Graphic Identity Guidelines
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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. -
Role Serif Display Pro
Morisawa Inc. Role Serif Display Pro Role Serif is part of the first stand-alone Latin typeface family released by Morisawa. Other genres in the family include Slab, Sans and Soft. Role Serif has the clearest image of seriousness or faithfulness among other styles. Text has the lowest contrast and the sturdy serifs for high legibility. The contrast gets higher for Display and Banner to help the look become more elegant. The letterforms are optimised for the target usage of each optical range. The letterforms of Text are consistent but morphs into the more decorative design for Display and Banner. The Display is in between Text and Banner and looks more graceful than Text but not too prominent to affect the versatility. Ban- ner is the most elegant design. The characteristic is more emphasised especially for the heavier weights where the widths narrow down. PUBLISHED: LANGUAGE: OPENTYPE FEATURES: 2019 Latin (98+) Proportional lining figures Proportional oldstyle figures FORMAT: SERIES & SCRIPTS: Fraction OpenType Role Serif Text Pro Case Sensitive form Role Serif Banner Pro Superscript/Subscript STYLES: Small Caps 14 Styles (7 weight with Italics) Caps to Small Caps Zero Slash Scientific Inferior DESIGNED BY: Localised Forms Matthew Carter Sakura Taruno Kunihiko Okano https://en.morisawa.co.jp | © 2019 Morisawa Inc. All rights reserved. Role Serif Display Pro STYLE SAMPLE Role Serif Display Pro Extralight Role Serif Display Pro Extralight Italic Role Serif Display Pro Light Role Serif Display Pro Light Italic Role Serif Display Pro Regular Role Serif Display Pro Italic Role Serif Display Pro Medium Role Serif Display Pro Medium Italic Role Serif Display Pro Bold Role Serif Display Pro Bold Italic Role Serif Display Pro Extrabold Role Serif Display Pro Extrabold Italic Role Serif Display Pro Heavy Role Serif Display Pro Heavy Italic https://en.morisawa.co.jp | © 2019 Morisawa Inc. -
TYP O G R a P H Y Three
CHAPTER 03three ⁄ <<< / facing page POSTER: WERNER HERZOG RETROSPECTIVE TYPOGRAPHY • MENDEDESIGN, SAN FRANCISCO • ART DIRECTOR: JEREMY MENDE • DESIGNERS: AMADEO DESOUZA, STEVEN KNODEL, JEREMY MENDE • CLIENT: SAN FRANCISCO MUSEUM OF MODERN ART MOST OBJECTIVES PEOPLE WHO BECOME DESIGNERS HAVE AN Gain knowledge of nomenclature AFFINITY FOR IMAGERY. CREATING IMAGERY OR UNDERSTANDING IMAGERY and anatomy COMES FAIRLY EASILY TO THEM. PEOPLE WITH AN AFFINITY FOR TYPE—WHO Become familiar with the CONSIDER TYPE AN INTEGRAL ELEMENT OF VISUAL COMMUNICATION—TEND classifi cations of type TO HAVE MORE FACILITY DESIGNING WITH TYPE. IF YOU VIEW TYPE MERELY Differentiate among alignments AS LITERAL CONTENT, TYPOGRAPHY BECOMES A CHALLENGE. ONCE YOU Pick up the basic principles of designing with type EMBRACE TYPE’S CRITICAL ROLE IN GRAPHIC DESIGN, YOU CAN BEST THINK Consider spacing ABOUT TYPE AND DESIGN WITH TYPE. Mix typefaces with purpose If you are designing with type for a branded environment, that context is different from designing type for a business card. However, there are basic guiding principles. Type is form and should be evaluated based on aesthetic criteria of shape, proportion, and balance. Type commu- nicates on a denotative and connotative level. Type has to be thoughtfully integrated with visuals. Type should be readable. Margins present text type and need to be respected. Transitions between letters, words, and paragraphs are critical—spacing can make or break communication. Typography is the design of letterforms and the arrangement of them in two-dimensional space (for print and screen-based media) and in space and time (for motion and interactive media). Type is used as display or as text. -
USF Brand Guidelines
/// UNIVERSITY OF SOUTH FLORIDA BRAND GUIDELINES v2.1 / January 2020 UNIVERSITY OF SOUTH FLORIDA /// BRAND GUIDELINES 2.1 Table of Contents 02 1 Welcome to a new era—a time to re-energize our university. While we will THE AUDIENCES continue to roll out updates, this guide tells you everything you need to know to 10 / Overview and Considerations Potential Students & Parents create pieces that are bold, engaging, ESSENTIALS Current Students & Faculty and inspirational—just like USF. Potential Faculty Alumni WHERE WE STARTED Health (Clinical Care) Athletics 05 / Astounding Progress Donors 06 / Our Brand Story 07 / Our Beliefs 09 / Our Position MESSAGING & STORYTELLING 12 / Introduction 13 / The Value of Storytelling (Impact Over Fact) 14 / Messaging Pillars 15 / Personality 16 / Tone & Perspective: Off Campus 17 / Tone & Perspective: On Campus 18 / Tone & Perspective: Examples UNIVERSITY OF SOUTH FLORIDA /// BRAND GUIDELINES 2.1 Table of Contents 03 2 Welcome to a new era—a time to re-energize our university. While we will CORE COLOR ADVANCED DESIGN ELEMENTS continue to roll out updates, this guide tells you everything you need to know to 34 / Color Profiles 52 / Design Elements: Diagonals 35 / Color Palette 53 / How to Use Our Diagonals create pieces that are bold, engaging, ELEMENTS 36 / Color: Proportional Applications 54 / Design Elements: Bar and inspirational—just like USF. 37 / Color: Legibility & Primary Usage 55 / How to Use Our Bar 56 / Design Elements: Arrow OVERVIEW TYPOGRAPHY 57 / Design Elements: Bull Statue 58 / How to Use -
Georgia Alien Heads Found In
TYPE SPECIMEN alien heads found in Georgia KAYLEE GRODSKE Georgia bold 64 pt Contents page contents 5 Introduction 7 Backstory 9 Alien Heads Found in Georgia 10 Compare 12 Various Cuts 14 Type Features GeorgiaGeorgia GeorgiaGeorgia Georgia Georgia bold 72 pt Georgia Although inspired by the need for - and providing - clarity at low resolutions on the screen, Georgia is a typeface resonant with typographic personality. Even at small sizes the face exudes a sense of friendliness; a feeling of intimacy many Georgia would argue has been eroded from Times New Roman through overuse. This is as much testament to the skill of the typeface’s designer, Matthew Carter, as it is to any intrinsic quality of the face’s design, since the small pixel spaces of the screen can be a harrowing canvas for any type designer. In Georgia, Carter has successfully managed to create a typeface family which combines high legibility Georgia with character and charm. Georgia4 5 GeorgiaGeorgia Georgia bold 58 pt Backstory Designed in 1996 by Matthew Carter. Georgia is the serif companion to the first Microsoft sans serif screen font, Verdana. It was designed specifically to address the challenges of on-screen display and hand-instructed by leading hinting expert, Monotype’s Tom Rickner. Georgia was jokingly named after a tabloid headline ‘Alien heads found in Georgia.’ If you must have one serif face for reading on a computer, then you’ve found the best one right here. At high resolutions and larger sizes on screen, it’s evident that Georgia’s ancestory is essentially that of Didot and - most noticeably - of Scotch Roman. -
Typography D Styles, Weights & Widths Sans Serif, in Multiple Weights
FUNDAMENTALS & TIPS COMING TO TERMS MAKING CHOICES Centered rarely, perhaps only in c centerpiece headlines. b Fonts Serif vs. sans serif? Serif, sans serif & novelty For text — serif. Headline alignment a For display — serif and/or Flush left or center? Typography d Styles, weights & widths sans serif, in multiple weights. Your call, but have a plan, and be Light consistent. Ron Johnson • Indiana University Regular or roman For graphics — sans serif. My suggestion? Flush left [email protected] Bold (BF) & semibold ronjohnson77.tumblr.com Black, ultra or slab Use regular or text — all headlines, but center for @ronjohn77 Extended (semi- & extra-) for text and graphics text. centerpieces. Condensed (semi- & extra-) Display Use compressed or display — Italics/oblique (ital) for headlines and subheads only. THE RIGHT SPECS THE IDS WILL RESUME PUBLISHING JAN. 6. HAVE A NICE BREAK! PAID ADVERTISEMENT Never for text, graphics text or 11 INDIANA DAILY STUDENT | MONDAY, DEC. 12, 2011 | IDSNEWS.COM MONDAY, DEC. 12, 2011 As a special thank you Our MUNCHIE MADNESS deal is now only $ 95 Optimum text width is 14p0 to Voted “Best Pizza” 9 Terms small subheads. in Bloomington 10” One Topping Pizza by students and staff for straight years Cheese Bread or Breadsticks 7 Two-Liter Bottle Soft DrinkDrink 2 Homemade Brownies Upgrade to LARGE 18p0. Anything wider? Break it SPORTS 332-4495 only $5 more! INDIANA DAILY STUDENT | IDSNEWS.COM EDITORS: STEPHANIE KUZYDYM & MAX MCCOMBS | [email protected] www.motherbearspizza.com IDS Delivery and Carry-out Only Baseline (a) & X-height (b) Use black or expanded — into columns. MEN’S BASKETBALL Baseline grid for labels and kickers. -
Smashing Ebook
IMPRINT Imprint © 2013 Smashing Media GmbH, Freiburg, Germany ISBN: 978-3-943075-54-0 (Version 1: April 2013) Cover Design: Ricardo Gimenes PR & Press: Stephan Poppe eBook Strategy and Editing: Vitaly Friedman Technical Editing: Cosima Mielke Planning and Quality Control: Vitaly Friedman, Iris Lješnjanin Tools: Elja Friedman. Syntax Highlighting: Prism by Lea Verou. Copywriter: Clarissa Peterson Idea & Concept: Smashing Media GmbH About This Book Typography is everywhere. If you walk out the door, you will be hard pressed to find any element of our daily lives that doesn’t involve or re- ly on typography. The prevalence of typography is not limited only to the analog world. This eBook introduces historical and cultural aspects of type and how they relate to the Web industry. Find out about chang- ing fads in type, about the complexities of Japanese characters and about typographic applications for different situations. You are sure to learn something that you didn’t know before from our great authors. TABLE OF CONTENTS Japanese, A Beautifully Complex Writing System ..........................................3 Respect Thy Typography........................................................................................16 Typography Carved In Stone................................................................................ 27 Industrial-Strength Types.....................................................................................46 Legitima Typeface: An Experience Of Fossils And Revivals ......................69 When Typography -
Text V. Display
Text v. Display By Allan Haley THE BEST TEXT TYPEFACES ARE EASY TO READ IN LONG BLOCKS OF COPY. They do not call much attention to themselves and have been designed to perform best between 6-point and 14-point. Conversely, display typefaces are used to entice a reader into text copy, to create a mood or feeling, or to announce important information. Sometimes, they accomplish all these Phototype and Early Digital Fonts that the phototype fonts performed purposes at the same time. They are When font foundries began making well at the size for which they were intended to stand out, and they perform phototype versions of metal typefaces, originally intended, but that their well when they are appropriate. the overwhelming trend was simply to performance was marginalized at other However, display typefaces can look produce a single design that would be (usually larger) sizes. The first digital peculiar in applications where text used at all point sizes. This made the fonts were just copies of phototype typeface designs are warranted. production of fonts easier for the fonts, so this problem persisted. foundries and dramatically reduced the Different Designs for Different Sizes price of building a reasonably large Size-Specific Designs Type and typography are visual media typeface library. The phototype version Now that fonts are relatively easy that are very much affected by size. In of Bembo for example, was developed (compared to metal type) to produce metal type, almost every point size from original text drawings or typeset and very affordable to purchase, type of a given typestyle was designed with samples at a specific size. -
Comparisons of Post-Baccalaureate and Graduate Typeface Design
LEARNING TO SEE: COMPARISONS OF post-baCCALAUREATE AND GRADUATE TYPEfACE DESIGN EDUCATION IN ENGLAND, THE NETHERLANDS, AND THE UNITED STATES IN THE EARLY TWENTY-FIRST CENTURY by Patrick Gosnell, BFA A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Fine Arts with a Major in Communication Design August 2015 Committee Members: Claudia Röschmann, Chair Michael Niblett Maia Wright i COPYRIGHT by Patrick Gosnell 2015 ii FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Patrick Gosnell, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. iii DEDICATION This work is dedicated to Karen, Janie, and Sammie— the incredible loves of my life. – Philippians 4:13 – iv acKNOWLedgements I would like to sincerely thank my professor, mentor, and friend, Claudia Röschmann, for all of the guidance and support she so willingly provided me during my graduate studies at Texas State University. Her passion for excellence in all things is an inspiration, and has pushed me far beyond my own expectations. I am grateful to have bore witness to her exceedingly generous spirit. I know that, because of her example, I will be far better prepared for the next phase of my career. -
Marian Is a Series of Revivals of Some of the Greats
!aria" Marian is a series of revivals of some of the greats from the typographic canon; Austin, Baskerville, Bodoni, Fournier, Fleischman, Garamont, Granjon, Kis & van den Keere. The twist is that they have all been rendered as a hairline of near uniform weight revealing the most basic structure. PUBLISHED Marian is a unique typeface: part history lesson, part conceptual 2012 art, and part loving tribute to the great punchcutters of the past DESIGNED BY PAUL BARNES who continue to inspire contemporary type design. In musical 9 STYLES terms, it’s an album of standards or cover versions. We have no ROMAN & ITALICS illusions that this typeface is anything but challenging to use, BONUS FONT BLACKLETTER but with a careful touch its unique character can be used to great FEATURES VARY BETWEEN STYLES e!ect. The lightness of Marian means that the typeface, in its SWASH CHARACTERS IN SOME ITALICS SMALL CAPITALS IN ALL ROMANS single weight, is only intended for headline use. We recommend PROPORTIONAL LINING FIGURES PROPORTIONAL OLDSTYLE FIGURES "# pt and above, with an absolute minimum of $# pt or so. FRACTIONS !PREBUILT AND ARBITRARY" Commercial commercialtype.com Marian 2 of 68 Marian 1554 Roman Marian 1554 Italic Marian 1565 Roman Marian 1565 Italic Marian 1571 Roman Marian 1571 Italic Marian 1680 Roman Marian 1680 Italic Marian 1740 Roman Marian 1740 Italic Commercial commercialtype.com Marian 3 of 68 Marian 1742 Roman Marian 1742 Italic Marian 1757 Roman Marian 1757 Italic Marian 1800 Roman Marian 1800 Italic Marian 1812 Roman Marian 1812 Italic Marian Black Commercial commercialtype.com Marian 4 of 68 Marian 1554 During the sixteenth century the combination between roman & italic became codi!ed. -
Skyline Type Foundry Specimen Book & Catalog
Skyline Type Foundry Specimen Book & Catalog Specimen Size 3.50 wide; check Keep Ratio Arboret No. 2 Price Code: 12pt 12-A 7-1 H 24pt 5-A 4-1 H Ornament Suite 245 Pieces L This florid face was patented February 12, 1885, by the MacKellar, Smiths & Jordan Co. It was only made three sizes, of which we present two. The matrices are from Charles Broad's antique revival in the 1960s. The specimen shown is 24pt. The 12pt font includes the same 46 characters plus pound sterling. There was a total of thiry-one (31) ornamental elements designed for exclusive use with Arboret No. 2, in the exceedingly elaborate style then fashionable. Each of the three type sizes (12, 18, 24) was furnished with a selection of seventeen of these—some ornaments were specific to a single point size font, and some common to all sizes. The set of matrices created by Charlie Broad includes nineteen ornaments. These consist of eleven of the original seventeen furnished with 12pt fonts, and fourteen of seventeen for the 24pt. We have done a comprehensive search of the Skyline matrix vault and selected substitutes for three of the missing elements. This brings the count up to all seventeen for the 24pt, and fourteen of seventeen for 12pt. At left is a form composed with both size fonts and the ornamentation, to illustrate how they are intended to be used together to re-create that over-the-top Victorian era typography. Please note that certain of the ornaments function as word spaces, so although they are sold separately, we recommend getting an ornament suite if either font is purchased. -
Typography Legend Revives a Font Family
Typography legend revives a font family How the creation of the Miller font brought back the Scotch romans and changed newspapers forever atthew Carter, whom the New Yorker dubbed “the most widely read man in M 1 the world” , designed the Miller font, as well as many others including Georgia, Tahoma, Centennial Bell, and Verdana. Miller is descended Matthew Carter in 2014, Christopher Lewis photo [CC BY 4.0 (https://creativecommons.org/licenses/by/4.0)] from the “Scotch Roman” class of are still used today. “Miller & Rich- weight has its own italic, small caps, fonts, which were very popular in ard Oldstyle” and its boldface later and italic small caps. Miller and its America in the 19th century. It is clas- became known as “Century Oldstyle” variants are used in the Washington sified as a transitional serif, meaning and “Bookman”, respectively. Post, Glamour, Hindustan Times, the that its features fall in between old Guardian, the Boston Globe, and the style traditional fonts and modern Carter began his career cutting letter Dallas Morning News. In newspa- fonts. John Baskerville was one of the punches by hand as an unpaid ap- pers, it is commonly used for head- most influential type designers in the prentice and later designed fonts by lines. However, in magazines its more transitional period, which began in hand in the 1960s. In the 70s, AT&T likely to be seen in body text. A 2004 the 18th century. commissioned him to create Bell study listed miller as the #10 most Centennial, which was subsequently popular font in US newspapers3.