Brand Guideline TIMELESS DESIGN INSPIRED LIVING Signature

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Brand Guideline TIMELESS DESIGN INSPIRED LIVING Signature Brandmark Logotype The Signature Mark Primary Colors PMS 289C PMS 425C WHITE Secondary colors PMS 4525EC PMS 7534C PMS 8400C PMS 420C PMS 421C PMS 423C Color Palette Our primary color is dark blue, gray, and white. Dark blue is our most significant visual identifier. Our secondary colors are to compliment the dark blue while adding brightness to the palette. Secondary color can be used for the brandmark, background, typography, and graphic elements. Standard Logo 1 Color Reversed Standard Logo 1 Color Standard Logo 2 Colors Reversed Reversed Standard Logo Standard Logo 2 Colors Alternate Standard Logo 3 Colors Reversed Reversed Standard Logo Standard Logo 3 Colors Alternate Stacked Logo Reversed 1 color Stacked Logo 1 Color Stacked Logo Reversed 2 colors Stacked Logo 2 Colors Stacked Logo Reversed 3 colors Stacked Logo 3 Colors Horizontal Logo 1 Color Reversed Horizontal Logo 1 Color Horizontal Logo 2 Colors Reversed Horizontal Logo 2 Colors Horizontal Logo 3 Colors Reversed Horizontal Logo 3 Colors PMS 4525EC PMS 5655C tint 30% Background Colors Chosen secondary colors can be used as a background for 1 color logo option only. 1x 2x 2x 2x 2x 2x 2x 2x 2x 2x 2x 2x 2x 2x 2x 2x Clearspace Whenever using our logo, it should be surrounded with clear space to ensure its visibility and impact. No graphic elements of any kind should invade this zone. Brandmark Usage Stand alone Brandmark can be used when clearspace is not invaded. Squares and circles are recommended shapes. TIMELESS DESIGN, INSPIRED LIVING TIMELESS DESIGN, INSPIRED LIVING TIMELESS DESIGN, INSPIRED LIVING TIMELESS DESIGN, INSPIRED LIVING Graphic Line Usage Dotted or straight line can be used as a graphic element as long as it doesn’t invade the clearspace. Make sure to follow the clearspace guideline to ensure proper usage. Brandmark Graphic Pattern Usage Brandmark can be used as a pattern as long as clearspace is not invaded. Recommended Primary Font Helvetica Neue 55 roman Helvetica Neue 57 Condensed abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 1234567890 Helvetica Neue 75 bold abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 Other Font Choices Calibri Open Sans Roboto Franklin Gothic Gotham Monotype Grotesque News Gothic Tahoma Trade Gothic Univers Typeface Primary typeface is not limited to Helvetica Neue. It should be a clean and modern sans-serif. Secondary typefaces should be used to support the primary typeface. INTERIOR DESIGN INTERIOR DESIGN INTERIOR DESIGN Do’s & Dont’s The Signature Mark should be displayed properly following the logo standard using the correct Pantones or CMYK/ RGB swatches. No alterations to the Signature Mark should be made. TIMELESS DESIGN, INSPIRED LIVING 1631 15TH AVE W. SUITE 314 SEATTLE, WA 98119 TEL 206.817.8724 [email protected] WWW.TAMMARASTROUD.COM .

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Inventaris Letterproeven 2013-10-11 1 Inventaris Nummer Land Van
Inventaris Land van Bedrijf Plaats van Titel Opmerkingen Omvang Aantal Datering nummer vestiging vestiging letter- proeven van tot 0001 [onbekend] [onbekend] [onbekend] [Tiervignetten] Ongeïdentificeerde, Duitstalige proef met 32 p. 1890 1910 vignetten van dieren, van gewervelden tot protozoa. 0002 [onbekend] [onbekend] [onbekend] [cluster] Losse proeven zonder datum, Diverse formaten. Bevat Mediaeval 10 1900 land, gieterij. Egyptian/Roman/Italic; Eirenne; 0003 [onbekend] [onbekend] [onbekend] Messingschriften für Handvergoldung aus Viertalige catalogus van letters voor 82 p. 1932 Instrument und Matern gegossen boekbinders. 0004 [onbekend] [onbekend] [onbekend] [cluster] Losse proeven zonder datum, Inhoud: Intertype Arabic (4); 13 [onbe land, corporatie. Caslon+Locarno (1); Splendor+Splendor kend] Vet+Excelsior (3); cijfers(1), Garamont sierletters cursief, romein, kapitalen cursief (3); Acropolis (1). 0005 Argentinië Curt Berger y Buenos Aires Titulares Series Económicas / Fundidas con 16 p. 1920 Cía metal especial importado direcamente de Alemania 0006 Argentinië Curt Berger y Buenos Aires Letras Inglesas rondas y cursivas / Tipos Bijlage: 3 losse toepassingen. 36 p. 1930 Cía imitación máquina de escribir 0007 Argentinië Curt Berger y Buenos Aires Tipos para textos y titulares / últimas 72 p. 1930 Cía creaciones / series artísticas y modernísmas / matrices originales de la gran fundición de J.G. Schelter & Giesecke 0008 Argentinië Curt Berger y Buenos Aires Tipos para texto / Bastardillas, Negritas y 24 p. 1935 Cía Versalitas ... [...] 0009 Argentinië Curt Berger y Buenos Aires [zonder titel] Brochure. Bijlage: 2 ex van een proef, 2 19 p. 1935 Cía S.R.L. p., van de Silphide. 0010 Argentinië Curt Berger y Buenos Aires Tipos Modernos / Pincel Silfide Vouwblad, met toepassingen en proeven 8 p.
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Adobe Font Folio Opentype Edition 2003
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Graphics Design
Graphics Design - Typography Exercise 7 - ‘Arial’ ____________________________________________________________________________________________________________________________ Closest Fonts: {Arial, Helvetica, MS Gothic} Closer Fonts: {Newhouse DT Condensed, CG Triumvirate Condensed} Chosen Focus Font: {Arial Narrow Bold Italic} ____________________________________________________________________________________________________________________________ Font: Monotype Grotesque Birth-Date: 1926 Creator: Frank Hinman Pierpont Publisher: Monotype Foundry Based Off: Grotesque (by H. Berthold AG Foundry & William Thorowogood, 1832) Family: Largely-Extended: Multiple Widths (Condensed,...,Extended) Recognition: Easily Recognisable as san-serifs were few and unusual in England. Use: Early 20th Century Avant Garde Printing from Western & Central Europe ____________________________________________________________________________________________________________________________ Font: Arial Alias: (Original) Sonoran Sans Serif, (After Microsoft Acquisition) Arial MT Birth-Date: 1982 Self-Description: “Contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can
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Lucida Sans the Quick Brown Fox Jumps Over a Lazy Dog
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Font List Goldedition 2.0 
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Use One Typeface
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Copyrighted Material
INDEX A Betz, Jennifer, 211 Compatil, 74 Accented characters, 192 Binner Gothic, 79 Compugraphics, 25 Accent marks, 192 Bitmapped fonts, 32–33 Condensed type, regular vs., 80 Adobe Bickham Script Pro, 34, 45, Blackletter type styles, 47 Consistency of design traits, 61 80, 123 Blake, Marty, 79 Contextual alternates, 123 Adobe Caslon Pro, 42, 125, 165 Bodega Sans, 114 Contoured type, 136–144 Adobe Garamond, 55 Bodoni, Giambattista, 19, 20 Contrast, 77 Adobe Illustrator, 25 Bodoni fonts, 20, 81 Cooke, Nick, 202 Adobe Paragraph Composer, 145 Boldface, 88, 89 Copperplate, 44 Adobe Single-line Composer, 145 Boustrophedon, 17 Copyright symbol, 185–187 Adobe Trojan, 95 Bowl, 40, 41 Coquette, 49 Akuin, Vincent, 103 Boxed initials, 109 Coster, Laurens, 18 Aldus Freehand, 25 Braces, 189 Counter, 40, 41 Alexander Isley, Inc., 92 Brackets, 189–190 Courier, 181 Alfon, 61 Brewer, Amber, 55 Cuneiforms, 16 Alignment, 134–144 Brush scripts, 46 Curly brackets, 189 hung punctuation, 155–156 Bullets, 187–188 Curve, setting type on, 158 with initial caps, 105 Byrne-Sain, Theresa, 171 Custom typefaces, designing, 201–207 optical, 155 visual, 157–160 C D Alphabets, 16–17 Calcite Pro, 121 D’Amico, Dee Densmore, 203 Alternate characters, 123 Calligraphers, 67 Dartangnon, 46 A N D, 99, 190 Calligraphic typestyles, 46, 66 Dashes, 176–177 Angled brackets, 189 Caps: Deaver, George, 111 Apostrophes, 180 drop, 106 Decorative initials, 108 Appearance of typefaces: initial, 105–111 Decorative typefaces, 48–49 desirable characteristics in, lowercase vs., 80, 94 Deidrich,
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Americana Ancient Roman Antique Extended No. 53 Artcraft Italic
Serif There are three principal features of the roman face Americana Century Schoolbook Craw Clarendon MacFarland Van Dijck which were gradually modified in the three centuries Ancient Roman Century Schoolbook Italic Craw Clarendon Condensed MacFarland Condensed Van Dijck Italic from Jenson to Bodoni. In the earliest romans, the serifs were inclined and bracketed, that is to say, the Antique Extended No. 53 Cheltenham Craw Modern MacFarland Italic underpart of the serif was connected to the stem in a curve or by a triangular piece. On the upper case Artcraft Italic Cheltenham Bold Deepdene Italic Nubian the serifs were often thick slabs extending to both Baskerville Cheltenham Bold Condensed Eden Palatino Italic sides of the uprights. In the typical modern face serifs are thin, flat and unbracketed. In between the two Baskerville Italic Cheltenham Bold Extra Encore Palatino Semi-Bold extremes various gradations are found. In all early Condensed romans the incidence of colour or stress is diagonal, Bauer Bodoni Bold Engravers Roman Paramount Cheltenham Bold Italic while in the modern face it is vertical. If an O is Bembo Engravers Roman Bold Pencraft Oldstyle drawn with a broad-nibbed pen held at an angle to Cheltenham Bold Outline the paper, the two thickest parts of the letter will be Bembo ITalic Engravers Roman Shaded Rivoli Italic diagonally opposite. This was the manner in which Cheltenham Italic Bernhard Modern Roman Garamond Stymie Black the calligraphers of the fifteenth century drew an O; Clarendon Medium but by the year 1700 the writing masters, whose work Bernhard Modern Roman Italic Garamond Bold Stymie Bold was being reproduced in copper-engraved plates, had Cloister Oldstyle adopted the method of holding the pen at right angles Bodoni Garamond Bold Italic Stymie Bold Condensed to the paper, thus producing a vertical stress.
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Typesfaces by Style.Indd
t y p e f a c e s SERIF: VENETIAN, GARALDE, TRANSITIONAL, DIDONE (MODERN) SLAB SERIF SANS SERIF: GROTESQUE, NEO-GROTESQUE, GEOMETRIC, HUMANIST SCRIPT AND HAND-LETTERED GLYPHIC BLACKLETTER HAND-TOOLED, INLINE, OUTLINE, STENCIL DECORATIVE, DISPLAY MONOSPACED CYRILLIC SYMBOL ORNAMENT SERIF serif Garalde Old Style Th e serif, or cross-line at the end of a stroke probably Garalde typefaces include some of the most popular dates from early Rome. Father Edward Catich pro- serif types in use today. Th ey were designed during the posed in his seminal work, Th e origin of the Serif, that 16th and 17th century by such masters as the French the serif is an artifact of brushing letters onto stone printer Claud Garamond and the Venetian printer Al- before cutting them. Serif, or roman, types are useful dus Manutius. Th e distinguishing features of Garalde in text because the serifs help distinguish individual typefaces are apparent in Adobe Garamond, which has letters and lead the eye along a line of type. Serif type- a horizontal bar on the lowercase e, a slightly greater faces fall into four main categories: Venetian, Garalde, contrast between thick and thin strokes than Vene- Transitional, Didone (Modern) tian types, axis curves that are inclined to the left, and bracketed serifs. ALDUS venetian oldstyle NEW ASTER named after the ﬁ rst typefaces that appeared in Venice BEMBO in 1470, Venetian typefaces were initially designed to BERLING imitate the handwriting of Italian Renaissance scholars. CAXTON Th ese typefaces originated as book type and still serve CELESTIA ANTIQUA that function well because of their clarity and legibility.
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Helvetica.Pdf
Helvetica Complements & Alternatives - – — ÷ •••• •••• ···· ···· r Part 1: Complements Combining Type With Helvetica H E L V E T I C A combining type with helvetica Introduction We asked experts we admire to round up typefaces that share a common use, style, or concept. Indra Kupferschmid is a German typographer and writer who lives in Bonn and teaches in Saarbrücken at the French border. As co-author of “Helvetica forever”, Indra is often asked what typeface to combine with the world’s most famous font. As Indra puts it, “Helvetica is often described as the tasteless white rice among typefaces: satisfies easily, cheap and fast. But the good thing is, you can take the design into different directions with the sauce and side dishes (the typefaces you pair with Helvetica).” Indra shares her favorite Helvetica companions with the following guidelines in mind: “Focusing on contrast makes combining fonts easier. Better not pair Helvetica (or other Neo-Grotesques) with another sans serif (like a Humanist Sans). Instead, choose a serif or a slab. Transitional and Modern (bracketed) serifs work quite well with Helvetica. So do most Garaldes like Garamond — it all depends on what kind of atmosphere you’re aiming for. Browse the list of ideas below, or look for faces with broad proportions, a large x-height, or similar characteristics, like an uppercase ‘R’ with a vertical tail.” www.fontshop.com toll free at 888 ff fonts 415.252.1003 Neutral Fonts If you’re looking for a text face and want to stay consistent by emphasizing the neutral, flawless feel of the Grotesk, try a Transitional serif.
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Å × Ôò Helvetica Ò Ôò Grotesque
i i “eutypon1619” — 2007/10/3 — 12:47 — page 75 — #79 i i Ò¸ ë ½ ½ ÇØôÖ ¾¼¼ EÖØÙÔÓ October 75 Å Helvetica grotesque º Κάτω Γατζέα 373 00 ᾿Αγριὰ Βόλου Η/Τ: [email protected] Ø ×ÙÑÔÐÖôÒ ÔÒÒØ ÕÖÒ Ô ØèÒ ÖÑÑ¹ Ø Ó Õ Ð ×ÑÒØè ÑÓ×ØØ Ô Ø Helvetica ÐÛÒ ØüÒ üÒ Ø Ñ× Ô ØÒ ÒØÙÔÓ ÌÔÓ¸ ØÒ êÐØÖÓÒ ÌÔÓ¸ Ñ Ô ØÒ ÒÑØÓÖÓº Î ×Û Ô ØÒ ÔÓÒÛÒ ¹ ÖÙÓ¸ ÓÐ ÒÐÔØ Ò Ø é ÖÑÑØÓ×Ö Ô× Helvetica Ò Ü ÓÖÒÓ ÔÖÒ Ô Ñ× ôÒº Ç ×ÓÒØ × Ø × ÖÑÑØ ØÓ ØÓ ½ÓÙ º¸ Ó Ñ ÖÐ grotesk ØèÒ ×Ö Ø ÕÓÙÒ Ø Ø × Ø ÖØ ÖÑÑØÓ×¹ ÔÖ ØÙÔô× ÔÖÓÙ ½½ ½¿º ËØ ÔÖÒ ÖÖÓ ÒØ ×ÒØÓÑ ÖÑÑØ Ô Helvetica¸ Ø ÔÖÓ Ø ÒØÖ Half a century Helvetica and one century grotesque, by Dimitrios Filippou — This year marks the 50th anniversary since the Helvetica fonts were put into circulation, and the event has received considerable attention from media of all kinds; the printed media, the electronic media, even from cinematographers. However, behind the media noise, one easily discovers that Helvetica did not fall from Heavens half a century ago. The roots of Helvetica lie in the German realistic grotesk typefaces of the end of the 19th century, which in turn have their roots in the ﬁrst British jobbing typefaces of 1816–1834. This article is a short presentation of Helvetica, from its ancestors to its immitators. ½ ×Ûè Φέτος συμπληρώθηκαν πενῆντα χρόνια ἀπὸ τὴν κυκλοφορία τῆς γραμματοσειρᾶς Helvetica ἀπὸ τὸ στοιχειοχυτήριο Haas (Haas’sche Schriftgießerei), ποὺ βρίσκον- ταν στὸ Μυντσενστάιν (M¨unchenstein), κοντὰ στὴν Βασιλεία τῆς ῾Ελβετίας.
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