5. Typography
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The Origins of the Underline As Visual Representation of the Hyperlink on the Web: a Case Study in Skeuomorphism
The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Romano, John J. 2016. The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797379 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism John J Romano A Thesis in the Field of Visual Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 Abstract This thesis investigates the process by which the underline came to be used as the default signifier of hyperlinks on the World Wide Web. Created in 1990 by Tim Berners- Lee, the web quickly became the most used hypertext system in the world, and most browsers default to indicating hyperlinks with an underline. To answer the question of why the underline was chosen over competing demarcation techniques, the thesis applies the methods of history of technology and sociology of technology. Before the invention of the web, the underline–also known as the vinculum–was used in many contexts in writing systems; collecting entities together to form a whole and ascribing additional meaning to the content. -
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 -
Use of Capital Letters
Use Of Capital Letters Sleepwalk Reynold caramelised gibbously and divisively, she scumbles her galvanoplasty vitalises wamblingly. Is Putnam concerning when Franklin solarizes suturally? Romansh Griffin hastens endurably. Redirecting to an acronym, designed to complete a contraction of letters of Did he ever join a key written on capital letters? If students only about capital letters, they are only going green write to capital letters. Readers would love to hear if this topic! The Effect of Slanted Text change the Readability of Print. If you are doctor who writes far too often just a disaster phone than strength a computer, you get likely to accommodate from a licence up on capitalization rules for those occasions when caught are composing more official documents. We visited The Hague. To fog at working capital letters come suddenly, you have very go way sufficient to compete there listen no upper body lower case place all. They type that flat piece by writing desk complete sense a professional edit, button they love too see a good piece the writing transformed into something great one. The semester is the half over. However, work is established in other ways, such month by inflecting the noun clause by employing an earnest that acts on proper noun. Writing emails entirely in capital letters is widely perceived as the electronic equivalent of shouting. Business site owners or journalism it together business site owners when business begins after your bracket. Some butterflies fly cease and feeling quite good sound. You can follow the question shall vote his reply were helpful, but god cannot grow this post. -
Letters Are Made for Reading
Letters are made for reading A lot of things has to be taken into consideration when you make typographical choices. With the typography of logos and headlines, etc, the style and tone of your publication is determined. But when it comes to the body text, legibility is more important than anything else. BACK IN THE LATE SEVENTIES when I was study- In ”micro” typography, on the other hand, legi- ing architecture at the Royal Academy of Arts, one bility is more important than style. Or maybe we of the rules we were taught was: ”A building must ought to talk about ”readability”, a phrase used by have a distinctive entrance”. That ought to make some typographers, making the point that what sense: It hardly matters what’s inside a house if you fi nd legible depends more than anything else you can’t fi nd the door, does it? on what you are used to read. However perfect Good typography, I’d say, is like the entrance the letterforms of a new typeface, it may still ap- to a house. It should lead you inside, help you to pear hard to read if people think it looks strange. the contents—which is indeed the most important Perhaps this is why most people still prefer text thing. with serifs even though repeated surveys have But then again, what is good typography? Well, shown no legibility differences between sans and as there are numerous disciplines of graphic de- serif typefaces. sign, this question does not have one single—or If you read the same newspaper every day, simple—answer. -
I Hate Comic Sans!
I HATE COMIC SANS! It’s Overused It’s Badly used It’s not serious typography Used Incorrectly by Hospitals, Businesses, and Banks, etc. ? “A Computer on Every Desk, In every Home, Running Microsoft Software” the Microsoft Mission statement c. 1980 Computers were expensive Marketed mostly to businesses Expensive Dial up internet Off peak use only on AOL (after 6pm-6am) Screen savers were products Microsoft Scenes After Dark (flying toasters) CD-ROM ‘multimedia’ software MS Beethoven, Schubert, Stravinsky, Strauss MS Ultimate Frank Lloyd Wright MS Wine Guide, MS Dogs, MS Complete Gardening Microsoft Home (1993 Consumer Division) •Goal: To create software for Mums, Dads, and kids Product titles: •Microsoft Flight Simulator* •Microsoft Encarta* •Microsoft Scenes* •Microsoft Creative Writer Wall Street Journal: Aug 24, 1995 • Home computers in US home electronic stores for about $1000 •First affordable computers available • with Windows 95 installed • MSN Online network released to compete with America Online (AOL), Compuserve, Genie etc. • First Generation Internet Explorer released in the Plus Pack for Windows 95 ‘Utopia’ Project Lead: Melinda French (future Mrs. BillG) UI used a simple method of Launching Applications Similar to Hypercard stacks of the late 1980s For children and novice users Release: to coincide with Win95 and 1995 Christmas Season Rover talks in Times New Roman 1994 Microsoft Bob DC Comics: DC Comics The Dark Knight Returns Watchmen DC COMICS: WATCHMEN 1986-87 ILLUSTRATOR/LETTERER : DAVE GIBBONS • -
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. -
Sig Process Book
A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry. -
Advanced OCR with Omnipage and Finereader
AAddvvHighaa Technn Centerccee Trainingdd UnitOO CCRR 21050 McClellan Rd. Cupertino, CA 95014 www.htctu.net Foothill – De Anza Community College District California Community Colleges Advanced OCR with OmniPage and FineReader 10:00 A.M. Introductions and Expectations FineReader in Kurzweil Basic differences: cost Abbyy $300, OmniPage Pro $150/Pro Office $600; automating; crashing; graphic vs. text 10:30 A.M. OCR program: Abbyy FineReader www.abbyy.com Looking at options Working with TIFF files Opening the file Zoom window Running OCR layout preview modifying spell check looks for barcodes Blocks Block types Adding to blocks Subtracting from blocks Reordering blocks Customize toolbars Adding reordering shortcut to the tool bar Save and load blocks Eraser Saving Types of documents Save to file Formats settings Optional hyphen in Word remove optional hyphen (Tools > Format Settings) Tables manipulating Languages Training 11:45 A.M. Lunch 1:00 P.M. OCR program: ScanSoft OmniPage www.scansoft.com Looking at options Languages Working with TIFF files SET Tools (see handout) www.htctu.net rev. 9/27/2011 Opening the file View toolbar with shortcut keys (View > Toolbar) Running OCR On-the-fly zoning modifying spell check Zone type Resizing zones Reordering zones Enlargement tool Ungroup Templates Saving Save individual pages Save all files in one document One image, one document Training Format types Use true page for PDF, not Word Use flowing page or retain fronts and paragraphs for Word Optional hyphen in Word Tables manipulating Scheduler/Batch manager: Workflow Speech Saving speech files (WAV) Creating a Workflow 2:30 P.M. Break 2:45 P.M. -
Wiley APA Style Manual: a Usage Guide
Version 2.2 Wiley Documentation Wiley APA Style Manual: A Usage Guide File name: Wiley APA Style Manual Version date: 01 June 2018 Version Date Distribution History Status and summary of changes Version 2.2 01 June 2018 Journal copyedit levels Updating supporting information; using stakeholder group semicolon for back-to-back parentheses; numbered abstracts are allowed for some society journals; display and block quotes to be set in roman. Table of Contents Preface .......................................................................................................................................................... 3 Part I: Structuring and XML Tagging ........................................................................................................... 4 Part II: Mechanical Editing ........................................................................................................................... 4 2. Manuscript Elements ................................................................................................................................ 4 2.1 Running Head ..................................................................................................................................... 4 2.2 Article Title ......................................................................................................................................... 4 2.3 Article Category .................................................................................................................................. 5 2.4 Author’s Name -
Community College of Denver's Style Guide for Web and Print Publications
Community College of Denver’s Style Guide for Web and Print Publications CCD’s Style Guide supplies all CCD employees with one common goal: to create a functioning, active, and up-to-date publications with universal and consistent styling, grammar, and punctuation use. About the College-Wide Editorial Style Guide The following strategies are intended to enhance consistency and accuracy in the written communications of CCD, with particular attention to local peculiarities and frequently asked questions. For additional guidelines on the mechanics of written communication, see The AP Style Guide. If you have a question about this style guide, please contact the director of marketing and communication. Web Style Guide Page 1 of 10 Updated 2019 Contents About the College-Wide Editorial Style Guide ............................................... 1 One-Page Quick Style Guide ...................................................................... 4 Building Names ............................................................................................................. 4 Emails .......................................................................................................................... 4 Phone Numbers ............................................................................................................. 4 Academic Terms ............................................................................................................ 4 Times .......................................................................................................................... -
Thai Typefaces (Part 1): Assumption on Visibility and Legibility Problems
Thai Typefaces (Part 1): Assumption on Visibility and Legibility Problems 1* 2 3 Rachapoom PUNSONGSERM , Shoji SUNAGA , Hisayasu IHARA 1 Graduate School of Design, Kyushu University, Fukuoka, Japan 1 Faculty of Fine and Applied Arts, Thammasat University, Pathum Thani, Thailand 2,3 Faculty of Design, Kyushu University, Fukuoka, Japan Abstract Background Regarding the growing elderly population, which several countries are experiencing right now, various typeface designs have been developed to address the need for increased legibility and visibility. Certainly, common factors that affect the well-being of the elderly are related to visual acuity. The universal design fonts (UD fonts) developed in Japan are regarded as a role model for the development of highly legible and visible Thai typefaces. As Thailand’s society matures, the concern for creating a Thai UD font based on human-centered design is ideal for the purpose of supporting elderly people as well as people with amblyopia and low vision Methods As the first step to developing a Thai UD font, as a preliminary study, we qualitatively tested the tolerance of Thai characters under blurred conditions. We used the fifty Thai conventional text fonts in the boundary of ‘The Table of Thai Character's Relationship’ in the same character heights as stimuli. The stimuli simulated the visual acuity of people with poor vision at different blur levels. Results From the tests, we have established the expected Thai confused pairs, as the assumptions. We found the simulated condition revealed many problems with the visibility and the legibility matters of Thai Characters, as the assumptions; however, these findings led to ideas and possible solutions, which may provide assistance for the approach to designing the first Thai UD font. -
BSA Brand Guidelines Real-World Examples 97 Introduction
Boy Scouts of America Brand Guidelines BSALast Brand revised Guidelines July 2019 Table of Contents Corporate Brand Scouting Sub-Brands Digital Guidelines Scouting Architecture 6 Scouts BSA 32 Guiding Principles 44 WEBSITES 69 Prepared. For Life.® 7 Position and Identity 33 Web Policies 45 Information Architecture 70 Vision and Mission 8 Cub Scouting 34 TYPOGRAPHY 46 Responsive Design 71 Brand Position, Personality, and Communication Elements 9 Position and Identity 35 Typefaces for Digital Projects 47 Forms 72 Corporate Trademark 10 Venturing 36 Hierarchy 48 Required Elements 73 Corporate Signature 11 Position and Identity 37 Best Practices 49 Real-World Examples 74 The Activity Graphic 12 Sea Scouting 38 Typography Pitfalls 50 MOBILE 75 Prepared. For Life.® Trademark 13 Position and Identity 39 DIGITAL COLOR PALETTES 51 Interface Design 76 Preparados para el futuro.® 14 Primary Boy Scouts of America Colors 52 Using Icons in Apps 77 BSA Extensions Trademark and Logo Protection 15 Secondary Boy Scouts of America Colors 53 Mobile Best Practices 78 BSA Extensions Brand Positioning BSA Corporate Fonts 17 41 Cub Scouting 54 Resources 79 Council, Group, Department, and Team Designation PHOTOGRAPHY 18 42 Scouts BSA 55 Real-World Example: BSA Camp Registration App 80 Photography 19 Venturing 56 EMAIL 81 Living Imagery 20 Sea Scouting 57 HTML Email 82 Doing Imagery 21 Choosing the Correct Color Palette 58 Email Signatures 83 Best Practices 22 IMAGERY 59 Email Best Practices 84 Image Pitfalls 23 Texture 60 ONLINE ADVERTISING 85 Resources 24 Icons