studio, studio rules, and safety issues. We will begin with silk-screening techniques, talking about drawing options, photosensitive emulsions, screen and ink properties, and screen care.</FONT></TD>
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<TD><EM>Week 2 </EM>- image exposure, printing and registration demonstration. Clean up procedures.Work time.</FONT></TD>
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<TD><EM>Week 3</EM> - class critique and printing trouble shooting session. Screen reclaiming demo. Introduction to photolithography. Darkroom, press and drawing overview. Registration demo.</FONT></TD>
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<TD><P align=left><EM>Week 4</EM> - Photolitho image exposing and developing demonstration. Oil based ink mixing and printing demonstration. Clean up procedures</FONT></P></TD>
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<TD><EM>Week 5</EM> - Basic Photoshop and Epson 4000 transparency demonstration for photo procedures. Work time for both silk-screening and photolithography printing.</FONT></TD>
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<TD><EM>Week 6</EM> - class critique and trouble shooting session. Work time.</TD>
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<TD><EM>Week 7</EM>, <EM>Week 8, Week 9</EM> - the last three weeks of class will most probably be work time dedicated to completing assignments, editioning prints and trouble shooting the inevitable printing frustrations that will arise.</TD>
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<TD height=16><EM>Week 10</EM> - final class critique, print exchange and studio cleanup.</TD>
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<h1 align="center">Links</h1>
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<td width="200"><h4>Artists:</h4>
<ul>
<li>Jeff Gauntt </li>
<li> Marc Swanson </li>
<li> Virgil Marti</li>
<li> Tony Ousler </li>
<li> Sam Durant </li>
<li> Chris Johanson</li>
<li> Marcel Dzama</li>
<li> The Royal Art Lodge</li>
<li>Daniel Clowes </li>
<li> Amy Cutler </li>
<li> Tom Friedman</li>
<li> Nikki Lee</li>
<li> William Eggleston</li>
<li> Harry Callahan</li>
</ul></td>
<td width="200"><h4>Fine Art Presses:</h4>
<ul>
<li>Tamarind Institute</li>
<li> The Fabric Workshop</li>
<li> Gemini G.E.L.</li>
<li> PACE Editions</li>
<li> Tyler Graphics</li>
<li> Crown Point Press</li>
<li> Landfall Press</li>
</ul></td>
<td width="200"><h4>Supplies & Equipment:</h4>
<ul>
<li>Takach</li>
<li> Legion Paper</li>
<li> Midwest Signs and Graphics</li>
<li> Ulano Corporation</li>
<li> Daniel Smith</li>
<li> Dick Blick</li>
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<td valign="top"><h4>Books and Resources:</h4>
<ul>
<li>Independent Publishing Resource Center (Portland, OR)</li>
</ul></td>
<td valign="top"><h4>Other Art Stuff:</h4>
<ul>
<li>Artnet</li>
<li> The Drawing Center</li>
<li> MOMA</li>
<li> The Gilkey Center</li>
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