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Approaches to Applying Spacing Methods in Seriffed and Sans-Serif Typeface Designs
Approaches to applying spacing methods in seriffed and sans-serif typeface designs Fernando de Mello Vargas January 2007 Essay submitted in partial fulfilment for the requirements for the Master of Arts in Typeface Design Department of Typography and Graphic Communication The University of Reading, United Kingdom, 2007 This paper cannot be reproduced or published, partially or integrally, without the written consent of the author. Acknowledgments The author would like to thank Nicolien Van der Keur for providing the Asa Types ‘Trinité 1, 2, 3’ catalog and Daniel Rathigan for proof reading. Set in FF Scala and FF Scala Sans in Adobe InDesign CS2. Contents 1 introduction 4 2 optical spacing concepts 5 2.1 Spacing a sequence of different shapes 5 2.2 Balancing internal and external white spaces in letterforms 6 2.3 Simultaneous contrast issue 6 2.4 Vertical optical centres 7 2.5 Influence of ascenders and descenders 7 3 applying spacing methods in seriffed and sans-serif typeface designs 8 3.1 Experiment procedures 8 3.2 Description of spacing methods used 9 3.2.1 Walter Tracy’s method 9 3.2.2 Miguel Sousa’s method 10 3.3 Analysis of the results 11 3.3.1 First approach: comparing paragraphs and phrases 11 3.3.2 Second approach: comparing words 14 4 epilogue 16 5 image sources 17 6 references 18 Approaches to applying spacing methods in seriffed and sans-serif typeface designs 1. Introduction 1 W. Tracy, ‘Letters of credit: a view The adjustment of space between letters in typeface design, a process commonly of type design’, p. -
FSI: FF Scala Sans Offc Condensed Regular
fontfont opentype® ▪▪▪��� fontfont info guide for ff Scala Sans Condensed Regular Offc | Offc Pro or Web | Web Pro Sections a | Font and Designer Information b | Language Support c | Type Specimens section a FONT & DESIGNER INFORMATION Handgloves about ff Scala Sans Condensed Martin Majoor enhanced his elegant serif ff Scala with a companion sans- Regular serif family. Again it is the simplicity that makes Scala Sans so captivating, while at the same time its distinct character is immediately recognizable. First, the family comprised six variants including an italic small caps style, a fairly rare beast in the typographic zoo. Later, two Condensed weights as well as the two missing Small Caps fonts were added making the Scala family suitable for complex book typography. There is also a collection of Scala Hands, pointing hands with and without serifs, right and left handed, feminine and masculine, thumbs up and thumbs down ... the list goes on. Finally, light and black weights were added. The design of a serif typeface and an accompanying sans resulted in a very happy combination for graphic designers around the world. about Martin Majoor has been designing type since the mid-1980s. After a martin majoor student placement at URW in Hamburg, he started in 1986 as a typographic designer in the Research & Development department at Océ- Netherlands. In 1988 he started working as a graphic designer for the Vredenburg Music Centre in Utrecht, for whom he designed the typeface Scala for use in their printed matter. Two years later FSI FontShop International published ff Scala as the first serious text face in the then- new FontFont-Library. -
Krótki Przewodnik Po Typografii Dwudziestego Wieku Grzegorz Fijas
System Postmodernizm Czytelność Rodzina NIE- Moda BEZPIECZNE diy Kapitalizm Nowoczesność Nacjonalizm Demokracja LITERY Kolonializm Rewolucja Płeć Piękno Przestrzeń Emigracja Krótki przewodnik po typografii Porażka dwudziestego wieku Recykling Żart Grzegorz Fijas Emocje Niebezpieczne litery Krótki przewodnik po typografii dwudziestego wieku NIEBEZPIECZNE Grzegorz Fijas LITERY Krótki przewodnik po typografii dwudziestego wieku Kraków 2020 Copyright © Grzegorz Fijas, 2020 Redakcja: Joanna Hałaczkiewicz Korekta: Aleksandra Smoleń, Marcin Bojda Projekt graficzny i łamanie: Grzegorz Fijas Książkę złamano krojami Sharik Sans i Tzimmes Michała Jarocińskiego oraz Podium Sharp Mateusza Machalskiego. Rączka na stronie 143 pochodzi z kroju Geller Ludki Binek. Decyzja, by wykorzystać kroje, które nie powstały w dwudziestym wieku, była całkowicie świadoma. Książkę w formie e-booka można ściągnąć za darmo ze strony gfijas.pl. Jeżeli książka Ci się spodobała, autor będzie wdzięczny, jeśli dasz mu znać, np. wysyłając e-mail na adres [email protected] lub wiadomość na facebookową stronę „Niebezpieczne litery – typografia i edytorstwo”. Spis treści 9 Wprowadzenie 13 Kilka terminów na start Typograficzne dylematy 22 Univers, czyli system 28 Optima, czyli postmodernizm 34 ocr-b, czyli czytelność 40 ff Scala, czyli rodzina 46 ff Meta, czyli moda 52 Keedy Sans, czyli diy Niebezpieczne litery 60 Futura, czyli kapitalizm 66 Chaim, czyli nowoczesność 70 Antykwa Połtawskiego, czyli nacjonalizm 78 Times New Roman, czyli demokracja 84 Unified Arabic, czyli kolonializm 90 Solidaryca, czyli rewolucja 96 Mrs Eaves, czyli płeć Typografia na co dzień 104 Hobo, czyli piękno 110 Johnston, czyli przestrzeń 116 Albertus, czyli emigracja 122 Sachsenwald, czyli porażka 128 Courier, czyli recykling 134 Helvetica, czyli żart 140 Zapf Dingbats, czyli emocje 147 Na zakończenie – spojrzenie w przyszłość Wprowadzenie Nigdy wcześniej typografia nie zmieniała się tak dynamicznie, jak w dwudziestym wieku. -
Fontfont Focus Nexus.Pdf
★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆ three-way conversation in type, Threesome and The new cala? are just three qualifications that were given to Martin Majoor’s type family ff Nexus, when it was released in 2004. The fact that ff Nexus has three variants – a serif, a sanserif and a slabserif (a mix between serif and sans) – makes it a highly versatile typeface. Its third extension, the slabserif, is a logical result of Majoor’s type design philosophy which started with the release of ff Scala and ff Scala Sans some 15 years ago. first serif, then sans Almost 20 years ago, during the time Majoor started designing Scala, he almost intuitively developed a process in which the sans serif version was derived from the serif version: first the serif, then the sans. Later he called this theory, ‘2 typefaces, 1 form principle’, and the immediate success of ff Scala and ff Scala Sans was proof that he was on the right track. It turned out that his ‘theory’ wasn’t new at all, but thanks to digital techniques he was able to bring it into practice in a way that had not been seen before in type design. Features like old style figures and small caps, in all weights, in serif and sans and in 1 ★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★ regular and italic, simply had not been possible in the time of hot metal type. But at the start of the digital type era, this versatility was something new. It was 1993 and it was the first time ever that italic small caps were designed for a sans serif typeface. -
Scala OT Regular Scala Pro Regular
FontFont OpenType® nnIK nnnnABEM nnnnnn1032G9 nnZ5 nnND nnnn.,cR FontFont Info Guide Scala OT Regular Scala Pro Regular Version 01 | Nov 2005 Sections a | Introduction to OpenType® b | Font and Designer Information c | Supported Layout Features d | Language Support e | Type Specimens SECTION A INTRODUCTION TO OPENTYPE® What is OpenType® is a cross-platform font file format developed jointly by OpenType? Adobe and Microsoft. The two main benefits of the OpenType format are its cross-platform compatibility (the same font file works on Macintosh and Windows computers), and its ability to support widely expanded character sets and layout features, which provide rich linguistic support and advanced typographic control. OpenType fonts can be installed and used alongside PostScript® Type 1 and TrueType fonts. The range of supported layout features may differ in the various FontFont OpenType packages, therefore each OpenType package will be accompanied by this ff Info Guide listing the layout features supported by this specific font package. You’ll find a glossary of all available OpenType layout features in Section B of the general ff OpenType User Guide. Please see the FontFont OpenType® User Guide at http://www.fontfont.com/opentype ©fsi, 2005 All rights reserved. All information in this document is provided “AS IS” without warranty of any kind, either expressed or implied, and is subject to change without notice. All trademarks mentioned in this document are the trademarks or registered trademarks of their respective holders. You may reproduce and distribute this document as long as you do not remove fsi’s copyright information and do not make any changes in the document. -
Writing with Scala
writing by Ellen Lupton writing with s c a l a Scala by Martin Majoor i first used scala in 1991, when Robin Kinross mailed it to me in New York City on a fl oppy disk. Robin was writing an essay for an exhibition catalogue I was editing, Graphic Design in the Netherlands: A View of Recent Work. His essay was about typeface design, and this is what he had to say about Scala, designed by the brilliant young typographer Martin Majoor: Scala sums up many characterististics of recent Dutch type design. It is an “old style” face, perhaps, but it follows no established model— it invokes memories of W. A. Dwiggins and Eric Gill. Scala has a definite, sharp character of its own, which escapes the Van Krimpen mold. As usual with the Dutch, the italic has a strong, insistent rhythm, perhaps to an extreme. Much love and attention has gone into the “special sorts,”—there is even an x-height ampersand (&)—and the figures are, of course, non-lining.1 Presented on the following pages are specimens of texts that I have written over the years, sampled and reconfigured to provide a showing of this amazing typeface. All of these texts were originally written in Scala. As a writer who is also a designer, I often compose my words directly on the page, and I am happiest when writing in Scala. Its crisp geometry and humanist refer- ences make Scala at home with both the visual and literary qualities of the written word. Scala’s x-height, which may be unfashionably large by today’s standards, has always sat well with me, reminding me of my own bottom-heavy figure. -
Reading Machines. Ambient Writing and the Poetics of Atmospheric Media
READING MACHINES AMBIENT WRITING AND THE POETICS OF ATMOSPHERIC MEDIA ALEC MAPES-FRANCES HONORS THESIS IN MODERN CULTURE AND MEDIA (A.B., TRACK II) BROWN UNIVERSITY 2017 READING MACHINES: AMBIENT WRITING AND THE POETICS OF ATMOSPHERIC MEDIA ALEC MAPES-FRANCES HONORS THESIS IN MODERN CULTURE AND MEDIA (A.B., TRACK II) BROWN UNIVERSITY 2017 THESIS ADVISOR—TIMOTHY BEWES SECOND READER—DIEGO SEMERENE SPECIAL THANKS—ADA SMAILBEGOVIĆ 2 3 INTRODUCTION—6 1 DISAPPEARANCES—18 2 SMOOTH OPERATIONS—35 3 AMBIENT SELVES—54 4 “SPACES WE MIGHT NOT HAVE INHABITED”—74 CONCLUSION—94 BIBLIOGRAPHY—97 AUDIOVISUAL SOURCES—109 4 5 INTRODUCTION We are always living in a paradoxical situation. The mutations of subjectivity are sudden, occurring at ‘infinite speeds.’…one says to oneself: Isn’t it boring here? Isn’t it nerve-racking? Isn’t the ambiance great? —Félix Guattari1 Since Brian Eno pioneered the concept of ambient music in the 1970s, “ambient” has seen increasing circulation and proliferation in discourses on the arts and media as a catchword for work that surrounds, backgrounds, withdraws. Customarily, the genealogy of the term is audiocentric—Eno, the Muzak corporation’s “audio architecture,” Erik Satie’s “musique d’ameublement,” and even early modern “Tafelmusik”—leading music critics such as Mark Prendergast to name the 20th century the “ambient century.”2 But in contemporary usage, ambience and the ambient are frequently expanded well beyond music, sonic art, and sound studies, and into interior decoration, meteorology, computing, electronics, urbanism, corporate and 1 Félix Guattari, quoted in Maurizio Lazzarato, Signs and Machines (Los Angeles: Semiotext(e), 2014), 218. -
MEET YOUR TYPE a Field Guide to Love & Typography CONTENTS CONTENTS
MEET YOUR TYPE a field guide to love & typography CONTENTS CONTENTS TIME FOR “THE TALK” the elements of typography page 04 COULD THIS BE THE ONE? appropriate typeface selection page 16 MAKING IT WORK typographic details page 26 TIME TO COMMIT font licensing and creation page 38 Why settle for casual flirtation when looking for a long-lasting relationship? Finding the perfect match is easy if you know the rules. MEET YOUR TYPE will help you overcome common obstacles, and keep your heart thumping for your one true love: Ø5 THE BIRDS & THE BEES typeface vs. font typography. TIME FOR ”THE TALK” the elements of type peach MILO THIN 08 MILO REGULAR ITALIC fuMILO TEXT zz TRAINING MILOTHIN.OTF = FONT ABCDEGHIJK LMNOPQRST UVWXYZ abcdefghijkl mnopqrstuv wxyz bMILO EXTRA BOLD ra 007 THE BIRDS & THE BEES typeface vs. font You may notice that you’re changing. You’re noticing different letterforms. You may feel different around them. Don’t be embarrassed; these feelings are natural. fuzz A few basics can help you through the awkward years. TYPEFACE A typeface is a single set of characters that share stylistic unity. A typeface usually comprises an alphabet of letters, numbers, punctuation and diacritical marks. FONT Old school typographers defined a font as a complete character set of a particular typeface in one size. When type made the leap to the digital realm, a font became an electronic file that rendered the typeface in all sizes. A typeface is what you see– a font is what you use to make it happen. YOU JUST WANT ME FOR MY BODY type anatomy Double chin, big feet, or bowed legs. -
Types and Characters – Martin Majoor
ff Scala ff Scala Sans FF Scala Jewels ff Seria ff Seria Sans ff Nexus Serif ff Nexus Sans ff Nexus Mix FF Nexus Typewriter FontFont presents to you two brochures concerning excellent type designers and their approach to designing fonts: the scribbling, the computer work, their sources of inspiration … The aim of the brochures is to provide an insight into the work of the nice people behind the letters. Have a glance at the work of the two type super heroes Xavier Dupré and Martin Majoor. types & characters Martin Majoor www.fontfont.com www.fontshop.com Æ 10 Questions to Martin Majoor What are your inspirations and Do you think there is a connection You design books. ff Scala what do you like about being a type between Dutch type designers? Do you like reading? designer? There is no jealousy between us, I don’t have enough time for reading, ff Scala Sans Old books, especially old books set rather respect, unlike in other unfortunately. But when I have time in hot metal type, are inspiring professions maybe. But after all, I love reading. Although I recently FF Scala Jewels 1988 – 1997 for me, although new books are the Netherlands are so small that noticed that I’ve become such a nerd inspiring, too, of course. What I like you see each other quite often. that I don’t see any texts but just type. in my profession is that I often see my typefaces out there used by other What problems did you have Are you living with your family in designers. -
Ff Scala Is Named After the Teatro Alla Scala (1776–78) in Milan
=f fontfont focus nº 1 scala @ Q g < n y g F O N T F O N T F O C U S 1 ff Scala is named after the Teatro alla Scala (1776–78) in Milan. There were two reasons for this name: ff Scala was made especially for a concert hall, the Vredenburg in Utrecht, and the design has it roots in around the time Teatro alla Scala was built, the mid- eighteenth century. Furthermore the word ‘scala’ has the meaning ‘a whole range’, which ff Scala certainly is: from a to z and from serif to sans serif, from light to black and from formal to decorated. As first released (1991) ff Scala had only four styles: Regular, Italic, Bold and small caps. Since then ff Scala has grown to 28 styles. ff Scala & ff Scala Sans: two typefaces, one form principle ff Scala and ff Scala Sans are two di=erent typefaces sharing a common form principle. The character of a seri=ed typeface mainly arises from the form principle and from elements such as serifs and contrast of the strokes. A sans serif design depends almost entirely on the form principle. ff Scala Sans was made simply by cutting the serifs o= from the characters of Scala and by adjusting their contrast. So the skeletons of both ff Scala and ff Scala Sans are identical. the skeleton of both ff scala and ff scala sans F O N T F O N T F O C U bembo fournier ff scala S 2 ff scala The form principle of ff Scala find its roots in the first vertically- stressed typefaces of the French typographer Pierre Simon Fournier (mid-eighteenth-century). -
Combining Typefaces
Five Simple Steps A Pocket Guide Combining typefaces by Tim Brown 2 3 A Pocket Guide to Combining Typefaces by Tim Brown Published in 2013 by Five Simple Steps Studio Two, The Coach House Stanwell Road Penarth CF64 3EU United Kingdom On the web: www.fivesimplesteps.com and: http://nicewebtype.com/ Please send errors to [email protected] Publisher: Five Simple Steps Editor: Stephen Coles Copy Editor: Owen Gregory Production Manager: Jo Brewer Art Director: Nick Boulton Designer: Nick Boulton, Colin Kersley Copyright © 2013 Tim Brown All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without prior permission in writing from the publisher. ISBN: 978-1-907828-17-1 A catalogue record of this book is available from the British Library. … Why combine typefaces? Why would anyone bother using more than one typeface? 6 Designers can, and often do, use a single variation of one typeface (for example, Proxima Nova Regular) for entire projects. This is a common exercise in Typography 101 classes because it helps students understand typesetting options and limitations, and it’s a popular aesthetic among professionals who are in a hurry, trying to be plain, or trying to be careful. Even sticking with a single typeface (for example, the complete Proxima Nova family) provides a multitude of possibilities, particularly if that face offers many weights, widths and styles. The act of bringing different typefaces together to convey a message is challenging, inspiring and fun. -
Intermediate Graphic Design Art 3330
UNIVERSITY OF HOUSTON | SCHOOL OF ART | GRAPHIC DESIGN Fall 2015 Intermediate Graphic Design Art 3330 Tuesday/Thursday Associate Professor Cheryl Beckett Contact [email protected] | design.uh.edu/beckett | Time 8:30–11:30 AM Monday/Wednesday Associate Professor Fiona McGettigan Contact [email protected] | design.uh.edu/mcgettigan | Time 8:00–11:00 AM Typography : Research + Classification Study 1. Ed Benguiat (over 600 typefaces including Bookman, and ITC Ben- Due Monday August 31/Tuesday Sept 1 guiat) 1. 2. Morris Fuller Benton (America’s most prolific type designer, having Having been assigned one of the type designers to the left, research their completed 221 total typefaces, including: Franklin Gothic, Century typefaces and their work, their process and their design philosophy. Present Schoolbook, News Gothic, Bank Gothic) the work, the context and any other relevant narratives along with representa- 3. William Addison Dwiggins (36 completed typefaces including Electra, tions of their contribution to the world of type design. Caledonia, Metro) 4. Frederic Goudy (90 completed typefaces including: Copperplate, Present the work of the assigned type designer (5 min. max.) Goudy Old Style, Berkeley Oldstyle) Include: 5. Chauncey H. Griffith (34 typefaces including Bell Gothic, 1937; 1. A brief statement about the designer and their work specifically Poster Bodoni, 1938) related to their typographic contribution 6. Jonathan Hoefler (Knockout, Hoefler Text, Gotham, Archer, Sentinel, 2. 5 images of their work with particulars about their typeface design, partner with Tobias Frere-Jones) classifications and application. 7. Robert Slimbach (Minion, Adobe Garamond, Utopia, Garamond Premier) You may present digitally (screen) or on the wall.