Anatomy of the Letter A
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Learners Guide
Published by National Vocational and Technical Training Commission Government of Pakistan Headquarter Plot 38, Kirthar Road, Sector H-9/4, Islamabad, Pakistan www.navttc.org Author Amreena Naz, Instructor, TEVTA Punjab) Responsible Director General Skills Standard and Curricula, National Vocational and Technical Training Commission National Deputy Head, TVET Reform Support Programme, Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH Layout & design SAP Communications Photo Credits TVET Reform Support Programme URL links Responsibility for the content of external websites linked in this publication always lies with their respective publishers. TVET Reform Support Programme expressly dissociates itself from such content. This document has been produced with the technical assistance of the TVET Reform Support Programme, which is funded by the European Union, the Embassy of the Kingdom of the Netherlands, the Federal Republic of Germany and the Royal Norwegian Embassy and has been commissioned by the German Federal Ministry for Economic Cooperation and Development (BMZ). The Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH in close collaboration with the National Vocational and Technical Training Commission (NAVTTC) as well as provincial Technical Education and Vocational Training Authorities (TEVTAs), Punjab Vocational Training Council (PVTC), Qualification Awarding Bodies (QABs)s and private sector organizations. Document Version July, 2013 Islamabad, Pakistan Foreword The National Vocational & Technical Training Commission (NAVTTC) developed a National Skills Strategy (NSS) after extensive research and consultation with experts and stakeholders including policy makers and representatives from Industry, Academia and the Provincial Government departments dealing with technical and vocational training. The strategy aims at establishing a regime that facilitates competency-based and demand- driven training and assessment. -
Font Management Basic Terminology ∞ I
CS 175.21 Windsor Green Spring 2010 Font Management Basic Terminology ∞ I. Font Definition∞ A. Strictly speaking the contents of the two cases - upper and lower - in metal type (for one size) B. Nowadays, the word font means all the glyphs (symbols) for a font in all sizes. Examples; Century, Fritz Quadrata, Myriad, , Giddyup, Gill Sans Ultra Bold Bickham Script C. The term typeface is interchangeable with font in today’s modern computer world A. Myriad Italic D. All the variations for a font is called a font family — B. Myria Regular this includes different weights (thicknesses like bold and light) and glyph widths (condensed and extended). C. Myriad Light II. Acquiring Fonts D. Myriad Bold A. Computer fonts: postscript, True type and Open Type E. Myriad SemiboldCondesed B. Font foundries: companies that create fonts F. Myriad Semibold Italic C. Special system fonts: Microsoft has special TT fonts used in the Windows OS Apple has special TT fonts used in their OS and dfonts. D. Application fonts: Microsoft auto installs numerous True type fonts during Office installation Adobe auto installs numerous OpenType fonts during Adobe CS installation E. Purchased fonts 1. Adobe (no longer creates new PostScript fonts but supports them — the focus is now on Open Type fonts) 2. High end fonts for home use and professional printing: OpenType and PostScript 3. Be careful buying fonts! The same typeface is sometimes available from different foundries. 4. Some websites where you can purchase fonts and where foundries are listed. fonts.com myfonts.com philsfonts.com Page 1 5. Some Foundries linotype.com itcfonts.com bertholdtype.com adobe.com/type Licensing agreements for purchased fonts — how can you legally use a font? 6. -
A Letter Is Defined As a Character Or Symbol That Represents Sound Used in Speech
Typography 1: Letter A letter is defined as a character or symbol that represents sound used in speech. The English alphabet has 26 of these characters, from which all of the English language is derived. Each character is unique, it has it’s own sound, it’s own shape, its own characteristics and its own rules of use. A designer can not properly create good typographic design without a proper understanding of the characters that make up a word, sentence, or paragraph. Images from this slide show come from: http://www.graphictivitis.com/index.php/the-anatomy-of-type/ Typography 1: Letter The English alphabet is made up of uppercase letters, lowercase letters and a full complement of symbols, including periods, commas, exclamation points, question marks, numbers, hyphens, brackets, etc. The overall look and design of these letters is called a typeface. The complete set of letters, numbers, and symbols together is called a font. Samples of Baskerville (left) and Helvetica (right) Typography 1:Letter The two main categories of typefaces are serif or sans serif. Fonts are often divided into serif and sans serif. Serif fonts are distinguishable by the extra stroke at the ends of the character, known as a serif (aka as a tail). Sans serif is a letterform without structural extensions or tails. Sans is french meaning without. Typography 1:Letter Examples of serif and sans serif typefaces Serif: Sans serif is a letterform without structural extensions or tails. Sans is french meaning without. Cave Paintings in Zimbabwe Typography 1: Letter Heavy rectangular shaped serifs are called slab serif typefaces What are some examples of slab serif typefaces in your collection of fonts? Typography 1: Letter ANATOMY OF A LETTER Cap height: The height of the uppercase letters. -
Rhetoric of Typography: Cross-Cultural Perceptions of Typefaces for Technical and Visual Communication
Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato All Graduate Theses, Dissertations, and Other Graduate Theses, Dissertations, and Other Capstone Projects Capstone Projects 2017 Rhetoric of Typography: Cross-Cultural Perceptions of Typefaces for Technical and Visual Communication Michael Peterson Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/etds Part of the Language Description and Documentation Commons, Technical and Professional Writing Commons, and the Typological Linguistics and Linguistic Diversity Commons Recommended Citation Peterson, M. (2017). Rhetoric of Typography: Cross-Cultural Perceptions of Typefaces for Technical and Visual Communication [Master’s thesis, Minnesota State University, Mankato]. Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. https://cornerstone.lib.mnsu.edu/etds/672/ This Thesis is brought to you for free and open access by the Graduate Theses, Dissertations, and Other Capstone Projects at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in All Graduate Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Rhetoric of Typography: Cross-Cultural Perceptions of Typefaces for Technical and Visual Communication By Michael E. Peterson A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Technical Communication At Minnesota State University, Mankato Mankato, Minnesota April 2017 Rhetoric of Typography: Cross-Cultural Perceptions of Typefaces for Technical and Visual Communication Michael E. Peterson This thesis has been examined and approved by the following members of the student’s committee. -
Proquest Dissertations
TYPEFACE PERSONALITY TRAITS AND THEIR DESIGN CHARACTERISTICS Ying Li A Thesis In The Department of Computer Science and Software Engineering Presented in Partial Fulfillment of the Requirements For the Degree of Master of Computer Science at Concordia University Montreal, Quebec, Canada November 2009 © Ying Li, 2009 Library and Archives Bibliothèque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-71016-6 Our file Notre référence ISBN: 978-0-494-7 1 0 1 6-6 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Web Print Imager Y Color P Alette Typography Lo G O
1 AFCS BrandGuide LOGO TAGLINE TYPOGRAPHY COLOR PALETTE IMAGERY PRINT WEB INTRODUCTION In 2010, Air Force Civilian Service (AFCS) was launched, providing a name and face for the 180,000 civilian employees of United States Air Force. AFCS developed a set of branding elements—logo, color palette, supporting graphics, etc.—that animate all internal and external communications. This document presents these elements with instructions on they must be used in order to reinforce brand integrity and brand recognition. Any question regarding these guidelines should be addressed to: HQ AFPC/DPIFRA Randolph Air Force Base San Antonio, Texas AFCS Brand Guide 2 1 AFCS Brand Guide CONTENTS AIR FORCE CIVILIAN SERVICE BRAND GUIDE May 2017 Introduction .........................................................1 Contents ..............................................................3 I. Logo .............................................................5 Description .....................................................7 4C “Stacked” Logo .........................................7 2C “Stacked” Logo .........................................7 4C “Long” Logo..............................................8 2C “Long” Logo..............................................8 Reversed 8 1C Versions ...................................................9 Minimum Width ..............................................9 Clear Zone .....................................................9 Unapproved Usage of Logos .................. 10-11 Use of Air Force “Wings” ...............................10 -
Typography in Human-Computer Interaction Cognitive and Aesthetic Implications of Typeface Selection and Presentation
Typography in Human-Computer Interaction Cognitive and aesthetic implications of typeface selection and presentation Shaun Kelly and Tyler Gregory Iowa State University HCI 521 Fall 2011 Group XE15 2 Typography is the art of laying out text for print or on screens for aesthetics and for readability. It concerns the use of different font faces and sizes and layout constraints such as line height, column width, kerning, and colors. Typography has been around for thousands of years, from stone tablets to illuminated manuscripts to Gutenberg to the GUI. In the context of human- computer interaction, typography has critical importance in a number of applications. The primary purpose of a great deal of software is to provide access to textual content. Additionally, instructions, labels, and navigation for applications are presented in text, and must be readable in order for users to have successful and efficient interactions with the application. Our study looks at typography through the lens of the cognitive psychology literature, namely how different typographic choices made by application designers affect the visual perception, readability, and comprehension of the materials. We are interested in what the scientific inquiry tells us about how we can use typography to improve human-computer interactions. Before delving into the research, we will define a few of the key typographic terms used throughout. Font face or style describes the overall letterform, for example Arial or Times New Roman. Font faces may have serifs (the extensions at the end of the letter, such as in Times New Roman) or may be sans serif (lacking serifs, such as in Arial). -
Assignment 4 - Show Me 26 November 2019 17:04
Assignment 4 - Show me 26 November 2019 17:04 Feeling The height of the type piece is known as the ‘em’, and it The most important thing about a type design is the feelings it evokes. This is notoriously hard to verbalise, but originates from the width of the uppercase ‘M’ character; it is what makes a particular typeface meaningfully different from any other. it was made so that the proportions of this letter would A type designer in Portugal, Natanael Gama, designed the Exo family with FontForge. On his homepage he be square (hence the ‘em square’ denomination). describes another project for the sculptor John Williams and includes a graphic showing his brief in a matrix of The em size is what the point size of metal type is continuums of feelings: calculated upon. So, a 10 points type has a 10 points • Figurative to Abstract 50% em (see below). • Graceful to Robust: 30% In digital type, the em is a digitally-defined amount of • Calm to Energetic: 0% space. In an OpenType font, the UPM — or em size is • Puzzling to Plain: 15% usually set at 1000 units. In TrueType fonts, the UPM is by • Experimental to Standard: 15% convention a power of two, generally set to 1024 or 2048. • Prestigious to Ordinary: 15% When the font is used to set type, the em is scaled to • Other Ideas: Beautiful, Outside Spaces, Human Condition the desired point size. This means that for 10 pt type, the 1000 units for instance get scaled to 10 pt. From <http://designwithfontforge.com/en-US/Planning_Your_Project.html> So if your uppercase ‘H’ is 700 units high, it will be 7 pt high on a 10 pt type. -
TABLE of CONTENTS About Graphic Design Graphic About 31 28 26 22 22 20 18 17 10 7 It Exists
GUIDE TO GRAPHIC DESIGN GUIDE TO GRAPHIC DESIGN Scott W. Santoro WITH CONTRIBUTIONS AND EDITING BY JOAN LEVINSON AND MARY GAWLIK Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Dedicated to my sons, Ellis and Lowell Santoro—and to future generations of graphic designers. Editorial Director: Craig Campanella Senior Manufacturing Manager: Mary Fisher Editor in Chief: Sarah Touborg Senior Operations Specialist: Diane Peirano Acquisitions Editor: Billy Grieco Senior Art Director: Pat Smythe Assistant Editor: David Nitti Interior Design: Scott W. Santoro Editorial Assistant: Laura Carlson Cover Designer: Scott W. Santoro Editor-in-Chief, Development: Rochelle Diogenes Manager, Rights and Permissions: Paul Sarkis Development Editor: Mary Gawlik Manager, Visual Research: Ben Ferrini Media Director: Brian Hyland Project Management: PreMediaGlobal Senior Media Editor: David Alick Printer/Binder: Courier / Kendallville Media Project Manager: Rich Barnes Cover Printer: Courier / Kendallville Vice President of Marketing: Brandy Dawson Typefaces: Adobe Minion Pro by Robert Slimbach Executive Marketing Manager: Kate Stewart and Adobe Myriad Pro by Robert Slimbach and Carol Twombly. Senior Managing Editor: Melissa Feimer Senior Project Manager: Lynne Breitfeller Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on the appropriate page within text and on pages 339–342. Use of the trademark(s) or company name(s) implies (imply) no relationship, sponsorship, endorsement, sale, or promotion on the part of Pearson Education, Inc. or its affiliates. Copyright © 2014 by Pearson Education, Inc, Prentice Hall. -
ON WEB TYPOGRAPHY “Strong Opinions
Brief books for people who make websites No 11 11 Typography is your design’s voice and the most ON WEB TYPOGRAPHY “Strong opinions. Clear explanations. Friendly advice. Jason powerful tool you have to communicate with your brings the qualities infused in his design work to this book as well. Read on, and design with confidence.” readers. Learn how to wield type with care and —jeffrey veen wit: how to evaluate typefaces, consider technical CEO and cofounder of Typekit and VP of Products at Adobe constraints, create flexible typographic systems, and put together your own collection of favorite faces. “If the devil is in the details, then Jason has written an evil Jason Santa Maria wants you to see type beyond book. It illuminates how to see type in story and images, then describes how to adapt type for the web. This is the book a code or flourishes. You’ll discover how typography whole new generation of design students will dog-ear.” shapes the way we read and how you can adapt the —liz danzico Chair, MFA Interaction Design at SVA craft’s practices for the screen. So go ahead. Choose, Jason Santa Maria ABOUT THE AUTHOR combine, and set typefaces with ease—and invite readers in. Jason Santa Maria is a graphic designer with a deep love for “Most typography books are unnecessarily dry, preachy, letters. He’s the founder of Brooklyn-based design firm Mighty; and fussy. Fortunately, with On Web Typography, designing a faculty member at SVA’s MFA Interaction Design program; a with type for screens finally has the clear, wise, and affable cofounder of A Book Apart; and the founder of Typedia, a shared introduction the practice deserves.” online encyclopedia of typefaces. -
Developing the Yoruba Alphabet As a Typographic Font Style for Application on Computer Graphic Design for Yoruba Audience
DEVELOPING THE YORUBA ALPHABET AS A TYPOGRAPHIC FONT STYLE FOR APPLICATION ON COMPUTER GRAPHIC DESIGN FOR YORUBA AUDIENCE By SHAGAYA, Mashood Olanrewaju BA (ABU 1997) MA (ABU 2011) P16EVID9177 A THESIS SUBMITTED TO THE SCHOOL OF POSTGRADUATE STUDIES, AHMADU BELLO UNIVERSITY, ZARIA NIGERIA IN PARTIAL FULFILLMENT FOR THE AWARD OF DOCTOR OF PHILOSOPHY (Ph.D.) IN INDUSTRIAL DESIGN DEPARTMENT OF INDUSTRIAL DESIGN, FACULTY OF ENVIRONMENTAL DESIGN AHMADU BELLO UNIVERSITY, ZARIA NIGERIA SEPTEMBER, 2018 DECLARATION I declare that the work in the thesis entitled “DEVELOPING THE YORUBA ALPHABET AS A TYPOGRAPHIC FONT STYLE FOR APPLICATION ON COMPUTER GRAPHIC DESIGN FOR YORUBA AUDIENCE” was conducted by me in the Department of Industrial Design under the supervision of Professor D. J. M. Yakubu, Professor S. U. Dakyes and Dr. J. I. Azi. The information derived from the literature has been duly acknowledged in the text and a list of references provided. No part of this thesis was previously presented for another degree or diploma at any university. ______________ ____________ ____________ Name of student Signature Date ii CERTIFICATION This thesis entitled “DEVELOPING THE YORUBA ALPHABET AS A TYPOGRAPHIC FONT STYLE FOR APPLICATION ON COMPUTER GRAPHIC DESIGN FOR YORUBA AUDIENCE” by SHAGAYA, Mashood Olanrewaju meets the regulations governing the award of the degree of Doctor of Philosophy of Ahmadu Bello University, Zaria; and is approved for its contribution to knowledge and literary presentation. ___________________________ ______________ Professor D. J. M. Yakubu Date Chairman, Supervisory Committee __________________________ ______________ Professor S. U. Dakyes Date Member, Supervisory Committee ___________________________ ______________ Dr. J. I. Azi Date Member, Supervisory Committee _______________________________ ______________ Dr. -
Combining Typefaces
Five Simple Steps A Pocket Guide Combining typefaces by Tim Brown 2 3 A Pocket Guide to Combining Typefaces by Tim Brown Published in 2013 by Five Simple Steps Studio Two, The Coach House Stanwell Road Penarth CF64 3EU United Kingdom On the web: www.fivesimplesteps.com and: http://nicewebtype.com/ Please send errors to [email protected] Publisher: Five Simple Steps Editor: Stephen Coles Copy Editor: Owen Gregory Production Manager: Jo Brewer Art Director: Nick Boulton Designer: Nick Boulton, Colin Kersley Copyright © 2013 Tim Brown All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without prior permission in writing from the publisher. ISBN: 978-1-907828-17-1 A catalogue record of this book is available from the British Library. … Why combine typefaces? Why would anyone bother using more than one typeface? 6 Designers can, and often do, use a single variation of one typeface (for example, Proxima Nova Regular) for entire projects. This is a common exercise in Typography 101 classes because it helps students understand typesetting options and limitations, and it’s a popular aesthetic among professionals who are in a hurry, trying to be plain, or trying to be careful. Even sticking with a single typeface (for example, the complete Proxima Nova family) provides a multitude of possibilities, particularly if that face offers many weights, widths and styles. The act of bringing different typefaces together to convey a message is challenging, inspiring and fun.