DOCSLIB.ORG

Typographybooklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

SWIPE RIGHT FOR TYPE TABLE OF CONTENTS Bembo- 4-5 Baskerville 20 6-7 Bank Gothic Didot 8-9 Cormorant 21 Clarendon 10-11 22 Sansista Optima 12-13 T Averia Libre 23 14-15 Helvetica Neue 24 Rock salt Futura 16-17 18-19 25 Snell Roundhand Nova Mono 2 3 Bembo Francesco Griffo 1495 Bembo Bold Bembo Bold Italic B A serif typeface designed by Francesco Bembo Extra Bold Griffo. This type first appeared in 1495. It Bembo Extra Bold Italic was created for the Venetian Printer, Aldus Bembo Italic Manutius. The namesake of the type face Bembo Regular comes from it’s first publication in a book Bembo Semibold by the poet, pietro Bembo. The Italic was Bembo Semibold Italic influenced and based off of Giovanni E Antonio Taglient, who was a calligrapher of the 1520s after Griffo and Manutius’ time. ABCDEF- M GHIJKLM- NOPQRSTU- VWXYZ 1234567890 B !@#$%^&*()_+- = 4 O B 5 Bas AB kervi I C lle JB KL DE MN FG 1 OP H 2 QRS 34 TUVW 56 X 7890 Y ABCDEFGHIJKLM !@#$% Z NOPQRSTUVW Baskerville Bold ^& *() XYZ Baskerville Baskerville Bold Italic _+ Baskerville Cyrillic LT -= Baskerville is serif typeface was created by Bold 1234567890!@#$ English designer, John Baskerville. It belongs to the old-style of typefaces of the 18th century. Baskerville Cyrillic LT Inclined %^&*()_+-= Baskerville was unique in that it increased the disparity of thick and thin strokes, making the Baskerville Cyrillic LT Up- serif letters all in all sharper and tapered. right Baskerville Italic Baskervillle Regular Baskervillle Semibold Baskerville Semibold Italic 6 7 ABCDEF GHIJKLM NOPQRSTU Didot A group of typefaces which are named VWXYZ after the eminent ido French type, the t Didot Family. The word itself D derives from the 1234567890 word “Didone,” translated as, “modern.” The Didot !@#$%^ brothers, Firmin and Pierre designed the type together in the &*()_+-= late 18th century. They were in- spired by Baskervilles experimentation Intoxicated Queen Elizabeth vows Mick Jagger is perfection. with stroke (VDidot Regular) contrast. Intoxicated Queen Elizabeth vows Mick Jagger is perfection. (Didot Italic) Intoxicated Queen Elizabeth vows Mick Jagger is perfection. Didot Bold D8 9 Clarendon LT bold Clarendon LT Light Pack my box with five dozen liquor jugs. (Clarendon LT Std Bold) Clarendon LT Roman Pack my box with five dozen liquor jugs. (Clarendon LT Std Light) Superclarendon Pack my box with five dozen liquor jugs. (Clarendon LT Std Roman) Black Superclarendon Pack my box with five dozen liquor jugs. (Superclarendon Black) Black Italic Pack my box with five dozen liquor jugs. (Superclarendon Black Superclarendon Bold Italic) Superclarendon Bold Italic Pack my box with five dozen liquor jugs. (Superclarendon Bold) Superclarendon Italic Pack my box with five dozen liquor jugs. (Superclarendon Bold Italic) Superclarendon Light Superclarendonf Light Pack my box with five dozen liquor jugs. (Superclarendon Italic) Italic Superclarendon Regular Pack my box with five dozen liquor jugs. (Superclarendon Light) Pack my box with five dozen liquor jugs. (Superclarendon Light Italic) C Pack my box with five dozen liquor jugs. (Superclarendon Regular) ABCDEFGH Clarendon is a slab-serif typeface designed by Robert IJKLMNOP Besley and released in 1845 by the Fann Street Foundry. This type has been adapted many times creating a family of QRSTUVW Clarendon fonts. The font was widely copied due to how usable it was due its bold readability. XYZ123456 Clarendon is most noted for being on wanted signs of the old west. The remains attention getting to 7890`!#$%^ this day. &*()_+-={}[]\| “:;?/.>,< 10 11 OPTIMA The five boxing wizards jump quickly (Optima Bold) The five boxing wizards jump quickly (Optima The five boxing wizards jump quickly (Optima LT Std Demi Italic) Bold Italic) The five boxing wizards jump quickly (Op- The five boxing wizards jump quickly (Op- tima LT Std Extra Black) tima Extra Black) The five boxing wizards jump quickly (Op- The five boxing wizards jump quickly (Optima tima LT Std Extra Black Italic) Italic) The five boxing wizards jump quickly (Optima LT The five boxing wizards jump quickly (Optima Std Italic) LT Std Black) The five boxing wizards jump quickly (Optima The five boxing wizards jump quickly (Optima LT Std Italic Medium Italic) LT Std Black Italic) The five boxing wizards jump quickly (Optima The five boxing wizards jump quickly (Optima LT Std Medium) LT Std Bold) The five boxing wizards jump quickly (Optima LT The five boxing wizards jump quickly (Optima Std Roman) LT Std Bold Italic) The five boxing wizards jump quickly (Optima The five boxing wizards jump quickly (Optima Regular) LT Std Demi) ABCDEFGHI Optima is a humanist sans-serif re- JKLMNO leased by the D. Stempel AG foundry, in Frankfurt Germany. It PQRSTUV was designed by Hermann Zapf who MA was inspired by Classical Roman I WXYZ1234 Capitals, but didn’t want the type to T have serifs. Hermann found letters in P a medieval Church in Florence which 567890!@# inspired Zapf to create his typefaces. O $%^&*()_+-= 13 12 Helvetica Neue LT Std 23 Ultra Light Extended Helvetica Neue LT Std 23 Ultra Light Extended Oblique Helvetica Neue LT Std 25 Ultra Light Helvetica Neue LT Std 26 Ultra Light Italic Helvetica Neue LT Std 27 Ultra Light Condensed Helvetica Neue LT Std 27 Ultra Light Condensed Oblique Helvetica Neue LT Std 33 Thin Extended Helvetica Neue LT Std 33 Thin Extended Oblique Helvetica Neue LT Std 35 Thin Helvetica Neue LT Std 36 Thin italic Helvetica Neue LT Std 37 Thin Condensed Helvetica Neue LT Std 37 Thin Condensed Oblique Helvetica Neue LT Std 43 Light Extended Helvetica Neue LT Std 43 Light Extended Oblique Helvetica Neue LT Std 45 Light Helvetica Neue LT Std 46 Light Italic Helvetica Neue LT Std 47 Light Condensed Helvetica Helvetica Neue LT Std 47 Light Condensed Oblique Helvetica Neue LT Std 53 Extended Helvetica Neue LT Std 53 Extended Oblique Helvetica Neue LT Std 55 Roman Helvetica Neue LT Std 56 Italic Helvetica Neue LT Std 57 Condensed Helvetica Neue LT Std 57 Condensed Oblique Helvetica Neue LT Std 63 Medium Extended The original design of Helvetica was ABCDEFGHIJK Helvetica Neue LT Std 63 Medium Extended Oblique created by Max Miedinger, and Helvetica Neue LT Std 65 Medium released by Linotype in 1957. LM Helvetica Neue LT Std 66 Medium Italic However in 1983 Linotype’s Helvetica Neue LT Std 67 Medium Condensed daughter NOPQRSTU Helvetica Neue LT Std 67 Medium Condensed Oblique company D. VWXYZ Helvetica Neue LT Std 73 Bold Extended Stempel AG Helvetica Neue LT Std 73 Bold Extended Oblique released Neue 1234567890! Helvetica Neue LT Std 75 Bold Helvetica which Helvetica Neue LT Std 75 Bold Outline was a redesigned @#$%^&*()_+-= Helvetica Neue LT Std 76 Bold Italic version of the original. Additionally Helvetica Neue LT Std 77 Bold Condensed Linotype released Neue Helvetica Helvetica Neue LT Std 77 Bold Condensed Oblique Ptro in 2004. The type has had Helvetica Neue LT Std 83 Heavy Extended many renditions, but the core of its Helvetica Neue LT Std 83 Heavy Extended timeless simplistic efficiency has Oblique stayed the same. Helvetica Neue LT Std 85 Heavy Helvetica Neue LT Std 86 Heavy Italic Helvetica Neue LT Std 87 Heavy Condensed Helvetica Neue LT Std 87 Heavy Condensed Oblique Helvetica Neue LT Std 93 Black Extended Helvetica Neue LT Std 93 Black Extended Oblique Helvetica Neue LT Std 95 Black Helvetica Neue LT Std 96 Black Italic Helvetica Neue LT Std 97 Black Condensed Helvetica Neue LT Std 97 Black Condensed Oblique Helvetica Neue LT Std 107 Extra Black Condensed Helvetica Neue LT Std 107 Extra Black Condensed Oblique 14 15 Futura Bold Futura Condensed Extra Bold Futura Condensed Medium Futura Medium Futura Medium Italic Futura is a sans serif typeface Futura Std Bold which was designed in 1927 Futura Std Bold Condensed Futura Std Bold Condensed Oblique by Paul Renner. It was inspired Futura Std Bold Oblique Futura Std Book by geometric shapes, Futura Std Book Oblique especially circles. The design Futura Std Extra Bold similar to that of the Bauhaus Futura Std Extra Bold Condensed Futura Std Extra Bold Condensed Oblique movement. Renner wasn’t part Futura Std Extra Bold Oblique Futura Std Heavy of Bauhaus, but he shared the Futura Std Heavy Oblique belief that fonts expressed Futura Std Light Futura Std Light Condensed modernity. Hence the name Futura Std Light Condensed Oblique “Futura,” Renner didn’t favor Futura StdLight oblique Futura Std Medium past fonts and their narrow Futura StdMedium Condensed inconsistent weights forms. Futura Std Medium Condensed Oblique Futura medium Oblique Futura ABCDEFGHIJKLMN OPQRSTUVWXYZ 1 234567890!@#$%^ &*()_+-= 16 17 oundhan l R d el Jaded zombies acted quaintly but kept driving their oxen forward. n (Snell Roundhand Regular) S Jaded zombies acted quaintly but kept driving their oxen forward. (Snell Roundhand Bold) Jaded zombies acted quaintly but kept driving their oxen for- ward. (Snell Roundhand LT Black Script) Jaded zombies acted quaintly but kept driving their oxen forward. Snell (Snell Roundhand LT Bold Script) Roundhand Jaded zombies acted quaintly but kept driving their oxen forward. is a decorative font designed by Mathew (Snell Roundhand LT Script) Snell Roundhand is a decorative font designed Carter in 1965. However the original roundhand- script was developed by Charles Snell in the 17th century. by Mathew Carter in 1965. However the Snell Was inspired by Puritan calligraphic forms, and was original roundhandscript was developed by widely used during the industrial economy of Snell’s time. Charles Snell in the 17th century. Snell Was inspired by Puritan calligraphic forms, and ABCDEFGHIJKLM was widely used during the industrial economy NOPQRSTUVWXYZ of Snell’s time. 1234567890 !@#$%^&*()_+-= 1 8 19 Bank Gothic is a rectilinear Geometric ABCDEFGHI sans-serif Typeface.
Recommended publications
  • Typography One Typeface Classification Why Classify?

    Typography One Typeface Classification Why Classify?

    Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing.
  • Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles

    Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles

    Bitstream Fonts in May 2005 at http://www.myfonts.com/fonts/bitstream totaling 350 font families with a total of 1357 font styles The former Bitstream typeface libraries consisted mainly of forgeries of Linotype fonts and of ITC fonts. See the list below on the pages 24–29 about the old Bitstream Typeface Library of 1992. The 2005 Bitstream typeface library contains the same forgeries of Linotype fonts as formerly and also the same ITC fonts, but it also includes a lot of new mediocre „rubbish fonts“ (e.g. „Alphabet Soup“, „Arkeo“, „Big Limbo“), but also a few new quality fonts (e.g. „Drescher Grotesk“, „Prima Serif“ etc.). On the other hand, a few old fonts (e.g. „Caxton“) were removed. See the list below on pages 1–23. The typeface collection of CorelDraw comprises almost the entire former old Bitstream typeface library (see the list below on pages 24–29) with the following exceptions: 1. A few (ca. 3) forgeries of Linotype fonts are missing in the CorelDraw font collections, e.g. the fonts „Baskerville No. 2“ (= Linotype Baskerville No. 2), „Italian Garamond“ (= Linotype Garamond Simoncini), and „Revival 555“ (= Linotype Horley Old Style). 2. A lot (ca. 11) of ITC fonts are not contained in the CorelDraw font collections, e.g. „ITC Berkeley Oldstyle“, „ITC Century“, „ITC Clearface“, „ITC Isbell“, „ITC Italia“, „ITC Modern No. 216“, „ITC Ronda“, „ITC Serif Gothic“, „ITC Tom’s Roman“, „ITC Zapf Book“, and „ITC Zapf International“. Ulrich Stiehl, Heidelberg 3-May 2005 Aachen – 2 styles Ad Lib™ – 1 styles Aerospace Pi – 1 styles Aldine
  • Afgbaskerville (The Type Face)

    Afgbaskerville (The Type Face)

    gfaBaskerville (the type face) xagfi {the type} {the man} abcdefghijklmn opqrstuvwxyz ABCDEFGHI JKLMNOPQR STUVWXYZ Having been an early admirer of the beauty of letters, I vertical stress relatively low contrast “became insensibly desirous of contributing to the perfection Baskerville is a transitional type of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true { old style type modern type proportion. oblique stress vertical stress —John Baskerville, preface to Milton, 1758 relatively low contrast high contrast (Anatomy of a Typeface) ” {looks} use of orthogonal lines use of orthogonal + curvy lines FHTt BDp use of curvy lines use of diagonal lines cOQ vwXZ In order to truely appreciate the quialities of Baskerville, one must understand the The Baskerville type is known for the crisp edges, high contrast and generous process of its creation. Being a printer, John Baskerville paid close attention to the proportions. Baskerville is categorized as a transitional typeface in between classical technology, creating his own intense black ink. He boiled fine linseed oil to a certain typefaces and the high contrast modern faces. density, dissolved rosin, and let it subside for months before using it. He also studied and invested in presses, resulting in the development of high standards for presses altogether. {anatomy} crossbar serif ear head serif ascender counter apex A a x g Q b q O spur x-height descender swash {characteristics} {1}g Q {2} A {3} {4}J {5}C {6}E {7}ea {1} tail on lower case g does not close {2} swash-like tail of Q {4} J well below baseline {3} high crossbar and pointed apex of A {5} top and bottom serifs on C {6} long lower arm of E {7} small counter of italic e compared to italic a {comparison} Bembo Baskerville Bembo Baskerville d The head serif of Baskerville is generally more horizontal than that of Bembo.
  • Basic Styles of Lettering for Monuments and Markers.Indd

    Basic Styles of Lettering for Monuments and Markers.Indd

    BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble.
  • Vision Performance Institute

    Vision Performance Institute

    Vision Performance Institute Technical Report Individual character legibility James E. Sheedy, OD, PhD Yu-Chi Tai, PhD John Hayes, PhD The purpose of this study was to investigate the factors that influence the legibility of individual characters. Previous work in our lab [2], including the first study in this sequence, has studied the relative legibility of fonts with different anti- aliasing techniques or other presentation medias, such as paper. These studies have tested the relative legibility of a set of characters configured with the tested conditions. However the relative legibility of individual characters within the character set has not been studied. While many factors seem to affect the legibility of a character (e.g., character typeface, character size, image contrast, character rendering, the type of presentation media, the amount of text presented, viewing distance, etc.), it is not clear what makes a character more legible when presenting in one way than in another. In addition, the importance of those different factors to the legibility of one character may not be held when the same set of factors was presented in another character. Some characters may be more legible in one typeface and others more legible in another typeface. What are the character features that affect legibility? For example, some characters have wider openings (e.g., the opening of “c” in Calibri is wider than the character “c” in Helvetica); some letter g’s have double bowls while some have single (e.g., “g” in Batang vs. “g” in Verdana); some have longer ascenders or descenders (e.g., “b” in Constantia vs.
  • Mathematics Clinic Handbook

    Mathematics Clinic Handbook

    Mathematics Clinic Mathematics Clinic Handbook 2019 Copyright © 2019 Department of Mathematics, Harvey Mudd College. This material is provided for the sole use of participants in Harvey Mudd College’s Mathematics Clinic program. Any other usage requires prior permission from the Department. 2019 Edition; Revision 1.0. (April 30, 2019) Calendar Note that dates and deadlines are subject to change. Date Description Page September 4 (Tue) Student Orientation Day (4:15 p.m.–5:30 p.m.; 5 Sprague 3) September 4 (Tue) Project Managers Meeting (5:30 p.m.–6:30 p.m. in Sprague 3) September 6–18 Marathon Push (Including Preparation of Your 8 Statement of Work) September 6 (Thu) Clinic/Sponsor Orientation Day (11:00 a.m.– 6 1:00 p.m.; Sprague 3 workrooms) Be prepared to ask your liaisons questions. September 7 (Fri) All Forms Due by 4:00 p.m. to Molly Reeves 5 (SCTL 2404) September Site Visits with Sponsor (Arranged by Teams and 9 Sponsors) September 11 (Tue) Professional Development: Teleconference and 10 Site Visit Etiquette (11:00–12:15 p.m.; Galileo McAlister; Combined with CS) September 18 (Tue) Statement of Work Peer Review (11:00–12:15 p.m.; 8 Sprague 3) Bring Advisor-Previewed Draft. September 18 (Tue) Project Managers Meeting (11:00–12:15 p.m.; Sprague 3) September 20 (Thu) Engineering Career Fair September 21 (Fri) Peer Reviews of Statement of Work Due to Team 8 September 24 (Mon) Advisor-Previewed Project Budget Due to Clinic 53 Director September 25 (Tue) Review Statement of Work According to Slides 10 on Project Management & Planning Sent
  • Download Futura Font Word

    Download Futura Font Word

    1 / 5 Download Futura Font Word Futuristic Fonts Download Free futuristic fonts at UrbanFonts.com Our site carries ... '80s generator gives your words a neon retro tribute Oct 07, 2016 · Well, if you ... Futuristic Logos Futura Fonts generator tool will let you convert simple and .... Download Futura fonts from UrbanFonts.com for PC and Mac. Futura EF Fonts Free ... Futura Lt Font. How to Install Futura Font in Adobe, Ms Word, Mac or Pc?. 11 Free Chrome Graphics Generators Welcome to MyFonts, the #1 place to download great @font-face webfonts and desktop fonts: classics (Baskerville, Futura, .... Mar 12, 2020 — Want to use beautiful custom fonts in your WordPress theme? ... First thing you need to do is download the font that you like in a web format.. Download Futura PT font (22 styles). Futura PT FuturaPTBold.otf 126 Kb | Futura PT Bold Italic FuturaPTBoldOblique.otf 125 Kb | Futura PT FuturaPTBook.otf ... Download Futura PT Font click here: https://windows10freeapps.com/futura-pt-font-free-download .... Free Font for Designers! High quality design resources for free. And helps introduce first time customers to your products with free fonts downloads and allow .... I'll use Futura PT Heavy which I downloaded from Adobe Typekit, but any font will work: ... This Font used for copy and paste and also for word generator.. Sep 23, 2011 — This is the page of Futura font. You can download it for free and without registration here. This entry was published on Friday, September 23rd .... ... the text it generates may look similar to text generated using the HTML or tags or the CSS attributes font-weight: bold or font-style: italic , it isn't.
  • Volume 18-4 (Low Res).Pdf

    Volume 18-4 (Low Res).Pdf

    A a Bb Cc Dd Ee Ff Gg Hh liJj Kk LI MmNnOoPp Qq RrSsTt UuVvWwXxYyZz1234567890&fECE$$(£.%!?0 [] Brookie ilaxtt7e11: Walking Up Dream .Street tl hat Modern {Vas Italian Beach Signs Book Jackets of t he 1920s & 1930s Hidden Music: A Print by Glaser 3 The Cat's Out of the Bag. On September 10, 1991, PC Magazine called Arts & Letters "the easiest-to-use illustration product for the PC' PC Magazine made it official. However, Arts & Letters clip-art images. The Editor offers a list of features you owners have known for years how easy it is to use. can really sink your teeth into; like multi-tasking of screen Instructions are clear and concise. Commands are kept redraw, data-driven charting, gradient fills and blends, to a minimum. Everything is object-oriented, and what text-along-a-path, lock/hide/name, warp/perspective, you see is what you get. To top it off, the latest version hole cutting, and object and text masking. Automatic spot of the Graphics Editor (3.1) is even quicker and more and four-color separations are also available. powerful than its predecessors. Rave reviews about Arts & Letters are commonplace. Arts & Letters offers several built-in advantages: you The Arts & Letters clip-art collection also received can draw upon the award-winning 5,000-image clip-art Publish magazine's Readers' Choice award two years in collection, 80 superb typefaces, Bezier drawing tools and a row and PC Magazine named it a host of spectacular special effects. Editors' Choice for 1991. There is no limit to the kinds of electronic artwork Try your hand at turning a you can create with the Arts & Letters Graphics Editor: tabby into a tiger.

  • Zapfcoll Minikatalog.Indd

    Largest compilation of typefaces from the designers Gudrun and Hermann Zapf. Most of the fonts include the Euro symbol. Licensed for 5 CPUs. 143 high quality typefaces in PS and/or TT format for Mac and PC. Colombine™ a Alcuin™ a Optima™ a Marconi™ a Zapf Chancery® a Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf International® a AMS Euler™ a Marcon™ a Medici Script™ a Shakespeare™ a Zapf International® a Melior™ a Aldus™ a Melior™ a a Melior™ Noris™ a Optima™ a Vario™ a Aldus™ a Aurelia™ a Zapf International® a Carmina™ a Shakespeare™ a Palatino™ a Aurelia™ a Melior™ a Zapf book® a Kompakt™ a Alcuin™ a Carmina™ a Sistina™ a Vario™ a Zapf Renaissance Antiqua® a Optima™ a AMS Euler™ a Colombine™ a Alcuin™ a Optima™ a Marconi™ a Shakespeare™ a Zapf Chancery® Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf international® a AMS Euler™ a Marconi™ a Medici Script™ a Shakespeare™ a Zapf international® a Aldus™ a Melior™ a Zapf Chancery® a Kompakt™ a Noris™ a Zapf International® a Car na™ a Zapf book® a Palatino™ a Optima™ Alcuin™ a Carmina™ a Sistina™ a Melior™ a Zapf Renaissance Antiqua® a Medici Script™ a Aldus™ a AMS Euler™ a Colombine™ a Vario™ a Alcuin™ a Marconi™ a Marconi™ a Carmina™ a Melior™ a Edison™ a Shakespeare™ a Zapf book® aZapf international® a Optima™ a Zapf International® a Carmina™ a Zapf Chancery® Noris™ a Optima™ a Zapf international® a Carmina™ a Sistina™ a Shakespeare™ a Palatino™ a a Kompakt™ a Aurelia™ a Melior™ a Zapf Renaissance Antiqua® Antiqua® a Optima™ a AMS Euler™ a Introduction Gudrun & Hermann Zapf Collection The Gudrun and Hermann Zapf Collection is a special edition for Macintosh and PC and the largest compilation of typefaces from the designers Gudrun and Hermann Zapf.
  • System Profile

    System Profile

    Steve Sample’s Power Mac G5 6/16/08 9:13 AM Hardware: Hardware Overview: Model Name: Power Mac G5 Model Identifier: PowerMac11,2 Processor Name: PowerPC G5 (1.1) Processor Speed: 2.3 GHz Number Of CPUs: 2 L2 Cache (per CPU): 1 MB Memory: 12 GB Bus Speed: 1.15 GHz Boot ROM Version: 5.2.7f1 Serial Number: G86032WBUUZ Network: Built-in Ethernet 1: Type: Ethernet Hardware: Ethernet BSD Device Name: en0 IPv4 Addresses: 192.168.1.3 IPv4: Addresses: 192.168.1.3 Configuration Method: DHCP Interface Name: en0 NetworkSignature: IPv4.Router=192.168.1.1;IPv4.RouterHardwareAddress=00:0f:b5:5b:8d:a4 Router: 192.168.1.1 Subnet Masks: 255.255.255.0 IPv6: Configuration Method: Automatic DNS: Server Addresses: 192.168.1.1 DHCP Server Responses: Domain Name Servers: 192.168.1.1 Lease Duration (seconds): 0 DHCP Message Type: 0x05 Routers: 192.168.1.1 Server Identifier: 192.168.1.1 Subnet Mask: 255.255.255.0 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: Yes Auto Discovery Enabled: No Ethernet: MAC Address: 00:14:51:67:fa:04 Media Options: Full Duplex, flow-control Media Subtype: 100baseTX Built-in Ethernet 2: Type: Ethernet Hardware: Ethernet BSD Device Name: en1 IPv4 Addresses: 169.254.39.164 IPv4: Addresses: 169.254.39.164 Configuration Method: DHCP Interface Name: en1 Subnet Masks: 255.255.0.0 IPv6: Configuration Method: Automatic AppleTalk: Configuration Method: Node Default Zone: * Interface Name: en1 Network ID: 65460 Node ID: 139 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode:
  • Typestyle Chart.Pub

    Typestyle Chart.Pub

    TYPESTYLE CHART This is an abbreviated list of the typestyles available from 2/90. ADA fonts are designated with either one or two asterisks. Those with two asterisks comply with ANSI A.117.1 standards for enhanced readability of tactile signage elements. Use typestyle abbreviations in parentheses when placing an order. For additional fonts not on this list, contact Customer Service at 800.777.4310. Albertus (ALC) Commercial Script Connected (CSC) Americana Bold (ABC) *Compacta Bold®2 (CBL) Anglaise Fine Point (AFP) Engineering Standard (ESC) *Antique Olive Nord (AON) *ITC Eras Medium®2 (EMC) *Avant Extra Bold (AXB) *Eurostile Bold (EBC) **Avant Garde (AGM) *Eurostile Bold Extended (EBE) *BemboTM1 (BEC) **Folio Light (FLC) Berling Italic (BIC) *Franklin Gothic (FGC) Bodoni Bold (BBC) *Franklin Gothic Extra Condensed (FGE) Breeze Script Connecting (BSC) ITC Friz Quadrata®2 (FQC) Caslon Adbold (CAC) **Frutiger 55 (F55) Caslon Bold Condensed (CBO) Full Block (FBC) Century Bold (CBC) *Futura Medium (FMC) Charter Oak (COC) ITC Garamond Bold®2 (GBC) City Medium (CME) Garth GraphicTM3 (GGC) Clarendon Medium (CMC) **Gill SansTM1 (GSC) TYPESTYLE CHART (CON’T) Goudy Bold (GBO) *Optima Semi Bold (OSB) Goudy Extra Bold (GEB) Palatino (PAC) *Helvetica Bold (HBO) Palatino Italic (PAI) *Helvetica Bold Condensed (HBC) Radiant Bold Condensed (RBC) *Helvetica Medium (HMC) Rockwell BoldTM1 (RBO) **Helvetica Regular (HRC) Rockwell MediumTM1 (RMC) Highway Gothic B (HGC) Sabon Bold (SBC) ITC Isbell Bold®2 (IBC) *Standard Extended Medium (SEM) Jenson Medium (JMC) Stencil Gothic (SGC) Kestral Connected (KCC) Times Bold (TBC) Koloss (KOC) Time New Roman (TNR) Lectura Bold (LBC) *Transport Heavy (THC) Marker (MAC) Univers 57 (UN5) Melior Semi Bold (MSB) *Univers 65 (UNC) *Monument Block (MBC) *Univers 67 (UN6) Narrow Full Block (NFB) *V.A.G.
  • The Use of Technology in Teaching and Learning

    The Use of Technology in Teaching and Learning

    FEEDBACK Feedback regarding the editorial content of this book or any of its essays should be directed toward the individual authors or the book’s editors. They (authors and editors) are solely responsible for the substance of the text. Feedback regarding technical matters of formatting or accessibility of this text via the online environment of the Internet should be directed to the Internet Editor. If you have any complaints or difficulties in accessing these materials, be sure to provide as detailed a description of your problem(s) as you can; you should include information about the browser you are using and the type of computer you are using. COPYRIGHT AND OTHER LEGAL NOTICES The individual essays and chapters contained within this collection are Copyright © 2018 by their respective authors. This collection of essays and chapters as a compendium is Copyright © 2018 Society for the Teaching of Psychology. You may print multiple copies of these materials for your own personal use, including use in your classes and/or sharing with individual colleagues as long as the author’s name and institution, and a notice that the materials were obtained from the website of the Society for the Teaching of Psychology (STP) appear on the copied document. For research and archival purposes, public libraries and libraries at schools, colleges, universities and similar educational institutions may print and store in their research or lending collections multiple copies of this compendium as a whole without seeking further permission of STP (the editors would appreciate receiving a pro forma notice of any such library use).