Workbook Helpful

Total Page：16

File Type：pdf, Size：1020Kb

Font Guide A guide to help you find the right font for your brand www.ottocreative.com.au Choosing the right font for your brand Your Brand Values: 1. 2. 3. How different font styles can be used to make up your brand: Logo Typeface: Is usually a bit more special and packed with your brands personality. This font should be used sparingly and kept for special occasions. Headings font: This font will reflect the same brand values as your logo font - eg in this example both fonts are feminine and elegant. Unlike your logo typeface, this font should be easier to read and look good a number of different sizes and thicknesses. Body font: The main rule here is that this font MUST be easy to read, both digitally and for print. If there is already a lot going on in your logo and heading font, keep this style simple. www.ottocreative.com.au Typefaces, Association & Styles San Serif: Clean, Modern, Neutral Try these: Roboto, Open Sans, Lato, Montserrat, Raleway Serif: Classic, Traditional, reliable Try these: Playfair Display, Lora, Source Serif Pro, Prata, Gentium Basic Slab Serif: Youthful, modern, approachable Try these: Roboto Slab, Merriweather, Slabo 27px, Bitter, Arvo Script: Feminine, Romantic, Elegant Try these: Dancing Script, Pacifico, Satisfy, Courgette, Great Vibes Monotype:Simple, Technical, Futuristic Try these: Source Code Pro, Nanum Gothic Coding, Fira Mono, Cutive Mono Handwritten: Authentic, casual, creative Try these: Indie Flower, Shadows into light, Amatic SC, Caveat, Kalam Display: Playful, fun, personality galore Try these: Lobster, Abril Fatface, Luckiest Guy, Bangers, Monoton NOTE: Be careful when using handwritten and display fonts, as they can be hard to read. www.ottocreative.com.au Your Brand Fonts Which style/s reflect your brand values: 1. 2. 3. Search the web and find three fonts that fall under this category : 1. 2. 3. Test different combinations and weights, write down your chosen fonts here: Logo - Header - Body - Best places to find font inspo: Google Fonts, Behance & Pinterest www.ottocreative.com.au Thanks I hope you found this workbook helpful. If you did please share it with a friend. If you need a little help picking your fonts, send me an email or slide into my DM's CONTACT Emilie Otto [email protected] @ottocre8ve www.ottocreative.com.au.

Copy Link

Recommended publications

Domando Al Escritor, Edición 2018 En Formato
Domando al Escritor LibreOffice™ Writer para escritores Edición 2018 Ricardo Gabriel "erla##o ¡No puedes pasar! https://elpinguinotolkiano.wordpress.com/ LibreOffice™ Writer o$rece% tanto al a&cionado como al pro$esional de las letras% una serie de (erramientas )ers*tiles + potentes que $acilitan el trabajo del escritor% automatizando las tareas m*s /di$íciles1 + dejando al a'tor con la única res3 ponsabilidad de escribir4 Di$erentes estilos de p*5ina% re$erencias cruzadas + biblio3 5r*&cas% opciones tipo5r*&cas a)anzadas% complejos diseños de te7to% tablas% $8rmulas matem*ticas% 5r*&cas9 todo esto + m*s puede ser realizado en LibreOffice™ Writer4 :o todo es per$ecto% tendremos problemas ,'e resol)er% por lo que en este libro tambi;n )er*s las limitaciones del pro5rama + c8mo superarlas4 El te7to (a sido or5anizado en la $orma de un /curso1 que% partiendo de lo m*s b*sico lle5a pro5resi)amente a mos3 trar todo lo ,'e este pro5rama tiene para o$recernos4 La presente edici8n se centra en la )ersi8n <4=% e7plicando sus numerosas no)edades e indicando ,'; nos traer* <4>4 ?arios capítulos ser*n dedicados a o$recer 'na introduc3 ci8n a otras componentes como Dra@% Aat( + B(art4 Domando al Escritor LibreOffice™ Writer para escritores Edición 2018 Ricardo Gabrie! " rla#so Cor,'e el pincel de $ormato no puede pasar D >E=F Ricardo Gabriel Berlasso Esta obra se distrib'+e ba-o licencia Breati)e Bommons Gtribuci8n3BompartirHgual I4E Hnternacional JBB "K3LG I4EM Jhttp://creativecommons.org/licenses/by-sa/4.0/M Atribución: Osted debe darle crédito
[Show full text]
FONT GUIDE Workbook to Help You Find the Right One for Your Brand
FONT GUIDE Workbook to help you find the right one for your brand. www.ottocreative.com.au Choosing the right font for your brand YOUR BRAND VALUES: How different font styles can be used to make up your brand: Logo Typeface: Is usually a bit more special and packed with your brands personality. This font should be used sparingly and kept for special occasions. Headings font: Logo Font This font will reflect the same brand values as your logo font - eg in this example both fonts are feminine and elegant. Headings Unlike your logo typeface, this font should be easier to read and look good a number of different sizes and thicknesses. Body copy Body font: The main rule here is that this font MUST be easy to read, both digitally and for print. If there is already alot going on in your logo and heading font, keep this style simple. Typefaces, common associations & popular font styles San Serif: Clean, Modern, Neutral Try these: Roboto, Open Sans, Lato, Montserrat, Raleway Serif: Classic, Traditional, reliable Try these: Playfair Display, Lora, Source Serif Pro, Prata, Gentium Basic Slab Serif: Youthful, modern, approachable Try these: Roboto Slab, Merriweather, Slabo 27px, Bitter, Arvo Script: Feminine, Romantic, Elegant Try these: Dancing Script, Pacifico, Satisfy, Courgette, Great Vibes Monotype:Simple, Technical, Futuristic Try these: Source Code Pro, Nanum Gothic Coding, Fira Mono, Cutive Mono Handwritten: Authentic, casual, creative Try these: Indie Flower, Shadows into light, Amatic SC, Caveat, Kalam Display: Playful, fun, personality galore Try these: Lobster, Abril Fatface, Luckiest Guy, Bangers, Monoton NOTE: Be careful when using handwritten and display fonts, as they can be hard to read.
[Show full text]
264 Tugboat, Volume 37 (2016), No. 3 Typographers' Inn Peter Flynn
264 TUGboat, Volume 37 (2016), No. 3 A Typographers’ Inn X LE TEX Peter Flynn Back at the ranch, we have been experimenting with X LE ATEX in our workflow, spurred on by two recent Dashing it off requests to use a specific set of OpenType fonts for A I recently put up a new version of Formatting Infor- some GNU/Linux documentation. X LE TEX offers A mation (http://latex.silmaril.ie), and in the two major improvements on pdfLTEX: the use of section on punctuation I described the difference be- OpenType and TrueType fonts, and the handling of tween hyphens, en rules, em rules, and minus signs. UTF-8 multibyte characters. In particular I explained how to type a spaced Font packages. You can’t easily use the font pack- dash — like that, using ‘dash~---Ђlike’ to put a A ages you use with pdfLTEX because the default font tie before the dash and a normal space afterwards, encoding is EU1 in the fontspec package which is key so that if the dash occurred near a line-break, it to using OTF/TTF fonts, rather than the T1 or OT1 would never end up at the start of a line, only at A conventionally used in pdfLTEX. But late last year the end. I somehow managed to imply that a spaced Herbert Voß kindly posted a list of the OTF/TTF dash was preferable to an unspaced one (probably fonts distributed with TEX Live which have packages because it’s my personal preference, but certainly A of their own for use with X LE TEX [6].
[Show full text]
Beaulivre Write YOUR BOOKS in a COLORFUL WAY
ProȷΣLib beaulivre WRiTE YOUR BOOKS iN A COLORFUL WAY Corresponding to: beaulivre 2021/08/11 JINWEN XU August 2021, Beijing This page is intentionally left blank PREFACE beaulivre is a member of the colorist class series. Its name is taken from French words “beau” (for “beautiful”) and “livre” (for “book”). The entire collection includes colorart and lebhart for typesetting articles and colorbook and beaulivre for typesetting books. My original intention in designing this series was to write drafts and notes that look colorful yet not dazzling. beaulivre has multi‑language support, including Chinese (simplified and traditional), English, French, German, Italian, Japanese, Portuguese (European and Brazilian), Russian and Spanish. These languages can be switched seamlessly in a single document. Due to the usage of custom fonts, lebhart requires X LE ATEX or LuaLATEX to compile. This documentation is typeset using beaulivre (with the option allowbf). You can think of it as a short introduction and demonstration. TiP Multi‑language support, theorem‑like environments, draft marks and some other features are pro‑ vided by the ProȷΣLib toolkit. Here we only briefly discuss how to use it with this document class. For more detailed information, you can refer to the documentation of ProȷΣLib. iii This page is intentionally left blank CONTENTS PREFACE. iii I INSTRUCTION BEFORE YOU START . 3 1 Usage and examples . 5 1.1 How to load it . 5 1.2 Example ‑ A complete document . 5 1.2.1 Initialization . 6 1.2.2 Set the language . 6 1.2.3 Draft marks . 6 1.2.4 Theorem‑like environments . 6 2 On the default fonts .
[Show full text]
Barracuda Firewall Quick Integration Guide for Packetfence Version 7.4.0 Barracuda Firewall Quick Integration Guide by Inverse Inc
Barracuda firewall Quick Integration Guide for PacketFence version 7.4.0 Barracuda firewall Quick Integration Guide by Inverse Inc. Version 7.4.0 - Jan 2018 Copyright © 2014 Inverse inc. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is included in the section entitled "GNU Free Documentation License". The fonts used in this guide are licensed under the SIL Open Font License, Version 1.1. This license is available with a FAQ at: http:// scripts.sil.org/OFL Copyright © Łukasz Dziedzic, http://www.latofonts.com, with Reserved Font Name: "Lato". Copyright © Raph Levien, http://levien.com/, with Reserved Font Name: "Inconsolata". Table of Contents About this Guide ............................................................................................................... 1 Assumptions ..................................................................................................................... 2 Quick installation ............................................................................................................... 3 Step 1: Configuration of the Barracuda in PacketFence ................................................. 3 Step 2: Verification .................................................................................................... 4 Copyright © 2014 Inverse inc. iii
[Show full text]
Microsoft Core Fonts Package Post-Installation to Obtain a Proper Type Library
AP��F�� O��S��T�� the development of libre ecosystems. Typography has always been a stubborn holdout in this regard, and to this day there remain few free high-quality comprehensive text typefaces. Free type is mainly concentrated in a handful of flagship “superfonts” that contain a staggering catalog of glyphs, but lack greatly in the quality of design and typographic styles and features seen in professional type. To my knowledge, there are currently just two great open source text families—Gentium, which is still incomplete, and Linux Libertine, in addition to a few corporate gifts such as Adobe Source Serif and Bitstream Charter. To help fill the gap, I present my own original type design and ask for the Wikimedia projects’ help in finishing and releasing my font to provide a quality free font choice. What is this font? �� (�� 0 1 2 3 4 5 6 7 8 9 this paragraph in) is meant to be an original serif typeface that an editor might want to set a textbook in. It does not yet have an official name. Many existing open source typefaces are clones of 0 1 2 3 4 5 6 7 8 9 popular old public domain typefaces (like Asana, S��, EB Garamond, or Free Serif, which are clones of Palatino, Times, Garamond, and Times again, respectively). Others like Liberation Serif, Déjà Vu, and Droid Serif have a distinctive “computer type” style that makes them convenient for pixel display and easy to HQWinâaba construct and adapt but poor in most other regards. I tried to create something different.
[Show full text]
Branding Guidelines
Branding Guidelines Local understanding, national exposure. We connect a national network of commercial real estate professionals through technology, built and customized for each local market. network local-focus research connecting markets customized good value from the ground up Powered by Who We Serve Real Estate Brokerages Commercial Real Site Selectors Appraisers Economic Associations Estate Agents Developers Typeface Clear & Concise. Source Serif Pro We’re in the business of sharing data and making it easy to access Headline Font - #000000 (Black) and digest, and these fonts help us accomplish this. Source Serif Pro, a traditional but easily readable font adds class and clarity in our headlines as it’s paired with a more modern Open Sans for Source Sans Pro - Bold body text. Sub Headline Font - #c03b2b (Tall Poppy) Headlines should always be 2.25x the font size of the body text. For example, if the body text height is 14px, the headline should be Source Sans Pro 2.25x that height: 31.5px. Body Font - #232323 (Mine Sha) Our Logo Connected. With all units facing inward to a central point, this emblem represents a central source of communication, focus, and purpose. Sharing. Each unit opening outward paints a visual picture of data connectivity; while information comes from a single source, it is designed to share and spread through all units involved. Together. The “v” shapes evenly spaced between each other represents all units working together. We present our logo in these designs. Horizontal - Light Vertical - Light Only Horizontal
[Show full text]
Arno Bell Birch
Anony- Basker- mous Pro Arial Arno ville Bell Birch I I I I I I Black- Bodoni Book Bookman Bradley Brush oak Antiqua Old Style Hand Script I I I I I I Caslon Century Calibri Cambria Candara Pro Century Gothic I I I I I Charle- Claren- Comic Conso- Constan- magne I las tia Chaparral don Sans I I I I I I copper- Monotype Cooper Corbel Courier Ebrima plate Corsiva New I I I I I Franklin Fira Sans Freestyle Script French Script IFutura Gabriola Gothic I I I I I Gill Sans Goudy Old Gadugi Garamond Georgia Giddyup Nova StyleI I I I I I I Neue Haas HP simplified Impact Grotesk Hobo Jenson Juice ITC I I I I I I Lucida Kristen Letter Lithos Lucida Lucida Sans ITC Gothic Pro Console Hand Unicode I I I I I OCRA OratorI Minion Pro Nueva Std Mesquite Mistral Std Std I I I I I I Palatino Prestige Rock- Linotype Papyrus Poplar Std Elits Pristina well I I I I I I Rose- Segoe Segoe Segoe Source wood Print Script UI Sitka Code Pro I I I I I I Source Source Serif Stencil Sylfaen Symbol Sans Pro Pro Tahoma I I I I I I Tempus Sans Times New Trajan Tekton Pro Trebuchet Verdana ITC Roman Pro I I I I I I anony- basker- mous pro arial arno ville bell birch i i i i i i black- bodoni book bookman bradley brush oak antiqua old style hand script i i i i i i century calibri cambria candara caslon pro century gothic i i i i i charle- claren- comic conso- constan- magne i las tia chaparral don sans i i i i i i copper- monotype cooper corbel courier ebrima plate corsiva new i i i i i franklin fira sans freestyle script french script ifutura gabriola gothic i i i i i
[Show full text]
A Quick Guide to Great Looking Web Font Pairs That You Actually Want to Use in Your Next Website Design.
25 Simple and Practical Google … Font Combinations – A quick guide to great looking web font pairs that you actually want to use in your next website design. / ; & ¶ § O Rafal Tomal • May 2016 • typespiration.com Looking for the right font combination and going through the entire Google Font repository is a tedious job. If you want to save yourself some time or you just don’t have an eye to pair the right fonts, then this guide is for you. This ebook is your shortcut to some of the best-looking font pairs that I personally hand picked for my own projects. All of the examples are very practical and are meant to be used on content- heavy websites like a blog or a magazine. Google has a great repository, but free fonts also have their drawbacks. Not every Google font is really well-optimized for the web and not every font family comes with all different weights and styles to cover your website content needs. So, I filtered them all and in my selection I made sure all body text fonts come with regular, bold and italic options so that all heading fonts look great on a large scale. Feel free to choose your favorite combination and use it in your own design or tell your designer or developer to use it in your project. You may even want to experiment and make your own pairings if you like a heading font from one example and body text font from another. Also, you can search the Typespiration.com collection to find your favorite fonts in different color schemes.
[Show full text]
TUGBOAT Volume 34, Number 1 / 2013
TUGBOAT Volume 34, Number 1 / 2013 General Delivery 3 Ab epistulis / Steve Peter 4 Editorial comments / Barbara Beeton This is the year for TEX bug reports; Don Knuth in the news (again); A new TEX calendar; Compulsive Bodoni / the Parmigiano Typographic System; Printing technology, old and new; Interactive and collaborative on-line LATEX; Mapping math and scientific symbols to their meanings Resources 6 CTAN: Relaunch of the Web portal / Gerd Neugebauer Fonts 10 Fonts! Fonts! Fonts! / Bob Tennent Typography 14 Typographers’ Inn / Peter Flynn Graphics 17 Entry-level MetaPost: On the grid / Mari Voipio 21 Recreating historical patterns with MetaPost / Mari Voipio 26 The xpicture package / Robert Fuster A L TEX 34 Side-by-side figures in LATEX / Thomas Thurnherr 37 Glisterings: Repetition; Verbatims; Small pages; Prefixing section heads / Peter Wilson 40 The esami package for examinations / Grazia Messineo and Salvatore Vassallo Dreamboat 47 E-TEX: Guidelines for future TEX extensions — revisited / Frank Mittelbach Software & Tools 64 LuaJITTEX / Luigi Scarso ConTEXt 72 ConTEXt: Just-in-time LuaTEX / Hans Hagen 79 ConTEXt basics for users: Images / Aditya Mahajan Macros 83 New CSplain of 2012 / Petr Olˇsák 88 OPmac: Macros for plain TEX / Petr Olˇsák Hints & Tricks 96 The treasure chest / Karl Berry 97 Production notes / Karl Berry Book Reviews 98 Book review: The Computer Science of TEX and LATEX / Boris Veytsman Abstracts 99 Die TEXnische Komödie: Contents of issues 4/2012–1/2013 100 Eutypon: Contents of issue 28–29 (October 2012) News 101 Calendar 102 TUG 2013 announcement Advertisements 103 TEX consulting and production services TUG Business 2 TUGboat editorial information 2 TUG institutional members 105 TUG membership form 106 TUG financial statements for 2012 / Karl Berry 107 TUG 2013 election Fiction 108 Colophon / Daniel Quinn TEX Users Group Board of Directors TUGboat (ISSN 0896-3207) is published by the TEX Donald Knuth, Grand Wizard of TEX-arcana † Users Group.
[Show full text]
Minimalist Class Series, Whose Name Is Taken from German Word “Ein‑ Fach” (“Simple”), Combined with the First Three Letters of “Artikel” (“Article”)
einfart, write your articles in a simple and clear way JINWEN XU [email protected] August 2021, Beijing ABSTRACT einfart is part of the minimalist class series, whose name is taken from German word “ein‑ fach” (“simple”), combined with the first three letters of “artikel” (“article”). The entire collec‑ tion includes minimart and einfart for typesetting articles, and minimbook and simplivre for typesetting books. My original intention in designing them was to write drafts and notesthat look simple yet not shabby. einfart has multi‑language support, including Chinese (simplified and traditional), English, French, German, Italian, Japanese, Portuguese (European and Brazilian), Russian and Spanish. These languages can be switched seamlessly in a single document. Due to the usage of custom fonts, einfart requires X LE ATEX or LuaLATEX to compile. This documentation is typeset using einfart (with the option classical). You can think of it as a short introduction and demonstration. Contents Before you start . 1 1 Usage and examples . 2 1.1 How to load it . 2 1.2 Example ‑ A complete document . 2 2 On the default fonts . 5 3 The options . 5 4 Instructions by topic . 6 4.1 Language configuration . 6 4.2 Theorems and how to reference them . 7 4.3 Define a new theorem‑like environment . 8 4.4 Draft mark . 9 4.5 Title, abstract and keywords . 9 4.6 Miscellaneous . 10 5 Known issues . 11 Before you start 1 In order to use the package or classes described here, you need to: 2 • install TeX Live or MikTeX of the latest possible version, and make sure that minimalist 3 and projlib are correctly installed in your TEX system.
[Show full text]
The Fontspec Package Font Selection for X LE ATEX and Lualatex
The fontspec package Font selection for X LE ATEX and LuaLATEX WILL ROBERTSON With contributions by Khaled Hosny, Philipp Gesang, Joseph Wright, and others. http://wspr.io/fontspec/ 2020/02/21 v2.7i Contents I Getting started 5 1 History 5 2 Introduction 5 2.1 Acknowledgements ............................... 5 3 Package loading and options 6 3.1 Font encodings .................................. 6 3.2 Maths fonts adjustments ............................ 6 3.3 Configuration .................................. 6 3.4 Warnings ..................................... 6 4 Interaction with LATEX 2ε and other packages 7 4.1 Commands for old-style and lining numbers ................. 7 4.2 Italic small caps ................................. 7 4.3 Emphasis and nested emphasis ......................... 7 4.4 Strong emphasis ................................. 7 II General font selection 8 1 Main commands 8 2 Font selection 9 2.1 By font name ................................... 9 2.2 By file name ................................... 10 2.3 By custom file name using a .fontspec file . 11 2.4 Querying whether a font ‘exists’ ........................ 12 1 3 Commands to select font families 13 4 Commands to select single font faces 13 4.1 More control over font shape selection ..................... 14 4.2 Specifically choosing the NFSS family ...................... 15 4.3 Choosing additional NFSS font faces ....................... 16 4.4 Math(s) fonts ................................... 17 5 Miscellaneous font selecting details 18 III Selecting font features 19 1 Default settings 19 2 Working with the currently selected features 20 2.1 Priority of feature selection ........................... 21 3 Different features for different font shapes 21 4 Selecting fonts from TrueType Collections (TTC files) 23 5 Different features for different font sizes 23 6 Font independent options 24 6.1 Colour .....................................
[Show full text]