Web Typography │ 2 Table of Content
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Increasing Image Resolution on Portable Displays by Subpixel Rendering – a Systematic Overview
SIP (2012),vol.1,e1,page1of10©TheAuthors,2012. The online version of this article is published within an Open Access environment subject to the conditions of the Creative Commons Attribution-NonCommercial-ShareAlike license <http://creativecommons.org/licenses/by-nc-sa/3.0/>. The written permission of Cambridge University Press must be obtained for commercial re-use. doi:10.1017/ATSIP.2012.3 overview paper Increasing image resolution on portable displays by subpixel rendering – a systematic overview lu fang1,2,oscarc.au1,ketantang1 and xing wen1 Many of portable devices such as smart phones, portable multimedia players (PMP), and digital single-lens reflex (DSLR) cam- eras are capable of capturing high-resolution images (e.g. 10 mega-pixel in DSLR) or even video. The limited battery power supply in the portable devices often prevents these systems to use high-power large liquid crystal display (LCD). Instead, the portable devices often have a LCD screen with small physical size (e.g. 3cm× 2cmforSmartphoneorDSLR)andwithmuch lower pixel resolution (e.g. 0.15 mega-pixel for 480 × 320 display) than actual image/video resolution. Thus, the high-resolution image and video are down-sampled before being displayed. Unfortunately, the anti-aliasing filter often leads to rather severe blurring. Although the blurring may be minor when the viewing distance is large, it can be rather disturbing in portable appli- cations due to the short viewing distance. To cope with the blurring problem, one possible solution is to use an LCD screen with higher resolution. But such hardware solution tends to be expensive and often not welcomed by the consumer electronic compa- nies.Anotherpossiblesolutionistocontinuetousethelow-resolutionLCDscreen,butusesomesoftwaretechniquetoenhance the apparent image/video resolution. -
Dynamic Optical Scaling and Variable-Sized Characters
ELECTRONIC PUBLISHING, VOL. 7(4), 231±250 (DECEMBER 1994) Dynamic optical scaling and variable-sized characters JACQUES ANDREIRÂ ENEÁ VATTON Irisa/Inria±Rennes Cnrs/Inria±RhÃones-Alpes Campus Universitaire de Beaulieu 2 rue de Vignate F±35042 Rennes cedex, France F±38610 GiÁeres, France SUMMARY First, a survey on optical scaling is carried out, both from the traditional point of view and from that of today's digital typography. Then the special case of large characters, such as braces or integral signs, is considered. It is shown that such variable-sized symbols should be computed at print time in order to approach the quality of metal typesetting. Finally, an implementation of such dynamic fonts, still in progress in the Grif editor, is described. KEY WORDS Optical scaling Variable sized characters Large symbols Dynamic font Parametrized font Grif 1 INTRODUCTION The expression `optical scaling' refers to a concept known by type designers for centuries, even if this expression is relatively new and not very suitable:1 metal characters differ from one body to another one not only in size, but in shape too. Figure 1 (bottom) shows various Garamond `e' at different point size but photographically magni®ed to the same size. It is obvious that the `e' is, relatively, fatter at 8 point size than at 36 point size. On the other hand, the counter (the white inner part) is, relatively, larger at 8 point size than at 36 point size. The main reasons are : with small characters, thinner strokes would be unreadable, and smaller counters would result in inkspreading (the white part would be ®lled in with ink and would get black); on the other hand, if the strokes of large characters were as fat as small ones, characters would look bolder. -
A Mean-Line Model to Predict the Design Performance of Radial Inflow Turbines in Organic Rankine Cycles
UNIVERSITÀ DEGLI STUDI DI PADOVA DIPARTIMENTO DI INGEGNERIA INDUSTRIALE CORSO DI LAUREA MAGISTRALE IN INGEGNERIA ENERGETICA TECHNISCHE UNIVERSITÄT BERLIN INSTITUT FÜR ENERGIETECHNIK Tesi di Laurea Magistrale in Ingegneria Energetica A MEAN-LINE MODEL TO PREDICT THE DESIGN PERFORMANCE OF RADIAL INFLOW TURBINES IN ORGANIC RANKINE CYCLES Relatori: Prof. Andrea Lazzaretto Prof.ssa Tatjana Morozyuk (Technische Universität Berlin) Correlatore: Ing. Giovanni Manente Laureando: ANDREA PALTRINIERI ANNO ACCADEMICO 2013/2014 ii Abstract This Master Thesis contributes to the knowledge and the optimization of radial inflow turbine for the Organic Rankine Cycles application. A large amount of literature sources is analysed to understand in the better way the context in which this work is located. First of all, the ORC technology is studied, taking care of all the scientific aspects that characterize it: applications, cycle configurations and selection of the optimal working fluids. After that, the focus is pointed on the expanders, as they are the most important components of this kind of power production plants. Nevertheless. Their behaviour is not always wisely considered in an organic vision of the cycle. In fact, it has been noticed that mostly literature concerning the optimization of ORC considers the performances of the expander as a constant, omitting in this way an essential part of the optimisation process. Starting from these observations, in this Master Thesis radial inflow turbines are carefully analysed, performing a theoretical investigation of the achievable performance. Starting from a critical study of publications concerning the design of radial expanders, a theoretical model is proposed. Then, a design procedure of the geometrical and thermo dynamical characteristics of radial inflow turbine operating whit fluid R-245fa is implemented in a Matlab code. -
Typography One Typeface Classification Why Classify?
Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing. -
June 2015 Broadside
T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff. -
Multimedia Foundations Glossary of Terms Chapter 8 – Text
Multimedia Foundations Glossary of Terms Chapter 8 – Text Ascender Any part of a lowercase character that extends above the x-height, such as in the vertical stem of the letter b or h. Baseline And imaginary plane where the bottom edge of each character’s main body rests. Baseline Shift Refers to shifting the base of certain characters (up or down) to a new position. Capline An imaginary line denoting the tops of uppercase letters. Counter The enclosed or partially enclosed open area in letters such as O and G. Descender Any part of a character that extends below the baseline; such as in the bottom stroke of a y or p. Flush Left The alignment of text along a common left-edged line. Font Family A collection of related fonts – all of the bolds, italics, and so forth, in their various sizes. Gridline A matrix of evenly spaced vertical and horizontal lines that are superimposed overtop of the design window as a visual aid for aligning objects. Justification The term used when both the left and right edges of a paragraph are vertically aligned. Kerning A technique that selectively varies the amount of space between a single pair of letters and accounts for letter shape; allowing letters like A and V to extend into one another’s virtual blocks. Leading A term used to define the amount of space between vertically adjacent lines of text. Legibility Refers to a typeface’s characteristics and can change depending on font size. The more legible a typeface, the easier it is at a glance to distinguish and identify letters, numbers, and symbols. -
CSS Font Stacks by Classification
CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed. -
First Line of Title
HEAVENLY HANDWRITING, TEUTONIC TYPE: FAITH AND SCRIPT IN GERMAN PENNSYLVANIA, CA. 1683 – 1855 by Alexander Lawrence Ames A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in American Material Culture Spring 2014 © 2014 Alexander Lawrence Ames All Rights Reserved HEAVENLY HANDWRITING, TEUTONIC TYPE: FAITH AND SCRIPT IN GERMAN PENNSYLVANIA, CA. 1683 – 1855 by Alexander Lawrence Ames Approved: __________________________________________________________ Consuela Metzger, M.L.I.S. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ J. Ritchie Garrison, Ph.D. Director of the Winterthur Program in American Material Culture Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education ACKNOWLEDGMENTS Whom does one thank first for assistance toward completion of an academic project only brought to fruition by the support of dozens of scholars, professionals, colleagues, family members, and friends? I must first express gratitude to my relations, especially my mother Dr. Candice M. Ames and my brother Andrew J. Ames and his family, without whose support I surely never could have undertaken the journey from Minnesota to the Winterthur Program in American Material Culture nearly two years ago. At Winterthur, I found mentors who extended every effort to encourage my academic growth. Rosemary Krill, Brock Jobe, J. Ritchie Garrison, and Greg Landrey did much to help me explore new fields. I owe a particular debt to Winterthur’s art conservators. In one, Consuela Metzger, I found a thesis advisor willing to devote countless hours to guiding my intellectual exploration. -
Balancing Function Unit 4
BALANCING FUNCTION UNIT 4 Dr. P.V. S LAKSHMI JAGADAMBA Professor, Department of CSE, GVP College of Engineering for Women INTRODUCTION User experiences play a critical role in influencing software acceptance Conversational messages have their limits Design needs to be comprehensible, predictable, and controllable Information layout is important Multi window coordination Large, fast, high-resolution color displays have potential Recognition of the creative challenge of balancing function and fashion may lead to designers even working even harder. 2 INTRODUCTION “This chapter deals with six design matters that are functional issues with varying styles/solutions to suite a variety of users.” Error messages Non-anthropomorphic design Display design Web page design Window design Colour 3 ERROR MESSAGES Overview User experience with computer-system prompts, explanations, error diagnostics, and warnings is crucial in influencing acceptance of SW systems Why do errors occur? Lack of knowledge, incorrect understanding, inadequate slips What is the consequence? Users are likely to be confused, are anxious or feel inadequate What is a solution? Make error messages as user-friendly as possible; this is especially important for novice users as they commonly have a lack of knowledge, confidence, and are sometimes easily frustrated or discouraged 4 ERROR MESSAGES Improving Error Messages Measure where errors occur frequently, focus on these issues Improve messages but also revise error handling procedures, improve documentation -
Suggested Fonts List
Suggested Fonts List This is a list of some fonts our designers have available to use when designing your book. This is only a sample of some of the most popular fonts; they have thousands of others to choose from as well. For your convenience, we have marked each font as being appropriate for body text or display text. Body Text fonts are meant for the main body text of your book—paragraphs, lists, etc. These fonts are designed to be easier on the eyes for smoother reading. Display Text fonts are meant for chapter titles, subtitles, etc. They are often “fancier” fonts, such as script or handwriting. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Last updated 6/6/2014 B = Body Text: Fonts meant for the main body text of your book. D = Display Text: Fonts meant for chapter titles, etc. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Font Name Font Styles Font Sample BD Abraham Lincoln Regular The quick brown fox jumps over the lazy dog. 1234567890 Adobe Caslon Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Garamond Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Jenson Pro Light The quick brown fox jumps over the lazy dog. -
A Sociolinguistics of Typography Why Graphic Design Matters to Linguistics
A Sociolinguistics of Typography Why Graphic Design Matters to Linguistics Univ.-Prof. Dr. Jürgen Spitzmüller Universität Wien ¨ Institut für Sprachwissenschaft Charles University Prague ¨ ó/ww/ö.wR Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Typography: Deínition A Sociolinguistics of Typography Jürgen Spitzmüller Etymology: Greek τύπος (týpos = ‘letter, sign’) Outline ˆ γράφειν (gráphein = ‘to scratch, to write’) Concepts & Terms Original (strict) meaning: Production of a printed work by Functions -
Notes on the Ontology of Design
Notes on the Ontology of Design Arturo Escobar University of North Carolina, Chapel Hill Contents 1. Introduction ………………………………………………………. ……….. 2 2. Part I. Design for the Real World: But which world? what design? what real? ………………………….. …. 4 3. Part II. In the background of our culture: The rationalistic tradition and the problem of ontological dualism……… 16 4. Part III. Outline of ontological and autonomous design ……………….. 34 5. Part IV. The politics of relationality. Designs for the pluriverse ………. 57 6. Some provisional concluding remarks ………………………………….. 74 7. References ………………………………………………………………….. 78 Note to readers: This ‘paper’ ended up being actually the draft of a short book; the book is likely to have one more chapter, dealing with globalization, development, and environment issues; it is also likely to have examples, and to be written in a less academic manner, or so I hope. I’ve had several tentative titles over the past few years, the most recent one being The Ecological Crisis and the Question of Civilizational Transitions: Designs for the Pluriverse. I’ve been reading, and working with, most of this material for a long time, but some of it is new (to me); this is particularly true for Part I on design. I suspect the text is quite uneven as a result. Part IV is largely cut-and-paste from several texts in English and Spanish, particularly the long preface to the 2nd ed. of Encountering Development. This part will need additional re/writing besides editing and reorganizing. The references are somewhat incomplete; there are a few key design references of which I have been made aware very recently that are not, or not significantly, included (e.g., on participatory design, postcolonial computing, and human-computer interaction).