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A Catalogue of the Wood Type at Rochester Institute of Technology David P
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 11-1-1992 A Catalogue of the wood type at Rochester Institute of Technology David P. Wall Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Wall, David P., "A Catalogue of the wood type at Rochester Institute of Technology" (1992). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. School ofPrinting Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate ofApproval Master's Thesis This is to Certify that the Master's Thesis of David P. Wall With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master ofScience degree at the convocation of DECEMBER 1992 Da,e Thesis Committee: David Pankow Thesis Advisor Marie Freckleton Graduate Program Coordinator George H. Ryan Direcmr or Designa[e A Catalogue of the Wood Type at Rochester Institute of Technology by David P. Wall A thesis project submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences in the College of Graphic Arts and Photography of the Rochester Institute ofTechnology November 1992 Project Advisor: Professor David Pankow Introduction type,' When Adobe Systems introduced in 1990 their first digital library of 'wood the event marked the latest step forward in a tradition dating back to 1828, when Darius Wells, ofNew Wells' York City, perfected the equipment and techniques needed to mass produce wood type. -
ISSN 0022-2224 August 2016 Published Continuously Since 1967
the journal of visual communication research special issue: reecting of 50 years of Typography Charles Bigelow and Kevin Larson Guest Editors 50 .2 ISSN 0022-2224 august 2016 Published continuously since 1967. Visible Language the journal of visual communication research special issue: Relecting on 50 years of Typography Charles Bigelow and Kevin Larson Guest Editors August 2016 Visible Language 50.2 Contents The Xerox Alto Font Design System Patrick Baudelaire 12 — 25 The Digital Typefoundry Matthew Carter 26 — 37 Advisory Board Naomi Baron – The American University, Washington, D.C. two letters: 1968 & 2016 Michael Bierut – Pentagram, New York, NY Charles Bigelow – Type designer Schmoller & Matteson Matthew Carter – Carter & Cone Type, Cambridge, MA 38 — 39 Keith Crutcher – Cincinnati, OH Mary Dyson – University of Reading, UK Jorge Frascara – University of Alberta, Canada / Universidad de las Americas Puebla Ken Friedman – Swinburne University of Technology, Melbourne, Australia Communication of Mathematics with TEX Michael Golec – School of the Art Institute of Chicago, Chicago, IL Barbara Beeton, Richard Palais Judith Gregory – University of California-Irvine, Irvine, CA Kevin Larson – Microsoft Advanced Reading Technologies 40 — 51 Aaron Marcus – Aaron Marcus & Associates, Berkeley, CA Per Mollerup – Swinburne University of Technology, Melbourne, Australia Commercial at @ Tom Ockerse – Rhode Island School of Design, Providence, RI Sharon Poggenpohl – Estes Park, CO James Mosley Michael Renner – The Basel School of Design – Visual Communication Institute, 52 — 63 Academy of Art and Design, HGK FHNW Stan Ruecker – IIT, Chicago, IL Katie Salen – DePaul University, Chicago, IL Letterform Research: an academic orphan Peter Storkerson – Champaign, IL Karl van der Waarde – Avans University, Breda, The Netherlands Soie Beier Mike Zender – University of Cincinnati, Cincinnati, OH 64 — 79 2 3 Visible Language special issue: Typography 50.2 Orthographic Processing and Reading Jonathan Grainger 80 — 101 Reading Digital with Low Vision Gordon E. -
INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam. -
Frequently Asked Questions (FAQ) 1 / 2 © 2020
Apex Type Foundry Frequently Asked Questions (FAQ) www.apextypefoundry.com Please carefully read 1. LICENSES this document before any purchase. Who needs to buy the license? We recommend you Everyone who needs to install the font on its computer must have a license. to keep a copy Most of the time, graphic designers or agencies (End User) are buying the license. for future reference. Nevertheless, if a designer sells a template for which the client needs to install the font software, then the client needs to purchase its own license according to the number of workstations the font software will be installed on. How long is my license valid? All our licenses are perpetual licenses, not subscriptions: they are valid for life and only need to be payed once. Our licenses don’t have a limitation on media: you can use the font you purchased on as many projects as you want (print, web, apps…). Can I share or transfer my license? Our licenses are not intended to be shared or transferred. Each of our four types of licenses specify the number of workstations on which you can install the font software. These work- stations must be owned by the same End-User’s company and located in the same premises. If an agency hires a freelance to work within its premises and using a company-owned computer that is already included in your license, then there is no need for an additional license. However if this freelance works in another place or if he brings his own computer in the agency’s premises, then a Solo license in his name must be purchased for him. -
Tracing Helvetica
TRACING HELVETICA MiraCosta College / oceanside MAT 155 Graphic Design 2 : Typography ARTG106 TYPOGRAPHY Fall 2016 : Sec. 1 Min Choi // Fall 2017 Rosemary Rae email: [email protected] TRACING HELVETICA INFO ABOUT HELVETICA HELVETICA— Helvetica is one of the most popular typefaces of all time. It was designed by Max Miedinger in 1957 for the Haas’sche Schriftgiesserei type foundry of Switzerland. Its name is derived from Helvetia, the Roman name for Switzerland. The font is based on the earlier Akzidenz Grotesk typeface from around 1898. The typeface, originally titled Haas-Grotesk, is a very clean sans-serif Helvetica is one of the most popular typefaces of all time. It was designed by Max Miedinger face. The typeface became extremely popular in the 1960s, when it was widely used. In 1983, Linotype released the Helvetica Neue (German for “New Helvetica”) typeface, based on Helvetica. in 1957 for the Haas’sche Schriftgiesserei type foundry of Switzerland. Its name is derived from The typeface Arial, distributed with Microsoft Windows, has the same widths as Helvetica and almost identical characters, and was essentially created as a cheaper unauthorized Helvetica clone, which has led to criticism of Microsoft. One of the easiest ways to Helvetia, the Roman name for Switzerland. The font is based on the earlier Akzidenz Grotesk distinguish the two is their uppercase “R.” Another way is looking at the “tail” of the “a” (lower right). Another is the lowercase “e”; Helvetica cuts the lower hook straight across, while Arial cuts it at an angle. typeface from around 1898. The typeface, originally titled Haas-Grotesk, is a very clean sans-serif While Univers is acknowledged to be the most used Latin typeface in the world, Helvetica is widely used in countries such as face. -
Art 243 Typography I
Art 243 Typography I Mike Curb College of Arts, Media, and Communication DEPARTMENT OF ART Art Department GRAPHIC DESIGN Student Learning Outcomes Student learning outcomes or SLOs are MISSION - The CSUN Art Department is committed to teaching students statements that specify what students will to experience and value visual thinking and creative problem solving in art, as will as recognize the concurrent importance of perception, know, be able to do or be able to demonstrate experimentation, innovation, and critical thinking. We encourage students when they have completed or participated in a to understand the history and traditions of art with their relevance to social program/activity/course/project. The following and community concerns as well as the art of different cultures. Students Student Learning Outcomes are designed to are also encouraged to utilize and interact with the services, facilities and cover a broad range of disciplines that are technologies offered throughout the University as well as those provided by offered in the CSUN Art Department. While the Art Department. many courses may not necessarily address all PROGRAM OUTCOMES of these SLOs, this course will. Communication • Creativity • Critical Thought • Social Responsibility • Transdisciplinarity • Ethical Practice 1. Students will acquire competent knowledge and skills in various art media, concepts and Art 344 Graphic Design II • Class Number 11043 • 3 UNITS (3-3) methodologies. Term: Spr 2021 • MW • 8 AM – 10:45 AM • Zoom (normally AC 407) ZOOM Link: https://csun.zoom.us/j/83839714183 2. Students will produce a competent body of Passcode: 617652 individual and collaborative work suitable for a liberal arts degree, for the local, national and Instructor: Jim Kelley • [email protected] global marketplace. -
Helvetica.Pdf
Helvetica Complements & Alternatives - – — ÷ •••• •••• ···· ···· r Part 1: Complements Combining Type With Helvetica H E L V E T I C A combining type with helvetica Introduction We asked experts we admire to round up typefaces that share a common use, style, or concept. Indra Kupferschmid is a German typographer and writer who lives in Bonn and teaches in Saarbrücken at the French border. As co-author of “Helvetica forever”, Indra is often asked what typeface to combine with the world’s most famous font. As Indra puts it, “Helvetica is often described as the tasteless white rice among typefaces: satisfies easily, cheap and fast. But the good thing is, you can take the design into different directions with the sauce and side dishes (the typefaces you pair with Helvetica).” Indra shares her favorite Helvetica companions with the following guidelines in mind: “Focusing on contrast makes combining fonts easier. Better not pair Helvetica (or other Neo-Grotesques) with another sans serif (like a Humanist Sans). Instead, choose a serif or a slab. Transitional and Modern (bracketed) serifs work quite well with Helvetica. So do most Garaldes like Garamond — it all depends on what kind of atmosphere you’re aiming for. Browse the list of ideas below, or look for faces with broad proportions, a large x-height, or similar characteristics, like an uppercase ‘R’ with a vertical tail.” www.fontshop.com toll free at 888 ff fonts 415.252.1003 Neutral Fonts If you’re looking for a text face and want to stay consistent by emphasizing the neutral, flawless feel of the Grotesk, try a Transitional serif. -
Visual Translation: a New Way to Design a Chinese Typeface Based
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2012 Visual translation: a new way to design a Chinese typeface based on an existing Latin typeface Yifang Cao Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Fine Arts Commons Recommended Citation Cao, Yifang, "Visual translation: a new way to design a Chinese typeface based on an existing Latin typeface" (2012). LSU Master's Theses. 102. https://digitalcommons.lsu.edu/gradschool_theses/102 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. VISUAL TRANSLATION: A NEW WAY TO DESIGN A CHINESE TYPEFACE BASED ON AN EXISTING LATIN TYPEFACE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Fine Art in The School of Art by Yifang Cao B.A., Hunan Normal University, 2009 May 2012 i ACKNOWLEDGEMENTS I would like to thank my thesis committee: Courtney Barr, Lynne Baggett, Paul Dean, Malcolm McClay, Gerald Bower, and Yu Jiang as well as all of the other faculty and students who have enhanced my experience at LSU, thank you for your motivation, encouragement and guidance. You helped push me to my potential and reach my goals. -
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. -
X Logical Font Description Conventions X Consortium Standard
X Logical Font Description Conventions X Consortium Standard Jim Flowers, Digital Equipment Corporation Edited by Stephen Gildea X Logical Font Description Conventions: X Consortium Standard by Jim Flowers and Stephen Gildea X Version 11, Release 7.7 Version 1.5 Copyright © 1988, 1994 X Consortium Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated docu- mentation files (the "Software"), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions: The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software. THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE X CONSORTIUM BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE. Except as contained in this notice, the name of the X Consortium shall not be used in advertising or otherwise to promote the sale, use or other dealings in this Software without prior written authorization from the X Consortium. X Window System is a trademark of The Open Group. Copyright © 1988, 1989 Digital Equipment Corporation, Maynard MA. -
Free PDF Download
Inflection Point Emigre Published in 1989, Emigre magazine’s eleventh issue, Ambition/Fear: Graphic Designers and the Macintosh Computer, contains vivid artifacts of a discipline’s first encounter with digital tools. From the aesthetics of bitmaps to the expressive interventions made possible by new access to typesetting controls, not to mention the self- publishing venture of the magazine itself, this issue combines modernist and postmodern agendas in a model construction of text-based community. Looking closely at Emigre #11, and more passingly at later issues, this article analyses the technical, critical, and cultural production that would shape Emigre as a medium for typographic demonstration and discussion among peers. Emigre #11 Ambition/Fear, 1989 32 pages, 11.25 x 16.75 inches, plus poster, 22.25 x 32.5 inches. Edition of 6,000. Emily McVarish Printed at Lompa Printing, Albany, CA. Browse all pages of Emigre #11 in high resolution at https://letterformarchive.org/emigre This is our second type specimen catalog that focuses on Emigre’s text Contents Pages Typeface typefaces. And like the first, instead of 1-5 Alda using fake text, or “Greeking,” which 6-7 Cardea is commonly used in type promotions 8-9 Mr Eaves Modern 10-11 Malaga to make text look artificially perfect, 12-13 Vista Slab we decided to put the fonts to work in 14-15 Alda 16-17 Mr Eaves XL Modern a realistic context. To properly judge a 20-21 Cholla Slab text typeface you should read it. To do 22-23 Mrs Eaves XL Serif 24-25 Fairplex Narrow that properly, you need real text, not 26-27 Vendetta 28-29 Filosofia dummy text, and lengthy text, not two 30-31 Base 900 or three sentences, so you can immerse 32-33 Eidetic 34-35 Vista Sans yourself in it. -
A B C D E F G H N O PQ R S Z T U V W Õ Ä Ö Üx Y1 2 3 4 5 6 78 9 0 I J K Lm
SUVA TYPE FOUNDRY A Esimene 2 T Lambiseim 42 SPECIMEN NO. 1 B TIR Not Mono 4 U Cofe Sans 44 C Kalev 6 V Bomber Fraktur 46 SUVA Type Foundry Specimen No. 1, D Nocturnal 8 W Keynote Sans 48 published on the occasion of the launch My Maps Sans 10 Soy 50 of SUVA Type Foundry, presents E õ F Open Aviscript 12 Ä Varenyky 52 a selection of original fonts created G Võrsik 2010–2018 at the Department of 14 Ö Chaos 54 Graphic Design, Estonian Academy of H Kulm 16 Peet 56 Arts (EKA GD). SUVA Type Foundry I Burn Tracks 18 x Stereo Sans 58 is a web platform featuring fonts J Coffee Time 20 Y Jaan 60 designed by students and faculty in K Napulo 22 1 Teibifont 62 various workshops, courses and l Mirror Script 24 2 Kalligro 64 projects. The platform and specimen M Sirkel 26 3 Anne 66 gathering the typefaces exhibits N Masurka 28 4 Mozzarella 68 the department’s ever-growing archive. O Owl Cave 30 5 Vesi 70 P Pretzel 32 Ü6 Crazycatlady 72 SUVA Type Foundry Specimen No. 1 Q East-Funk 34 Telah 74 introduces a selection of fonts from the 7 web platform and various printed r Vimka 36 8 Yoga 76 matter, where the fonts have been used. S Cap Sizun 38 9 Naps 78 z Leimzy 40 0 ERKI 80 PQRSZTUVWÕÄÖÜXY Esimene regulaarne 2014 Andree Paat 0123456789 Emoji are ideograms and smileys used in electronic Aa messages and web pages. ABCDEFGHIJKLMNO 2 Quirky geometric typeface based on 5 random objects.