Interview with Charles Bigelow Yue Wang
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Typographic Specimen Poster
Typographic Specimen Poster Type specimen posters were historically released by foundries and printers as a means of introducing new typefaces to designers. The design aesthetic of the posters was mostly utilitarian (simple and functional) with the goal of displaying a typeface in different sizes for the designer to visualize how the typeface could be used. As technology progressed from the linotype to the digital press, the emphasis on posters as the primary means of showing off a new typeface diminished, however the type specimen poster grew into their own form of expressive design. While modern type specimen posters are not as common, they are often far more expressive than their historical counterparts. Akzidenz Grotesk, design by Gunter Gerhard Lange in 1898 Homework: Put a Typeface to a Name This is a project that focuses on research and utilizing your knowledge of typography and layout skills learned over the past semester. Using InDesign, the objective of your type poster is to highlight the different qualities or characteristics of your chosen typeface, introduce the typographer, as well as generate a design that compliments the aesthetics of the prominent design movement of the time. Part 1) Research and Sketchbook Exercise: Research online and find at least 5 examples of type specimen sheets that inspire you, even if their design is different from the approach you will be taking. From your assigned century, choose a typographer and typeface they designed. Research the prominent design movement associated with your typographerʼs region and time period (Example: Typographer: Eric Gill, Typeface: Gill Sans, Time Period: 1920s England, Prominent Design Movement: Art Deco). -
Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
Basic Styles of Lettering for Monuments and Markers.Indd
BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble. -
WWII Book Project Project Based Learning
World History Semester 11 Causes of WWII Book Project Project Based Learning Overview: The students will create a children’s book or a comic book / graphic novel over one, many, or all of the causes of WWII. The students will use the internet to look up pictures to include in their book as well as conduct research over the causes of WWII. At the culmination of the project, each student will read his or her book to the class. The last page of the book needs to be 1 page explanation of the student’s opinion of what the main cause of WWII was and why they feel that way. 21 Century outcomes: Core Subject: History Learning and Innovation Skills Think Creatively Use Systems of Thinking Communicate Clearly Information, Media and Technology Skills Access and Evaluate Information Use and Manage Information Apply Technology Effectively Life and Career Skills Manage Goals and Time Work Independently Manage Projects Produce Results Social Studies, FHSD curriculum World History Content SS2. Knowledge of principles and processes of governance systems Content SS3b. Knowledge of continuity and change in the history of the world Causes of WWII Project: Causes of WWII Children’s book / comic book / graphic novel Requirements: 1. Front Cover/Introduction 2. at least 5 pages of content (not including the front / back cover, the timeline, or the 1 page answer) 3. Each page of the story must include words AND pictures 4. Timeline of the most important events leading up to WWII 5. The student’s opinion as to what the main cause of WWII was and why. -
Advanced Printer Driver Ver.4.13
Advanced Printer Driver for South Asia Ver.4 TM Printer Manual APD Overview Descriptions of the APD features. Using the APD Descriptions of simple printings and useful functions. Reference Descriptions of property seings of the printer driver. TM Flash Logo Setup Utility Ver.3 Descriptions of how to set and use the TM Flash Logo Setup Utility Ver3. Restrictions Descriptions of restrictions on use of the APD. Printer Specification Descriptions of the specifications of TM-T81. M00024103-2 Rev. D Cautions • No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Seiko Epson Corporation. • The contents of this document are subject to change without notice. Please contact us for the latest information. • While every precaution has taken in the preparation of this document, Seiko Epson Corporation assumes no responsibility for errors or omissions. • Neither is any liability assumed for damages resulting from the use of the information contained herein. • Neither Seiko Epson Corporation nor its affiliates shall be liable to the purchaser of this product or third parties for damages, losses, costs, or expenses incurred by the purchaser or third parties as a result of: accident, misuse, or abuse of this product or unauthorized modifications, repairs, or alterations to this product, or (excluding the U.S.) failure to strictly comply with Seiko Epson Corporation’s operating and maintenance instructions. • Seiko Epson Corporation shall not be liable against any damages or problems arising from the use of any options or any consumable products other than those designated as Original EPSON Products or EPSON Approved Products by Seiko Epson Corporation. -
Richard L. Baskerville
Richard L. Baskerville Department of Computer Information Systems Robinson College of Business, Georgia State University PO Box 4015, Atlanta, Georgia 30032-4015, USA Tel +1 404 413 7362 Fax +1 404 413 7394 Internet: [email protected] Degrees Doctor in Natural Sciences (2014) -- honoris causa. Roskilde University Doctor of Philosophy (2014) -- honoris causa. University of Pretoria. Faculty of Engineering, Built Environment, and Information Technology. Doctor of Philosophy (1986) -- Systems Analysis. The London School of Economics and Political Science (University of London), supervised by Frank Land, Department of Information Systems. Master of Science (1980) -- Analysis, Design and Management of Information Systems (Accounting Option). The London School of Economics. Bachelor of Science summa cum laude (1979) -- Business and Management. University of Maryland, European Division, Heidelberg. Primary areas: Personnel Management and Business Law. Academic Appointments 1997 - present time. Georgia State University, J. Mack Robinson College of Business Administration, Department of Computer Information Systems, Regents’ Professor (2016 - present), Board of Advisors Professor of Information Systems (2007 - present), Professor of Information Systems (2001 - 2007), Chair of the Department (1999 - 2006), Associate Professor of Information Systems (1997 - 2001). 2014 - present time. School of Information Systems, Curtin Business School, Curtin University, Perth, Western Australia, Professor (partial appointment). 1988 - 1997. State University of New York at Binghamton, School of Management, Associate Professor of Information Systems with tenure (1994 - 1997, Assistant Professor, 1988-1994). 1984 - 1988. University of Tennessee at Chattanooga, School of Engineering, Associate Professor of Computer Science, (1987-1988), Assistant Professor (1984 to 1987). 1981 - 1984. Francis Marion University (then F. M. College), Department of Business, Assistant Professor of Computer Science. -
Suitcase Fusion 8 Getting Started
Copyright © 2014–2018 Celartem, Inc., doing business as Extensis. This document and the software described in it are copyrighted with all rights reserved. This document or the software described may not be copied, in whole or part, without the written consent of Extensis, except in the normal use of the software, or to make a backup copy of the software. This exception does not allow copies to be made for others. Licensed under U.S. patents issued and pending. Celartem, Extensis, LizardTech, MrSID, NetPublish, Portfolio, Portfolio Flow, Portfolio NetPublish, Portfolio Server, Suitcase Fusion, Type Server, TurboSync, TeamSync, and Universal Type Server are registered trademarks of Celartem, Inc. The Celartem logo, Extensis logos, LizardTech logos, Extensis Portfolio, Font Sense, Font Vault, FontLink, QuickComp, QuickFind, QuickMatch, QuickType, Suitcase, Suitcase Attaché, Universal Type, Universal Type Client, and Universal Type Core are trademarks of Celartem, Inc. Adobe, Acrobat, After Effects, Creative Cloud, Creative Suite, Illustrator, InCopy, InDesign, Photoshop, PostScript, Typekit and XMP are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apache Tika, Apache Tomcat and Tomcat are trademarks of the Apache Software Foundation. Apple, Bonjour, the Bonjour logo, Finder, iBooks, iPhone, Mac, the Mac logo, Mac OS, OS X, Safari, and TrueType are trademarks of Apple Inc., registered in the U.S. and other countries. macOS is a trademark of Apple Inc. App Store is a service mark of Apple Inc. IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license. Elasticsearch is a trademark of Elasticsearch BV, registered in the U.S. -
Web Typography │ 2 Table of Content
Imprint Published in January 2011 Smashing Media GmbH, Freiburg, Germany Cover Design: Ricardo Gimenes Editing: Manuela Müller Proofreading: Brian Goessling Concept: Sven Lennartz, Vitaly Friedman Founded in September 2006, Smashing Magazine delivers useful and innovative information to Web designers and developers. Smashing Magazine is a well-respected international online publication for professional Web designers and developers. Our main goal is to support the Web design community with useful and valuable articles and resources, written and created by experienced designers and developers. ISBN: 978-3-943075-07-6 Version: March 29, 2011 Smashing eBook #6│Getting the Hang of Web Typography │ 2 Table of Content Preface The Ails Of Typographic Anti-Aliasing 10 Principles For Readable Web Typography 5 Principles and Ideas of Setting Type on the Web Lessons From Swiss Style Graphic Design 8 Simple Ways to Improve Typography in Your Designs Typographic Design Patterns and Best Practices The Typography Dress Code: Principles of Choosing and Using Typefaces Best Practices of Combining Typefaces Guide to CSS Font Stacks: Techniques and Resources New Typographic Possibilities with CSS 3 Good Old @Font-Face Rule Revisted The Current Web Font Formats Review of Popular Web Font Embedding Services How to Embed Web Fonts from your Server Web Typography – Work-arounds, Tips and Tricks 10 Useful Typography Tools Glossary The Authors Smashing eBook #6│Getting the Hang of Web Typography │ 3 Preface Script is one of the oldest cultural assets. The first attempts at written expressions date back more than 5,000 years ago. From the Sumerians cuneiform writing to the invention of the Gutenberg printing press in Medieval Germany up to today՚s modern desktop publishing it՚s been a long way that has left its impact on the current use and practice of typography. -
1 Warum Hassen Alle Comic Sans?
Preprint von: Meletis, Dimitrios. 2020. Warum hassen alle Comic Sans? Metapragmatische Onlinediskurse zu einer typographischen Hassliebe. In Jannis Androutsopoulos/Florian Busch (eds.), Register des Graphischen: Variation, Praktiken, Reflexion, 253-284. Boston, Berlin: De Gruyter. DOI: 10.1515/9783110673241-010. Warum hassen alle Comic Sans? Metapragmatische Onlinediskurse zu einer typographischen Hassliebe Dimitrios Meletis Karl-Franzens-Universität Graz 1. Einleitung If you love it, you don’t know much about typography, and if you hate Com- ic Sans you don’t know very much about typography either, and you should probably get another hobby. Vincent Connare, Designer von Comic Sans1 Spätestens ab dem Zeitpunkt, als mit dem Aufkommen des PCs einer breiten Masse die Möglichkeit geboten wurde, Schriftprodukte mithilfe von vorinstallierten Schriftbear- beitungsprogrammen und darin angebotenen Schriftarten nach Belieben selbst zu gestal- ten, wurde – oftmals unbewusst – mit vielen (vor allem impliziten) Konventionen ge- brochen. Comic Sans kann in diesem Kontext als Paradebeispiel gelten: Die 1994 ent- worfene Type (in Folge simplifiziert: Schriftart, Schrift) wird im Internet vor allem auf- grund von Verwendungen in dafür als unpassend empfundenen Situationen von vielen leidenschaftlich ‚gehasst‘. So existiert(e) unter anderem ein Manifest, das ein Verbot der Schrift fordert(e) (bancomicsans.com).2 Personen, die die „Schauder-Schrift“ (Lischka 2008) „falsch“ verwenden, werden als Comic Sans Criminals bezeichnet und ihnen wird Hilfe angeboten, -
Windows & Mirrors
THE HOMETOWN NEWSPAPER FOR MENLO PARK, ATHERTON, PORTOLA VALLEY AND WOODSIDE APRIL 26, 2017 | VOL. 52 NO. 34 WWW.ALMANACNEWS.COM Windows & mirrors KitaabWorld aims to give kids glimpses and reflections of different cultures PageP20 20 ERS’ CH D O I A C E E Pick your favorite restaurants, R shops and services | Page 9 2017 / / Alain Pinel Realtors® HOME STARTS HERE Atherton $12,800,000 Woodside $12,395,000 Menlo Park $4,988,000 489 Fletcher Drive | 6bd/7.5ba 835 La Honda Road | 4bd/3.5ba 1158 Windsor Way | 4bd/3.5ba Mary & Brent Gullixson | 650.462.1111 Judy Citron | 650.462.1111 Monica Corman & Mandy Montoya | 650.462.1111 By Appointment By Appointment By Appointment Atherton $5,250,000 Mountain View $3,498,000 Atherton $3,400,000 9 Valley Road | 5bd/3.5ba 278 Carmelita Drive | 5bd/5ba 390 Greenoaks Drive | 3bd/3ba Mary & Brent Gullixson | 650.462.1111 Keri Nicholas | 650.304.3100 Carol & Nicole | 650.462.1111 By Appointment By Appointment By Appointment Atherton $3,000,000 Menlo Park $1,949,000 Palo Alto $1,495,000 73 Watkins Avenue | 5bd/4ba 211 Pearl Lane | 3bd/2.5ba 548 Everett Avenue | 2bd/2ba Demetrius Tam | 650.462.1111 Janise Taylor | 650.462.1111 Brendan Callahan | 650.304.3100 By Appointment By Appointment By Appointment San Carlos $1.299.000 San Carlos $1,995,000 Redwood City $799,000 438 Portofino Drive #101 | 3bd/3ba 3189 La Mesa Drive | 3bd/2ba 111 Wellesley Crescent #2S | 2bd/3ba Zach Trailer | 650.304.3100 Courtney Charney | 650.462.1111 Shane Stent | 650.304.3100 Open Sat & Sun 1:30-4:30 By Appointment Open Sat & Sun 1:00-4:00 -
General Solution to UI Automation
Loong: General Solution to UI Automation TECHNICAL REPORT TR-2013-002E Yingjun Li , Nagappan Alagappan Loong: General Solution to UI Automation Abstract We have two different solutions for UI automation. First one is based on accessibility technology, such as LDTP [1]. Second one is based on image comparison technology such as Sikuli [2]. Both of them have serious shortcomings. Accessibility technology cannot recognize and operate all UI controls. Image comparison technology contains too many flaws and hard-coded factors which make it not robust or adequate for UI automation. The principles of the two technologies are so different with each other. This means it is possible that we use accessibility technology to overcome shortcomings of image comparison technology and vice versa. In this paper, we integrate accessibility technology with image comparison technology at the API level. I use LDTP and Sikuli to demonstrate the integration. Firstly, our integration overcomes respective shortcomings of the two technologies; Secondly, the integration provides new automation features. The integration is named Loong. It is a general solution to UI automation because it not only solves problems but also provides new automation features to meet various requirements from different teams. 1. Introduction I use LDTP to represent LDTP (Linux), Cobra (Windows) and PyATOM (Mac OS X) because they are all based on accessibility technology and provide same APIs. If UI controls are standard - provided by operating system and have accessibility enabled), accessibility technology such as LDTP is a good choice to recognize and operate them. However, LDTP cannot recognize and operate controls which do not have accessibility enabled. -
Volume 18-4 (Low Res).Pdf
A a Bb Cc Dd Ee Ff Gg Hh liJj Kk LI MmNnOoPp Qq RrSsTt UuVvWwXxYyZz1234567890&fECE$$(£.%!?0 [] Brookie ilaxtt7e11: Walking Up Dream .Street tl hat Modern {Vas Italian Beach Signs Book Jackets of t he 1920s & 1930s Hidden Music: A Print by Glaser 3 The Cat's Out of the Bag. On September 10, 1991, PC Magazine called Arts & Letters "the easiest-to-use illustration product for the PC' PC Magazine made it official. However, Arts & Letters clip-art images. The Editor offers a list of features you owners have known for years how easy it is to use. can really sink your teeth into; like multi-tasking of screen Instructions are clear and concise. Commands are kept redraw, data-driven charting, gradient fills and blends, to a minimum. Everything is object-oriented, and what text-along-a-path, lock/hide/name, warp/perspective, you see is what you get. To top it off, the latest version hole cutting, and object and text masking. Automatic spot of the Graphics Editor (3.1) is even quicker and more and four-color separations are also available. powerful than its predecessors. Rave reviews about Arts & Letters are commonplace. Arts & Letters offers several built-in advantages: you The Arts & Letters clip-art collection also received can draw upon the award-winning 5,000-image clip-art Publish magazine's Readers' Choice award two years in collection, 80 superb typefaces, Bezier drawing tools and a row and PC Magazine named it a host of spectacular special effects. Editors' Choice for 1991. There is no limit to the kinds of electronic artwork Try your hand at turning a you can create with the Arts & Letters Graphics Editor: tabby into a tiger.