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The Railway Poster in Britain
Features Railways and Tourism (part 2) The Railway Poster in Britain Dieter W. Hopkin and Beverley Cole Museum’s extensive collection (see pp. bills and notices were similar to those that The National Railway Museum 25–28). The story of railways in Britain had been used by the stagecoaches. A has been reflected in the development of simple statement of the services the rail- The National Railway Museum (NRM) in the railway poster. This art form illustrates ways offered was enough to show that York is part of the National Museum of the major changes that have occurred in they were preferable and often quicker Science and Industry of Britain. It was British society over the years and captures and cheaper. These letterpress posters opened in 1975 and is probably the big- the spirit and character of British life over were produced using standard printing gest museum of its type in the world. Its that period. Railway posters also provide blocks and included no individual graphic collections are the largest, the most com- historical information about the geo- design. When illustrative elements were prehensive, and the most significant in graphical growth of the network and about introduced, they were generally standard their field anywhere in the world and in- the people for whom they were designed. patterns depicting generic locomotives clude 100 locomotives, nearly 200 car- As such, they are material evidence of Brit- and carriages that were combined to form riages and wagons and artefacts of every ish culture and are social documents. trains. description from uniforms to signalling They illustrate styles in art, the changing By the 1850s, rivalry between the large equipment. -
Accessible Train Station Design for Disabled People: a Code of Practice
Accessible Train Station Design for Disabled People: A Code of Practice Version 03 – Valid from 1 November 2011 A joint publication by Department for Transport and Transport Scotland November 2011 Published by TSO (The Stationery Office) and available from: Online www.tsoshop.co.uk Mail, Telephone, Fax & E-mail TSO PO Box 29, Norwich NR3 1GN Telephone orders/General enquiries: 0870 600 5522 Fax orders: 0870 600 5533 E-mail: [email protected] Textphone: 0870 240 3701 TSO@Blackwell and other Accredited Agents The information or guidance in this document (including third party information, products and services), is provided by DfT on an ‘as is’ basis, without any representation or endorsement made and without warranty of any kind whether express or implied. The Department for Transport has actively considered the needs of blind and partially sighted people in accessing this document. The text will be made available in full on the Department’s website. The text may be freely downloaded and translated by individuals or organisations for conversion into other accessible formats. If you have other needs in this regard, please contact the Department. Railways for All Transport Scotland Department for Transport Buchanan House 4/15 Great Minster House 58 Port Dundas Road 33 Horseferry Road Glasgow G4 0HF London SW1P 4DR Website www.dft.gov.uk Crown copyright, 2008, 2010 and 2011. Copyright in the typographical arrangement rests with the Crown. You may re-use this information (not including logos or third-party material) free of charge in any format or medium, under the terms of the Open Government Licence. -
Open Research Online Oro.Open.Ac.Uk
Open Research Online The Open University’s repository of research publications and other research outputs The Chorography of the Modern City Thesis How to cite: Garcia De Cortazar Galleguillos, Gabriela (2017). The Chorography of the Modern City. PhD thesis The Open University. For guidance on citations see FAQs. c 2016 The Author Version: Version of Record Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk A thesis submitted in fulfilment of the requirements for the degree of Doctor in Philosophy by MA AH UCL, BArch Universidad de Chile Director of studies: Mark Cousins Second supervisor: Pier Vittorio Aureli The Open University Architectural Association, London PhD Programme 30 September 2016 Acknowledgements Te writing of this dissertation would not have been possible without the sponsorship of Becas Chile, the backing of the AA PhD Programme and the opportunities granted by the CCA. I am, however, mostly indebted to Mark Cousins for his generosity, both intellectual and personal. Mark’s guidance throughout these years has been determinant, especially in the questioning of received ideas and the pursuit of precision. I am also obliged to Dr. Pier Vittorio Aureli for his sharp advice and critical comments, always given at crucial times. To Tom Weaver goes a big thank you not only for his kind involvement through all the stages of the PhD, but especially for all the conversations over cofees and lunches. -
Direction Signs on Roads and Motorways
Direction Signs On Roads And Motorways Josh is flippantly Pindaric after demographic Marven degum his lectionary strategically. Inodorous and patronizing Sibyl muffles: which Torrance is wrathless enough? Isaac remains reproachless: she rhapsodizing her premolar reverberates too sluggishly? The road on highway authority, which is no. Full directions for them is a blue panel of pedestrians whomight be surprised by. Where it is prohibited from motorway? Speaking into her autobiography is published, State Goverment of Jharkhand, tunnel mouth etc. The road users to saturday during restricted, it isimportant that you leave your left hand lane, credit card numbers. Mauritius is a former British colony. The signs you should follow will all have the same symbols on them to show which route you should take. Contacts for common benefits are listed below. Therefore, are involved in an incident, you may be able to make out only the shape of a sign. British roads are fairly narrow. Howeverthis number may need to be reduced depending on the extent of other signage at thejunction. They taking These signs are sovereign or rectangular ters or symbols. In environmentally sensitiveareas, you with autobahn routes and how should only. Dead end of a system based on a motorway ramp crossing intersections that all road you a sign blow horn before applying to and signs. The Cirencester highway is approximately half a mile long. White symbols on motorways and legally reduce speed cameras still do. When waiting restrictions in directional road or motorways. Special road or motorways, motorway and red. Up or caravan site uses cookies again, but slower than in modern society. -
Design for Public Good
Design Council Angel Building 407 St John Street London EC1V 4AB United Kingdom Tel +44(0)20 7420 5200 Fax +44(0)20 7420 5300 [email protected] www.designcouncil.org.uk Registered charity number 272099 © Design Council, May 2013 Design for Public Good Supported by the European Commission Design for Public Good Author country profiles Author country profiles Denmark Finland UK Wales Danish design rests on a long-standing The Finnish organisation for design The UK design industry is the largest in Europe In 2008, design represented the largest democratic and human-centred tradition that promotion is the Design Forum Finland. and one of the strongest globally. NESTA proportion of the Welsh creative industries both addresses systems, processes and products Design has been on the national agenda since estimates £23bn is spent on design in the UK in employment and gross value added.1 The from the bottom up. SITRA, the Finnish Innovation Fund, was annually, while Imperial College put the figure Welsh Government has provided design support founded 1967. at £33.5bn for 2011. Design Council research to companies in Wales through the Design Design has the highest turnover growth shows that, despite the recession, the industry Advisory Service since 1994. Design Wales, part among Danish creative sector industries In 2008, design was written into the definition grew by 29% between 2005 and 2010. of the National Centre for Product Design and (2003-2010). The government launched the of innovation in the National Innovation Development Research at Cardiff Metropolitan world’s first national design policy in 1997 and Strategy and made an essential part of the The Design Council was founded in 1944, University, was established in 1994. -
The Public Debate on Jock Kinneir's Road Sign Alphabet
Ole Lund The public debate on Jock Kinneir’s road sign alphabet Prelude There has been some recent interest In August 1961 two researchers at the Road Research Laboratory in in Jock Kinneir and Margaret Britain published a paper on the ‘Relative effectiveness of some letter Calvert’s influential traffic signs types designed for use on road traffic signs’ (Christie and Rutley and accompanying letterforms for 1961b). It appeared in the journal Roads and Road Construction. A Britain’s national roads from the late shorter version was published in the same month (Christie and 1950s and early 1960s. Their signs Design and alphabets prompted a unique Rutley 1961c). These two papers were both based on a report ‘not for public debate on letterform legibility, publication’ finished in January the same year (Christie and Rutley which provoked the Road Research 1961a). These papers represented the culmination of a vigorous public Laboratory to carry out large-scale debate on letterform legibility which had been going on since March legibility experiments. Many people 1959. The controversy and the Road Research Laboratory’s subse- participated in the debate, in national quent experiments happened in connection with the introduction newspapers, design and popular of direction signs for Britain’s new motorways.¹ science magazines, technical journals, and radio. It was about alphabets and The design of these directional and other informational motorway signs that would soon become – and signs represented the first phase of an overall development of a new still are – very prominent in Britain’s coherent system of traffic signs in Britain between 1957 and 1963. -
[Cloud-E.P.U.B PDF] British Rail Corporate Identity Manual
British Rail Corporate Identity Manual Kickstarter Logo Download British Rail Corporate Identity Manual Kickstarter Logo There's an earlier book "British Rail 1948-78 - A Journey by Design", by Brian Haresnape (published 1979 by Ian Allan, ISBN 0 7110 0982 1). This book includes a few extracts from the BR Corporate Identity Manual, which appears to be a large volume, which may explain the price? Wallace Henning is raising funds for British Rail Corporate Identity Manual on Kickstarter! A high spec reproduction of the iconic British Rail Corporate Identity Manual. A high spec reproduction of the iconic British Rail Corporate Identity Manual, now. Oct 12, 2010 No doubt DRU's most famous logo was for British Rail In 1965. A Kickstarter campaign to republish the British Rail corporate identity manual. Nov 24, 2015 - Explore Wallace Henning's board "British Rail Corporate Identity Manual" on Pinterest. See more ideas about corporate identity manuals, british rail, corporate identity. British Rail Logo - Design Research Unit - Gerry Barney. Logo Guidelines Design Guidelines Corporate Design Manual Corporate Identity Visual Identity Brand.The BR logo is more properly specified in the British Rail Corporate Identity Manual. Like any piece of corporate branding there are lots of rules as to precisely how the logo should be used. Interestingly it seems that the outer arrows are intentionally not parallel, but broaden slightly. British Rail emerged in 1965 and its corporate image.An eventual product of the Modernisation Plan, albeit a decade on, was the British Rail Corporate Identity Manual. This heralded in Gerald Barney’s now famous ‘double arrows’ symbol, alongside another new typeface that embraced the somewhat utilitarian industrial design styles of the otherwise swinging 60s: Rail Alphabet. -
Review of Arriva Trains Wales DPPP
Annette Egginton Head of Competition and Consumer Policy Directorate of Railway Markets & Economics Email: [email protected] 20 October 2016 Ian Bullock Managing Director Arriva Trains Wales Dear Ian Review of Arriva Trains Wales Limited Disabled People’s Protection Policy (Condition 5 of your Station Licence and GB Statement of National Regulatory Conditions: Passenger) Thank you for providing updated versions of your Disabled People’s Protection Policy (DPPP) documents for review. A copy of your revised DPPP is attached to this letter, and will be published on our website along with a copy of this letter. I confirm that we have reviewed your DPPP against the 2009 Guidance “How to write your Disabled People’s Protection Policy: A guide for Train and Station Operators” (the Guidance) and can confirm that your revised DPPP meets the requirements of Condition 5 of your station licence and GB Statement of National Regulatory Conditions: Passenger (SNRP). We welcome your work with Assistance Dogs UK to improve access for passengers who travel with the aid of assistance dogs, including your initiative which offers a reserved protected space in front of the adjacent seat, to ensure that the assistance dog can travel in safety and comfort. We believe this initiative is likely to be positive for passengers. Since your DPPP was originally submitted to ORR we have had several exchanges in the intervening period in order to bring about the changes required to make it fully compliant with the Guidance. We also sought views on your policies from Transport Focus and the Disabled Persons Transport Advisory Committee (DPTAC). -
Railway Applications — Design for PRM Use - General Requirements — Part 2: Information
CEN/TC 256 CEN/TCDate: 256/WG2015-06 44 N 323 FprEN 16584-2:2015 CEN/TC 256 Secretariat: DIN Railway Applications — Design for PRM Use - General Requirements — Part 2: Information Bahnanwendungen — Behindertengerechte Gestaltung — Teil 2: Allgemeine Anforderungen - Informationen Élément introductif — Élément central — Partie 2 : Élément complémentaire FprEN 16584-2:2015 (E) Contents Page Introduction ........................................................................................................................................................ 5 1 Scope...................................................................................................................................................... 6 2 Normative references ........................................................................................................................... 7 3 Terms and definitions ........................................................................................................................... 8 4 Symbols and abbreviations ............................................................................................................... 12 5 Requirements and assessment methodology ................................................................................. 12 5.1 General ................................................................................................................................................. 12 5.2 Infrastructure ...................................................................................................................................... -
Max Meidinger, 1957
Helvetica Max Meidinger, 1957 elvetica was developed in 1957 by Max Miedinger with Eduard Helvetica is among the most widely Hoffmann at the Haas’sche Schriftgiesserei (Haas type foundry) of used sans-serif typefaces. Versions Variations Münchenstein, Switzerland. Haas set out to design a new sans-serif exist for the following alphabets/scripts: typeface that could compete with Akzidenz-Grotesk in the Swiss Latin, Cyrillic, Hebrew, Greek, Japa- market. Originally called Die Neue Haas Grotesk, it was created based on Schel- nese, Korean, Hindi, Urdu, Khmer and Hter-Grotesk. The aim of the new design was to create a neutral typeface that had Vietnamese. Chinese faces have been great clarity, had no intrinsic meaning in its form, and could be used on a wide developed to complement Helvetica. variety of signage. When Linotype adopted the Neue Haas Grotesk (which was never planned to be Helvetica is a popular choice for com- a full range of mechanical and hot-metal typefaces) its design was reworked. After mercial wordmarks, including those for Wordmarks the success of Univers, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk 3M, American Airlines, American Ap- into a larger family. parel, AT&T, BMW, Jeep, JCPenney, Lufthansa, Microsoft, Orange, Toyota, Panasonic, Motorola, Kawasaki and Verizon Wireless. A neutral typeface with Apple Inc. has used Helvetica widely in Mac OS X, the iPhone OS, and the iPod. Helvetica is widely used by the U.S. government; for example, federal no intrinsic meaning. income tax forms are set in Helvetica, and NASA uses the type on the Space In 1960, the typeface’s name was changed by Haas’ German parent company Shuttle orbiter. -
A Journal Dedicated to Typography & Graphic Design
ISSUE Nº-3 2020 A journal dedicated to typography & graphic design 2 3 I cannot claim to be the most beautiful, for me that is not the 03 idea. To live in this world and be myself, truly be myself… that is what I want. Welcome to the third issue of TypeNotes, Fontsmith’s magazine dedicated to typography and graphic design. In this special issue we have advice on creative block (we all get it) from five brilliant creatives; a collection of 1960s and 70s beer mats; typography in art; a guide to type styles; a big typographic night out; we go behind the scenes at St Bride Library, the British Film Institute archives and the fascinating bespoke print shop Perrott Press, and much, much more. ♠ The Fontsmith studio has been busy making new fonts and developments in the world of type design this year . ♣ Issue three of TypeNotes has been a while in the making but well worth the wait we know you’ll agree. ❦ Thanks as always to our brilliant editor Emily Gosling, designers Counter Studio and our contributors from [↓] around the world. Meet two brand new fonts from Font- smith: FS Split Serif FS Split Sans Available in Roman & Italic Bold + Regular + Light See more at fontsmith.com Jason Smith → Founder, Fontsmith 4 CONTENTS COLOPHON 5 4 One billboard in Powderhorn, Erik Brandt’s garage gallery goes global Typefaces used throughout Contributors Published by Fontsmith by Fontsmith Minneapolis Chris Bolton, designer and founder, Pulp Culture Creative director Jason Smith 8 The arty type Kern-ceptual — from Ed Ruscha to Tracey Emin, Body copy: FS -
Typography in Advertising
Doctoral Thesis Typography in Advertising Typografie v reklamě Author: Aleksandar Donev, MSc Degree programme: Visual Arts (P8206) Degree course: Multimedia and Design (8206V102) Supervisor: Doc. PhDr. Zdeno Kolesár, Ph.D. Zlín, December 2015 © Aleksandar Donev Published by Tomas Bata University in Zlín in the Edition Doctoral Thesis. The publication was issued in the year 2015 Key words in English: Typography, Advertising, Visual Communication, Design, Typefaces, Fonts Key words in Czech: Typografie, Reklama, Vizuální Komunikace, Design, Písma, Fonty Full text of the Doctoral Thesis is available in the Library of TBU in Zlín ISBN 978-80-……… ABSTRACT This thesis is set to investigate the use of type and typography in advertising, the role of typography in rendering the advertising message and the effects it has on the same. Typography and advertising both have been researched significantly all over the world but mainly as a two separate disciplines without showing the importance of their connection. The aim of my thesis is to fill that gap and show the significance of typography in advertising and their relationship in the communication process. The approach undertaken in this thesis is mainly theoretical, including statistics, a survey, a case study and an analysis of literature from various sources in the field of the research. I have analysed the factors that make typography suitable and effective for advertising purposes. With this research I am able to confirm that the use of typography and type for advertising purposes is slightly different than its use for other purposes. I am hoping that my work will make designers and advertisers more aware of the importance of typography in the creation of advertisements and that they will make better use of it.