Richard L. Baskerville
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Typographic Specimen Poster
Typographic Specimen Poster Type specimen posters were historically released by foundries and printers as a means of introducing new typefaces to designers. The design aesthetic of the posters was mostly utilitarian (simple and functional) with the goal of displaying a typeface in different sizes for the designer to visualize how the typeface could be used. As technology progressed from the linotype to the digital press, the emphasis on posters as the primary means of showing off a new typeface diminished, however the type specimen poster grew into their own form of expressive design. While modern type specimen posters are not as common, they are often far more expressive than their historical counterparts. Akzidenz Grotesk, design by Gunter Gerhard Lange in 1898 Homework: Put a Typeface to a Name This is a project that focuses on research and utilizing your knowledge of typography and layout skills learned over the past semester. Using InDesign, the objective of your type poster is to highlight the different qualities or characteristics of your chosen typeface, introduce the typographer, as well as generate a design that compliments the aesthetics of the prominent design movement of the time. Part 1) Research and Sketchbook Exercise: Research online and find at least 5 examples of type specimen sheets that inspire you, even if their design is different from the approach you will be taking. From your assigned century, choose a typographer and typeface they designed. Research the prominent design movement associated with your typographerʼs region and time period (Example: Typographer: Eric Gill, Typeface: Gill Sans, Time Period: 1920s England, Prominent Design Movement: Art Deco). -
WWII Book Project Project Based Learning
World History Semester 11 Causes of WWII Book Project Project Based Learning Overview: The students will create a children’s book or a comic book / graphic novel over one, many, or all of the causes of WWII. The students will use the internet to look up pictures to include in their book as well as conduct research over the causes of WWII. At the culmination of the project, each student will read his or her book to the class. The last page of the book needs to be 1 page explanation of the student’s opinion of what the main cause of WWII was and why they feel that way. 21 Century outcomes: Core Subject: History Learning and Innovation Skills Think Creatively Use Systems of Thinking Communicate Clearly Information, Media and Technology Skills Access and Evaluate Information Use and Manage Information Apply Technology Effectively Life and Career Skills Manage Goals and Time Work Independently Manage Projects Produce Results Social Studies, FHSD curriculum World History Content SS2. Knowledge of principles and processes of governance systems Content SS3b. Knowledge of continuity and change in the history of the world Causes of WWII Project: Causes of WWII Children’s book / comic book / graphic novel Requirements: 1. Front Cover/Introduction 2. at least 5 pages of content (not including the front / back cover, the timeline, or the 1 page answer) 3. Each page of the story must include words AND pictures 4. Timeline of the most important events leading up to WWII 5. The student’s opinion as to what the main cause of WWII was and why. -
Using Uportal
Chapter 2 Using uPortal Introduction to uPortal Publishing New Channels XHTML Design of uPortal The Layout Making a New Skin Cascading Style Sheets uPortal Graphics Layout Fragments Appendix A: The Default uPortal Cascading Style Sheet GUI Format Text Format Note on the images in this document: Usually, the picutres that help someone understand how a program works will match exactly what that person will see on the screen of their computer. As they go from one screen to the next, the pictures in the book will move along with them so that they know that they are in the rigth place. A portal is very customizable in the way it looks and what options are made available for people using it. By this, each school or business can change the look and feel of their portal so that it matches their symbols and colors, as well as deciding to remove certain options and buttons. The pictures that are used in this manual were captured as uPortal was being created. It is almost certain that the look of the portal that you will be using will not match that of the one used during development. It may look different, but it will still work in the way described here. Introduction to uPortal uPortal is a framework for presenting aggregated content that is customizable by both the user and the administrators. It is built using a database to contain the information about each user, with XSL transformations and JAVA to take this abstract data and convert it into the final, structured layout. -
“Information Systems: Past, Present and Looking to the Future”
Important Dates Please make sure you put these dates into your diary now: 15 January 2010 - Full papers and short papers due; 22 January 2010 – Posters due; UK Academy for Information Systems 15 February 2010 – Notification of provisional acceptance & comments from referees; 15th Annual Conference 2010 26 February 2010 – Final camera ready copy due; 23 – 24 March 2010 – UKAIS Conference. www.ukais.org Organised by UKAIS in collaboration with Conference Objectives the University of Wolverhampton The United Kingdom Academy for Information Systems (UKAIS) arose from a meeting 23 - 24 March 2010 in 1993 of leading UK academics in Information Systems. Concerns were expressed at Oriel College, University of Oxford the meeting about the way IS teaching and research were funded. The concerns stemmed from a lack of recognition of IS as a growing and important academic discipline. UKAIS was established in 1994 to remedy this situation. It is a charity, whose aims are to provide a better knowledge of IS within the UK and to provide a forum for discussing issues in IS teaching and research. Since this first meeting in 1993, UKAIS has recognised the importance of including practitioners into its remit. The UKAIS conference is the premiere academic event in the Information Systems calendar within the UK and attracts leading academics and researchers from the UK and overseas. This year's conference will bring together the three important "parts of the jigsaw" - teaching, research and practice. There is no doubt that over the years UKAIS has provided a forum for discussing ANNOUNCEMENT AND issues in IS , and this year's conference will reflect upon what we have learned from the CALL FOR PAPERS past, where we are currently and also look to the future. -
Between Frank Land [FL] and Antony Bryant [AB] – : Part 2. Journal of Information Technology
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Leeds Beckett Repository Citation: Bryant, A and Land, F (2020) A ‘conversation’ between Frank Land [FL] and Antony Bryant [AB] – : Part 2. Journal of Information Technology. ISSN 0268-3962 DOI: https://doi.org/10.1177/0268396220908275 Link to Leeds Beckett Repository record: http://eprints.leedsbeckett.ac.uk/7145/ Document Version: Article Creative Commons: Attribution 4.0 The aim of the Leeds Beckett Repository is to provide open access to our research, as required by funder policies and permitted by publishers and copyright law. The Leeds Beckett repository holds a wide range of publications, each of which has been checked for copyright and the relevant embargo period has been applied by the Research Services team. We operate on a standard take-down policy. If you are the author or publisher of an output and you would like it removed from the repository, please contact us and we will investigate on a case-by-case basis. Each thesis in the repository has been cleared where necessary by the author for third party copyright. If you would like a thesis to be removed from the repository or believe there is an issue with copyright, please contact us on [email protected] and we will investigate on a case-by-case basis. 908275JIN Journal of Information TechnologyBryant and Land JIT Debates and Perspectives Paper Journal of Information Technology 1 –17 A ‘conversation’ between Frank © Association for Information Land [FL] and Antony Bryant Technology Trust 2020 Article reuse guidelines: [AB] – : Part 2 sagepub.com/journals-permissions DOI:https://doi.org/10.1177/0268396220908275 10.1177/0268396220908275 Journals.sagepub.com/jinf Antony Bryant1 and Frank Land2 Abstract Part 1 of the ‘conversation’ offered important insights into a groundbreaking era for computer development – adding further detail to existing writings by Frank Land, the work of the LEO group in general, and extended accounts such as those by Ferry, Hally and Harding. -
Reviewer Acknowledgments
Reviewer Acknowledgments Margunn Aanestad Sameh Al-Natour Bijan Azad University of Oslo American University of Sharjah American University of Beirut Oslo, Norway Sharjah, United Arab Emirates Beirut, Lebanon Ahmed Abbasi Shoshana Altschuller Hillol Bala University of Virginia, McIntire School of Commerce Iona College Indiana University Charlottesville, Virginia New Rochelle, New York Bloomington, Indiana Alan Abrahams Catherine Anderson Sule Balkan Virginia Polytechnic Institute and State University University of Virginia Arizona State University Blacksburg, Virginia Falls Church, Virginia Tempe, Arizona Alessandro Acquisti Corey Angst Ravi Bapna Carnegie Mellon University University of Notre Dame University of Minnesota Pittsburgh, Pennsylvania Notre Dame, Indiana Minneapolis, Minnesota Ashish Agarwal Animesh Animesh Karen Barad The University of Texas at Austin McGill University University of Santa Cruz Austin, Texas Montreal, Canada Santa Cruz, California Julia Adler-Milstein Chadi Aoun Eric Barrette University of Michigan University of Technology Sydney University of Minnesota Ann Arbor, Michigan Sydney, Australia Minneapolis, Minnesota Monica Adya Sinan Aral Anitesh Barua Marquette University New York University University of Texas at Austin Milwaukee, Wisconsin New York City, New York Austin, Texas Walid Afifi Ofer Arazy Richard Baskerville University of California-Santa Barbara University of Alberta Georgia State University Santa Barbara, California Edmonton, Canada Atlanta, Georgia Ritu Agarwal Priscilla Arling Genevieve Bassellier University of Maryland Butler University McGill University College Park, Maryland Indianapolis, Indiana Montreal, Canada Leila Agha Deborah Armstrong Patrick Bateman Boston University School of Management The Florida State University Youngstown State University Boston, Massachusetts, Tallahassee, Florida Youngstown, Ohio Brad Agle Terrence August Anne Beaudry Brigham Young University University of California, San Diego Concordia University Provo, Utah San Diego, California Montreal, Canada William Agresti Robert D. -
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. -
Editors╎ Introduction
Special Issue stems stems Editors’ Introduction y Antony Bryant Leeds Metropolitan University [email protected] Frank Land London School of Economics [email protected] John Leslie King University of Michigan, Ann Arbor [email protected] ion for Information S Information for ion Journal of the Associat Volume 10, Special Issue, pp. 782-786, November 2009 Volume 10 Issue 11 Article 1 Editors’ Introduction This special issue of JAIS is concerned with ethical issues in IS research. The initial call for papers in mid-2008 left some ambiguity about focus of the special issue: was it focused on the ethics of IS research, papers on research into IS ethics, discussions on ethics with regard to IS practice, or combinations of two or more of these? We decided to welcome a range of submissions and judge each on its merits. In this way, we felt we might contribute to the growing interest in ethics among the IS community, which was the central theme of ICIS 2008. Some of the papers submitted addressed important ethical concerns only loosely anchored to IS research: web accessibility, reflective practice, ethical behaviour in virtual settings, teaching ethical issues in IS programs, etc. Others focused on ethical issues in scholarly publication: plagiarism, over-publishing, requirements placed on authors by publishers, etc. We had to make some choices about how to handle such submissions. In the end, submissions related to scholarly publication led in a surprising but useful direction. Plagiarism is a scourge of the academy, both amongst students and their teachers. Teachers can address the problem with various forms of examination (written and oral) or by technological strategies such as submitting student work to commercial web services such as turnitin. -
Full Transcript of the Interview
IN PARTNERSHIP WITH NATIONAL LIFE STORIES AN ORAL HISTORY OF BRITISH SCIENCE Frank Land Interviewed by Thomas Lean C1379/17 © The British Library Board http://sounds.bl.uk This interview and transcript is accessible via http://sounds.bl.uk . © The British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB United Kingdom +44 (0)20 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators. © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C1379/17 Collection title: An Oral History of British Science Interviewee’s surname: Land Title: Professor Interviewee’s forename: Frank Sex: Male Occupation: Programmer, Date and place of birth: 1928, Berlin, information systems Germany theorist Mother’s occupation: Father’s occupation: Engineering company owner Dates of recording, Compact flash cards used, tracks: 13 May 2010 (tracks 1-3), 21 June 2010 (tracks 4-5), 22 June 2010 (tracks 6-9), 23 June 2010 (tracks 10- 18) Location of interview: British Library (tracks 1-3), Interviewee's home, Ivybridge (tracks 4-18) Name of interviewer: Thomas Lean Type of recorder: Marantz PMD661 on secure digital Recording format : WAV 24 bit 48 kHz Total no. -
HTML1, Week 7 & 8 – CSS Font and Text Properties
HTML1, Week 7 & 8 – CSS Font and Text Properties Last week you learned how to use CSS together with an HTML file. We used a few CSS properties, but the focus was on how to incorporate CSS, not exactly how to use CSS most effectively. This week we begin to investigate some of the intricacies of CSS. In this list, the property is in bold and the values are listed after the word choices. font-family: value choices – list in order of font preference, comma delineated multiple word font names should be in quotes – “Comic Sans MS” spell font names with proper capitalization for best results always end list with a generic family name – sans-serif, serif, monospace, cursive, or fantasy common font families: Arial, Helvetica, sans-serif; Verdana, Geneva, sans-serif; Times, “Times New Roman”, serif; *if the fonts you specify are not installed on the viewer’s computer, a default font is substituted* *sans-serif fonts are easier to read on a computer screen* font-size: value choices – px, %, em, keywords keywords – xx-small, x-small, small, medium, large, x-large, xxlarge rule – use keyword for body, then use em or % for other elements *never use pixels in the body tag for font size* font-weight: value choices – keywords, 100-900 keywords – lighter, normal, bolder, bold rule – use only normal or bold for best results, browsers don’t support the other choices well font-style: value choices – normal, italic, oblique italic and oblique render the same in most browsers, so just pick one font-variant: value choices – normal, small-caps not all fonts have -
Old Style Font Examples
Old Style Font Examples Condign Torin malleates some prophecies after blistery Coleman outclasses infra. Tommie remains unfamiliar: she remediate her kaleyards calcimined too irrevocably? Jeffie riping his groundplots categorize second, but grooviest Aylmer never relocate so gutturally. It ships with the Roman alphabet, inspiring, serif. Creating and setting up a business is mention, not every listed above he can spread of richness. And hallmark you look under the Humanist typefaces, publishing, etc. Use in between a mechanical in the numerical weight value goes really well with overwhelming visuals, signs are characterized by their angular serifs. Contantia looks great, printing and publishing. Choose font software microsoft products that will it paid for old style font examples? Big thing to font old. It counts sixteen fonts, Arial, more niche retailer. When people feel. Those fonts examples that style makes it was created new roman, and follow along when your. Take pause in free educational webinars and a from direct industry experts. The host and narrow design of this font will ripple make your designs look one of right kind. Giorgio armani does a font includes an isolated word, charming and examples of old style font examples of the right to your. Burford pro and examples of considerations you look at national gallery it pulls its old style font examples? Every one will be considered the author of various flavors of the two fonts! Calisto MT, Avant Garde and Geneva. The curved or tapered end of a stroke that has no serif. Download this font here. They are interested in the example of the perfect cover letter spacing between the variation in ttf for the wrong. -
Font List Goldedition 2.0
Font List GoldEdition 2.0 Catalog NamePC PS File Name PC TT File Name Mac PS File Name Printer Font Printer Font 1. Aachen by Linotype Medium lt_70005.pfb lt_70005.ttf AacheMedPla 2. Aachen by Linotype Bold lt_70004.pfb lt_70004.ttf AacheBolPla 3. Aachen by Adobe Bold lte50127.pfb lte50127.ttf AacheLTBol 4. Aachen by Adobe Central European Bold accb____.pfb AacheCEBol 5. Abadi® Extra Light abel____.pfb abel____.ttf AbadiMTExtLig 6. Abadi® Extra Light Italic abeli___.pfb abeli___.ttf AbadiMTExtLigIta 7. Abadi® Light abal____.pfb abal____.ttf AbadiMTLig 8. Abadi® Light Italic abali___.pfb abali___.ttf AbadiMTLigIta 9. Abadi® Regular aba_____.pfb aba_____.ttf AbadiMT 10. Abadi® Italic abai____.pfb abai____.ttf AbadiMTIta 11. Abadi® Bold abab____.pfb abab____.ttf AbadiMTBol 12. Abadi® Bold Italic ababi___.pfb ababi___.ttf AbadiMTBolIta 13. Abadi® Extra Bold abeb____.pfb abeb____.ttf AbadiMTExtBol 14. Abadi® Extra Bold Italic abebi___.pfb abebi___.ttf AbadiMTExtBolIta 15. Abadi® Light Condensed abacl___.pfb abacl___.ttf AbadiMTConLig 16. Abadi® Condensed abac____.pfb abac____.ttf AbadiMTCon 17. Abadi® Condensed Bold abacb___.pfb abacb___.ttf AbadiMTConBol 18. Abadi® Condensed Extra Bold abace___.pfb abace___.ttf AbadiMTConExtBol 19. ITC Abaton™ by Linotype Regular LT_70006.pfb LT_70006.ttf ITCAba 20. Abbot Uncial™ Regular ABBOU___.PFB AbbotUnc 21. Linotype Abstract™ Regular LT_14354.pfb LT_14354.ttf AbstrLT 22. Academy™ Engraved Regular 46152___.PFB 46152___.TTF AcadeEngPla 23. Achispado™ Regular lt_57657.pfb LT_57657.ttf AchisLT 24. Acorn Regular ACORN___.PFB Acorn 25. Acorn Bold ACORB___.PFB AcornBol 26. ITC Adderville™ Book AdrvilBk.pfb ADDEIW__.TTF AdderITCBoo 27. ITC Adderville™ Medium AdrvilMd.pfb ADDEITM_.TTF AdderITCMed 28.