2010 Type Quiz
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Here I Raise My Ebenezer; Hither by Thy Help I’M Come; and I Hope, by Thy Good Pleasure, Safely to Arrive at Home
ANNUAL COMMENCEMENT WEEKEND 2021_commencement_program_v11a_draft.indd 1 4/30/2021 9:32:16 AM 2021_commencement_program_v11a_draft.indd 2 4/30/2021 9:32:16 AM ANNUAL COMMENCEMENT WEEKEND GREENVILLE UNIVERSITY Greenville, Illinois Commencement May 8, 2021 President Suzanne A. Davis Board of Trustees Robert W. Bastian Steven L. Ellsworth Hugo Perez Venessa A. Brown Valerie J. Gin, Treasurer B. Elliott Renfroe Tyler Campo Jerry A. Hood Dennis N. Spencer Howard Costley, Jr., Vice Chair Karen A. Longman Kathleen J. Turpin, Chair D. Keith Cowart K. Kendall Mathews Melissa A. Westover, Secretary Dan R. Denbo Douglas M. Newton Mark D. Whitlock Paul S. Donnell Stephen Olson Donald D. Wolf Emeriti Trustees Sandra M. Boileau Lloyd G. Ganton J. Richard Schien Patricia A. Burd Yoshio D. Gotoh Marjorie R. Smith Jay G. Burgess Duane E. Hood Rebecca E. Smith James W. Claussen Paul R. Killinger Kendell G. Stephens David G. Colgan Pearson L. Miller Barry J. Swanson Michael L. Coling Wayne E. Neeley Craig W. Tidball Robert E. Cranston Wesley F. Phillips R. Ian Van Norman Dennis L. Fenton Ernest R. Ross, Jr. 2021_commencement_program_v11a_draft.indd 3 4/30/2021 9:32:16 AM Saturday, May 8, 2021, 10:00 A.M. President Suzanne A. Davis, presiding PRELUDE Rebecca N. Koebbe PROCESSIONAL Rebecca N. Koebbe WELCOME Suzanne A. Davis NATIONAL ANTHEM The Star Spangled Banner Francis Scott Key INVOCATION Sidney R. Webster SCRIPTURE Ivan M. Estevez Ephesians 1:11 (TPT) HYMN Come, Thou Fount of Every Blessing Traditional American Melody Text: Robert Robinson Tune: Nettleton Come, Thou fount of every blessing, Tune my heart to sing Thy grace; Streams of mercy, never ceasing, Call for songs of loudest praise. -
Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
Visual Research Universal Communication Communication of Selling the Narrow Column Square Span Text in Color Change of Impact New Slaves
VISUAL RESEARCH UNIVERSAL COMMUNICATION COMMUNICATION OF SELLING THE NARROW COLUMN SQUARE SPAN TEXT IN COLOR CHANGE OF IMPACT NEW SLAVES ON TYPOGRAPHY by Herbert Bayer Typography is a service art, not a fine art, however pure and elemental the discipline may be. The graphic designer today seems to feel that the typographic means at his disposal have been exhausted. Accelerated by the speed of our time, a wish for new excitement is in the air. “New styles” are hopefully expected to appear. Nothing is more constructive than to look the facts in the face. What are they? The fact that nothing new has developed in recent decades? The boredom of the dead end without signs for a renewal? Or is it the realization that a forced change in search of a “new style” can only bring superficial gain? It seems appropriate at this point to recall the essence of statements made by progressive typographers of the 1920s: Previously used largely as a medium for making language visible, typographic material was discovered to have distinctive optical properties of its own, pointing toward specifically typographic expression. Typographers envisioned possibilities of deeper visual experiences from a new exploitation of the typographic material itself. Typography was for the first time seen not as an isolated discipline and technique, but in context with the ever-widening visual experiences that the picture symbol, photo, film, and television brought. They called for clarity, conciseness, precision; for more articulation, contrast, tension in the color and black and white values of the typographic page. They recognized that in all human endeavors a technology had adjusted to man’s demands; while no marked change or improvement had taken place in man’s most profound invention, printing-writing, since Gutenberg. -
Smooth Writing with In-Line Formatting Louise S
NESUG 2007 Posters Smooth Writing with In-Line Formatting Louise S. Hadden, Abt Associates Inc., Cambridge, MA ABSTRACT PROC TEMPLATE and ODS provide SAS® programmers with the tools to create customized reports and tables that can be used multiple times, for multiple projects. For ad hoc reporting or the exploratory or design phase of creating custom reports and tables, SAS® provides us with an easy option: in-line formatting. There will be a greater range of in-line formatting available in SAS 9.2, but the technique is still useful today in SAS versions 8.2 and 9.1, in a variety of procedures and output destinations. Several examples of in-line formatting will be presented, including formatting titles, footnotes and specific cells, bolding specified lines, shading specified lines, and publishing with a custom font. INTRODUCTION In-line formatting within procedural output is generally limited to three procedures: PROC PRINT, PROC REPORT and PROC TABULATE. The exception to this rule is in-line formatting with the use of ODS ESCAPECHAR, which will be briefly discussed in this paper. Even without the use of ODSESCAPECHAR, the number of options with in- line formatting is still exciting and almost overwhelming. As I was preparing to write this paper, I found that I kept thinking of more ways to customize output than would be possible to explore at any given time. The scope of the paper therefore will be limited to a few examples outputting to two destination “families”, ODS PRINTER (RTF and PDF) and ODS HTML (HTML4). The examples presented are produced using SAS 9.1.3 (SP4) on a Microsoft XP operating system. -
Type Notes Design Or
Introduction to Typography Emily Carr University of Art + Design Instructor: Linda Coe, BDes, FGDC Continuing Studies Typeface Origins, Design, Revivals Glossary O –Q Oblique Old style Core Concepts: Typeface Origins, Design, Revivals Old style figures I contemporary type design is often based directly or indirectly on Optical alignment classical models Optical kerning I good type revivals attempt to capture the character of the originals Ordinal characters Ornament characters I new typefaces are often commissioned for specific purposes Orphan I the most fundamental aspect of type design is the interplay between Outline type letters and their background Pagination Paragraph indent Parallel construction Further Study Parentheses I Type Right Pi fonts http://www.typeright.org/ethicsguide.html Pica I Jim Rimmer Making Faces Point http://www.monoscope.com/2009/03/ Posture jim_rimmer_making_faces_traile.html Proof Proportional spacing I Call It What It Is (John Downer) Proportional type http://www.emigre.com/Editorial.php?sect=2 Punch I Smashing Magazine: 60 Brilliant Corporate Typefaces Punctuation http://www.smashingmagazine.com/2008/03/20/60-brilliant-typefaces- Quoin for-corporate-design/ I Chank: How to Make a Font https://www.chank.com/howto/makeafont/ http://www.youtube.com/watch?v=xhpCNSm7xAM I University of Reading Class of 2009 Type Design http://www.typefacedesign.org/2009/ I Type Design http://www.creativebloq.com/typography/design-your-own-typeface- 8133919 I Nick Shinn: Richler Typeface http://www.randomhouse.ca/richler/#about_thetype Student Notes © 2004 – 2019 Linda Coe Type Design, Origins, Revivals 1 Introduction to Typography Emily Carr University of Art + Design Instructor: Linda Coe, BDes, FGDC Continuing Studies Why Design a New Typeface? More Canadian Typeface Designs There are several reasons new typefaces are created. -
Multimedia Foundations Glossary of Terms Chapter 5 – Page Layout
Multimedia Foundations Glossary of Terms Chapter 5 – Page Layout Body Copy The main text of a published document or advertisement. Border A visible outline or stroke denoting the outer frame of a design element such as a table cell, text box, or graphic. A border’s width and style can vary according to the aesthetic needs or preferences of the designer. Box Model Or CSS Box Model. A layout and design convention used in CSS for wrapping HTML text and images in a definable box consisting of: margins, borders, and padding. Cell The editable region of a data table or grid defined by the intersection of a row and column. Chunking The visual consolidation of related sentences or ideas into small blocks of information that can be quickly and easily digested (e.g. paragraphs, lists, callouts, text boxes, etc.). Column The vertically aligned cells in a data table or grid. Dynamic Page A multimedia page with content that changes (often) over time or with each individual viewing experience. F-Layout A layout design where the reader’s gaze is directed through the page in a pattern that resembles the letter F. Fixed Layout A multimedia layout where the width of the page (or wrapper) is constrained to a predetermined width and/or height. Floating Graphic The layout of a graphic on a page whereby the adjacent text wraps around it to the left and/or right. Fluid Layout Or liquid layout. A multimedia layout where the width of the page (or wrapper) is set to a percentage of the current user’s browser window size. -
Alien Heads Found in Georgia
Georgia Alien heads found in Georgia Georgia is a serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. The font is inspired by Scotch Roman designs of the 19th century and was based on designs for a print typeface in the same style Carter was working on when contacted by Microsoft. Georgia were released by Microsoft in 1996 as part of the Core Fonts for the Web collection. The typeface's name referred to a tabloid headline claiming“Alien heads found in Georgia.” As a transitional serif design, Georgia shows a number of traditional features of rational serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an italic taking inspiration from calligraphy. It features a large x-height (tall lower-case letters) and its thin strokes are thicker than would be common on a typeface designed for display use or the higher resolution of print. Besides, Georgia's bold is also unusually bold and bolder than most bolds. Georgia Alien heads found in Georgia Georgia is a serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. The font is inspired by Scotch Roman designs of the 19th century and was based on designs for a print typeface in the same style Carter was working on when contacted by Microsoft. Georgia were released by Microsoft in 1996 as part of the Core Fonts for the Web collection. The typeface's name referred to a tabloid headline claiming“Alien heads found in Georgia.” As a transitional serif design, Georgia shows a number of traditional features of rational serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an italic taking inspiration from calligraphy. -
Ocr: a Statistical Model of Multi-Engine Ocr Systems
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2004 Ocr: A Statistical Model Of Multi-engine Ocr Systems Mercedes Terre McDonald University of Central Florida Part of the Electrical and Computer Engineering Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation McDonald, Mercedes Terre, "Ocr: A Statistical Model Of Multi-engine Ocr Systems" (2004). Electronic Theses and Dissertations, 2004-2019. 38. https://stars.library.ucf.edu/etd/38 OCR: A STATISTICAL MODEL OF MULTI-ENGINE OCR SYSTEMS by MERCEDES TERRE ROGERS B.S. University of Central Florida, 2000 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in the Department of Electrical and Computer Engineering in the College of Engineering and Computer Science at the University of Central Florida Orlando, Florida Summer Term 2004 ABSTRACT This thesis is a benchmark performed on three commercial Optical Character Recognition (OCR) engines. The purpose of this benchmark is to characterize the performance of the OCR engines with emphasis on the correlation of errors between each engine. The benchmarks are performed for the evaluation of the effect of a multi-OCR system employing a voting scheme to increase overall recognition accuracy. This is desirable since currently OCR systems are still unable to recognize characters with 100% accuracy. -
VIS 215, Graphic Design Princeton University 185 Nassau Room 303
VIS 215, Graphic Design Princeton University 185 Nassau Room 303 Tue 1:30 – 4:20 pm, 7:30 – 9:40 pm David Reinfurt / [email protected] www.t-y-p-o-g-r-a-p-h-y.org T-y-p-o-g-r-a-p-h-y This class will be organized as either (take your pick) a practical seminar or, a theoretical workshop. It will not be a simple exercise in learning the tools of graphic design but neither will it be a grand tour through its history and theory. Instead the class will be run as half-workshop and half-seminar, usually at the same time. Graphic design has an equally split personality — it’s both the technical execution of writing words (images, ideas) into the world by giving them form; and it is also a way of understanding the world through the forms of its writing. Designer and writer Paul Elliman describes the two-way street concisely: “Writing gives the impression of things. Conversely, things can give the impression of writing.” I’d suggest that this reading-and-writing-at-the-same-time, or typography, is the root-level skill of graphic design. So in this introductory class, we will focus on typography by both reading about and making it. The word “Typography” has split roots as well. Evolved from the Greek, “typos” means “figure” and “grapho” means “I write.” This two-sided practice (reading- writing) I’ve just described is even written directly into the word “typography” itself. If there is one fundamental skill that every beginning graphic design student should master, it is this: to be able to set a text so that the form it is given works together with the substance of the text to produce a third meaning. -
Tv38bigelow.Pdf
Histoire de l’Ecriture´ Typographique — le XXi`eme si`ecle (The History of Typographic Writing—The 20th century). Jacques Andr´e, editorial direction. Atelier Perrousseaux, Gap, France, 2016. http://www.adverbum.fr/atelier-perrousseaux Review and summaries by Charles Bigelow (TUGboat vol.38, 2017). https://tug.org/books/#andre vol.1 TUGboat38:1,pp.18–22 vol.2, ch.1–5 TUGboat 38:2, pp.274–279 vol.2, ch.6–8+ TUGboat 38:3, pp.306–311 The original publication, as reviewed, was in two volumes: Tome I/II, de 1900 `a1950. ISBN 978-2-36765-005-0, tinyurl.com/ja-xxieme. 264 pp. Tome II/II, de 1950 `a2000. ISBN 978-2-36765-006-7, tinyurl.com/ja-xxieme-ii. 364 pp. These are the last two volumes in the series The History of Typographical Writing, comprised of seven volumes in all, from the beginning of printing with Gutenberg through the 20th century. All are in French. The individual volumes and the series as a whole are available in various electronic and print formats; please see the publisher’s web site for current offerings. ❧ ❧ ❧ 18 TUGboat, Volume 38 (2017), No. 1 Review and summaries: The History of phy had begun to supplant print itself, because text Typographic Writing — The 20th century display and reading increasingly shifted from paper Volume 1, from 1900 to 1950 to computer screen, a phenomenon now noticed by nearly all readers and publishers. Charles Bigelow In the 20th century, typography was also trans- Histoire de l’Ecriture´ Typographique — le XXi`eme formed by cultural innovations that were strikingly si`ecle; tome I/II, de 1900 `a1950. -
Type & Typography
Type & Typography by Walton Mendelson 2017 One-Off Press Copyright © 2009-2017 Walton Mendelson All rights reserved. [email protected] All images in this book are copyrighted by their respective authors. PhotoShop, Illustrator, and Acrobat are registered trademarks of Adobe. CreateSpace is a registered trademark of Amazon. All trademarks, these and any others mentioned in the text are the property of their respective owners. This book and One- Off Press are independent of any product, vendor, company, or person mentioned in this book. No product, company, or person mentioned or quoted in this book has in any way, either explicitly or implicitly endorsed, authorized or sponsored this book. The opinions expressed are the author’s. Type & Typography Type is the lifeblood of books. While there is no reason that you can’t format your book without any knowledge of type, typography—the art, craft, and technique of composing and printing with type—lets you transform your manuscript into a professional looking book. As with writing, every book has its own issues that you have to discover as you design and format it. These pages cannot answer every question, but they can show you how to assess the problems and understand the tools you have to get things right. “Typography is what language looks like,” Ellen Lupton. Homage to Hermann Zapf 3 4 Type and Typography Type styles and Letter Spacing: The parts of a glyph have names, the most important distinctions are between serif/sans serif, and roman/italic. Normal letter spacing is subtly adjusted to avoid typographical problems, such as widows and rivers; open, touching, or expanded are most often used in display matter. -
1 You Are About to Enter *A Graphic Design Exhibition.* Go Ahead Now
You are about to enter *a graphic design exhibition.* go ahead now, walk into the gallery. it’s a darkened room, not small, and seems to be roughly a cube. On the walls surrounding you are three large-scale projections, each is cycling through what appear to be abstract graphics, scanned pages, short movies. what binds these various bits together? well, you check out where the projections are coming from, and you find three projectors standing on pedestals. on each is an identifying label. The first reads VIS 215, Graphic Design . after what appears to be a room number and building name (one eighty-five nassau street) is a meeting time. you surmise, clever visitor, that what’s on the projected loop must be the work of a particular class in this university. in fact it is. this first one is ‘introduction to graphic design’ and it shows a sequence of scans of letter-sized pieces of paper, the results of a collaborative exercise where twelve students work together in the typography studio to compose (with individual metal letters) a text titled, ‘the crystal goblet, or printing should be invisible.’ this is the first class assignment. the second is to set another text, this time ‘the new typography,’ using only a photocopier . now, you spin around ninety degrees and find a second VIS 216, Visual Form pedestal. its label says . you know the score by now, and you can safely assume this is another graphic design class. this is also an introduction, but instead of letters, students deal with graphic forms (logos, icons, signs, and so on).