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Type Design for Typewriters: Olivetti by María Ramos Silva
Type design for typewriters: Olivetti by María Ramos Silva Dissertation submitted in partial fulfilment of the requirements for the MA in Typeface Design Department of Typography & Graphic Communication University of Reading, United Kingdom September 2015 The word utopia is the most convenient way to sell off what one has not the will, ability, or courage to do. A dream seems like a dream until one begin to work on it. Only then it becomes a goal, which is something infinitely bigger.1 -- Adriano Olivetti. 1 Original text: ‘Il termine utopia è la maniera più comoda per liquidare quello che non si ha voglia, capacità, o coraggio di fare. Un sogno sembra un sogno fino a quando non si comincia da qualche parte, solo allora diventa un proposito, cio è qualcosa di infinitamente più grande.’ Source: fondazioneadrianolivetti.it. -- Abstract The history of the typewriter has been covered by writers and researchers. However, the interest shown in the origin of the machine has not revealed a further interest in one of the true reasons of its existence, the printed letters. The following pages try to bring some light on this part of the history of type design, typewriter typefaces. The research focused on a particular company, Olivetti, one of the most important typewriter manufacturers. The first two sections describe the context for the main topic. These introductory pages explain briefly the history of the typewriter and highlight the particular facts that led Olivetti on its way to success. The next section, ‘Typewriters and text composition’, creates a link between the historical background and the machine. -
The Anatomy of Type: a Graphic Guide to 100 Typefaces Ebook
THE ANATOMY OF TYPE: A GRAPHIC GUIDE TO 100 TYPEFACES PDF, EPUB, EBOOK Stephen Coles | 256 pages | 13 Nov 2012 | Harper Design | 9780062203120 | English | United States The Anatomy of Type: A Graphic Guide to 100 Typefaces PDF Book The letter m has three, the left, middle, and right stems. Calligraphy Intentionally blank page Style guide Type foundry History Intellectual property protection of typefaces Technical lettering. Paul is one of the foremost experts on type design, and perhaps the most prolific living writer on the subject. Maybe I need to make a category on this blog for Regrets. From FontBook, the bookplate on black endsheets. The typefaces featured in the book are hand-picked by the author for their functionality and stylistic relevance in today's design landscape. He manages to create a rapport with the reader and achieves a rarely seen outcome in typographic literature. Messenger Zalo. Here we can see some examples of these adjustments, such as larger bowls P , lower crossbars A , wider shapes, and more contrast difference betaween thin and thick strokes. Rather than infallible recipes, the book offers a series of considerations and assessments, helped by academic resources and practical examples, all carefully illustrated. View 1 comment. Typefaces are born from the struggle between rules and results. One of the book's arguments is that type design happens in a particular context, but the book itself provides minimal information about that context cultural, historical, functional, economic, and let's not forget visual. The art of arranging typed language is called typography. The manual also highlights his creative process and relationships with diverse clients, such as Saks Fifth Avenue and The New York Times. -
Do Serifs Provide an Advantage in the Recognition of Written Words?
This article was downloaded by: [University of Valencia] On: 12 August 2011, At: 05:11 Publisher: Psychology Press Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Journal of Cognitive Psychology Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/pecp21 Do serifs provide an advantage in the recognition of written words? Carmen Moret-Tatay a b & Manuel Perea a a Universitat de València, Valencia, Spain b Universidad Católica de Valencia, Valencia, Spain Available online: 09 Aug 2011 To cite this article: Carmen Moret-Tatay & Manuel Perea (2011): Do serifs provide an advantage in the recognition of written words?, Journal of Cognitive Psychology, 23:5, 619-624 To link to this article: http://dx.doi.org/10.1080/20445911.2011.546781 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan, sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. -
Designing Typefaces
Designing Typefaces David Earls A RotoVision book Published and distributed by RotoVision SA Route Suisse 9, CH-1295 Mies, Switzerland RotoVision SA, Sales & Production Office Sheridan House, 112/116A Western Road Hove, East Sussex BN3 1DD, UK T +44 (0)1273 727 268 F +44 (0)1273 727 269 E [email protected] www.rotovision.com Copyright © RotoVision SA Autumn 2002 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the copyright holder 10 9 8 7 6 5 4 3 2 1 ISBN 2-88046-699-7 Book design: Bikini Atoll Photography: Lee Funnell and Xavier Young Editor: Kate Noël-Paton Production and separations in Singapore by ProVision Pte. Ltd T +65 6334 7720 F +65 6334 7721 ii iiiii David Earls i Designing Typefaces To Mum, Doug and Scut In order of appearance Introduction . 6 Designer profiles Jonathan Hoefler . 12 Jonathan Barnbrook . 24 Akira Kobayashi . 36 Zuzana Licko . 48 Jean-François Porchez . 60 Rian Hughes . 72 Carlos Segura . 84 Erik Spiekermann . 96 Jeremy Tankard . 108 Matthew Carter . 120 Erik van Blokland . 132 Type tutorial Type tutorial . 144 End matter Glossary . 158 Contacts . 159 Acknowledgements . 160 A typeface is not merely a representation of the Roman alphabet. It is the combination of thousands of years of collective human social, technological and economic history, combined with the passion, skill, experience and personal history of its often lone creator. The Phoenicians are widely believed to have created the basis for the Roman alphabet we know and use today. -
The Visibility and Legibility of Roman Typefaces: a Review with Blur Simulation
The Visibility and Legibility of Roman Typefaces: A Review with Blur Simulation * Rachapoom Punsongserm Faculty of Fine and Applied Arts, Thammasat University, Pathum Thani, Thailand Abstract Background According to our previous study, Thai Typefaces (Part 1): Assumption on Visibility and Legibility Problems, we examined underlying stages in the visibility and legibility matters of the Thai typefaces where the results have provided the assumption for developing the glyphs of the Thai universal design font (UD font). However, studying the visibility and legibility of Roman letters has still been a necessity, as it represents the international language. Developing high visibility and high legibility of the Roman typeface is requisite for supporting the Thai UD font as well. Methods The current study qualitatively initial tested the tolerance of Roman characters under blurred conditions. We applied seventy Roman fonts in the form of 'The Internal Relationship of Letters in the Feature Comparison Theory' in the same x-heights as stimuli, which simulated the low visual acuity at different blur levels. Results The simulated condition suggests significant advantages and disadvantages of each Roman type concerning visibility and legibility. The results improved ideas and possible solutions, which may assist with the approach of designing high-performance Roman letterforms that contribute to the Thai UD font as a Roman character set. Conclusions In order to improve the visibility and legibility of the Roman letterforms toward a UD font, the current pilot study conducted an investigation via blurred Roman types. The study revealed the advantages and disadvantages of several Roman letterforms, which suggest approaches to developing the Roman characters actively in low visual acuity conditions. -
Chapter 2 /Blind Folio Pg 18
Vaughan / Multimedia: Making It Work / 0071832882 / Chapter 2 /blind folio pg 18 18 CHAPTER 2 Text In this chapter, you sing text and symbols for communication is a very recent human will learn how to: development that began about 6,000 years ago in the Mediterranean Fertile UCrescent—Mesopotamia, Egypt, Sumeria, and Babylonia—when the first ■■ Recognize the importance meaningful marks were scraped onto mud tablets and left to harden in the of word choice sun. Only members of the ruling classes and the priesthood were allowed to ■■ Describe the difference read and write the pictographic signs and cuneiforms. The earliest messages between a typeface and a delivered in written words typically contained information vital to the font and list at least three management of people, politics, and taxes. Because this new medium did attributes of a font, for not require rote memorization by frail human gray matter, written messages example, upper/lowercase, became popular among the elite. Unlike their memory-based counterparts, serif/sans serif, PostScript/ these new “written” messages were less likely to perish due to acts of God, TrueType/OpenType and certainly weren’t going to die from dysentery or suffer from amnesia. ■■ Discuss the importance of Even if a message were intercepted by foes or competitors, it would still be text and ways text can be indecipherable—except by those few who had acquired reading skills (see leveraged in multimedia Figure 2-1). presentations In fact, because those who could read probably attended the same ■■ Discuss the presenta- private school or shared the same tutors, in those days reading, writing, tion of text on Windows, and power politics were naturally intertwined. -
Typeface Legibility: Towards Defining Familiarity
Typeface Legibility: Towards defining familiarity Sofie Beier A thesis submitted in partial fulfilment of the requirements of the Royal College of Art for the degree of Doctor of Philosophy May 2009 The Royal College of Art [ 2 ] typeface legibility: towards defining familiarity © This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgement. sofie beier 2009, royal college of art [ 3 ] Abstract The aim of the project is to investigate the influence of fa- miliarity on reading. Three new fonts were created in order to examine the familiarity of fonts that readers could not have seen before. Each of the new fonts contains lowercase letters with fa- miliar and unfamiliar skeleton variations. The different skeleton variations were tested with distance threshold and time thresh- old methods in order to account for differences in visibility. This investigation helped create final typeface designs where the fa- miliar and unfamiliar skeleton variations have roughly similar and good performance. The typefaces were later applied as the test material in the familiarity investigation. Some typographers have proposed that familiarity means the amount of time that a reader has been exposed to a typeface design, while other typographers have proposed that familiarity is the commonalities in letterforms. These two hypotheses were tested by measuring the reading speed and preference of partici- pants, as they read fonts that had either common or uncommon letterforms, the fonts were then re-measured after an exposure period. -
Scene Text Recognition Using Similarity and a Lexicon with Sparse Belief Propagation
IEEE TRANSACTIONS ON PATTERN ANALYSIS AND MACHINE INTELLIGENCE 1 Scene Text Recognition using Similarity and a Lexicon with Sparse Belief Propagation Jerod J. Weinman, Member, IEEE, Erik Learned-Miller, Member, IEEE, Allen R. Hanson Member, IEEE Abstract—Scene text recognition (STR) is the recognition of text anywhere in the environment, such as signs and store fronts. Relative to document recognition, it is challenging because of font variability, minimal language context, and uncontrolled conditions. Much information available to solve this problem is frequently ignored or used sequentially. Similarity between character images is often overlooked as useful information. Because of language priors, a recognizer may assign different labels to identical characters. Directly comparing characters to each other, rather than only a model, helps ensure that similar instances receive the same label. Lexicons improve recognition accuracy but are used post hoc. We introduce a probabilistic model for STR that integrates similarity, language properties, and lexical decision. Inference is accelerated with sparse belief propagation, a bottom-up method for shortening messages by reducing the dependency between weakly supported hypotheses. By fusing information sources in one model, we eliminate unrecoverable errors that result from sequential processing, improving accuracy. In experimental results recognizing text from images of signs in outdoor scenes, incorporating similarity reduces character recognition error by 19%, the lexicon reduces word recognition error by 35%, and sparse belief propagation reduces the lexicon words considered by 99.9% with a 12X speedup and no loss in accuracy. Index Terms—Scene text recognition, optical character recognition, conditional random fields, factor graphs, graphical models, lexicon, language model, similarity, belief propagation, sparse belief propagation ✦ 1 INTRODUCTION reading process, we require a computational model that can combine factors in a unified framework. -
Efficient, Lexicon-Free OCR Using Deep Learning
Efficient, Lexicon-Free OCR using Deep Learning Marcin Namysl Iuliu Konya Fraunhofer IAIS Fraunhofer IAIS 53757 Sankt Augustin, Germany 53757 Sankt Augustin, Germany [email protected] [email protected] Abstract—Contrary to popular belief, Optical Character designed for scene text are generally inadequate for printed Recognition (OCR) remains a challenging problem when text document OCR, whereas high throughput and support for great occurs in unconstrained environments, like natural scenes, due varieties of symbols are essential. to geometrical distortions, complex backgrounds, and diverse fonts. In this paper, we present a segmentation-free OCR sys- In this paper, we address the general OCR problem and try tem that combines deep learning methods, synthetic training to overcome the limitations of both printed- and scene text data generation, and data augmentation techniques. We render recognition systems. To this end, we present a fast and robust synthetic training data using large text corpora and over 2 000 deep learning multi-font OCR engine, which currently recog- fonts. To simulate text occurring in complex natural scenes, we nizes 132 different character classes. Our models are trained augment extracted samples with geometric distortions and with a proposed data augmentation technique – alpha-compositing almost exclusively using synthetically generated documents. with background textures. Our models employ a convolutional We employ segmentation-free text recognition methods that neural network encoder to extract features from text images. require a much lower data labeling effort, making the resulting Inspired by the recent progress in neural machine translation and framework more readily extensible for new languages and language modeling, we examine the capabilities of both recurrent scripts. -
Fonts Like This but Happier: a New Way to Discover Fonts
Poster Session E2: Emotional and Social Signals in Multimedia MM '20, October 12–16, 2020, Seattle, WA, USA & Media Interpretation Fonts Like This but Happier: A New Way to Discover Fonts Tugba Kulahcioglu Gerard de Melo Rutgers University Hasso Plattner Institute/University of Potsdam Piscataway, NJ, USA Potsdam, Germany [email protected] [email protected] ABSTRACT Fonts carry strong emotional and social signals, and can affect user engagement in significant ways. Hence, selecting the right font isa very important step in the design of a multimodal artifact with text. Currently, font exploration is frequently carried out via associated social tags. Users are expected to browse through thousands of fonts tagged with certain concepts to find the one that works best for their use case. In this study, we propose a new multimodal font discovery method in which users provide a reference font together with the changes they wish to obtain in order to get closer to their ideal font. This allows for efficient and goal-driven navigation of the font space, and discovery of fonts that would otherwise likely be missed. We achieve this by learning cross-modal vector representations Figure 1: An example font search using the proposed multi- that connect fonts and query words. modal querying strategy. CCS CONCEPTS number of fonts they would need to browse through to eventually • Information systems ! Multimedia and multimodal re- find the ideal font for their use case. trieval; • Human-centered computing ! Interactive systems In a recent user study, Wu et al. interviewed design practitioners and tools. regarding their font selection process and the challenges they faced [37]. -
E55866679e5a93ae08eba1bea
Of Men, Monsters and Machines: A Case-study on the Business-model of American Type Founders (ATF) Tobias Holzmann Introduction 11 Hot Metal for the Typographic Scene 1. On Designing Typefaces at ATF 15 Source Material at ATF or the Idea of a National Printing Library Excursus: The Tragic Case of the Haas Unica The Library’s Position on the Research Market 2. Type Manufacturing at ATF 25 Technological Refinements Ahead of Their Time 3. What Makes a Good Salesman 31 New Guidelines and New Investments Frederic W. Goudy, the Deliberate Outsider The Right of the Mighty Design Decisions, Education and Working-class Heroes — An Attempt at Conclusion 4. Type design Today — A Democratic Profession 43 Historical Background: Digital Type in its Infancy Type 1 — Formula of Success for Individual Type Designers New Clients on an Old Market Excursus: Beyond the Western World Transversality in the 21st Century There is nothing Left But to Wait Appendix 59 “ What the heck are you doin’? Hanging out on the Internet all day long? I need to make a f… living!” Earl Kallemeyn, 2011. INTRODUCTION The prior quote originates from Earl Kallemeyn, letterpress printer in Brooklyn, New York, with whom I used to work back in 2011. It reflects the necessity of the present essay in its clearest way: how can a type designer in the 21st century sell his work and more urgently, how can former type foundries such as American Type Founders Company (ATF) help and inspire future type designers, to set up a successfully running business? First of all, we should not expect finding a universal answer to the question. -
The Lexicon of Letters 19 Rules of Typography Killam, Fall 2014
The Lexicon of Letters Killam, Fall 2014 19 Rules of Typography “Some things never change, and in the typo- graphic realm, principles upon which sound prac- tice relies have remained essentially the same for centuries.” – Rob Carter 1 For optimum legibility, choose classical, time-tested typefaces. These typefaces should be drawn and crafted with consistency among characters, and exhibit highly legible proportions. Examples include: Baskerville, Bembo, Bodoni, Caslon, Cen- taur, Franklin Gothic, Frutiger, Futura, Garamond, Gill Sans, Goudy Old Style, Helvetica, News Gothic, Palatino, Perpetua, Sabon, Times New Roman, and Univers. 4 Q 2 Be mindful not to use too many different typefaces at any one time. The main reason for using more than one typeface is to cre- ate emphasis or to separate one part of the text from another. When too many different typefaces are used, the reader is unable to determine what is and what is not impotant. http://writemarketdesign.blogspot.com/2011/08/marketing-mishaps-using-too-many-fonts.html Q 5 3 Avoid combining typefaces that are too similar in appearance. If the reason for combining typefaces is to create empha- sis, it is important to avoid the ambiguity caused by combin- ing types that are too similar in appearance. Similar 6 4 5 6 Text set in all capital letters For text type, use sizes that, Avoid using too many different severely retards reading. Use according to legibility studies, type sizes and weights at the upper and lower case letter for prove most readable. These sizes same time. Some experts recom- optimum readability. Ascender generally range from 8 to 12 mend using no more than two and descenders provide the points for text that is read from sizes, one for display titles and necessary visual cues to make an average distance of 12 to 14 one for text type.