Tracing Helvetica
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Supreme Court of the State of New York Appellate Division: Second Judicial Department
Supreme Court of the State of New York Appellate Division: Second Judicial Department A GLOSSARY OF TERMS FOR FORMATTING COMPUTER-GENERATED BRIEFS, WITH EXAMPLES The rules concerning the formatting of briefs are contained in CPLR 5529 and in § 1250.8 of the Practice Rules of the Appellate Division. Those rules cover technical matters and therefore use certain technical terms which may be unfamiliar to attorneys and litigants. The following glossary is offered as an aid to the understanding of the rules. Typeface: A typeface is a complete set of characters of a particular and consistent design for the composition of text, and is also called a font. Typefaces often come in sets which usually include a bold and an italic version in addition to the basic design. Proportionally Spaced Typeface: Proportionally spaced type is designed so that the amount of horizontal space each letter occupies on a line of text is proportional to the design of each letter, the letter i, for example, being narrower than the letter w. More text of the same type size fits on a horizontal line of proportionally spaced type than a horizontal line of the same length of monospaced type. This sentence is set in Times New Roman, which is a proportionally spaced typeface. Monospaced Typeface: In a monospaced typeface, each letter occupies the same amount of space on a horizontal line of text. This sentence is set in Courier, which is a monospaced typeface. Point Size: A point is a unit of measurement used by printers equal to approximately 1/72 of an inch. -
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. -
A Catalogue of the Wood Type at Rochester Institute of Technology David P
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 11-1-1992 A Catalogue of the wood type at Rochester Institute of Technology David P. Wall Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Wall, David P., "A Catalogue of the wood type at Rochester Institute of Technology" (1992). 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]. School ofPrinting Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate ofApproval Master's Thesis This is to Certify that the Master's Thesis of David P. Wall With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master ofScience degree at the convocation of DECEMBER 1992 Da,e Thesis Committee: David Pankow Thesis Advisor Marie Freckleton Graduate Program Coordinator George H. Ryan Direcmr or Designa[e A Catalogue of the Wood Type at Rochester Institute of Technology by David P. Wall A thesis project 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 ofTechnology November 1992 Project Advisor: Professor David Pankow Introduction type,' When Adobe Systems introduced in 1990 their first digital library of 'wood the event marked the latest step forward in a tradition dating back to 1828, when Darius Wells, ofNew Wells' York City, perfected the equipment and techniques needed to mass produce wood type. -
Choosing Fonts – Quick Tips
Choosing Fonts – Quick Tips 1. Choose complementary fonts – choose a font that matches the mood of your design. For business cards, it is probably best to choose a classic font. *Note: These fonts are not available in Canva, but are in the Microsoft Office Suite. For some good Canva options, go to this link – https://www.canva.com/learn/canva-for-work-brand-fonts/ Examples: Serif Fonts: Sans Serif Fonts: Times New Roman Helvetica Cambria Arial Georgia Verdana Courier New Calibri Century Schoolbook 2. Establish a visual hierarchy – Use fonts to separate different types of information and guide the reader - Use different fonts, sizes, weights (boldness), and even color - Example: Heading (Helvetica, SZ 22, Bold) Sub-heading (Helvetica, SZ 16, Italics) Body Text (Garamond, SZ 12, Regular) Captions (Garamond, SZ 10, Regular 3. Mix Serifs and Sans Serifs – This is one of the best ways to add visual interest to type. See in the above example how I combined Helvetica, a sans serif font, with Garamond, a serif font. 4. Create Contrast, Not Conflict: Fonts that are too dissimilar may not pair well together. Contrast is good, but fonts need a connecting element. Conflict Contrast 5. Use Fonts from the Same Family: These fonts were created to work together. For example, the fonts in the Arial or Courier families. 6. Limit Your Number of Fonts: No more than 2 or 3 is a good rule – for business cards, choose 2. 7. Trust Your Eye: These are not concrete rules – you will know if a design element works or not! . -
ISSN 0022-2224 August 2016 Published Continuously Since 1967
the journal of visual communication research special issue: reecting of 50 years of Typography Charles Bigelow and Kevin Larson Guest Editors 50 .2 ISSN 0022-2224 august 2016 Published continuously since 1967. Visible Language the journal of visual communication research special issue: Relecting on 50 years of Typography Charles Bigelow and Kevin Larson Guest Editors August 2016 Visible Language 50.2 Contents The Xerox Alto Font Design System Patrick Baudelaire 12 — 25 The Digital Typefoundry Matthew Carter 26 — 37 Advisory Board Naomi Baron – The American University, Washington, D.C. two letters: 1968 & 2016 Michael Bierut – Pentagram, New York, NY Charles Bigelow – Type designer Schmoller & Matteson Matthew Carter – Carter & Cone Type, Cambridge, MA 38 — 39 Keith Crutcher – Cincinnati, OH Mary Dyson – University of Reading, UK Jorge Frascara – University of Alberta, Canada / Universidad de las Americas Puebla Ken Friedman – Swinburne University of Technology, Melbourne, Australia Communication of Mathematics with TEX Michael Golec – School of the Art Institute of Chicago, Chicago, IL Barbara Beeton, Richard Palais Judith Gregory – University of California-Irvine, Irvine, CA Kevin Larson – Microsoft Advanced Reading Technologies 40 — 51 Aaron Marcus – Aaron Marcus & Associates, Berkeley, CA Per Mollerup – Swinburne University of Technology, Melbourne, Australia Commercial at @ Tom Ockerse – Rhode Island School of Design, Providence, RI Sharon Poggenpohl – Estes Park, CO James Mosley Michael Renner – The Basel School of Design – Visual Communication Institute, 52 — 63 Academy of Art and Design, HGK FHNW Stan Ruecker – IIT, Chicago, IL Katie Salen – DePaul University, Chicago, IL Letterform Research: an academic orphan Peter Storkerson – Champaign, IL Karl van der Waarde – Avans University, Breda, The Netherlands Soie Beier Mike Zender – University of Cincinnati, Cincinnati, OH 64 — 79 2 3 Visible Language special issue: Typography 50.2 Orthographic Processing and Reading Jonathan Grainger 80 — 101 Reading Digital with Low Vision Gordon E. -
Classifying Type Thunder Graphics Training • Type Workshop Typeface Groups
Classifying Type Thunder Graphics Training • Type Workshop Typeface Groups Cla sifying Type Typeface Groups The typefaces you choose can make or break a layout or design because they set the tone of the message.Choosing The the more right you font know for the about job is type, an important the better design your decision.type choices There will are be. so many different fonts available for the computer that it would be almost impossible to learn the names of every one. However, manys typefaces share similar qualities. Typographers classify fonts into groups to help Typographers classify type into groups to help remember the different kinds. Often, a font from within oneremember group can the be different substituted kinds. for Often, one nota font available from within to achieve one group the samecan be effect. substituted Different for anothertypographers usewhen different not available groupings. to achieve The classifi the samecation effect. system Different used by typographers Thunder Graphics use different includes groups. seven The major groups.classification system used byStevenson includes seven major groups. Use the Right arrow key to move to the next page. • Use the Left arrow key to move back a page. Use the key combination, Command (⌘) + Q to quit the presentation. Thunder Graphics Training • Type Workshop Typeface Groups ����������������������� ��������������������������������������������������������������������������������� ���������������������������������������������������������������������������� ������������������������������������������������������������������������������ -
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. -
A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With
Ty p o g raph i c Factettes A collection of mildly interesting facts about the little symbols we communicate with. Helvetica The horizontal bars of a letter are almost always thinner than the vertical bars. Minion The font size is approximately the measurement from the lowest appearance of any letter to the highest. Most of the time. Seventy-two points equals one inch. Fridge256 point Cochin most of 50the point Zaphino time Letters with rounded bottoms don’t sit on the baseline, but slightly below it. Visually, they would appear too high if they rested on the same base as the squared letters. liceAdobe Caslon Bold UNITED KINGDOM UNITED STATES LOLITA LOLITA In Ancient Rome, scribes would abbreviate et (the latin word for and) into one letter. We still use that abbreviation, called the ampersand. The et is still very visible in some italic ampersands. The word ampersand comes from and-per-se-and. Strange. Adobe Garamond Regular Adobe Garamond Italic Trump Mediaval Italic Helvetica Light hat two letters ss w it cam gue e f can rom u . I Yo t h d. as n b ha e rt en ho a s ro n u e n t d it r fo w r s h a u n w ) d r e e m d a s n o r f e y t e t a e r b s , a b s u d t e d e e n m t i a ( n l d o b s o m a y r S e - d t w A i e t h h t t , h d e n a a s d r v e e p n t m a o f e e h m t e a k i i l . -
Brand Manual the NEW BRAND DESIGN GUIDELINES for “LIPSUS”, a PRODUCT by SHAHAK-TEC LTD
AppleBay Media [email protected] Uziya Street 15/10 www.applebaymedia.com Jerusalem 9314315 Company Representative +972 50 990 2285 David Metzler Brand Manual THE NEW BRAND DESIGN GUIDELINES FOR “LIPSUS”, A PRODUCT BY SHAHAK-TEC LTD. March 2019 BRAND DESIGN MANUAL V1 PREPARED FOR LIPSUS Address Phone & Fax Online Shahak-Tec Ltd. Email 1: [email protected] 1 Avshalom Road, P.O. Box 166 Phone: +972 4 624 4444 Email 2: [email protected] Zikhron Yaaqov 3095101 Israel Fax: +972 4 635 0999 Website: www.shahaktec.com Brand Identity? Have a Look when Image meets Design. Lipsus Corporate Brand Guidelines Version: v1 // 2019 Table of content Brand Design Manual SECTION 1 | INTRODUCTION .........................................................................PAGE 04 SECTION 2 | BRAND LOGO ............................................................................PAGE 06 SECTION 3 | BRAND TYPOGRAPHY ..................................................................PAGE 10 SECTION 4 | BRAND COLOR SYSTEM ...............................................................PAGE 14 These guidelines describe the visual and verbal elements that represent Lipsus´ brand identity. welcome4 // 16 1. INTRODUCTION // Introduction THE DESIGN GUIDELINES These guidelines describe the visual and verbal elements that represent the corporate identity of Lipsus. This includes our name, logo and other elements such as color, type and graphics. Sending a consistent and controlled message of who you are is essential to presenting a strong, unified image of your company. These guidelines should reflect Lipsus’ commitment to quality, consitency and style. The Lipsus brand, including the logo, name, colors and identifying elements, are valuable company assets. Each of you is responsible for protecting the company’s interests by preventing unauthorized or incorrect use of the Lipsus name and marks. DAVID METZLER AppleBay Media welcome5 // 16 The Logo • Introduction • Elements • Versions • Dimensions • Applications 6 // 16 2. -
Vademecum Logo+Font
Vademecum per l’uso di logotipo e font Logotipo Il logo Mosaico+ è disponibile in due versioni: logotipo completo e pittogramma con o senza payoff 1. logotipo completo (MOSAICO+) da utilizzare in ogni contesto istituzionale come: · lettere · documenti legali · firme email · presentazioni · cataloghi · progetti · listini · offerte · ... 2. pittogramma (M+) da utilizzare all’interno di: · sito e canali social di Mosaico+ in cui il profilo stesso si chiami Mosaico+ · presentazioni o strumenti che già riportino il logo completo · su immagini fotografiche e realizzazioni da ricondurre al brand · laddove lo spazio sia estremamente piccolo da rendere il logo completo illeggibile · ... 3. Il pittogramma può essere accompagnato dal payoff (Shaping mosaics) solo se leggibile. Logotipo e pittogramma sono disponibili esclusivamente in: · nero per tutte le comunicazioni istituzionali · bianco per cover o per brandizzare immagini Non si modificano il colore, le proporzioni e la direzione del logo. Nelle immagini il logo viene posizionato in basso a destra. Le immagini di collezione sono parte integrande della comunicazione del brand, pertanto non è possibile apporvi loghi diversi da quello ufficiale. Font ufficiali 4. Per tutte le comunicazioni istituzionali o commerciali: · Helvetica light 45 o Helvetica heavy 85 per i grassetti (in alternativa Helvetica regular o Helvetica bold per i grassetti) Per testi tecnici o lunghi testi contrattuali o legali · Trade gothic condensed 18 o Trade gothic condensed 20 per i grassetti. Per ogni chiarimento o specifica esigenza, vi preghiamo di contattare preventivamente l’ufficio marketing: [email protected] 1. logotipo completo lettera catalogo Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. -
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. -
Style Guide: Best Practices in Formatting
Style Guide: Best Practices in Formatting According to Colin Wheildon, author of Type & Layout: Are You Communicating or Just Making Pretty Shapes, it’s possible that 75% of your readers attempting to access your content (whether online, in print, or via email) will disregard what you’re saying based solely on the type of font you choose. That’s right—75%! That’s why it’s critically important to choose fonts that are clean and accessible and to choose a layout that is visual but not busy. Don’t try to pack too much into your layout, or else you may run the risk of your message being lost. First, let’s look at the differences between a “serif” and “sans serif” font. Serif fonts are more embellished, with small lines attached to the end of a stroke in a letter or symbol. Popular serif fonts include Times New Roman, Georgia, and Garamond. Many books, newspaper, and magazines use a serif font. In print mediums, serif fonts are often easier to read. Sans serif fonts don’t have the added embellishments. These fonts are often used in advertisements, and are generally easier to read. In print, sans serif fonts are often used as a headline, whereas serif fonts are used for the body text. Popular sans serif fonts include Helvetica, Arial, and Calibri. There are some simple best practices in formatting print, online, and email communications for your organization. These best practices will make your information easier to understand and more accessible to the average reader. When do I use a serif font like Times New Roman or Garamond? For print items, it’s suggested to utilize serif fonts for brochures, donation letters in the mail, etc.