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The Graphie Latine Movement and the French Typography Manuel Sesma Prieto
UNIVERSITÉ PARIS 1 PANTHÉON-SORBONNE CENTRE DE RECHERCHE HiCSA (Histoire culturelle et sociale de l’art - EA 4100) UNE ÉMERGENCE DU DESIGN FRANCE, 20e SIÈCLE Sous la direction de Stéphane Laurent Université Paris 1 Panthéon-Sorbonne THE GRAPHIE LATINE MOVEMENT AND THE FRENCH TYPOGRAPHY MANUEL SESMA PRIETO Pour citer cet article Manuel Sesma Prieto, « The Graphie Latine Movement and the French Typogra- phy », dans Stéphane Laurent (dir.), Une émergence du design. France 20e siècle, Paris, site de l’HiCSA, mis en ligne en octobre 2019, p. 126-143. THE GRAPHIE LATINE MOVEMENT AND THE FRENCH TYPOGRAPHY MANUEL SESMA PRIETO Associate professor, Facultad de Bellas Artes, Universidad Complutense de Madrid Introduction Most works dealing with the history of typography, many of Anglo-Saxon authors, reflect the period covered by the two decades after World War II practically dominated by neogrotesque typefaces. However, there were some reactions against this predominance, mainly from traditionalist positions that are rarely studied. The main objective of this research is thus to reveal the particular case of France, where there was widespread opposition to linear typefaces, which results into different manifestations in the field of national typography. This research wants therefore to situate the French typographical thought (which partially reflected the traditionalism of British typographical reformism led by Stanley Morison 1) within the history of European typography, and in a context dominated by the modern proposals arising mainly from Switzerland. This French thought is mostly shown in a considerable number of articles published in various specialist and professional press media, which perfectly reflected the general French atmosphere. -
Hebrew Type Design in the Context of the Book Art Movement and New
Philipp Messner Hebrew Type Design in the Context of the Book Art Movement and New Typography "New Book Art" ("Neue Buchkunst") was the motto under which efforts were made, in the spirit of the English Arts and Crafts Movement, toward the revival of book and type design in turn-of-the-twentieth century Germany. This revival movement perceived itself as a reaction to the country's accelerated industrialization, especially since the founding of the Reich in 1871. The replacement of traditional craft by increasingly industrial production lines effected a variety of everyday consumer products, including the manufacturing of books. According to contemporary commentators this led to deterioration in the material and aesthetic quality of books. Similarly to other industrially manufactured products around the turn of the century, an expectation emerged for books to have a contemporary, functional, and materially sound form. This demand encompassed all aspects of the book, including printing types. Consequently, visual artists were now engaged to design typefaces. Early examples were still heavily influenced by Art Nouveau, but after World War I there was a turn to historical forms with a bias toward handwritten scripts. This was influenced largely by the English calligrapher and type designer Edward Johnston, who taught at the Central School of Arts and Crafts in London. His calligraphic method, which he based on old handwriting forms, became famous in Germany, in part thanks to the work of his pupil and translator, Anna Simons. Type design issues thus received a notably traditional treatment, defined above all by intensive engagement with historical forms. This tendency largely defined the personal styles of Franzisca Baruch and Henri Friedlaender. -
System Profile
Steve Sample’s Power Mac G5 6/16/08 9:13 AM Hardware: Hardware Overview: Model Name: Power Mac G5 Model Identifier: PowerMac11,2 Processor Name: PowerPC G5 (1.1) Processor Speed: 2.3 GHz Number Of CPUs: 2 L2 Cache (per CPU): 1 MB Memory: 12 GB Bus Speed: 1.15 GHz Boot ROM Version: 5.2.7f1 Serial Number: G86032WBUUZ Network: Built-in Ethernet 1: Type: Ethernet Hardware: Ethernet BSD Device Name: en0 IPv4 Addresses: 192.168.1.3 IPv4: Addresses: 192.168.1.3 Configuration Method: DHCP Interface Name: en0 NetworkSignature: IPv4.Router=192.168.1.1;IPv4.RouterHardwareAddress=00:0f:b5:5b:8d:a4 Router: 192.168.1.1 Subnet Masks: 255.255.255.0 IPv6: Configuration Method: Automatic DNS: Server Addresses: 192.168.1.1 DHCP Server Responses: Domain Name Servers: 192.168.1.1 Lease Duration (seconds): 0 DHCP Message Type: 0x05 Routers: 192.168.1.1 Server Identifier: 192.168.1.1 Subnet Mask: 255.255.255.0 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: Yes Auto Discovery Enabled: No Ethernet: MAC Address: 00:14:51:67:fa:04 Media Options: Full Duplex, flow-control Media Subtype: 100baseTX Built-in Ethernet 2: Type: Ethernet Hardware: Ethernet BSD Device Name: en1 IPv4 Addresses: 169.254.39.164 IPv4: Addresses: 169.254.39.164 Configuration Method: DHCP Interface Name: en1 Subnet Masks: 255.255.0.0 IPv6: Configuration Method: Automatic AppleTalk: Configuration Method: Node Default Zone: * Interface Name: en1 Network ID: 65460 Node ID: 139 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: -
Logo Usage Color System Typography
LOGO & TYPOGRAPHY GUIDELINES Logo Usage Color System While each project may be unique, the logo should The City of Fargo logo consists of two primary colors, remain consistent. Keep it simple. Clean. And resist blue and black. The full-color version is the preferred the impulse to change it up. Even small changes can usage for all printed material or promotional items. devalue the strength of the City’s logo. However, do not print the full-color version over unacceptable background colors. For four-color offset printing, use the four-color Pantone equivalents. RGB COLOR BLACK values are provided for on-screen usage ONLY. The secondary color can be used when creating layouts. It is a brand extension to the primary blue and black. REVERSED B&W PRIMARY SECONDARY BLUE BLACK BLUE 2 PANTONE PANTONE PANTONE 3005 UP Process Black 295 UP CMYK CMYK CMYK 99 22 0 1 0 0 0 100 99 51 8 36 RGB RGB RGB MINIMUM CLEAR SPACE 0 125 213 35 31 32 0 78 125 Surround the logo with space. The minimum amount of space surrounding the logo must be equal to the height (x) of the “o.” The diagram below illustrates the area of minimum clear space required. Typography The font Gotham is used for all printed materials. Gotham is a clean, modern sans serif. Using one typeface ensures all visual communications are consistent. By incorporating different weights and treatments, a wide range of effects can be achieved while maintaining consistency across all communication and materials. Gotham Light Gotham Bold Gotham Light Italic Gotham Bold Italic Gotham Book Gotham Black Gotham Book Italic Gotham Black Italic Logo Taglines Gotham Medium Gotham Medium Italic The “Far More” tagline communicates the promise and position of the City and brand. -
Lucida Sans the Quick Brown Fox Jumps Over a Lazy Dog
Facing up to Fonts Richard Rutter “When the only font available is Times New Roman, the typographer must make the most of its virtues. The typography should be richly and superbly ordinary, so that attention is drawn to the quality of the composition, not the individual letterforms.” Elements of Typographic Style by Robert Bringhurst ≠ Times New Roman Times New Roman is a serif typeface commissioned by the British newspaper, The Times, in 1931, designed by Stanley Morison and Victor Lardent at the English branch of Monotype. It was commissioned after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. Arial Arial is a sans-serif typeface designed in 1982 by Robin Nicholas and Patricia Saunders for Monotype Typography. Though nearly identical to Linotype Helvetica in both proportion and weight, the design of Arial is in fact a variation of Monotype Grotesque, and was designed for IBM’s laserxerographic printer. Georgia Georgia is a transitional serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. It is designed for clarity on a computer monitor even at small sizes, partially due to a relatively large x-height. The typeface is named after a tabloid headline titled Alien heads found in Georgia. Verdana Verdana is a humanist sans-serif typeface designed by Matthew Carter for Microsoft Corporation, with hand-hinting done by Tom Rickner. Bearing similarities to humanist sans-serif typefaces such as Frutiger, Verdana was designed to be readable at small sizes on a computer screen. Trebuchet A humanist sans-serif typeface designed by Vincent Connare for the Microsoft Corporation in 1996. -
TUGBOAT Volume 34, Number 1 / 2013
TUGBOAT Volume 34, Number 1 / 2013 General Delivery 3 Ab epistulis / Steve Peter 4 Editorial comments / Barbara Beeton This is the year for TEX bug reports; Don Knuth in the news (again); A new TEX calendar; Compulsive Bodoni / the Parmigiano Typographic System; Printing technology, old and new; Interactive and collaborative on-line LATEX; Mapping math and scientific symbols to their meanings Resources 6 CTAN: Relaunch of the Web portal / Gerd Neugebauer Fonts 10 Fonts! Fonts! Fonts! / Bob Tennent Typography 14 Typographers’ Inn / Peter Flynn Graphics 17 Entry-level MetaPost: On the grid / Mari Voipio 21 Recreating historical patterns with MetaPost / Mari Voipio 26 The xpicture package / Robert Fuster A L TEX 34 Side-by-side figures in LATEX / Thomas Thurnherr 37 Glisterings: Repetition; Verbatims; Small pages; Prefixing section heads / Peter Wilson 40 The esami package for examinations / Grazia Messineo and Salvatore Vassallo Dreamboat 47 E-TEX: Guidelines for future TEX extensions — revisited / Frank Mittelbach Software & Tools 64 LuaJITTEX / Luigi Scarso ConTEXt 72 ConTEXt: Just-in-time LuaTEX / Hans Hagen 79 ConTEXt basics for users: Images / Aditya Mahajan Macros 83 New CSplain of 2012 / Petr Olˇs´ak 88 OPmac: Macros for plain TEX / Petr Olˇs´ak Hints & Tricks 96 The treasure chest / Karl Berry 97 Production notes / Karl Berry Book Reviews 98 Book review: The Computer Science of TEX and LATEX / Boris Veytsman Abstracts 99 Die TEXnische Kom¨odie: Contents of issues 4/2012–1/2013 100 Eutypon: Contents of issue 28–29 (October 2012) News 101 Calendar 102 TUG 2013 announcement Advertisements 103 TEX consulting and production services TUG Business 2 TUGboat editorial information 2 TUG institutional members 105 TUG membership form 106 TUG financial statements for 2012 / Karl Berry 107 TUG 2013 election Fiction 108 Colophon / Daniel Quinn TEX Users Group Board of Directors TUGboat (ISSN 0896-3207) is published by the TEX Donald Knuth, Grand Wizard of TEX-arcana † Users Group. -
Graphic Standards – Durham
Graphic Standards Manual & Style Guide THE CITY OF DURHAM Produced by the Office of Public Affairs | Rev: March 2006 The City of Durham Graphic Standards Manual & Style Guide X Table of Contents 3 SEC TION I The Identity Design System 9 SEC TION II Operational Materials 23 SECTION III Advertising 25 SEC TION IV Signage and Promotional Materials 30 SEC TION V Glossary, Grammar and Reproduction Materials Section I : The Identity Design System 3 Introduction: The City of Durham Organizational Identity Program THE CITY OF DURHAM The City of Durham consists of many departments whose goals are to improve the quality of life in our community by delivering cost-effective, highly responsive services with integrity and friendliness. While delivery of these services is primary, equally important is how the City communicates the types of services that it provides to both its internal and external customers. To achieve this goal, the City has adopted an updated organizational identity program that results in a unified and cohesive image. This identity must be used when creating materials for the City of Durham. The City of Durham Organizational Identity In 1991, the City of Durham adopted a logo to represent City government. This logo is used citywide to reflect the organizational identity of the City. Graphic standards have been established for usage of the logo to serve as a guide to departments and offices and are outlined in this manual. ABOUT THE CITY’S LOGO The City of Durham flag unites our rich history with what promises to be a dynamic and prosperous future. -
Hamburgefonstivtimes New Roman Hamburgefonstivtruesdell
GEOMETRIC CONTEMPORARY HUMANIST SANS Types which are deconstructed to their simplest Types which begin to mix characteristics of geometric forms. Attributes include: Grotesque and Humanist types. Attributes include: • adherence to geometric shapes • open counters with shortened terminals A ‘PERIODIC TABLE’ OF TYPES • little or no modulation in stroke weight • increased contrast in stroke weight • increased variation in proportion The purpose of this chart is to aid in the selection of appropriate typefaces and give a general sense of how typefaces GEOMETRIC • round dots and punctuation work together. Evaluating and categorizing typefaces is an extraordinarily subjective exercise. There are over a half dozen accepted classification schemes for over #$,$$$ typefaces in commercial use so there will, no doubt, be contrary GROTESQUE HUMANIST SANS examples to the ones given. Types designed with a sense of industrial utility. Types which begin to approximate the calligrapher’s Attributes include: humanist bookhand. Attributes include: In the case of music or art, selections that are very similar, but not quite the same, will cause dissonance. Similarly, two different • little or no modulation in stroke weight • increased contrast in stroke weight sans serif designs in the same document will clash. Conversely, selections which are too dissimilar will also become dissonant. • terminals tend to be long and nearly close off counters • flared stems evoke the swelling of a broad pen nib The color key above each serif classification refers to the color-coded sans serif classifications. For example, a contemporary • little variation in horizontal proportion • terminals are short and counters are open humanist type design (green) is well-suited for pairing with most serifed typefaces. -
Minimalism in Mobile User Interface Design 1Vandith PSR, 2Dr
ISSN : 0976-8491 (Online) | ISSN : 2229-4333 (Print) IJCST VOL . 5, SPL - 1, JAN - MAR C H 2014 Minimalism in Mobile User Interface Design 1Vandith PSR, 2Dr. Praghunadha Reddy 1Assistant Professor, Accord Business School, Tirupati, AP, India 2Professor (Management), S.V.University, Tirupati, AP, India Abstract B. The Art of Taking Away Minimalism is a design philosophy being adapted in the field French writer Antoine de Saint-Exuper once said, “Perfection on User Interface design of digital products. This paper aims is achieved, not when there is nothing more to add, but when at understanding how a minimalistic design affects usability there is nothing left to take away.”Designers are often praised and performance of an Interface. For demonstration, we have for the ability to create. Starting from a blank screen or canvas, considered the Metro UI design language and its effect on the sales we sculpt beautiful works of art — often from scratch.Because of of windows phone users in India. This has been done by using the these trained skills, the art of taking objects away from a design sales report of Microsoft as well as users survey through random can be a hard one for some to master.Designers love to invoke sampling methods. This paper outlines the basic principles which visual stimulation anywhere they can, which usually spells out bad ensured a success to such a design philosophy, which is making news for minimal designs.Sometimes the best practice can be to it easier to use Mobile interfaces. design out a full site — and once the design feels complete, start removing all of those objects that don’t fulfill a functional need for Keywords the site. -
The Typography of Law Reviews: a Typographic Survey of Legal Periodicals
The Typography of Law Reviews: A Typographic Survey of Legal Periodicals Ambrogino Giusti Submitted to Professor Penny A. Hazelton to fulfill course requirements for Current Issues in Law Librarianship, LIS 595, and to fulfill the graduation requirement of the Culminating Experience Project for MLIS University of Washington Information School Seattle, Washington May 30, 2016 Typefaces are the clothes words wear, and just as we make judgments about people by the clothes they wear, so we make judgments about the information we’re reading by the typefaces. - Caroline Archer1 Times New Roman is a workhorse font that’s been successful for a reason. Yet it’s an open question whether its longevity is attributable to its quality or merely its ubiquity. - Matthew Butterick2 Keywords fonts, law reviews, law journals, legal periodicals, legal publications, typefaces, typography 1 Sam McManis, What Your Font Choice Says About You, THE ROANOKE TIMES (Jan. 13, 2008), http://www.roa- noke.com/webmin/features/what-your-font-choice-says-about-you/article_44076b07-db52-585b-af72- 84dc4bc4c8e6.html. 2 Matthew Butterick, A Brief History of Times New Roman, in BUTTERICK’S PRACTICAL TYPOGRAPHY (2016), http://practi- caltypography.com/times-new-roman.html. Table of Contents 1.0 Introduction ............................................................................................................................................ 1 2.0 History of Typography ............................................................................................................................ -
Brand Guidelines
BRAND GUIDELINES 1 TABLE OF CONTENTS BRAND BASICS 3 BRAND POSITIONING 4 BRAND MARKS 6 Spirit Mark 6 SU Interlock 9 Wordmark 12 Seal & Signature 15 COLOR 21 TYPOGRAPHY 26 Neutraface 2 27 Neutraface 2 Slab 28 Knockout 29 Frame 32 Web & Free Alternatives 33 Typography Application 34 PHOTOGRAPHY 39 Campus & Seattle 39 People: Undergraduate 40 People: Graduate Staff & Alumni 41 Classroom & Study 42 BRAND ELEMENTS 43 Color Overlays 43 Textures 46 Arrow-Tree Symbol 48 Secondary Icons 50 COMPOSITION 51 Undergraduate Materials 51 Graduate, Alumni & Professional Materials 53 COPY & HEADLINE TONE 55 2 BRAND BASICS SEATTLE UNIVERSITY WHAT IS THIS? This is a guideline on how to implement the Seattle University brand. Here the fundamentals of the brand are covered. As the brand evolves and becomes more defined, this guide will be updated. WHAT IS A BRAND? Seattle University is a cradle of social innovation. A transformative hub indiscernibly woven into the nation’s most progressive city. This is where all walks converge to find a better way forward. We are the boots on the ground and the engines of positive change. Building a successful brand takes the same focus, pride and will. The new look, feel, and tone con- tained in these brand standards reflect who and what make up the Seattle University story. The SU brand is the result of many different factors coming from many facets of this institution that ultimately come together to form an impression of who we are in people’s minds. Our brand is much more than the red and black. Our brand is what students, parents, academics, alumni, public servants, corporations, countries and outside observers all think, feel and respond to when they hear the name, “Seattle University.” The greatest successes at SU have been the result of people coming together and standing united to effect great change—just think about the Youth Initiative. -
Women Typeface Designers Laura Webber
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 5-1-1997 Women typeface designers Laura Webber Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Webber, Laura, "Women typeface designers" (1997). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Women Typeface Designers by Laura G.C. Webber A thesis project submitted in partial fulfillment of the requirements for the degree ofMaster of Science in the School of Printing Management and Sciences in the College ofImaging Arts and Sciences of the Rochester Institute ofTechnology May, 1997 Thesis Advisor: Professor Archibald D. Provan School ofPrinting Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate ofApproval Master's Thesis This is to certify that the Master's Thesis of Laura G.C. Webber With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master ofScience degree at the convocation of May, 1997 Thesis Committee: Archibald Provan Thesis Advisor Marie Freckleton Graduate Program Coordinator Director or Designate Women Typeface Designers I, Laura G.C. Webber, hereby grant permission to the Wallace Memorial Library ofR.I.T to produce my thesis in whole or part. Any reproduction will not be for commercial use or profit. May 21, 1997 To my family and Steve, who selflessly give their support and encouragement.