The Typographic Contribution to Language: 1987 Towards a Model of Typographic Genres and Their Underlying Structures
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The Typographic Contribution to Language
Chapter 1: Typography and language: a selective literature review In this chapter I shall review some of the typographic literature to give an impression of the ‘story so far’. The review is necessarily selective, and leaves out a great deal of valid and useful information about particular typographic problems. The purpose is not to list all that is known, but rather to sketch a background to the theoretical problems addressed in this study. By ‘typographic literature’ I mean writings that have explicitly set out to discuss some aspect of typography, rather than writings on other topics that might conceivably be relevant to typography (although I introduce quite a number of these in later chapters). It is appropriate to start by looking at what typographers themselves have written, before considering the approaches taken by those psychologists and linguists who have addressed typographic issues. Typographers on typography British typography is still heavily influenced by ‘the great and the good’ book typographers of the Anglo-American pre-war tradition, (for example Rogers 1943, Morison 1951, and Updike 1937). While they contributed a great deal of intelligent and scholarly writing on typography, it was mostly of a historical or technical rather than a theoretical character. Above all, they were concerned with the revival and creation of beautiful and effective letterforms, and with the design of readable prose, mainly for books but also newspapers. We should remember that the concept of ‘typo- graphy’ as an abstract entity was relatively new, as was the profession of ‘typographer’. Chapter 1 • 11 On the written evidence, it seems that they did not view typography as part of language so much as a channel for its transmission. -
Graphic Communication A.A.A. Curriculum Code: 1533 Effective: Fall 2019 – Summer 2024
Graphic Communication A.A.A. Curriculum Code: 1533 Effective: Fall 2019 – Summer 2024 Description A graphic designer is an artist/communicator who creatively and effectively designs informational or promotional materials for output in print, web and/or a variety of mass media situations. Artistic skills related to producing effective visual information are essential for a graphic designer. An understanding of the principles of typography, color theory, computer graphic applications, web design, and pre-press techniques is necessary. Graphic designers are employed by design studios, advertising agencies, printing companies, publishers, newspapers, sign companies, and businesses that generate their own publications. Not all courses in this program transfer to all colleges. Students planning to transfer should see an academic advisor before enrolling in any course. Additional Information Students in this program choose either Graphic Design or Web Design pathway to determine the courses to take each semester. Contact Information Contact the Communication, Media and the Arts Department, Gannon Building, Room 131, telephone number 517-483-1546 or the Academic Advising Department, Gannon Building – StarZone, telephone number 517-483-1904. General Education Core Courses, Recommended Choices (For the full list of options, see General Education Core Courses) • Communication Program of Study Required Courses fulfills this requirement • Global Perspective and Diversity – Select one HUMS 212, Art Hist from the Renaissance, 4 credits / 4 billing hours -
High-Level and Low-Level Synthesis
c01.qxd 1/29/05 15:24 Page 17 1 High-Level and Low-Level Synthesis 1.1 Differentiating Between Low-Level and High-Level Synthesis We need to differentiate between low- and high-level synthesis. Linguistics makes a broadly equivalent distinction in terms of human speech production: low-level synthesis corresponds roughly to phonetics and high-level synthesis corresponds roughly to phonology. There is some blurring between these two components, and we shall discuss the importance of this in due course (see Chapter 11 and Chapter 25). In linguistics, phonology is essentially about planning. It is here that the plan is put together for speaking utterances formulated by other parts of the linguistics, like semantics and syn- tax. These other areas are not concerned with speaking–their domain is how to arrive at phrases and sentences which appropriately reflect the meaning of what a person has to say. It is felt that it is only when these pre-speech phrases and sentences are arrived at that the business of planning how to speak them begins. One reason why we feel that there is somewhat of a break between sentences and planning how to speak them is that those same sentences might be channelled into a part of linguistics which would plan how to write them. Diagrammed this looks like: graphology writing plan semantics/syntax phrase/sentence phonology speaking plan The task of phonology is to formulate a speaking plan, whereas that of graphology is to formulate a writing plan. Notice that in either case we end up simply with a plan–not with writing or speech: that comes later. -
Graphic Design in the Postmodern Era
Graphic Design in the Postmodern Era By Mr. Keedy This essay was based on lectures presented at FUSE 98, San Francisco, May 28, and The AIGA National Student Design Conference, CalArts, June 14, 1998. It was first published in 1998 in Emigre 47. Any discussion of postmodernism must be preceded by at least a provisional definition of modernism. First there is modernism with a capital "M," which designates a style and ideology and that is not restricted to a specific historical moment or geographical location. Modernist designers from the Bauhaus in Germany, the De Style in Holland, and Constructivism in Russia, share essentially the same Modernist ideology as designers like Paul Rand, Massimo Vignelli, and Eric Spiekermann. Its primary tenet is that the articulation of form should always be derived from the programmatic dictates of the object being designed. In short, form follows function. Modernism was for the most part formed in art schools, where the pedagogical strategies were developed that continue to this day in design schools. It is a formalist, rationalist, visual language that can be applied to a wide range of circumstances. All kinds of claims can and have been made in an effort to keep Modernism eternally relevant and new. The contradiction of being constant, yet always new, has great appeal for graphic designers, whose work is so ephemeral. Then there is the modern, with a small "m." It is often confused with Modernism with a big M, but being a modern designer simply means being dedicated to working in a way that is contemporary and innovative, regardless of what your particular stylistic or ideological bias may be. -
The Inflow and Adaptation of Russian Constructivism on the Korean Typographic Culture in the 1920S–1930S
The inflow and adaptation of Russian Constructivism on the Korean typographic culture in the 1920s–1930s Sun-A Jeong / Min-Soo Kim / Seoul National University / Seoul / Korea Blucher Design Abstract Proceedings November 2016, The aim of this study is researching the interaction between Russian constructivist graphic im- Number 1, Volume 1 http://www.proceeding age and the East Asian typography, particularly Korean typography which has different features, s.blucher.com.br/articl compared to Western letters. For this purpose, graphic design that appeared in media such as e-list/icdhs2016/list newspapers, magazines and books during the 1920-30s in Korea is investigated. In conclusion, Russian constructivist images in Korea were composed with traditional calligraphy and created distinctive visual culture because of the political and economic colonial condition at that time, while constructivist images in Russia and Europe were used mainly with sanserif typography that considered to have international characteristic. Keywords Constructivism, Korean typography, Korean design history, sanserif typography, modernity Introduction Russian Constructivism was active around the time of the 1917 Bolshevist Revolution. Constructivism represented the “new age” brought about by the Bolshevic revolution. This style’s character was revolutionary, radical, and connected to other avant-garde European artistic movements that sought experimentation and innova- tion, including Dadaism, Futurism, and De Stijl. Meanwhile, the world was undergoing the reorganization of political structures after WW1. “Modernization” was also pursued in Korea, a colony of the Japanese Empire, as it had the will needed by weaker countries to survive independently among world powers. Consequently, different ideologies clashed over the nation’s direction. -
Interior Design 160: GRAPHIC COMMUNICATION for DESIGN
Bellevue Community College Fall 2004 Interior Design 160: GRAPHIC COMMUNICATION FOR DESIGN Class Session: MW 9:30a-12:20p Credit Hours: Five (5) Location: L110 Instructor: Dan Beert Office: L114A Hours: MW 1:30 - 3:30, F 10:30-11:30 and by appointment or email email: [email protected] Phone: (425) 564-4041 COURSE DESCRIPTION This course introduces graphic tools, techniques, and conventions used for effective visual communication in design. Students apply theory as they develop skills in architectural drafting, lettering, and basic rendering and perspective drawing skills. This will be done through readings, lectures, and studio work. Drawings will be assessed for comprehension, layout, neatness, and the overall quality. Students will evaluate and subjectively critique design methods. Prerequisite: ART 110 and 120. COURSE OUTCOMES: Students after successfully completing Graphic Communication I will be able to: 1. Describe the reasons for learning visual communication skills and conventions, and their application to interior design and related professions. 2. Describe the necessary characteristics and relevant conventions for the use of lines and line weights in drawings. 3. Describe the salient characteristics of orthographic, paraline, and perspective drawings, and identify appropriate applications for each drawing type 4. Describe the purpose and characteristics of rendering interior materials and textures by applying basic monochromatic rendering techniques as a way of conveying depth of space and visual interest. 5. Incorporate orthographic, paraline, linear perspective, and freehand perspective drawings into an on- going process of developing three-dimensional visualization skills to aid in the understanding two- dimensional representations of objects and spaces (e.g., by using a three-dimensional drawing to assist in visualizing an object otherwise described with two-dimensional orthographic drawings) After successful completion of Graphic Communication I, student work will: 1. -
Introduction to ASIC Design
’14EC770 : ASIC DESIGN’ An Introduction Application - Specific Integrated Circuit Dr.K.Kalyani AP, ECE, TCE. 1 VLSI COMPANIES IN INDIA • Motorola India – IC design center • Texas Instruments – IC design center in Bangalore • VLSI India – ASIC design and FPGA services • VLSI Software – Design of electronic design automation tools • Microchip Technology – Offers VLSI CMOS semiconductor components for embedded systems • Delsoft – Electronic design automation, digital video technology and VLSI design services • Horizon Semiconductors – ASIC, VLSI and IC design training • Bit Mapper – Design, development & training • Calorex Institute of Technology – Courses in VLSI chip design, DSP and Verilog HDL • ControlNet India – VLSI design, network monitoring products and services • E Infochips – ASIC chip design, embedded systems and software development • EDAIndia – Resource on VLSI design centres and tutorials • Cypress Semiconductor – US semiconductor major Cypress has set up a VLSI development center in Bangalore • VDAT 2000 – Info on VLSI design and test workshops 2 VLSI COMPANIES IN INDIA • Sandeepani – VLSI design training courses • Sanyo LSI Technology – Semiconductor design centre of Sanyo Electronics • Semiconductor Complex – Manufacturer of microelectronics equipment like VLSIs & VLSI based systems & sub systems • Sequence Design – Provider of electronic design automation tools • Trident Techlabs – Power systems analysis software and electrical machine design services • VEDA IIT – Offers courses & training in VLSI design & development • Zensonet Technologies – VLSI IC design firm eg3.com – Useful links for the design engineer • Analog Devices India Product Development Center – Designs DSPs in Bangalore • CG-CoreEl Programmable Solutions – Design services in telecommunications, networking and DSP 3 Physical Design, CAD Tools. • SiCore Systems Pvt. Ltd. 161, Greams Road, ... • Silicon Automation Systems (India) Pvt. Ltd. ( SASI) ... • Tata Elxsi Ltd. -
CONTENT Unit I 2-18 Communication and Language INTRODUCTION to LINGUISTICS Major Linguists and Their Contribution
1 CONTENT Unit I 2-18 Communication and Language INTRODUCTION TO LINGUISTICS Major Linguists and their Contribution Unit II 19-27 Phonology of English and Phonetics Mechanism of Speech Production Organs of speech The Respiratory System The Phonatory System The Articulatory System The Air-stream Mechanism Unit III 29-43 Phonology of English and Phonetics (Continued) Description and Classification of Vowels and Consonants Description of Vowel Sounds Description of Pure Vowels in English Description of Dipthongs or Glides in English Occurrence of Vowel Sounds in English Description of Consonant Sounds Unit IV 44-56 STRESS AND INTONATION Word Accent/Stress Intonation Unit V 57-70 SOCIOLINUISTICS Definitions of Sociolinguistics Language Variation or Varieties of Language Dialects Sociolect Idiolect Register Language Contact: Pidgin and Creole 2 UNIT-I INTRODUCTION TO LINGUISTICS 1.0 1.1 Linguistics/lɪŋˈɡwɪstɪks/ refers to the scientific study of language and its structure, including the study of grammar, syntax, and phonetics. Specific branches of linguistics include sociolinguistics, dialectology, psycholinguistics, computational linguistics, comparative linguistics, and structural linguistics. WHAT IS LINGUISTICS? Linguistics is defined as the scientific study of language.It is the systematic study of the elements of language and the principles governing their combination and organization. Linguistics provides for a rigorous experimentation with the elements or aspects of language that are actually in use by the speech community. It is based on observation and the data collected thereby from the users of the language, a scientific analysis is made by the investigator and at the end of it he comes out with a satisfactory explanation relating to his field of study. -
Digital Design Flow Techniques and Circuit Design for Thin-Film Transistors
Printed by Tryckeriet i E-huset, Lund 2020 Printed by Tryckeriet SUMAN BALAJI Digital Design Flow Techniques and Circuit Design for Thin-Film Transistors SUMAN BALAJI MASTER´S THESIS Digital Design Flow Techniques and Circuit Design for Thin-Film Transistors for Thin-Film Design and Circuit Flow Design Techniques Digital DEPARTMENT OF ELECTRICAL AND INFORMATION TECHNOLOGY FACULTY OF ENGINEERING | LTH | LUND UNIVERSITY Series of Master’s theses Department of Electrical and Information Technology LUND 2020 LU/LTH-EIT 2020-770 http://www.eit.lth.se Digital Design Flow Techniques and Circuit Design for Thin-Film Transistors Suman Balaji [email protected] Department of Electrical and Information Technology Lund University Academic Supervisor: Joachim Rodrigues Supervisor: Hikmet Celiker Examiner: Pietro Andreani June 18, 2020 © 2020 Printed in Sweden Tryckeriet i E-huset, Lund Abstract Thin-Film Transistor (TFT) technology refers to process and manufacture tran- sistors, circuits, Integrated circuits (ICs) using thin-film organic or metal-oxide semiconductors on different substrates, such as flexible plastic foils and rigid glass substrates. TFT technology is attractive and used for applications requiring flexible, ultra- thin ICs to enable seamless integration into devices. TFT technology shows great potential to be an enabling technology for Internet of Things (IoT) applications. TFT is currently used and a dominant technology for switching circuits in flat- panel displays and are the main candidates for IoT applications in the near future because of its flexible structure, low cost. It is possible to design different kinds of Application-specific integrated circuits (ASIC) with flexible TFTs. Logic gates are considered as the basic building blocks of a digital circuit. -
The Effects of Globalization on the Fashion Industry– Maísa Benatti
ACKNOLEDGMENTS Thank you my dear parents for raising me in a way that I could travel the world and have experienced different cultures. My main motivation for this dissertation was my curiosity to understand personal and professional connections throughout the world and this curiosity was awakened because of your emotional and financial incentives on letting me live away from home since I was very young. Mae and Ingo, thank you for not measuring efforts for having me in Portugal. I know how hard it was but you´d never said no to anything I needed here. Having you both in my life makes everything so much easier. I love you more than I can ever explain. Pai, your time here in Portugal with me was very important for this masters, thank you so much for showing me that life is not a bed of roses and that I must put a lot of effort on the things to make them happen. I could sew my last collection because of you, your patience and your words saying “if it was easy, it wouldn´t be worth it”. Thank you to my family here in Portugal, Dona Teresinha, Sr. Eurico, Erica, Willian, Felipe, Daniel, Zuleica, Emanuel, Vitória and Artur, for understanding my absences in family gatherings because of the thesis and for always giving me support on anything I need. Dona Teresinha and Sr. Eurico, thank you a million times for helping me so much during this (not easy) year of my life. Thank you for receiving me at your house as if I were your child. -
An Automated Flow for Integrating Hardware IP Into the Automotive Systems Engineering Process
An Automated Flow for Integrating Hardware IP into the Automotive Systems Engineering Process Jan-Hendrik Oetjens Ralph Görgen Joachim Gerlach Wolfgang Nebel Robert Bosch GmbH OFFIS Institute Robert Bosch GmbH Carl v. Ossietzky University AE/EIM3 R&D Division Transportation AE/EIM3 Embedded Hardware-/ Postfach 1342 Escherweg 2 Postfach 1342 Software-Systems 72703 Reutlingen 26121 Oldenburg 72703 Reutlingen 26111 Oldenburg Jan-Hendrik.Oetjens Ralph.Goergen Joachim.Gerlach nebel@informatik. @de.bosch.com @offis.de @de.bosch.com uni-oldenburg.de Abstract during system integration is possible in an earlier stage of the systems engineering process. This contribution shows and discusses the require- Most of the companies’ system development processes ments and constraints that an industrial engineering follow – at least, in their basic principals – the well- process defines for the integration of hardware IP into known V model [1]. In our specific case, there is running the system development flow. It describes the developed an additional boundary through that V model. It partitions strategy for automating the step of making hardware de- the process steps into tasks to be done within our semi- scriptions available in a MATLAB/Simulink based system conductor division and tasks to be done within the corre- modeling and validation environment. It also explains the sponding system divisions (see Figure 1). The prior men- transformation technique on which that strategy is based. tioned acts as a supplier of the hardware parts of the over- An application of the strategy is shown in terms of an all system for the latter. Such boundaries also exist in industrial automotive electronic hardware IP block. -
Photo/Graphics Michel Wlassikoff
SYMPOSIUMS 1 Michel Frizot Roxane Jubert Victor Margolin Photo/Graphics Michel Wlassikoff Collected papers from the symposium “Photo /Graphisme“, Jeu de Paume, Paris, 20 October 2007 © Éditions du Jeu de Paume, Paris, 2008. © The authors. All rights reserved. Jeu de Paume receives a subsidy from the Ministry of Culture and Communication. It gratefully acknowledges support from Neuflize Vie, its global partner. Les Amis and Jeunes Amis du Jeu de Paume contribute to its activities. This publication has been made possible by the support of Les Amis du Jeu de Paume. Contents Michel Frizot Photo/graphics in French magazines: 5 the possibilities of rotogravure, 1926–1935 Roxane Jubert Typophoto. A major shift in visual communication 13 Victor Margolin The many faces of photography in the Weimar Republic 29 Michel Wlassikoff Futura, Europe and photography 35 Michel Frizot Photo/graphics in French magazines: the possibilities of rotogravure, 1926–1935 The fact that my title refers to technique rather than aesthetics reflects what I take to be a constant: in the case of photography (and, if I might dare to say, representation), technical processes and their development are the mainsprings of innovation and creation. In other words, the technique determines possibilities which are then perceived and translated by operators or others, notably photographers. With regard to photo/graphics, my position is the same: the introduction of photography into graphics systems was to engender new possibilities and reinvigorate the question of graphic design. And this in turn raises another issue: the printing of the photograph, which is to say, its assimilation to both the print and the illustration, with the mass distribution that implies.