Vademecum Logotype+Fonts
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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. -
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! . -
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. -
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. -
History of Moveable Type
History of Moveable Type Johannes Gutenberg invented Moveable Type and the Printing Press in Germany in 1440. Moveable Type was first made of wood and replaced by metal. Example of moveable type being set. Fonts were Type set on a printing press. organized in wooden “job cases” by Typeface, Caps and Lower Case, and Point Size. Typography Terms Glyphs – letters (A,a,B,b,C,c) Typeface – The aesthetic design of an alphabet. Helvetica, Didot, Times New Roman Type Family – The range of variations and point size available within one Typeface. Font (Font Face) – The traditional term for the complete set of a typeface as it relates to one point size (Font Face: Helvetica, 10 pt). This would include upper and lower case glyphs, small capitals, bold and italic. After the introduction of the computer, the word Font is now used synonymously with the word Typeface, i.e. “What font are you using? Helvetica!” Weight – the weight of a typeface is determined by the thickness of the character outlines relative to their height (Hairline, Thin, Ultra-light, Extra-light, Light, Book, Regular, Roman, Medium, Demi-bold, Semi-bold, Bold, Extra-bold, Heavy, Black, Extra-black, Ultra-black). Point Size – the size of the typeface (12pt, 14pt, 18pt). Points are the standard until of typographic measurement. 12 points = 1 pica, 6 picas = 72 points = 1 inch. (Example right) A general rule is that body copy should never go below 10pt and captions should never be less than 8pt. Leading – or line spacing is the spacing between lines of type. In metal type composition, actual pieces of lead were inserted between lines of type on the printing press to create line spacing. -
Tracing Helvetica
TRACING HELVETICA MiraCosta College / oceanside MAT 155 Graphic Design 2 : Typography ARTG106 TYPOGRAPHY Fall 2016 : Sec. 1 Min Choi // Fall 2017 Rosemary Rae email: [email protected] TRACING HELVETICA INFO ABOUT HELVETICA HELVETICA— Helvetica is one of the most popular typefaces of all time. It was designed by Max Miedinger in 1957 for the Haas’sche Schriftgiesserei type foundry of Switzerland. Its name is derived from Helvetia, the Roman name for Switzerland. The font is based on the earlier Akzidenz Grotesk typeface from around 1898. The typeface, originally titled Haas-Grotesk, is a very clean sans-serif Helvetica is one of the most popular typefaces of all time. It was designed by Max Miedinger face. The typeface became extremely popular in the 1960s, when it was widely used. In 1983, Linotype released the Helvetica Neue (German for “New Helvetica”) typeface, based on Helvetica. in 1957 for the Haas’sche Schriftgiesserei type foundry of Switzerland. Its name is derived from The typeface Arial, distributed with Microsoft Windows, has the same widths as Helvetica and almost identical characters, and was essentially created as a cheaper unauthorized Helvetica clone, which has led to criticism of Microsoft. One of the easiest ways to Helvetia, the Roman name for Switzerland. The font is based on the earlier Akzidenz Grotesk distinguish the two is their uppercase “R.” Another way is looking at the “tail” of the “a” (lower right). Another is the lowercase “e”; Helvetica cuts the lower hook straight across, while Arial cuts it at an angle. typeface from around 1898. The typeface, originally titled Haas-Grotesk, is a very clean sans-serif While Univers is acknowledged to be the most used Latin typeface in the world, Helvetica is widely used in countries such as face. -
Times and Helvetica Fonts Under Development
ΩTimes and ΩHelvetica Fonts Under Development: Step One Yannis Haralambous, John Plaice To cite this version: Yannis Haralambous, John Plaice. ΩTimes and ΩHelvetica Fonts Under Development: Step One. Tugboat, TeX Users Group, 1996, Proceedings of the 1996 Annual Meeting, 17 (2), pp.126-146. hal- 02101600 HAL Id: hal-02101600 https://hal.archives-ouvertes.fr/hal-02101600 Submitted on 25 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ΩTimes and ΩHelvetica Fonts Under Development: Step One Yannis Haralambous Atelier Fluxus Virus, 187, rue Nationale, F-59800 Lille, France [email protected] John Plaice D´epartement d’informatique, Universit´e Laval, Ste-Foy (Qu´ebec) Canada G1K 7P4 [email protected] TheTruthIsOutThere and publishers request that their texts be typeset —ChrisCARTER, The X-Files (1993) in Times; Helvetica (especially the bold series) is often used as a titling font. Like Computer Modern, Times is a very neutral font that can be used in a Introduction wide range of documents, ranging from poetry to ΩTimes and ΩHelvetica will be public domain technical documentation.. virtual Times- and Helvetica-like fonts based upon It would surely be more fun to prepare a real PostScript fonts, which we call “Glyph Con- Bembo- or Stempel Garamond-like font for the serifs tainers”. -
Vision Performance Institute
Vision Performance Institute Technical Report Effect of Character Spacing on Text Legibility Yu-Chi Tai, Shun-nan Yang, and John Hayes, James Sheedy Vision Performance Institute, Pacific University, Oregon, USA Running title: Font size and optimal inter-letter spacing Correspondence concerning this article should be addressed to Yu-Chi Tai, Vision Performance Institute, Pacific University in Oregon, Forest Grove, OR 97116. Email: [email protected] Phone: 1.503.352.2289. Abstract This study investigated the effect of inter-letter spacing on letter and word recognition over a range of font sizes, font types, and different levels of text familiarity (word frequency). Inter-letter spacing affects the degree of lateral interference form neighboring letters. For commonly used fonts, character spacing is proportional to font size. Since lateral interference would be expected to operate over a fixed retinal area, we hypothesized that, relative to the default spacing for the common 10- to 12-point fonts, the optimal inter-letter spacing would be larger for smaller font sizes and smaller for larger font sizes. We also hypothesize that optimal spacing will be smaller for familiar words than for unfamiliar words because of top-down enhancement and that sans serif fonts will need wider spacing than serif fonts because of the extra contours. Fifty-four subjects were recruited and tested in two tasks: text (letter and word) recognition and spacing preference. In the text recognition, subjects were asked to read aloud 840 words or the middle letter in each of 420 random-letter strings. Half of the words were high-frequency and the other half low-frequency. -
12 Pt Bold Helvetica
APPENDIX B Instructions for electronic publication-ready papers All papers will be printed in publication-ready format. Publication-ready copy should be prepared according to the following instructions. Please read these carefully, as publication-ready copy that does not conform to these instructions will be returned for correction. (1) The paper should be submitted according to Section 3 of Notes for Authors. You do not need to prepare the publication-ready copy until your paper has been accepted by the Co-editor. (2) The style of a publication-ready paper in the Journal of Synchrotron Radiation is shown on the following pages. The detailed typographic specifications are as follows: Layout details Page size (text area): 183 238 mm Column width: 88 mm Space between columns: 7 mm Fonts and spacing Title: 12 pt bold Helvetica Authors: 10 pt bold Helvetica Affiliations: 9 pt oblique Helvetica Abstract: 9 pt Times Roman Keywords: 8 pt bold Helvetica Headings Level 1: 8 pt bold Helvetica, aligned left Level 2: 8 pt bold Helvetica, aligned left Level 3: 8 pt bold Helvetica, at start of paragraph Text: 9 pt Times Roman References: 8 pt Times Roman Figure captions: 8 pt Times Roman Table captions: 8 pt Times Roman Table text: 7 pt Times Roman Footnotes: 8 pt Times Roman If you do not have Helvetica fonts available, please use Univers or another sans-serif font. (3) Electronic templates (LATEX and WORD) are available by ftp from the address ftp.iucr.org in the directory `templates/jsr'. The above styles are already set up in these templates.