DOCSLIB.ORG

Type Supply Zine-PDF.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Type Supply Zine-PDF.Indd WHY DOES THE WORLD NEED NEW FONTS? That’s a really stupid question. SERIOUSLY, WHY MAKE NEW FONTS? Hang on! Since you are here, let’s really get into this whole thing. BTW, I’m Tal and, yes, I make fonts. Well, the answer is pretty There are a lot of typefaces out there and more To develop these voices, I ask myself one arrive every day. A lot of these are good and simple question at every stage of every project: simple: the world changes. some of them are truly great. Sooo... Why do Why does this need to exist? If I can’t answer that, I feel the need to add my own to the mix and, the typeface is put on hold. This leads to a lot more bluntly, why should you buy the ones that I of thinking, a lot of tinkering and, sometimes, make? Uhhh... I’m not a very good salesman. I’m extended delays. Some of my typefaces have not going to feed you a bunch of hyperbole and taken over a decade to reach their final form. say that my stuff is the best. If you are reading (This one that you are reading was started in WHOA. UM, THAT’S...DEEP? this, you are probably interested in typography. 2006. I haven’t finished it yet because the bold If you are interested in typography, you probably weights don’t have the right feel yet. It’s called already have your own ideas about what makes Dossier and it is going to be finished in... uh, a typeface good and best. Besides, I don’t really soon.) I won’t sell anything that I don’t think has think there is such a thing as best. Typefaces are a clear voice. I want my tools to be really good at tools and any good craftsperson will tell you that helping designers enhance their messages. the best tool is the one that does the job at hand. My favorite part of graphic design is the way So, these are my typefaces. I make them because that a wonderful composition is greater than Think about it. The world I love graphic design and I love making tools. If the sum of its parts. It’s magical when message, one of my tools does the job at hand, that’s cool. color, texture, image, shape and typography keeps adding new people I think about typography from the perspective come together to say something. We live in of a graphic designer. (That’s how I got started interesting times (for better or worse) and and new people have new making typefaces in the first place.) The way there are so many new things that need to be ideas and new ideas need I see it, a typeface’s most important job is to said. I believe strongly in the power of design to imbue a message with an additional voice. (Okay, communicate. That’s why I make new typefaces to be communicated in new obviously a typeface’s main job is to be read, but and that’s why I’m excited to show you the ones I try not to think too much about the bottomless that I’ve made for you. You can see these on ways and fonts are just “legibility” rabbit hole.) Why does a designer the following pages and in even more depth at pick Font A instead of Font B to communicate typesupply.com. If you don’t see anything that communication tools. So, “this message?” Lots of reasons, but the most works for you, I highly recommend the work of likely is that Font A has the right voice for my many colleagues. Please give their typefaces as soon as we run out of communicating “this message.” I think about some consideration before you fall back to this a lot while I am working on ideas for new that same old standby. New ideas need to be new things to communicate, typefaces. I like to imagine them as actors. Some communicated in new ways. actors are versatile enough to work in comedy, Oh, one more thing. If you ever can’t find just we won’t need new fonts. drama and action equally well while others the right voice for your message, you might want excel at playing the wacky neighbor. When I’m to consider commissioning a custom typeface. drawing a typeface, I wonder how it could be I’ve done a lot of this kind of work and I’d love cast. If it could be a lead, it needs to have a calm to talk to you about your project. Solving these and confident voice. If it is more of a wacky kinds of problems is a lot of fun and it usually neighbor, it needs to have a loud, goofy voice. takes less time than a decade. OKAY. OKAY! ; - ) ... DUDE, YOU NEED TO CHILL OUT. TYPE SUPPLY UNIVERSITY PRESENTS BALTO Condensed 1 Ultra, 210 pT ADVANCED LETTER SHAPE TERMINOLOGY, LESSON 1 DESIGNBALTO Condensed 4 BLACk, 314 pT BALTO Condensed 2 SUper, 314 pT WILLBALTO Condensed 2 SUper, 288 pT NOTBALTO Condensed 4 BlaCk, 288 pT SAVEBALTO Condensed 1 Ultra, 210 pT THE a-hole “Wow! Take a look at that WORLD humongous a-hole.” TYPE SUPPLY UNIVERSITY PRESENTS ADVANCED LETTER SHAPE TERMINOLOGY, LESSON 2 thingy “That thingy is too fancy for this hot dog stand sign.” upper decker “I think we should present a huge upper decker to the client.” mezzanine “The broad mezzanine gives it a Renaissance feel.” atoi is an experiment in indecision and testing the limits of readability. what if i, the type designer, didn’t do the job of deciding what the typeface should look like? what if readers were challenged with typography that required subconscious deciphering? what if this happened in all point sizes, not just giant headlines? available soon-ish. money maker “That type designer is way too proud of that money maker.” ↓ YOU ARE INVITED TO A ↓ TM Please support our sponsors!!! NEON FONT SPACESAVERS TONIGHT PARTY WITH OHM #1 LIL BIT #2 TITE FITS Balto Condensed 1 is just a wee more narrow Balto Condensed 2 has got all the flavor of SPARK PLUGS than regular Balto. Want to use Balto but don’t the original Balto but with reduced horizontal are often used as a visual metaphor by designers to indicate creativity, power and a hard work- ↑ ↑ ↑ ↑ ↑ ↑ ↑ ↑ ↑ ↑ ↑ ↑ #TS-011 have enough space? Give Balto Condensed 1 a (x-dimension) space requirements. Perfect ing attitude. That’s why I have illustrations of spark plugs over there as a visual metaphor for my try. Perfect for needlessly wordy captions! for things made of letters and numbers! typeface Balto. This typeface is a hard working, one-size-fits-most tool that is sure to spark your creativity. It’s no-nonsense style will plug in to almost any layout. So, as you can see, spark plugs are a perfect fit for this advertisement. In conclusion, spark plugs look really cool. Buy Balto now. #3 BIG SQUEEZE #4 OMG! WTF!! OMG! #TS-012 CURRENTLY AVAILABLE IN THE FOLLOWING caPacITIES: Balto Condensed 3 fits tight spaces without Oh yeah! Balto Condensed 4 is pretty darned sacrificing legibility. Perfect for those times condensed. It’s got steep sides so it can Nothing says when the copywriter gets out the thesaurus really squeeze the words in there. Perfect for Thin + Italic Bold + Italic CLASSIC and writes some multisyllabic headlines! posters and anything that needs huge words! DESIGN Light + Italic Black + Italic like a circle. #TS-013 Book + Italic Super + Italic Medium + Italic Ultra + Italic typesupply.com NEW!IT’S LIKE BALTO, BUT BALTO CONDENSED. AVAILABLE CONDENSED AT YOUR CORNER TYPESUPPLY.COM #TS-014 Proudly stocked and endorsed by typesupply.com ARE YOU EXPERIENCing… The #1 leader in trusted reliability. since circa 2013. #TS-015 Contemporary Quandaries? We live in very complex times. Technology and humanity are becoming more and more intertwined everyday. Our devices are increasingly capable of emulating the human decision TORQUE TIMONIUM making process. What is the meaning of anything anymore? streaming 24/7 at typesupply.com INCLUSIVELY EXCLUSIVE QUEUE HAS THE ANSWERS. TOUCHDOWN! GOAL! JOCK This font will be your Available in Mall Kiosk #4 (outside Merry Go Round) at typesupply.com SEARCH ENGINE FOR PURPOSE MVP anytime you need TALK to say YES! SPORTS! mindfulness app Lookin’ for a fun time? TEXTING LEADERSHIP RETREAT Needin’ to get that drop by typesupply.com trust fall robots seminar conversational feeling and ask for WHUMP! WHUMP! but don’t want to look INCREASE YOUR EMOTIONAL iQUEUE This font has all the GRÜVE CHEESY or use that Marigny right moves to make font that your friends your design DOPE! Begin your journey with Queue at typesupply.com BEATS love to hate? Yep? TYPE SUPPLY UNIVERSITY PRESENTS ADVANCED LETTER SHAPE TERMINOLOGY, LESSON 3 PLEASE I know! They look so designer-y, they have that circle for the O and they are pretty downright lovable. But, enough already. STOP USING Seriously, why are they used so much? Are they really perfect for everything? Are they just a default choice? Who knows! GEOMETRIC Despite their popularity, I’ve resisted making one. I just couldn’t come up with a good reason for another one to exist. SANS SERIFS But, these are the top sellers for big type companies. From a business standpoint I’m being stupid. So, I’m selling out. FOR FUCKING This is Iota. It’s a collection of the best ideas from the best geometric sans serifs.
Load more

Recommended publications
  • Teknik-Grafika-Dan-Industri-Grafika
    Antonius Bowo Wasono, dkk. T EKNIK G RAFIKA DAN I NDUSTRI G RAFIKA J ILID 2 SMK Direktorat Pembinaan Sekolah Menengah Kejuruan Direktorat Jenderal Manajemen Pendidikan Dasar dan Menengah Departemen Pendidikan Nasional Hak Cipta pada Departemen Pendidikan Nasional Dilindungi Undang-undang TEKNIK GRAFIKA DAN INDUSTRI GRAFIKA JILID 2 Untuk SMK Penulis : Antonius Bowo Wasono Romlan Sujinarto Perancang Kulit : TIM Ukuran Buku : 17,6 x 25 cm WAS WASONO, Antonius Bowo t Teknik Grafika dan Industri Grafika Jilid 2 untuk SMK /oleh Antonius Bowo Wasono, Romlan, Sujinarto---- Jakarta : Direktorat Pembinaan Sekolah Menengah Kejuruan, Direktorat Jenderal Manajemen Pendidikan Dasar dan Menengah, Departemen Pendidikan Nasional, 2008. iii, 349 hlm Daftar Pustaka : Lampiran. A Daftar Istilah : Lampiran. B ISBN : 978-979-060-067-6 ISBN : 978-979-060-069-0 Diterbitkan oleh Direktorat Pembinaan Sekolah Menengah Kejuruan Direktorat Jenderal Manajemen Pendidikan Dasar dan Menengah Departemen Pendidikan Nasional Tahun 2008 KATA SAMBUTAN Puji syukur kami panjatkan kehadirat Allah SWT, berkat rahmat dan karunia Nya, Pemerintah, dalam hal ini, Direktorat Pembinaan Sekolah Menengah Kejuruan Direktorat Jenderal Manajemen Pendidikan Dasar dan Menengah Departemen Pendidikan Nasional, telah melaksanakan kegiatan penulisan buku kejuruan sebagai bentuk dari kegiatan pembelian hak cipta buku teks pelajaran kejuruan bagi siswa SMK. Karena buku-buku pelajaran kejuruan sangat sulit di dapatkan di pasaran. Buku teks pelajaran ini telah melalui proses penilaian oleh Badan Standar Nasional Pendidikan sebagai buku teks pelajaran untuk SMK dan telah dinyatakan memenuhi syarat kelayakan untuk digunakan dalam proses pembelajaran melalui Peraturan Menteri Pendidikan Nasional Nomor 45 Tahun 2008 tanggal 15 Agustus 2008. Kami menyampaikan penghargaan yang setinggi-tingginya kepada seluruh penulis yang telah berkenan mengalihkan hak cipta karyanya kepada Departemen Pendidikan Nasional untuk digunakan secara luas oleh para pendidik dan peserta didik SMK.
    [Show full text]
  • SPECIMEN LA BOLDE VITA 1 / 131 ZIMULA ZIMULA ZIMULA ZIMULA ABOUT the TYPEFACE LA BOLDE VITA 2 / 131 Inktrap & Inkspot
    ZIMULA TYPE SPECIMEN LA BOLDE VITA 1 / 131 ZIMULA ZIMULA ZIMULA ZIMULA ABOUT THE TYPEFACE LA BOLDE VITA 2 / 131 InkTrap & InkSpot Zimula is a classic contemporary geometric typeface and TYPEFACE comes in a friendly and warm vibe. With 9 weights ranging Zimula from Thin to Black, the standard styles can be used as a WEIGHTS workhorse for everyday design tasks. Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, But the Zimula family comes in two other styles: InkTrap and ExtraBold, Black InkSpot. The former features generous, angular Inktraps, which ensure crisp text in smaller sizes and become a stylis- STYLES tic element in the heavier weights, perfect for catching titles InkTrap, Standard, InkSpot and posters. The latter, on the other hand, fill out the joints, DESIGNED BY resulting in an irregular texture for the lighter weights and a Fabian Dornhecker soft overall appearance for the heavier weights. With the available variable font, you can choose between YEAR OF RELEASE InkTrap and InkSpot seamlessly — this opens up options 2021 for optimizing body copy and finding just the right amount AVAILABLE ON of character for large-format designs. A generous charac- La Bolde Vita ter set, extensive OpenType features and an alternative set → www.laboldevita.com with filled-in punches come on top. ZIMULA OPENTYPE-FEATURES LA BOLDE VITA 3 / 131 STYLISTIC SET 01 (Single-storey a) ▶ SS01 Cutter PRETTY → Cutter PRETTY Mariah@támbien.it → Mariah@támbien.it DYNAMIC FRACTIONS ▶ FRAC STYLISTIC SET 02 (Alternative G) ▶ SS02 41/23 = 1,782 → 47/23
    [Show full text]
  • PDF Specimen Download
    Pensum a monster for text, text and nothing but text — 18 sharp ’n’ soft serif fonts by Nils Thomsen www.typemates.com Pensum Pro · by TypeMates Page 2 ensum is a typeface for text, text and nothing but text. A pure monster, straight and plain. It will set reliably word for word, line for line and paragraph for paragraph, sometimes a spark of the sexy, curvy and strongly ink trapped italic Psneaks into proceedings but anyhow the plain workhorse will keep on setting text. Deep inside some sharp details are hidden unlike some brushy and smooth shapes to be revealed in large sizes. But seriously … Pensum comes along with nine weights from thin to black plus italics. The strong serifs combined with the low contrast makes it excellent for long reading text for example in magazines and books. The extreme thin and fragile styles can give a stylish and fash- ionable look, while the strong black weights are great for the rough nature of mountain sports. Pensum counts around 1050 glyphs including lots of OpenType Features to full fill every typo- — sexy, curvy and graphical need. Most important for lovers of book typography, the strongly ink trapped small-caps are slightly wider than the caps. You will find punctuation italic shapes — in case- and small cap-sensitive variations. The Adobe Latin 3 encoding is a TypeMates standard and gives a wide range of flexibility for Latin language support. Pensum is broad-nib based and inspired by some handwritten brush exercises at Peter Verheuls class during Type and Media course 2009 in The Hague.
    [Show full text]
  • Type & Typography
    Type & Typography by Walton Mendelson 2017 One-Off Press Copyright © 2009-2017 Walton Mendelson All rights reserved. [email protected] All images in this book are copyrighted by their respective authors. PhotoShop, Illustrator, and Acrobat are registered trademarks of Adobe. CreateSpace is a registered trademark of Amazon. All trademarks, these and any others mentioned in the text are the property of their respective owners. This book and One- Off Press are independent of any product, vendor, company, or person mentioned in this book. No product, company, or person mentioned or quoted in this book has in any way, either explicitly or implicitly endorsed, authorized or sponsored this book. The opinions expressed are the author’s. Type & Typography Type is the lifeblood of books. While there is no reason that you can’t format your book without any knowledge of type, typography—the art, craft, and technique of composing and printing with type—lets you transform your manuscript into a professional looking book. As with writing, every book has its own issues that you have to discover as you design and format it. These pages cannot answer every question, but they can show you how to assess the problems and understand the tools you have to get things right. “Typography is what language looks like,” Ellen Lupton. Homage to Hermann Zapf 3 4 Type and Typography Type styles and Letter Spacing: The parts of a glyph have names, the most important distinctions are between serif/sans serif, and roman/italic. Normal letter spacing is subtly adjusted to avoid typographical problems, such as widows and rivers; open, touching, or expanded are most often used in display matter.
    [Show full text]
  • Harlequin RIP OEM Manual
    ® 0ECRM RIP for Windows 2000/2003/XP RIP Manual Harlequin RIP Genesis Release™ March 2005 AG12325 Rev. 7 Copyright and Trademarks Harlequin RIP Genesis Release™ March 2005 Part number: HK–7.0–OEMXP–GENESIS Document issue: 102 Copyright © 1992–2005 Global Graphics Software Ltd. All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmit- ted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Global Graphics Software Ltd. The information in this publication is provided for information only and is subject to change without notice. Global Graphics Software Ltd and its affiliates assume no responsibility or liability for any loss or damage that may arise from the use of any information in this publication. The software described in this book is fur- nished under license and may only be used or copied in accordance with the terms of that license. Harlequin is a registered trademark of Global Graphics Software Ltd. The Global Graphics Software logo, the Harlequin at Heart Logo, Cortex, Harlequin RIP, Harlequin ColorPro, EasyTrap, FireWorks, FlatOut, Harlequin Color Management System (HCMS), Harlequin Color Production Solutions (HCPS), Harlequin Color Proofing (HCP), Harlequin Error Diffusion Screening Plugin 1-bit (HEDS1), Harlequin Error Diffusion Screening Plugin 2-bit (HEDS2), Harlequin Full Color System (HFCS), Harlequin ICC Profile Processor (HIPP), Harlequin Standard Color System (HSCS), Harlequin Chain Screening (HCS), Harlequin Display List Technology (HDLT), Harlequin Dispersed Screening (HDS), Harlequin Micro Screening (HMS), Harlequin Precision Screening (HPS), HQcrypt, Harlequin Screening Library (HSL), ProofReady, Scalable Open Architecture (SOAR), SetGold, SetGoldPro, TrapMaster, TrapWorks, TrapPro, TrapProLite, Harlequin RIP Eclipse Release and Harlequin RIP Genesis Release are all trademarks of Global Graphics Software Ltd.
    [Show full text]
  • FFTA FIRST 5.0 Design Guide (Pdf)
    Complimentary Design Guide 5.0 Flexographic Image Reproduction Specifications & Tolerances Complimentary Design Guide An FTA Strategic Planning Initiative Project The Flexographic Technical Association has made this FIRST 5.0 supplement of the design guide available to you, and your design partners, as an enhancement to your creative process. To purchase the book in it’s entirety visit: www.flexography.org/first Copyright, © 1997, ©1999, ©2003, ©2009, ©2013, ©2014 by the Flexographic Technical Association, Inc. All rights reserved, including the right to reproduce this book or portions thereof in any form. Library of Congress Control Number: 2014953462 Edition 5.0 Published by the Flexographic Technical Association, Inc. Printed in the United States of America Inquires should be addressed to: FTA 3920 Veterans Memorial Hwy Ste 9 Bohemia NY 11716-1074 www.flexography.org International Standard Book Number ISBN-13: 978-0-9894374-4-8 Content Notes: 1. This reference guide is designed and formatted to facilitate ease of use. As such, pertinent information (including text, charts, and graphics) are repeated in the Communication and Implementation, Design, Prepress and Print sections. 2. Registered trademark products are identified for information purposes only. All products mentioned in this book are trademarks of their respective owner. The author and publisher assume no responsibility for the efficacy or performance. While every attempt has been made to ensure the details described in this book are accurate, the author and publisher assume no responsibility for any errors that may exist, or for any loss of data which may occur as a result of such errors. .1 ii Flexographic Image Reproduction Specifications & Tolerances 5.0 INTRODUCTION The Mission of FIRST FIRST seeks to understand customers’ graphic requirements for reproduction and translate those aesthetic requirements into specifications for each phase of the flexographic printing process including: customers, designers, prepress providers, raw material & equipment suppliers, and printers.
    [Show full text]
  • ABCDEFGHIJKLMNOPQRSTU VWXYZ Abcdefghijklmnopqrstu Vwxyz
    Color, Contrast, and Spacing COLOR CONTRAST COLOR CONTRAST COLOR CONTRAST COLOR COLOR Spacing COLOR Spacing COLOR Spacing COLOR Monotype 46 Typography 1 — The City College of New York 1 Proportions Helvetica Bold 72pt Modern proportions (uniform width) ABDEFGHIJKL MNOPQRST UVWXYZ Trajan 72pt Roman Proportions (varied widths) Thin: IJ Narrow: BEFLPRS Medium: HATVX ABDEFGHIJKL Wide: DCGNOQ Ultra Wide: MW *From Mark Jamra’s Form and Proportion in a Text Type- face: A Few Guidelines MNOPQRST Typography 1 — The City College of New York UVWXYZ 2 Proportions Helvetica Bold 84pt • Modern proportions (uniform width) • Tall x-height • Cap height = Ascender height RHAMburgers • Short descenders Optima Bold 84pt • Roman Proportions (BEFLPRS are nar- rowest and MW widest) • Tall x-height • Cap height < Ascender height RHAMburgers • Short descenders Helvetica Bold x Optima Bold 84pt Helvetica cap-HeigHt Optima cap-HeigHt Helvetica x-HeigHt Optima x-HeigHt RHAMburgers Baseline Typography 1 — The City College of New York 3 Proportions Helvetica Bold 84pt • Modern proportions (uniform width) • Tall x-height • Cap height = Ascender height RHAMburgers • Short descenders Adobe Garamond Pro Bold 84pt • Roman Proportions (BEFLPRS are nar- rowest and MW widest) • Short x-height • Cap height < Ascender height RHAMburgers • Short descenders Helvetica Bold x Adobe Garamond Pro Bold 84pt Helvetica cap-HeigHt garamOnd cap-HeigHt Helvetica x-HeigHt garamOnd x-HeigHt RHAMburgers Baseline Typography 1 — The City College of New York 4 Type Variables Type Variables H
    [Show full text]
  • Artec-2013-V6-2 Small.Pdf
    Hop Terminologias para o Design Tipográfico e Editorial Pedro Amado, [email protected] ARTEC 23, Instituto Politécnico de Tomar, 2013-04-18 UA | DECA | CETAC.MEDIA Ana Catarina Silva, [email protected] EST | IPCA | LIPP Disponível em: http://wp.me/p4vwP-Gf sob uma licença Attribution-NonCommercial-ShareAlike 3.0 Portugal. http:// creativecommons.org/licenses/by-nc-sa/3.0/pt/deed.en_US cetac.media TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 3 | 40 Como sE junTa o DECa Com o IPCa? Design de Comunicação (FBAUP, 1998–20031997–2002) ICPD (2009–2010– II Encontro Nacional de Tipografia (2011) TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 4 | 40 PEDro Assistente convidado no Departamento de Comunicação e Arte da Universidade de Aveiro onde leciona disciplinas relacionadas com Design & Media Licenciado em Design de Comunicação (FABUP) e mestre em Arte Multimédia (FBAUP) encontra-se a desenvolver uma tese de doutoramento em Ciências e Tecnologias da Comunicação e Informação sobre interação social participação em Comunidades Online de Prática (caso do Typeface Design) Membro do CETAC.MEDIA e delegado Association Typographique Internationale (ATypI) em Portugal. TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 5 | 40 CaTarIna Assistente 1º triénio no Instituto Politécnico do Cávado e do Ave Licenciada em Design de Comunicação (FBAUP) e mestre em Comunicação Estética (EUAC), encontra-se a desenvolver uma tese de doutoramento em Ciências da Informação e Comunicação, onde estuda o design do livro técnico num contexto editorial híbrido – do impresso ao electrónico.
    [Show full text]
  • Multilingual Typeface Anatomy Terminology Developing a Proposal for a Comprehensive Translation Framework Applicable to Multiple Languages
    Multilingual Typeface Anatomy Terminology Developing a proposal for a comprehensive translation framework applicable to multiple languages C1. Measurement Lines C1. Measurement Lines 1 Ascender Line E P S F 107 Plume 215 Beak 2072 terms found in literature references and proposed 2 Baseline E P S F D 108 Finial 216 Hook by experts. The English language is being used as a 3 Beard Line E P S 109 Tongue 217 Sheared central axis for the translation and synchronization of 1 2 4 5 6 7 3 4 Cap Line E P S F 110 Tail / Finial E P S F D 218 Serif Symmetry E P the terms and, therefore, presented here. Following C2. Proportions 5 Descender Line E P S F 111 Straight 219 Symmetric a common practice found in the literature references, 12 6 Meanline / Midline / Waist Line E P S F D 112 Curved. 220 Assymetric / Calligraphic the entries were compared and synthesized into an 7 Small Cap Line E P 113 Attached 221 Symmetric Splayed illustrated numbered list. The entries were organized 114 Dettached 222 Symmetric Vertical into 8 Categories (C). Each Category holds a specific C2. Proportions 115 Cross Stroke 223 Serif Taper E set of unique terms (T). Each term, when found 8 9 10 11 15 13 14 16 17 18 8 Ascender Height E P S 116 Talon / Link / Heel / Entry Arc S D 224 Wedge / Point in the references analysed, is identified with the C3. Positive and Negative Shapes 9 Beard / Reserve Space / Line Space E P S 117 Terminal E P S 225 Squared / Vertical corresponding language (E, P, S, F, D).
    [Show full text]
  • Image Quality for Scanning and Digital Imaging Systems 135
    3 ImageQualityforScanningand Digital Imaging Systems Donald R. Lehmbeck Xerox Corporation, Webster, New York, USA (retired) CollegeofImagingArtsandSciences,RochesterInstituteof Technology, Rochester, New York, USA (Adjunct Faculty) ImagingQualityTechnologyConsulting,Penfield,NewYork,USA TorreyPinesResearch,Fairport,NewYork,USA John C. Urbach Portola Valley, California, USA (deceased) CONTENTS 3.1 Introduction ........................................................................................................................ 135 3.1.1 Imaging Science for Scanned Imaging Systems ................................................ 135 3.1.1.1 Scope ......................................................................................................... 135 3.1.1.2 The Literature .......................................................................................... 136 3.1.1.3 Types of Scanners.................................................................................... 136 3.1.2 The Context for Scanned Image Quality Evaluation ........................................137 3.2 Basic Concepts and Effects ............................................................................................... 140 3.2.1 Fundamental Principles of Digital Imaging ...................................................... 140 3.2.1.1 Structure of Digital Images ................................................................... 140 3.2.1.2 The Sampling Theorem and Spatial Relationships ............................145 3.2.1.3 Gray Level Quantization:
    [Show full text]
  • The Field Guide to Typography
    THE FIELD GUIDE TO TYPOGRAPHY TYPEFACES IN THE URBAN LANDSCAPE THE FIELD GUIDE TO TYPOGRAPHY TYPEFACES IN THE URBAN LANDSCAPE PETER DAWSON PRESTEL MUNICH · LONDON · NEW YORK To my parents, John and Evelyn Dawson Published in North America by Prestel, a member of Verlagsgruppe Random House GmbH Prestel Publishing 900 Broadway, Suite 603 New York, NY 10003 Tel.: +1 212 995 2720 Fax: +1 212 995 2733 E-mail: [email protected] www.prestel.com © 2013 by Quid Publishing Book design and layout: Peter Dawson, Louise Evans www.gradedesign.com All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, or otherwise without written permission from the publisher. Library of Congress Cataloging-in-Publication Data Dawson, Peter, 1969– The field guide to typography : typefaces in the urban landscape / Peter Dawson. pages cm Includes bibliographical references and index. ISBN 978-3-7913-4839-1 1. Lettering. 2. Type and type-founding. I. Title. NK3600.D19 2013 686.2’21—dc23 2013011573 Printed in China by Hung Hing CONTENTS_ Foreword: Stephen Coles 8 DESIGNER PROFILE: Rudy Vanderlans, Zuzana Licko 56 Introduction 10 Cochin 62 How to Use This Book 14 Courier 64 The Anatomy of Type 16 Didot 66 Glossary 17 Foundry Wilson 68 Classification Types 20 Friz Quadrata 70 Galliard 72 Garamond 74 THE FIELD GUIDE_ Goudy 76 Granjon 78 Guardian Egyptian 82 SERIF 22 ITC Lubalin Graph 84 Minion 86 Albertus 24 Mrs
    [Show full text]
  • A Study of Ink Trapping Comparing Gravimetric and Densitometric Methods of Measurement Jui-Lin Hsu
    Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 5-1-1989 A study of ink trapping comparing gravimetric and densitometric methods of measurement Jui-lin Hsu Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Hsu, Jui-lin, "A study of ink trapping comparing gravimetric and densitometric methods of measurement" (1989). 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]. Certificate of Approval -- Master's Thesis School of Printing Management and Sciences Rochester Institute of Technology Rochester, New York CERTIFICATE OF APPROVAL MASTER'S THESIS This is to certify that the Master's Thesis of Jui-lin Hsu With a major in Printing Technology has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master of Science degree at the convocation of May 1989 Thesis Committee: Thesis Advisor Gtaduate Program Coordinator Director or Designate A STUDY OF INK TRAPPING COMPARING GRAVIMETRIC AND DENSITOMETRY METHODS OF MEASUREMENT by Jui-lin Hsu A thesis 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 of Technology May, 1989 Thesis Advisor: Mr. Sven Ahrenkilde Copyright by Jui-lin Hsu 1989 All Rights Reserved ACKNOWLEDGMENTS I'd like to thank the following people for their assistance with this thesis: My advisor, Mr.
    [Show full text]