DOCSLIB.ORG

Hilarydietz.Com

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hilarydietz.Com design portfolio urban plains magazine hilarydietz Pages from Urban Plains Magazine, an iPad application created for a senior capstone, a flyer promoting the website launch and a business card. Holmes murpHy hilarydietz Marketing and informational pieces for clients and potential clients. Created while interning as a graphic designer at Holmes Murphy & Associates. You and Holmes Murphy: A Winning Team When you partner with Holmes Murphy, we create a winning team for your business—going the distance to achieve high-quality, low-cost employee benefits solutions to improve both the health of your employees and your bottom line. Holmes Murphy is here to help you beat the challenges of rising benefits costs and compliance concerns while ensuring you offer a competitive, complete rewards package for your employees. For more information about the many advantages of teaming up with Holmes Murphy, visit us at Booth 601 or contact Dave Shipley at 214-363-4433 or [email protected]. We’re for you. 3333 Lee Parkway, Suite 900 Dallas, TX 75219 214-363-4433 | 800-882-5949 holmesmurphy.com ©2011 Holmes Murphy & Associates {YOU’RE INVITED { Please join Holmes Murphy for dinner after the conference! Tuesday, June 21, 2011 7:30 PM at Agave Restaurant 242 Boulevard SE Atlanta, GA 30312 A buffet of Southwestern cuisine including wine, beer, and soft drinks will be served. This invitation includes admittance for the holder and one guest. Please present the invitation upon arrival to be admitted. We look forward to seeing you! - Aaron Zetterower, Director of Charter School Programs Holmes Murphy & Associates type specimen hilarydietz A mailable type specimen with several different type variations to show a range of options when using Myriad Pro. Created for Advanced Typography class. ROBERT SLIMBACH CAROL TWOMBLY Robert Slimbach is a type designer that has worked for Carol Twombly (born 1959) is an American calligrapher Adobe Systems since 1987. He now directs Adobe’s type and typeface designer who has designed many typefaces, design program. He won the Priz Charles Peignot Award in including Trajan, Myriad and Adobe Caslon. She worked 1991 from the Association Typographique Internationale as a type designer at Adobe Systems from 1988 through and multiple awards from the Type Directors Club. 1999, during which time she designed, or contributed to the design of, many typefaces. She retired from type design in He was born in Evanston, Illinois in 1956. Shortly after, he early 1999, to focus on her other design interests, involving moved to Southern California where he spent his childhood textiles and jewelry. and his youth. After leaving college he developed an interest in graphic design and typefaces while running a small screen Twombly attended and graduated from the Rhode Island OTHER FONTS: printshop for manufacturing posters and greeting cards. This School of Design (RISD) where she first studied sculpture, OTHER FONTS: work brought him into contact with Autologic Incorporated and later changed her major to graphic design. She credits Adobe Garamond in Newbury Park, California. After training from 1983 to her professors Charles Bigelow and Kris Holmes, whose Adobe Caslon Adobe Jenson 1985, Slimbach worked as a type designer with Autologic studio she worked in, for her inspiration and stimulating Chaparral Arno Pro Incorporation. There he received further training, not just as her interest in typography. At Stanford University Twombly Charlemagne Brioso Pro a type designer but also as a calligrapher. Slimbach was then was one of only five people to graduate from the short-lived Lithos Caflisch Script self-employed for two years and developed the two fonts digital typography program. Mirarae Cronos ITC Slimbach and ITC Giovanni for the International Typeface Nueva SEMIBOLD 16/18 | ALIGNED LEFT Kepler Corporation in New York. Twombly was the 1984 recipient of the Morisawa gold prize, Pepperwood Italic Minion and the 1994 winner of the Prix Charles Peignot, given by Rosewood Poetica In 1987 he joined Adobe Systems. Since then, he has the Association Typographique Internationale (ATypI) - the Trajan Myriad Pro is straightforward making it ideal Sanvito concentrated primarily on designing typefaces for digital first woman, and second American, to receive this award Viva Utopia technology, drawing inspiration from classical sources. He given to a promising typeface designer under the age of 35. Zebrawood for creating typographic arrangements. Warnock Pro has developed many new fonts for the Adobe Originals program. His time at Adobe Systems in California has seen the production of, among others, the Utopia (1988), Adobe Garamond (1989), Minion (1990) and Poetica (1992) Bold SEMIBOLD 20/22 | JUSTIFIED font families. More recently, Slimbach’s own roman script calligraphy formed the basis for his Brioso. It is straightforward making it ide- Since 2000, the rate of Slimbach’s new typefaces has slowed, as he has taken advantage of the new linguistic and typographic capabilities offered by the OpenType al for typographic arrangements. format. Where in the 1990s a given typeface design might be instantiated in one or two fonts, with 200-500 glyphs, a typical new Slimbach work post-2000 has 1500-3000 glyphs. Condensed SEMIBOLD 34 In 2004, Adobe released Garamond Premier Pro, a new take on the Garamond designs, which Slimbach had been working on for 15 years, since he first completed Adobe Semibold Garamond in 1989. Italic It is straightforward. Myriad Pro | 4 Myriad Pro | 5 SEMIBOLD 44 Bold Condensed Regular Semibold straightforward abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz Semibold ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 1234567890 SEMIBOLD ITALIC 16/18 | ALIGNED LEFT Bold Condensed Italic Myriad Pro is straightforward making it ideal for creating typographic arrangements. Italic Semibold Italic abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Bold SEMIBOLD ITALIC 20/22 | JUSTIFIED 1234567890 1234567890 Regular It is straightforward making it ide- al for typographic arrangements. Condensed Bold Condensed Italic abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz SEMIBOLD CONDENSED ITALIC 34 ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 1234567890 Bold Italic It is straightforward. Condensed Italic Bold Italic abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Created by Robert Slimbach & Carol Twombly for Adobe Systems 1234567890 1234567890 Myriad Pro | 8 Myriad Pro | 9 Myriad Pro | 6 Myriad Pro | 7 brand identity hilarydietz An identity system (stationary, business cards and menu) created in Graphic Design 2 class. ueen Bee Bakery Sharon Opacich 1792 Park Court Deer Park, IL 60087 March 7, 2011 Hi Sharon, Lorio totatiati nem estiunt eatureri dolorem asimet, solum aboratus, cus necus eruptatist experuptaque venimil lautemque ma autem. Ficiis et alibusam vid et odit eturi ipsandem sintis diciam faccus dolectorunte simus unt. Dolorum verum il incia nimossunt res accum, unt. Endaept aessint quunt millitam que non ne nis modignias exceris ut peligen ihiciet a aut earuptasit denimaxim eium eos vitaernam hictur? Dolluptio ma aut ipsant moluptaes denda quame et fugiae mo con enet, iundam as et latuscia quatis reperecum as as sam id utemquaerit eatus qui ni od quidelliquis net, quis nonet dolo dollaborest dellesedit vendi consequis ame porrore caborem harum et aut unt exceperum aut quidebitaquo dolorem facculparum que etus nobis et optat venis est quia arum necte volo es et, nostis dem. Od magnis maximi, autaturibus exped quo estiiscit quaspid ionest, cusapitae labo. Ut latur se pro optaectur as volorehenem earum ex es maiorum at estet officim ut earum estionest remquia que cus doluptati del il eatae nis nonsequo qui alibus, omniatem. Lacculparcia vent alit, quiam, seribus et es dolo occum imodi volore dipsae. Enda nat volestemped eos pero quam eum am, que prerehe nditasp ereium aligendia quis maio omnia volorerum quo veles ipicium que essin ex et qui accum voluptium et ium suntium quunt que sequideni doloren daerorro que poriat ut imaximagnis dollique net eaquis dolupta eribus dolo ex estiostium landae pratia aspe doluptatem aborepe rnatem quaeptur? Sincerely, Hilary Dietz Queen Bee Bakery, owner 1429 Broadway Avenue Chicago, IL 60657 | 773.259.8475 | www.queenbeebakes.com Lincoln Park | 1429 Broadway Avenue Chicago, IL 60657 | 773.259.8475 destijl manifesto hilarydietz A book detailing the Destijl Manifesto, building off the principles present in popular Destijl artwork. Created for Advanced Typography class. The new architecture is ECONOMIC; that is to say The new architecture has it employs its elemental OPENED the walls and so done away means as with the separation of inside and outside. The walls themselves effectively no longer support; they merely provide supporting points. and thriftily The result is a new, OPEN GROUND-PLAN as possible entirely different from the classical one, since inside and squanders AND outside now pass over into one another. neither these means nor the material. THE GROUND-PLAN. THE exHibition catalog hilarydietz A modified accordian fold exhibition catalog featuring the Pappajohn Sculpture Park in Des Moines, Iowa. Created in Publication Design class. butterfield juno // 1989 cast bronze 76 x 68 x 88 inches deborah butterfield’s inspiration is the horse and two of her trademark sculptures are fea- tured in the park. Each piece has a unique personali-
Load more

Recommended publications
  • Kepler Italic
    Brioso™ Pro a® a abcdefghijklmnopqrst An Adobe® Original Brioso Pro a umanistic Composition aily abcdefghijklmnopqrst © Adobe Systems Incorporated. Al rights reserved. uvwxyz For more information about OpenType please refer to Adobe’s web site at www.adobe.com/type/opentype. is document was designed to be viewed on-screen or printed duplex and assemled as a booklet. Adobe Originals Adobe Systems Incorporated introduces Brioso Pro, a new font soware package in the growing library of Adobe Originals typefaces, designed ecicaly for today’s digital technology. Since the inception of the Adobe Originals program in , Adobe Originals typefaces have been consistently recognized for their quality, originality, and praicality. They combine the power of PostScript® lanuage soware and the most sophisticated electronic design tools with the spirit of crasmanship that has inspired type designers since Gutenberg. Comprising both new designs and revivals of classic typefaces, Adobe Originals font soware has set a standard for typographic excelence. What is OpenType? Developed jointly by Adobe and Microso, OpenType is a highly versatile new font le format that represents a signicant advance in type functionality on Windows® and Mac OS computers. Perhaps most exciting for designers and typographers is that OpenType fonts offer extendedlayout features that bring unprecedented control and sophistication to contemporary typography. Because OpenType can incorporate al glyphs for a ecic style and weight into a single font, the need for separate expert, alternate, swash, non-Latin, and related glyph sets is eliminated. In aplications which suport OpenType layout features, such as Adobe’s InDesign® soware, glyphs are grouped according to their use.
    [Show full text]
  • Adobe Type Library Online Adobe Font Folio™ 9.0 Adobe Type Basics Adobe Type Library Reference Book Adobe Type Manager® Deluxe
    Adobe offers one of the largest collections of high-quality typefaces in the world, bringing you the combination of typographic excellence with the convenience of round-the-clock availability. Whether you're communicating via print, web, video, or ePaper®, Adobe Type gives you the power to create, manage and deliver your message with the richness and reliability you've come to expect from Adobe. The Adobe Type Library Online Adobe Font Folio™ 9.0 Adobe Type Basics Adobe Type Library Reference Book Adobe Type Manager® Deluxe The Adobe Type Library Online With more than 2,750 typefaces from internationally renowned foundries, such as Adobe, Agfa Monotype, ITC, and Linotype, as well as award-winning individual type designers and distinguished design studios, the Adobe Type Library offers one of the largest collections of high-quality type in the world. Choose from thousands of fonts in the PostScript® Type 1 format, offered in broad range of outstanding designs and exciting styles. And now you can also select from hundreds of fonts in the new OpenType® format, which offers improved cross-platform document portability, richer linguistic support, powerful typographic capabilities, and simplified font management. Whether you're publishing to print, web, video, or ePaper, Adobe typefaces work seamlessly with most popular software applications. Best of all, you can access any of the high-quality Adobe typefaces you need, anytime you need them, directly from the Adobe web site. You can browse, preview, purchase and immediately download any font from the online Adobe Type Library at your convenience - day or night. Simply visit http://www.adobe.com/type in North America, or at the Adobe Download Centre at http://downloadcentre.adobe.com in many other regions of the world, including Europe, Australia, Hong Kong, Singapore, and more to come.
    [Show full text]
  • Robert Slimbach Geboren Am 15
    Robert Slimbach Geboren am 15. Dezember 1956 in Evanston, Illinois. Nach dem Studium war er bei Autologic Inc. in Kalifornien tätig. Seit 1987 bei Adobe als Type- designer. 1991 erhielt der den Charles-Peignot-Preis für Schriftdesign. Acumin Thin 2015 Adobe Adobe Acumin Thin Italic 2015 Adobe Adobe Acumin Extra Light 2015 Adobe Adobe Acumin Extra Light Italic 2015 Adobe Adobe Acumin Light 2015 Adobe Adobe Acumin Light Italic 2015 Adobe Adobe Acumin 2015 Adobe Adobe Acumin Italic 2015 Adobe Adobe Acumin Medium 2015 Adobe Adobe Acumin Medium Italic 2015 Adobe Adobe Acumin Semi Bold 2015 Adobe Adobe Acumin Semi Bold Italic 2015 Adobe Adobe Acumin Bold 2015 Adobe Adobe Acumin Bold Italic 2015 Adobe Adobe Acumin Black 2015 Adobe Adobe Acumin Black Italic 2015 Adobe Adobe Acumin Ultra Black 2015 Adobe Adobe Acumin Ultra Black Italic 2015 Adobe Adobe Acumin Thin Semi Condensed 2015 Adobe Adobe Acumin Thin Semi Cond Italic 2015 Adobe Adobe Acumin X Light Semi Cond 2015 Adobe Adobe Acumin X Light Semi Cond It 2015 Adobe Adobe http://www.klingspor-museum.de Acumin Light Semi Cond 2015 Adobe Adobe Acumin Light Semi Cond It 2015 Adobe Adobe Acumin Semi Condensed 2015 Adobe Adobe Acumin Semi Cond Italic 2015 Adobe Adobe Acumin Med Semi Condensed 2015 Adobe Adobe Acumin Medium Semi Cond It 2015 Adobe Adobe Acumin Semi Bold Semi Cond 2015 Adobe Adobe Acumin Semi Bd Semi Cd It 2015 Adobe Adobe Acumin Bold Semi Condensed 2015 Adobe Adobe Acumin Bold Semi Cond Italic 2015 Adobe Adobe Acumin Black Semi Cond 2015 Adobe Adobe Acumin Black Semi Cond It 2015
    [Show full text]
  • Adobe Garamond Pro
    Adobe Garamond Pro a® a An Adobe® Original Adobe Garamond® Pro A contemporary typeface family based on the roman types of Claude Garamond and the italic types of Robert Granjon © Adobe Systems Incorporated. All rights reserved. For more information about OpenType®, please refer to Adobe’s web site at www.adobe.com/type/opentype is document was designed to be viewed on-screen or printed duplex and assembled as a booklet Adobe® Originals Adobe Systems Incorporated introduces Adobe Garamond Pro, a new font software package in the growing library of Adobe Originals typefaces, designed specifically for today’s digital technology. Since the inception of the Adobe Originals program in , the Adobe Originals typefaces have been consistently recognized throughout the world for their quality, originality, and practicality. ey combine the power of PostScript® language software technology and the most 23 sophisticated electronic design tools with the spirit of craftsmanship that has inspired type designers since Gutenberg. Comprising both new designs and revivals of classic typefaces, Adobe Originals font software has set a standard for typographic excellence. What is OpenType? Developed jointly by Adobe and Microsoft, OpenType® is a highly versatile new font file format that represents a signifi cant advance in type functionality on Macintosh and Windows® computers. Perhaps most exciting for designers and typographers is that OpenType fonts off er extended layout features that bring an unprecedented level of sophistication and control to contemporary typography. Because an OpenType typeface can incorporate all glyphs for a specifi c style and weight into a single font, the need for separate expert, alternate, swash, non-Latin, and other related sets is elimi- nated.
    [Show full text]
  • 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.
    [Show full text]
  • Guidelines for Typography in Nbcs
    GUIDELINES FOR TYPOGRAPHY IN NBCS his document is intended as a brief checklist for writers. Its target is reports, T documentation, and other documents that are primarily text. There are addi- tional considerations for “design-intensive” documents such as newsletters, with multiple columns, side-bars, and other complexities. For the web, this document ap plies to reports and other material that is primarily read from beginning to end. There are other issues with pages that are primarily links (i.e. top-level pages) or that look more like advertising than like a book. Of course there are in-between cases. For example, a lot of computer documenta- tion follows the principles described here, but has examples of user interaction or screen shots as well as text. These sometimes require a document that has a bit more structure to it than just a single column of text. This is not a complete textbook on typography. Rather, it’s an attempt to sum- marize some of the most important points. If you are interested in learning more, I strongly recommend Robert Bringhurst’s book The Elements of Typographical Style. A lot of the material here is based on that book. * * * The purpose of typography is to get your point across. While documents can be beautiful or ugly, most of us aren’t creating great art – we’re trying to convince some- one or present information. Thus the starting points are to do everything possible to make the document comprehensible, and to avoid distraction. In general a well type- set document will have a fairly even overall look.
    [Show full text]
  • What Is the Best Way to Choose Or Mix and Match Fonts? by Jacci Howard Bear, About.Com
    What is the Best Way to Choose or Mix and Match Fonts? By Jacci Howard Bear, About.com What is the Best Way to Choose or Mix and Match Fonts? This is one reason that pairing a serif with a sans There are no absolutely right or wrong ways to serif font works so well. There’s generally good choose fonts or mix different fonts in a design contrast. project. However, there are a few accepted standards that can speed up the font selection Use Fewer Fonts process and generally result in typographically Limit the number of different typefaces used attractive and readable compositions. in a single document to no more than three or four. These guidelines won’t always work for you, but nine times out of ten they’ll give you the With too many different fonts you run into results you want with the least amount of trial problems with not having enough contrast and error. Use them when you’re in a hurry or between similar font styles plus a lack of when you’ve hit a mental roadblock and need to consistency and even a feeling of choppiness jumpstart a design project. because there are too many distractions. Using just one typeface can be better than two or Use Serif Text with Sans Serif Headline three or four or more. When in doubt, pair a serif font for body text and a sans serif font for headlines. Use Proportional Fonts Avoid monospaced typefaces for body copy. This is not a rule. This is simply a good starting They draw too much attention to the individual point for when you’re stuck for ideas or can’t letters distracting the reader from the message.
    [Show full text]
  • The Case for Cross-Breeding Fonts Topics: Technologies That Permit Generating a New Typeface That Shares the Characteristics of Two Or More Parents
    THE MAKEREADY ARCHIVE Column 5 of 77 The Case for Cross-Breeding Fonts Topics: Technologies that permit generating a new typeface that shares the characteristics of two or more parents. Column first appeared: April 1994, Computer Artist magazine. Source of this file: An expanded version of the column as it appeared in the 1996 book Makeready. Author's comment: The idea of morphed typefaces was one whose time never came. None of the products featured here have been available in the last ten years. Even Adobe's highly-touted Multiple Master tech- nology never made it into the mainstream. This archive, to be released over several years, collects the columns that Dan Margulis wrote under the Makeready title between 1993 and 2006. In some cases the columns appear as written; in others the archive contains revised versions that appeared in later books. Makeready in principle could cover anything related to graphic arts production, but it is best known for its contributions to Photoshop technique, particularly in the field of color correction. In its final years, the column was appearing in six different magazines worldwide (two in the United States). Dan Margulis teaches small-group master classes in color correction. Information is available at http://www.ledet.com/margulis, which also has a selection of other articles and chapters from Dan’s books, and more than a hundred edited threads from Dan’s Applied Color Theory e-mail list. Copyright© 1994, 1996, 2020 Dan Margulis. All rights reserved. 11 The Case for Cross-Breeding Fonts With tens of thousands of typefaces on the market, why in the world would one want to morph existing ones? The creative designer may find some reasons.
    [Show full text]
  • Adobe Font Folio 11.1 Datasheet
    Adobe Font Folio 11.1 Datasheet Adobe® Font Folio® 11.1 The complete, cross-platform Opentype® solution for creative professionals Discover the type solution for graphic designers, web and video content creators, and business publishers. Adobe Font Folio 11.1 software contains more than 2,400 high-quality fonts from the Adobe Type Library in OpenType format, a true cross- platform font format that offers enhanced linguistic support and advanced typographic capabilities. Design with superior typefaces The more than 2,400 high-quality OpenType fonts in Adobe Font Folio 11.1 come from world-renowned foundries, including Adobe, ITC, Linotype™, and Monotype® Imaging; innovative firms such as LetterPerfect Adobe Font Folio 11.1 and MVB Fonts; and talented individual designers such as Jovica Veljovic and Michael Harvey. The package • More than 2,400 typefaces from the Adobe Type Library also includes award-winning Adobe Originals typefaces—one-of-a-kind designs and classic revivals in OpenType format created by expert type designers at Adobe. And you can explore special Opticals packages that provide • Adobe Type Library Reference four or more separate designs, each optimized for a different range of point sizes, from tiny text for Book Fourth Edition footnotes to large type for headlines. Whether you’re looking for a workhorse text face or an innovative • Keyboard layouts for more display script, Font Folio has a typeface to suit your message. than 40 Pi fonts • OpenType User Guide in Adobe PDF Create for virtually any medium • Typography Primer in Adobe PDF Regardless of what medium they’re used in, Adobe fonts are the benchmark for quality.
    [Show full text]
  • Why Typefaces Proliferate Without Copyright Protection
    WHY TYPEFACES PROLIFERATE WITHOUT COPYRIGHT PROTECTION BLAKE FRY* The typeface design industry receives little protection from intellectual property laws, copyright or otherwise, yet produces sufficient new works. This fact challenges the incentive theory on which copyrights—which come with economic and social costs—are based. INTRODUCTION ................................................................................... 426 I. THE IP PROTECTION OF TYPEFACE DESIGNS ...................... 430 A. Typeface Designs are Unprotected by IP, and Are Likely to Remain So ............................................................................ 432 B. Computer Fonts Are (Probably) Protected By Copyright ......... 437 C. The Protection of Computer Fonts Does Not Prevent Typeface Designs From Being Copied .................................... 439 D. Despite a Lack of IP Protection, Typefaces Proliferate ............. 443 II. THE MECHANISMS OF INNOVATION ...................................... 446 A. Functionality, Rivalrousness, and Innovation ........................ 447 B. How Technology Affects Innovation in Typeface Design ......... 449 1. Technology Forces Innovation ...................................... 450 2. At the Same Time, Technology Makes Innovation Possible .......................................................................... 453 C. Industry Norms ..................................................................... 457 1. General Theories of Norms Applicable to Typeface Design ..........................................................................
    [Show full text]
  • Silentium Pro
    Silentium Pro a® a An Adobe® Original Silentium ™ Pro A Contemporary Calligraphic Type ce Family Based on Carolingian Book Hands Copyright © Adobe Systems Incorporated For more information about OpenType®, please refer to Adobe’s web site at “www.adobe.com/ pe/open pe”. is PDF document was designed to be viewed on-screen or printed duplex and assembled as a booklet. ADOBE ORIGINALS Adobe Systems Incorporated introduces Silentium Pro, a new OpenType® font so ware package in the growing library of Adobe Originals pe ces, designed specifically for today’s digital tech- nology. Since the inception of the Adobe Originals program in , Adobe Originals pe ces have been consistently recognized throughout the world for their quali , originali , and practi cal- i . ey combine the power of PostScript® language so ware 23 technology and the most sophisticated electronic design tools with the spirit of cra smanship that has inspired pe designers since Gutenberg. Comprising both new designs and revivals of classic pe ces, Adobe Originals font so ware has set a standard for pographic excellence. WHAT IS OPENTYPE? Developed jointly by Adobe and Microso , OpenType is a highly versatile new font file format that represents a signifi cant advance in pe functionali on Windows® and Mac OS computers. Perhaps most exciting for designers and pographers is that OpenType fonts off er extended “layout features” that bring an unprecedented level of control and sophistication to contemporary pography. Because an OpenType pe ce can incorporate all glyphs for a specifi c s le and weight into a single font, the need for separate expe , alternate, swash, non-Latin, and other related sets is elimi- nated.
    [Show full text]
  • Trajan Pro 3
    TRAJAN® PRO 3 Presented by John D. Berry The letters at the base of the Trajan column in Rome are generally regarded as the finest exam- ples of ancient Roman inscriptional lettering, and have served repeatedly as the models for capital letters throughout the history of typography. When Carol Twombly created the typeface Trajan for Adobe in 1989, her intention was to make as faithful an adaptation as possible, while turning letters that had been carved in stone into a digital font. ABCDEFGHIJKLMNOPQ RSTUVWXYZ & 1234567890 The Trajan typeface was wildly successful. Trajan is seen frequently in advertising and in book titles, and it has been especially popular for the past two decades on movie posters. In fact, Trajan seems to be used for just about every movie title that could possibly be contrived to have some connection with ancient Rome, and quite a few that couldn’t. The digital typeface varied from the carved letters in having a companion bold weight – some- thing that didn’t exist in the ancient world, or indeed in the first centuries of printing. Today’s type users, however, expect to have fully fledged families of related typefaces at their fingertips; and since with digital type it’s easy to increase or decrease the size of the letters, sometimes a heavier weight holds up better at a smaller size than a light weight would. Trajan was never designed for text – it is purely a display typeface, and one best used big – but the bold weight, slightly heavier than the regular, gave designers a little more leeway in how they used the typeface.
    [Show full text]