Rules of Typography
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FDA Visual Identity Guidelines September 27, 2016 Introduction: FDA, ITS VISUAL IDENTITY, and THIS STYLE GUIDE
FDA Visual Identity Guidelines September 27, 2016 Introduction: FDA, ITS VISUAL IDENTITY, AND THIS STYLE GUIDE The world in which the U.S. Food and Drug Administration Therefore, the agency embarked on a comprehensive (FDA) operates today is one of growing complexity, new examination of FDA’s communication materials, including an challenges, and increased risks. Thanks to revolutionary analysis of the FDA’s mission and key audiences, in order to advances in science, medicine, and technology, we have establish a more unified communications program using enormous opportunities that we can leverage to meet many consistent and more cost-effective pathways for creating and of these challenges and ultimately benefit the public health. disseminating information in a recognizable format. This has resulted in what you see here today: a standard and uniform As a public health and regulatory agency that makes its Visual Identity system. decisions based on the best available science, while maintaining its far-reaching mission to protect and promote This new Visual Identity program will improve the the public health, FDA is uniquely prepared and positioned to effectiveness of the FDA’s communication by making it much anticipate and successfully meet these challenges. easier to identify the FDA, an internationally recognized, trusted, and credible agency, as the source of the information Intrinsically tied to this is the agency’s crucial ability to being communicated. provide the public with clear, concise and accurate information on a wide range of important scientific, medical, The modern and accessible design will be used to inspire how regulatory, and public health matters. we look, how we speak, and what we say to the people we impact most. -
Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
Copyrighted Material
INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets, -
CSS Font Stacks by Classification
CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed. -
"B" Wing Renovations
SCC - Jack A. Powers Building “B” Wing Renovation OSE # H59-6148-JM-B SPARTANBURG, SC SPARTANBURG COMMUNITY COLLEGE BID REVIEW 04.12.2021 MPS PROJECT #020041.00 2020 Edition TABLE OF CONTENTS PROJECT NAME: SCC Jack A. Powers Building "B" Wing Renovation PROJECT NUMBER: H59-6148-JM-B SECTION NUMBER OF PAGES Table of Contents .........................................................................................................................................2 SE-310, Invitation for Design-Bid-Build Construction Services..............................................................1 AIA Document A701 Instructions to Bidders South Carolina Division of Procurement Services, Office of State Engineer Version.........................13 Bid Bond (AIA A310 or reference) .............................................................................................................1 SE-330, Lump Sum Bid Form.....................................................................................................................6 AIA Document A101 Standard Form of Agreement between Owner and Contractor South Carolina Division of Procurement Services, Office of State Engineer Version...........................9 AIA Document A201 General Conditions of the Contract for Construction South Carolina Division of Procurement Services, Office of State Engineer Version.........................49 G702-1992 Application & Certification for Payment - Draft ..................................................................1 G703-1992 Continuation Sheet - Draft.......................................................................................................1 -
Vehicle Color Recognition Using Convolutional Neural Network
Vehicle Color Recognition using Convolutional Neural Network Reza Fuad Rachmadi∗ and I Ketut Eddy Purnamay Department of Multimedia and Networking Engineering Institut Teknologi Sepuluh Nopember, Surabaya, Indonesia 60111 Email: ∗[email protected], [email protected] Abstract—Vehicle color information is one of the important with some ROI configuration as features and neural network elements in ITS (Intelligent Traffic System). In this paper, we as classifier. Baek et al. [8] also use 2D histogram but without present a vehicle color recognition method using convolutional ROI configuration and SVM as classifier. Another approach neural network (CNN). Naturally, CNN is designed to learn is described by Son et al. [9] which using convolution kernel classification method based on shape information, but we proved to extract similarity between positive and negative images and that CNN can also learn classification based on color distribution. then feed up those similarity score to SVM classifier. In our method, we convert the input image to two different color spaces, HSV and CIE Lab, and run it to some CNN Color spaces are very important to color recognition ap- architecture. The training process follow procedure introduce by plications, like vehicle color recognition. The selection of Krizhevsky, that learning rate is decreasing by factor of 10 after color space will impact the recognition performance. The most some iterations. To test our method, we use publicly vehicle color usable color space in digital photography is RGB color space, recognition dataset provided by Chen. The results, our model outperform the original system provide by Chen with 2% higher but RGB color space has problem to color recognition because overall accuracy. -
General Assembly Presents: Visual Design Hacking Mini- Bootcamp
General Assembly Presents: Visual Design Hacking Mini- Bootcamp Design Principles: Layout Graphic Type Color Layout Graphic Typography Typefaces Everlane Facebook Color Color meaning Swarm Gilt Case studies Pintrest Dorkfood AirBnB Resources Design Principles: Layout Graphic Type Color Layout Contrast, alignment, repetition, proximity Hierarchy - up down, left right, size Pre-made grids help with alignment - eg. Sketch (good for UI Design) Grid, hierarchy, repetition, contrast, proximity, alignment Graphic Lines - pretty much about lines when grid - lines impact design hugely Shapes too - buttons ... Textures - faded background, blur look Icons Photography and illustration - visual interest for design. Stock photos a lot better - unsplash.com, depth of stock photo, ... Typography Graphic design in itself Font vs typeface - typeface the archetype, font - the kinds, eg. regular, medium, bold, ... Helvetica Neue - online version of helvetica proxima nova, open sans, avenir, lato good too futura, tahoma, myraid, arial a bit boxy but good online type connection - http://www.typeconnection.com/ Typefaces White/black or Grey - contrast Slight grey or off-white may be less start and easier on the eye fontsquirrel - free fonts fontfox - game to guess typefaces Everlane Example - less copy on mobile - everlane custom font like blair mtv - a sans serif as logo type and a serif as body but works well Facebook Only helvetica Neue - keep it simple, focus on content not type With font, use same family, weights, opacity ... on site Color Color theory - combining colors that work well together on the color wheel Complementary colors are opposite on the color wheel Analogous colors - close adobe kulor https://color.adobe.com/create/color-wheel/ Use RGB when seeing online, emails - CYMK better for print Color meaning look into colors and how perceived in different cultures warm colors, cool colors, red strong, more of an accent color - subconscious effect red - anger, passion, love, .. -
Patrick Reagh Printers Note: the Number Following the Name Indicates the Monotype Series
Monotype typefaces available for fonts and composition at Patrick Reagh Printers note: the number following the name indicates the Monotype series. An e or an a after the number indicates either English- or American-manufactured matrices. R-roman / I-italic / SC-small caps / B-boldface lc-large composition* Antique 26a R 8 10 12 Baskerville 353a R/I/SC 7 8 10 11 12 Bembo 270e R/I/SC 8 10 11 12 13 14 (16 & 18 lc R/I) Narrow Bembo Italic 194e 10 12 13 (16 lc) Bodoni Medium 375a R/I/SC 8 10 12 Bodoni Book 875a R/I/SC 6 8 10 12 Bookman 98a R/I/SC 6 8 10 12 Bulmer 462a R/I/SC 6 8 9 10 12 (18 lc R) Centaur 252a (16 lc roman only) Cochin 61a R/I/SC 6 8 10 12 Deepdene 315a R/I/SC 6 8 10 12 Ehrhardt 453e R/I/SC 10 12 14 Fournier 185e R/I/SC 10 12 13 Franklin Gothic 107a R 6 8 10 12 Futura Light 606a R/I 6 8 10 12 Futura Medium /Extra Bold 605a & 603a R 6 8 10 12 Garamont 248a R/I/SC 8 10 12 Garamond Bold 548a R/I 6 8 10 12 Gill Sans 262e R/I/B 6 7 8 10 12 Goudy Bold 294a R/I 8 10 12 Goudy Modern 249e R/I/SC 8 10 11 12 Goudy Old Style 394a R/I/SC 6 8 10 12 Janson 401a R/I/SC 8 9 10 11 12 (14 & 18 lc R/I) Jenson Old Style 58a R 8 10 12 Sans Serif 329a (Kabel) R/B 8 10 12 Sans Serif Light/Bold 329a & 330a R 8 10 12 Univers Light 45e R/I 6 8 10 12 14 Univers Medium 55e R/I 6 8 10 12 14 Univers Bold 65e R/I 6 8 10 12 14 Univers Extra Bold 75e R/I 6 8 10 12 14 *Large composition can only be composed in roman or italic separately 1 Monotype display typefaces available for fonts at Patrick Reagh Printers note: the letter d following the size on English matrices indicates Didot which is the European standard for type sizing and is generally a point or two larger than the American point system. -
Typeface Classification Serif Or Sans Serif?
Typography 1: Typeface Classification Typeface Classification Serif or Sans Serif? ABCDEFG ABCDEFG abcdefgo abcdefgo Adobe Jenson DIN Pro Book Typography 1: Typeface Classification Typeface Classification Typeface or font? ABCDEFG Font: Adobe Jenson Regular ABCDEFG Font: Adobe Jenson Italic TYPEFACE FAMILY ABCDEFG Font: Adobe Jenson Bold ABCDEFG Font: Adobe Jenson Bold Italic Typography 1: Typeface Classification Typeface Timeline Blackletter Humanist Old Style Transitional Modern Bauhaus Digital (aka Venetian) sans serif 1450 1460- 1716- 1700- 1780- 1920- 1980-present 1470 1728 1775 1880 1960 Typography 1: Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The model for the first movable types was Blackletter (also know as Block, Gothic, Fraktur or Old English), a heavy, dark, at times almost illegible — to modern eyes — script that was common during the Middle Ages. from I Love Typography http://ilovetypography.com/2007/11/06/type-terminology-humanist-2/ Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Types based on blackletter were soon superseded by something a little easier Humanist (also refered to Venetian).. ABCDEFG ABCDEFG > abcdefg abcdefg Adobe Jenson Fette Fraktur Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The Humanist types (sometimes referred to as Venetian) appeared during the 1460s and 1470s, and were modelled not on the dark gothic scripts like textura, but on the lighter, more open forms of the Italian humanist writers. The Humanist types were at the same time the first roman types. Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Characteristics 1. -
Design & Brand Guidelines
Design & Brand Guidelines VERSION 3.0 | NOVEMBER 2017 We Mean Business Brand Guidelines 2 // 18 Introduction THE DESIGN GUIDELINES As with many organizations with a worldwide audience, The following pages describe the visual elements that multiple contributors from around the globe provide represent the We Mean Business brand identity. This includes information for the online and print communications of our name, logo and other elements such as color, type We Mean Business. graphics and imagery. This guide serves as a resource for contributors, to ensure Sending a consistent, visual message of who we are is that the multiple voices of coalition representatives essential to presenting a strong, unified coalition. communicate with visual cohesion. CONTACT Address Phone & Email Online 1201 Connecticut Ave., NW Email 1: [email protected] Website: www.wemeanbusinesscoalition.org Suite 300 Email 2: [email protected] Twitter: www.twitter.com/WMBtweets | #wemeanit Washington, DC 20036 LinkedIn: www.linkedin.com/company/wemeanbusiness YouTube: https://www.youtube.com/channel/ UCZj1URWtaVRN83-HRZbcIAg WE MEAN BUSINESS Table of Contents SECTION 1 | LOGO MARK AND PLACEMENT SECTION 2 | TYPOGRAPHY AND TEXT HIERARCHY SECTION 3 | COLOR SYSTEM SECTION 4 | IMAGERY & GRAPHICS SECTION 5 | SUMMARY AND CONTACT Logo Mark 01 and placement Our logo is the key building block of our identity, the primary visual element that identifies us. The logo mark is a combination of the green triangle symbol and our company name – they have a fixed relationship that should never be changed in any way. We Mean Business Brand Guidelines 5 // 18 LOGO MARK 1) The Logo Symbol The We Mean Business logo comprises two elements, the The green triangle pointing up suggests logo symbol and logo typeface. -
Fianl Request for Proposals Design-Build Project Tip I
-- STATE OF NORTH CAROLINA-- DEPARTMENT OF TRANSPORTATION RALEIGH, N.C. FIANL REQUEST FOR PROPOSALS DESIGN-BUILD PROJECT TIP I-5507 / R-0211EC / U-4714AB May 7, 2018 VOID FOR BIDDING DATE AND TIME OF TECHNICAL AND PRICE PROPOSAL SUBMISSION: July 25, 2018 BY 4:00 PM DATE AND TIME OF PRICE PROPOSAL OPENING: August 21, 2018 AT 2:00 PM CONTRACT ID: C203970 WBS ELEMENT NO. 43609.3.2 FEDERAL-AID NO. N/A COUNTY: Mecklenburg ROUTE NO. I-485 (Charlotte Outer Loop) MILES: 16.6 LOCATION: I-485 from I-77 to US 74 (Independence Boulevard); I-485 / Weddington Road Interchange; and I-485 / East John Street – Old Monroe Road Interchange TYPE OF WORK: DESIGN-BUILD AS SPECIFIED IN THE SCOPE OF WORK CONTAINED IN THE REQUEST FOR PROPOSALS NOTICE: ALL PROPOSERS SHALL COMPLY WITH ALL APPLICABLE LAWS REGULATING THE PRACTICE OF GENERAL CONTRACTING AS CONTAINED IN CHAPTER 87 OF THE GENERAL STATUTES OF NORTH CAROLINA WHICH REQUIRES THE PROPOSER TO BE LICENSED BY THE N.C. LICENSING BOARD FOR CONTRACTORS WHEN BIDDING ON ANY NON-FEDERAL AID PROJECT WHERE THE BID IS $30,000 OR MORE, EXCEPT FOR CERTAIN SPECIALTY WORK AS DETERMINED BY THE LICENSING BOARD. PROPOSERS SHALL ALSO COMPLY WITH ALL OTHER APPLICABLE LAWS REGULATING THE PRACTICES OF ELECTRICAL, PLUMBING, HEATING AND AIR CONDITIONING AND REFRIGERATION CONTRACTING AS CONTAINED IN CHAPTER 87 OF THE GENERAL STATUTES OF NORTH CAROLINA. NOT WITHSTANDING THESE LIMITATIONS ON BIDDING, THE PROPOSER WHO IS AWARDED ANY PROJECT SHALL COMPLY WITH CHAPTER 87 OF THE GENERAL STATUTES OF NORTH CAROLINA FOR LICENSING REQUIREMENTS WITHIN 60 CALENDAR DAYS OF BID OPENING, REGARDLESS OF FUNDING SOURCES. -
Working with Vivadesigner a Short Introduction
WE PUBLISH THE WORLD Working with VivaDesigner A short introduction Contents Chapter 1 Chapter 5 1 Program start .....................................................1 1 Creating Text objects .......................................20 2 Create new document .......................................1 2 Selecting Text Objects ......................................21 3 Save document ..................................................1 3 Activating Text Content ...................................22 4 Objects ................................................................2 4 The Module Palette (Text) ...............................22 5 Toolbar ...............................................................3 5 Text entry and corrections ...............................24 6 Drawing objects .................................................4 6 The cursor .........................................................24 7 Creating and placing objects precisely .............5 7 Text Entry and Text Selection ..........................25 8 Moving objects interactively .............................6 8 Selecting Text elements ...................................25 9 Changing object size interactively ....................6 9 Simple Text Linking ..........................................26 10 Assigning attributes ..........................................7 10 Break text chain ...............................................26 10.1 Assigning colors .................................................7 Chapter 6 10.2 Assign color density ...........................................7