Visual Identity Guide

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Nick Despotakis Visual Identity Guide Personal Brand FORMAL NAME Brand mantra I am a hard-working journalist who Nicolas Mercer Despotakis embraces teamwork. Strengths PREFERRED NAME - Leader - Organized Nick Despotakis - Determined On BrandTM moments CASUAL NAME When I was young my baseball team Nick didn’t take score of the game. After the game, we high fived the other team. I said, “We won 7-3” to each player on the opposing team. Five random facts about me 1. I played baseball for 15 years. 2. I am Greek. 3. I worked at a restaurant that was half dining, half bocce ball. 4. I have a birthmark on the back of my neck that is identical to my mom’s. 5. A small part on the tip of my middle finger is missing. When I was younger I played a lot of video games so my parents told me I couldn’t play for a day. As soon as the clock hit midnight and the day had ended, I hopped on and played all night. Color Palette SIGNATURE COLORS Sky Blue, Mellow Yellow, Lime, Taxi Cab, Green Apple and Sundaze comprise my primary color palette. These should be the dominant colors online and with all communication projects that include color. Sundaze should be the most prominent color used for large colorfields and works well for headlines, subheads and pull quotes. In order to avoid SECONDARY COLOR OPTIONS excessive use of colors from the primary palette, the secondary palette tones may be used for accents, such as lines, backgrounds and buttons. Rather than using black, which is the default for websites, Sky Blue will be used as the dominant typeface color. Signature Typefaces GOOGLE FONTS SYSTEM FONTS HEADING LEVELS Serif = Playfair Display Serif = Arial Hamburgefontsiv & 1 Hamburgefontsiv & 1 Hamburgefontsiv & 1 Hamburgefontsiv & 1 Hamburgefontsiv & 1 Sans serif = Open Sans Hamburgefontsiv & 1 Hamburgefontsiv & 1 Sans serif = Open Sans Hamburgefontsiv & 1 Hamburgefontsiv & 1 Hamburgefontsiv & 1 Hamburgefontsiv & 1 Hamburgefontsiv & 1 Monospace = Inconsolata Hamburgefontsiv & 1 Script = Patrick Hand Hamburgefontsiv & 1 Display = Baloo Da 2 Hamburgefontsiv & 1 THER COLOR / TYPE NEEDS .

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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.
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Typographers'
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Base Monospace
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Key to the „Bitstream“ Fonts The history of typefaces is the history of forgeries. One of the greatest forgers of the 20th century was Matthew Carter. The Bitstream website (http://www.myfonts.com) describes him as follows: Matthew Carter of United Kingdom. Born: 1937 Son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman, trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981. Carter co-founded Bitstream with Mike Parker in 1981. In 1991 he left Bitstream to form Carter & Cone with Cherie Cone. In 1997 he was awarded the TDC Medal, the award from the Type Directors Club presented to those „who have made significant contributions to the life, art, and craft of typography“. Carter’s „significant contribution to the life, art, and craft of typography“ consisted of forging the Linotype typeface collection. Carter can be characterized as a split personality. On the one hand, he has designed several original typefaces. On the other hand, he has forged hundreds of fonts. The following lists reveal that ca. 90% of the „Bitstream“ fonts are forgeries of the fonts contained in the catalog „LinoTypeCollection 1987“ („Mergenthaler Type Library“), i.e. the „Bitstream“ fonts are „nefarious evil knock-off clones“ (Bruno Steinert) of fonts sold by Linotype in the mid-1980s.1 „L“ in the following lists denotes that the font is contained in the „LinoTypeCollection 1987“. In the mid-1980s, the Linotype library comprised hundreds of typefaces with a total of 1700 fonts.
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1.01 Typography
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The List PC and MAC Equivalent Fonts
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Fonts Reference, Version 12.2.1
Start Oracle® Documaker Fonts Reference version 12.2 Part number: E41180-01 August 2013 Notice Copyright © 2009, 2013, Oracle and/or its affiliates. All rights reserved. The Programs (which include both the software and documentation) contain proprietary information; they are provided under a license agreement containing restrictions on use and disclosure and are also protected by copyright, patent, and other intellectual and industrial property laws. Reverse engineering, disassembly, or decompilation of the Programs, except to the extent required to obtain interoperability with other independently created software or as specified by law, is prohibited. The information contained in this document is subject to change without notice. If you find any problems in the documentation, please report them to us in writing. This document is not warranted to be error-free. Except as may be expressly permitted in your license agreement for these Programs, no part of these Programs may be reproduced or transmitted in any form or by any means, electronic or mechanical, for any purpose. If the Programs are delivered to the United States Government or anyone licensing or using the Programs on behalf of the United States Government, the following notice is applicable: U.S. GOVERNMENT RIGHTS Programs, software, databases, and related documentation and technical data delivered to U.S. Government customers are "commercial computer software" or "commercial technical data" pursuant to the applicable Federal Acquisition Regulation and agency-specific supplemental regulations. As such, use, duplication, disclosure, modification, and adaptation of the Programs, including documentation and technical data, shall be subject to the licensing restrictions set forth in the applicable Oracle license agreement, and, to the extent applicable, the additional rights set forth in FAR 52.227-19, Commercial Computer Software--Restricted Rights (June 1987).
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Typefaces and the Perception of Humanness in Natural Language Chatbots
Typefaces and the Perception of Humanness in Natural Language Chatbots Heloisa Candello Claudio Pinhanez Flavio Figueiredo IBM Research | Brazil IBM Research | Brazil Universidade Federal de Minas Gerais [email protected] [email protected] [email protected] acceptance since 2014 in the Chinese messenger platform ABSTRACT WeChat [45]. Although some of the chatbots are not more How much do visual aspects influence the perception of than textual representational of menus, the availability of users about whether they are conversing with a human natural language processing open source libraries and API being or a machine in a mobile-chat environment? This services is enabling the deployment of chatbots which paper describes a study on the influence of typefaces using converse using sophisticated natural language capabilities. a blind Turing test-inspired approach. The study consisted of two user experiments. First, three different typefaces It has been shown in many studies that users easily resort to (OCR, Georgia, Helvetica) and three neutral dialogues different kinds and modes of personification when between a human and a financial adviser were shown to interacting with computers (for instance, in the classical participants. The second experiment applied the same study study of Reeves and Nass [33]), with significant impacts on design but OCR font was substituted by Bradley font. For the user experience and adoption of those systems. As the each of our two independent experiments, participants were linguistic capabilities of chatbots increase, it is expected shown three dialogue transcriptions and three typefaces that their users will become even more likely to ascribe counterbalanced. For each dialogue typeface pair, human traits to chatbots, to the point that distinguishing a participants had to classify adviser conversations as human chatbot from a human being by simply looking into the or chatbot-like.
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The Nimbus Package
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6Layouts and Fonts
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