PART 5 Understanding and Using the “Toolkit Guidelines for Graphic Design”
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The Origins of the Underline As Visual Representation of the Hyperlink on the Web: a Case Study in Skeuomorphism
The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Romano, John J. 2016. The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797379 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism John J Romano A Thesis in the Field of Visual Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 Abstract This thesis investigates the process by which the underline came to be used as the default signifier of hyperlinks on the World Wide Web. Created in 1990 by Tim Berners- Lee, the web quickly became the most used hypertext system in the world, and most browsers default to indicating hyperlinks with an underline. To answer the question of why the underline was chosen over competing demarcation techniques, the thesis applies the methods of history of technology and sociology of technology. Before the invention of the web, the underline–also known as the vinculum–was used in many contexts in writing systems; collecting entities together to form a whole and ascribing additional meaning to the content. -
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. -
Bluebook Citation in Scholarly Legal Writing
BLUEBOOK CITATION IN SCHOLARLY LEGAL WRITING © 2016 The Writing Center at GULC. All Rights Reserved. The writing assignments you receive in 1L Legal Research and Writing or Legal Practice are primarily practice-based documents such as memoranda and briefs, so your experience using the Bluebook as a first year student has likely been limited to the practitioner style of legal writing. When writing scholarly papers and for your law journal, however, you will need to use the Bluebook’s typeface conventions for law review articles. Although answers to all your citation questions can be found in the Bluebook itself, there are some key, but subtle differences between practitioner writing and scholarly writing you should be careful not to overlook. Your first encounter with law review-style citations will probably be the journal Write-On competition at the end of your first year. This guide may help you in the transition from providing Bluebook citations in court documents to doing the same for law review articles, with a focus on the sources that you are likely to encounter in the Write-On competition. 1. Typeface (Rule 2) Most law reviews use the same typeface style, which includes Ordinary Times New Roman, Italics, and SMALL CAPITALS. In court documents, use Ordinary Roman, Italics, and Underlining. Scholarly Writing In scholarly writing footnotes, use Ordinary Roman type for case names in full citations, including in citation sentences contained in footnotes. This typeface is also used in the main text of a document. Use Italics for the short form of case citations. Use Italics for article titles, introductory signals, procedural phrases in case names, and explanatory signals in citations. -
Relief Printing Letterpress Machines
DRAFT SYLLABUS FOR PRESS WORK - I Name of the Course: Diploma in Printing Technology Course Code: Semester: Third Duration: 16 Weeks Maximum Marks: 100 Teaching Scheme Examination Scheme Theory: 3 hrs/week Internal Examination: 20 Tutorial: 1 hr/week Assignment & Attendance: 10 Practical: 6 hrs/week End Semester Exam:70 Credit: 3 Aim: Getting the output through a printing machine is the most important operation for completing the print production. This subject known as Presswork - I is one of the key subject to make a clear and sound knowledge in some of the major print production systems and supplies. This will enable the students to make judgement about the aspect of printing, particularly the selection of a particular process to choose for a specific print production. Objective: The students will be able to (i) understand the basic and clear classification of all kinds of printing processes; (ii) understand the details divisions and subdivisions of letterpress printing machines, their applications and uses, characteristics and identifications of their products- merits and demerits of various letterpress machines; (iii) understand the principal mechanism of various letterpress and sheet-fed machines, their constructional differences in the printing unit and operational features; (iv) understanding the various feeding and delivery mechanism in printing machines; (v) appreciate the relational aspects of various materials used in presswork. Pre -Requisite: Elementary knowledge of Basic Printing & Production Contents: Group-A Hrs/unit Marks Unit 1 Relief Printing 10 10 1.1 Classifications of various relief printing machines, their applications and uses, characteristics of the products. 1.2 Details of divisions and subdivisions of letterpress printing machines, their applications and uses, characteristics and identifications of their products- merits and demerits of various letterpress machines General unit wise division of a printing machine. -
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. -
Copyrighted Material
INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets, -
</Break>The Role of Format and Design in Readability
Pleasing the reader by pleasing the eye—Part 1 The role of format and design in readability Gabriele Berghammer1, Anders Holmqvist2 Correspondence to: 1the text clinic, Vienna, Austria 2Holmqvist AD & Bild, Lund, Sweden Gabriele Berghammer [email protected]; www.the-text-clinic.com Abstract Whoever writes wants to be read. Yet, even if we punctuation marks, and visuals are arranged on a succeed in creating an informative, logically struc- piece of paper can be as much a part of the story tured, and adequately worded text tailored to our as the content itself. They can make or break a target audience, i.e., text we consider to have an message. adequate level of readability, our documents may At least that ’s what we thought. Seeing, however, still go unread—or read with antipathy. Next to lin- that many of today’s publications, particularly in the guistic factors, therefore, there is a wide range of areas of technical, informational, and instructional other aspects determining how well we understand prose, fall short of what we have come to perceive a text, including layout, typography, or cultural ade- as essential aspects of our crafts, we started to ask quacy. Documents people can use effectively and ourselves whether, in these fast-paced times of with ease have language, graphics, and design budget constraints, format and design had become combine into a harmonious whole. Good design an obsolete luxury reserved for belletristic literature helps arouse interest and singles a text out from or art. Not long ago, one of the authors (GB) read a many others that vie for our attention. -
Vol. 123 Style Sheet
THE YALE LAW JOURNAL VOLUME 123 STYLE SHEET The Yale Law Journal follows The Bluebook: A Uniform System of Citation (19th ed. 2010) for citation form and the Chicago Manual of Style (16th ed. 2010) for stylistic matters not addressed by The Bluebook. For the rare situations in which neither of these works covers a particular stylistic matter, we refer to the Government Printing Office (GPO) Style Manual (30th ed. 2008). The Journal’s official reference dictionary is Merriam-Webster’s Collegiate Dictionary, Eleventh Edition. The text of the dictionary is available at www.m-w.com. This Style Sheet codifies Journal-specific guidelines that take precedence over these sources. Rules 1-21 clarify and supplement the citation rules set out in The Bluebook. Rule 22 focuses on recurring matters of style. Rule 1 SR 1.1 String Citations in Textual Sentences 1.1.1 (a)—When parts of a string citation are grammatically integrated into a textual sentence in a footnote (as opposed to being citation clauses or citation sentences grammatically separate from the textual sentence): ● Use semicolons to separate the citations from one another; ● Use an “and” to separate the penultimate and last citations, even where there are only two citations; ● Use textual explanations instead of parenthetical explanations; and ● Do not italicize the signals or the “and.” For example: For further discussion of this issue, see, for example, State v. Gounagias, 153 P. 9, 15 (Wash. 1915), which describes provocation; State v. Stonehouse, 555 P. 772, 779 (Wash. 1907), which lists excuses; and WENDY BROWN & JOHN BLACK, STATES OF INJURY: POWER AND FREEDOM 34 (1995), which examines harm. -
Introduction to Printing Technologies
Edited with the trial version of Foxit Advanced PDF Editor To remove this notice, visit: www.foxitsoftware.com/shopping Introduction to Printing Technologies Study Material for Students : Introduction to Printing Technologies CAREER OPPORTUNITIES IN MEDIA WORLD Mass communication and Journalism is institutionalized and source specific. Itfunctions through well-organized professionals and has an ever increasing interlace. Mass media has a global availability and it has converted the whole world in to a global village. A qualified journalism professional can take up a job of educating, entertaining, informing, persuading, interpreting, and guiding. Working in print media offers the opportunities to be a news reporter, news presenter, an editor, a feature writer, a photojournalist, etc. Electronic media offers great opportunities of being a news reporter, news editor, newsreader, programme host, interviewer, cameraman,Edited with theproducer, trial version of Foxit Advanced PDF Editor director, etc. To remove this notice, visit: www.foxitsoftware.com/shopping Other titles of Mass Communication and Journalism professionals are script writer, production assistant, technical director, floor manager, lighting director, scenic director, coordinator, creative director, advertiser, media planner, media consultant, public relation officer, counselor, front office executive, event manager and others. 2 : Introduction to Printing Technologies INTRODUCTION The book introduces the students to fundamentals of printing. Today printing technology is a part of our everyday life. It is all around us. T h e history and origin of printing technology are also discussed in the book. Students of mass communication will also learn about t h e different types of printing and typography in this book. The book will also make a comparison between Traditional Printing Vs Modern Typography. -
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! . -
Background a Short Introduction to Font Characteristics
fonts: background A short introduction to font characteristics Maarten Gelderman Hardly anyone will dispute the statement that proporion- ally spaced fonts are more beautiful and legible than mono- abstract spaced designs. In a monospaced design the letter i takes as Almost anyone who develops an interest in fonts is bound to much space as a letter m or W. Consequently, some char- be overwelmed by the bewildering variety of letterforms acters look simply too compressed, whereas around oth- available. The number of fonts available from commercial ers too much white space is found. Monospaced fonts are suppliers like Adobe, URW, LinoType and others runs into the simply not suited for body text. Only in situations where it thousands. A recent catalog issued by FontShop [Truong et al., is important that all characters are of equal width, e.g., in 1998] alone lists over 25.000 different varieties.1 And listings of computer programs, where it may be important somehow, although the differences of the individual letters are that each individual character can be discerned and where hardly noticable, each font has its own character, its own the layout of the program may depend on using mono- personality. Even the atmosphere elucided by a text set from spaced fonts, can the usage of a monospaced font be de- Adobe Garamond is noticably different from the atmosphere of the same text set from Stempel Garamond. Although fended. In most other situations, they should simply be decisions about the usage of fonts, will always remain in the avoided. realm of esthetics, some knowledge about font characteristics may nevertheless help to create some order and to find out Romans, italics and slant A second typeface character- why certain design decisions just do not work. -
GOING in STYLE (#3): on TYPOGRAPHY, PART 2 Typography Is “The Visual Component of the Written Word.” (Matthew Butterick, Ty
GOING IN STYLE (#3): ON TYPOGRAPHY, PART 2 Typography is “the visual component of the written word.” (Matthew Butterick, Typography for Lawyers: Essential Tools for Polished & Persuasive Documents (2nd ed. 2015) p. 20.) As discussed in the previous issue of this series, typography is a subtle but significant aspect of every brief we file, with the capacity to improve persuasiveness by making reading easier and demonstrating professionalism through attention to detail. While there are few hard rules in brief typography, there are many areas that call for practitioners’ consideration and consistency. The previous issue addressed two aspects of typography — type composition and text formatting. Here we will take up a third — page layout. PAGE LAYOUT Page layout is the way text looks on the page, including the amount of white space. The California Rules of Court impose a single page layout requirement: rule 8.204(b)(6)1 requires margins of 1.5" on left and right sides, 1" top and bottom. Other than that, brief writers have decisions to make. ● Line spacing Line spacing, the vertical distance between lines of text, must be a minimum 1.5 lines. (Rule 8.204(b)(5).) Although experts generally say something slightly less than 1.5-spaced lines is best for reading, it depends on how long the lines are. (See Ruth Anne Robbins, Painting with print: Incorporating concepts of typographic and layout design into the text of legal writing documents (2004) 2 J. Assoc. of Legal Writing Directors 108, 123–124.) In an appellate brief with 1.5" margins on an 8.5 x 11" page,1.5-spaced lines, which is what the 1 Citations to rules refer to the California Rules of Court.