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Artec-2013-V6-2 Small.Pdf Hop Terminologias para o Design Tipográfico e Editorial Pedro Amado, [email protected] ARTEC 23, Instituto Politécnico de Tomar, 2013-04-18 UA | DECA | CETAC.MEDIA Ana Catarina Silva, [email protected] EST | IPCA | LIPP Disponível em: http://wp.me/p4vwP-Gf sob uma licença Attribution-NonCommercial-ShareAlike 3.0 Portugal. http:// creativecommons.org/licenses/by-nc-sa/3.0/pt/deed.en_US cetac.media TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 3 | 40 Como sE junTa o DECa Com o IPCa? Design de Comunicação (FBAUP, 1998–20031997–2002) ICPD (2009–2010– II Encontro Nacional de Tipografia (2011) TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 4 | 40 PEDro Assistente convidado no Departamento de Comunicação e Arte da Universidade de Aveiro onde leciona disciplinas relacionadas com Design & Media Licenciado em Design de Comunicação (FABUP) e mestre em Arte Multimédia (FBAUP) encontra-se a desenvolver uma tese de doutoramento em Ciências e Tecnologias da Comunicação e Informação sobre interação social participação em Comunidades Online de Prática (caso do Typeface Design) Membro do CETAC.MEDIA e delegado Association Typographique Internationale (ATypI) em Portugal. TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 5 | 40 CaTarIna Assistente 1º triénio no Instituto Politécnico do Cávado e do Ave Licenciada em Design de Comunicação (FBAUP) e mestre em Comunicação Estética (EUAC), encontra-se a desenvolver uma tese de doutoramento em Ciências da Informação e Comunicação, onde estuda o design do livro técnico num contexto editorial híbrido – do impresso ao electrónico. A sua investigação e actividade lectiva situam-se nas áreas da edição híbrida de livros, publicação em plataformas digitais, design de comunicação, design editorial e tipografia. TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 6 | 40 “Why is it that when describing typography, the Latins think of food, whilst the Anglo-Saxons think of authority?” Erik Spiekermann, acerca da arbitrariedade da escolha de termos tipográficos nas diferentes línguas. In Rhyme & Reason: A Typographic Novel, p. 103. TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 7 | 40 “Why is it that when describing typography, the Latins think of food, whilst the Anglo-Saxons think of authority?” Erik Spiekermann, acerca da arbitrariedade da escolha de termos tipográficos nas diferentes línguas. In Rhyme & Reason: A Typographic Novel, p. 103. TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 8 | 40 “Why is it that when describing typography, the Latins think of food, whilst the Anglo-Saxons think of authority?” Erik Spiekermann, acerca da arbitrariedade da escolha de termos tipográficos nas diferentes línguas. In Rhyme & Reason: A Typographic Novel, p. 103. TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 9 | 40 Dixon, C. (2012). Keynote. III Encontro de Tipografia: http://www.esmae-ipp.pt/3et/ TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 10 | 40 Lessa J. (2012). Type Anatomy in Portuguese: http://www.joanalessa.com/typo_anatomy.html TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 11 | 40 Rosendorf, T. (2009). The Typographic Desk Reference: http://typedeskref.com/ TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 12 | 40 Cátedra Cosgaya (FADU/UBA) (2012). Open Educational Resources for Typography: http://www.oert.org/ TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 13 | 40 Remy, T. (2007). Chest of drawers XS: http://www.droog.com/store/studio-work/chest-of-drawers-xs/ TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 14 | 40 Updike, D. B. (2001). Printing Types: Their History, Forms, and Use (p. 125) TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 15 | 40 Silva, L. (1962). Manual do Tipógrafo & Buen de Unna, J. (2008). Manual de Diseño Editorial TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 16 | 40 FARIA, Maria Isabel PERICÃO, Maria Graça (2008) Dicionário do Livro. Da Escrita ao Livro Electrónico TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 17 | 40 Reichtag, 1945 © Yevgeny Khaldei. Retirado de: http://bytesdaily.blogspot.pt/2010/07/iconic-photographs-raising-flag-over.html TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 18 | 40 http://en.wikipedia.org/wiki/Gothic, & http://en.wikipedia.org/wiki/Help:Disambiguation necessidade de terminologia própria TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 19 | 40 Gothic • Grotesque; • Neo-Grotesque • Grotesk (DE) • Sans [Serif] • Lineale • Geometric Sans • Humanist Sans • Blackletter (Gótica) • ... aFette Fraktur Franklin Gothic aHelvetica Futura aGill Sans aUnivers aOptima aMyriad Blackletter aGrotesque Grotesque aSans Sans Grotesque Inscriptional Sans Neogrotesque Lineale Humanist Sans Neogrotesque Caligraphic Sans Lineale Geometric Sans TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 20 | 40 Lawson, A., & Agner, D. (1990). Printing Types: An Introduction. D C B A E TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 21 | 40 Frutiger, A. (1954). Univers TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 22 | 40 Krimpen, J. (1931). Romulus Sans & Serif. http://www.flickr.com/photos/fermello78/483869011/ TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 23 | 40 Bil’ak, P. (2012). Karloff, convergence of beauty and ugliness: http://www.typotheque.com/blog/beauty_and_ugliness Typotheque type specimen & OpenType feature UGLINESS specification. Please read before using the fonts. OpenType font family supporting Latin based languages with Karloff Positive their own small caps, with extensive typographic features. Karloff Neutral 01 monstrosity Karloff Negative OpenType features in Karloff BEAUTY ewjduhiz tvnsgfq1 Designed by Peter Biľak and Pieter van Rosmalen, 2012 What is OpenType? OpenType is a cross-platform font format developed by Adobe and Microsoft. It has a potential to provide advanced typographic features pulchritude such as multilingual character sets, ligatures, small capitals, various numeral styles, and contextual substitutions. OpenType, as the new industry standard, supports Unicode, which enables the fonts to contain a large number of characters. While PostScript fonts are a technically limited to a maximum of only 256 characters, OpenType fonts can have more than 65,000 glyphs. This means that a user does not need to have separate fonts for Western, Central European, Baltic, Cyrillic or Greek languages, but could have one single file which supports all these encodings. hideous OpenType fonts work in all applications, however only some applications take advantage of the advanced OpenType features. Other applications will only use the first 256 characters. GRANDEURdegenerate © 2012, Typotheque.com. For information purposes only. exquisiteness SPLENDOR © 2012, Typotheque.com. For information purposes only. © 2012, Typotheque.com. For information purposes only. TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 24 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 25 | 40 II Encontro Nacional de Tipografia. Aveiro, Setembro de 2011: http://entipografia.web.ua.pt/ (Fotografia © Filipe Roque) TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 26 | 40 II Encontro Nacional de Tipografia. Aveiro, Setembro de 2011: http://entipografia.web.ua.pt/ (Fotografias © Daniel Silva) Anatomia do Tipo TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. AmAdo & C. SilvA | XXIII ARTEC | 2013-04-18 27 | 40 C1: MEDIDAS C3: TRAÇOS C5: PROPRIEDADES C1: MEDIDAS C2: FORMAS C3: TRAÇOS 20 Amado, P.; Silva, C. (2011). Anatomia do Tipo: http://entipografia.web.ua.pt/atas/Poster_ENT_1.pdf 1 Altura das Ascendentes 31 Arco da Haste 59 Ângulo Ascender Height h Arc of Stem h Stress / Bias oe 15 Análise comparativa da 15 2 Altura das Descendentes 32 Ascendente 60 Contraste 12 13 ocorrência10 dos termos Descender Height Ascender Contrast 13 16 14 p d AA 14 7 Anatomia10 do Tipo nas duas línguas 8 6 13 12 8 11 4 9 3 Altura das Maiúsculas 33 Barra Transversal / Travessão 61 Eixo C1: MEDIDAS C3: TRAÇOS C5: PROPRIEDADES 8 C1: MEDIDAS C2: FORMAS C3: TRAÇOS 20 1 Altura das Ascendentes 31 Arco da Haste 59 Ângulo Ascender Height h 10Arc of Stem h Stress / Bias oe 2 4 Cap Height Crossbar / Bar Axis 15 15 2 Altura das Descendentes 32 Ascendente 60 Contraste 12 13 H HA o 10 Descender Height Ascender Contrast 13 16 14 p d AA 14 7 10 1 8 6 13 e 12 8 11 4 9 3 Altura das Maiúsculas 5 33 Barra Transversal / Travessão 61 Eixo 8 10 2 4 Cap Height H Crossbar / Bar HA Axis o 2 1 e 5 2 5 3 4 5 5 6 2 2 2 6 6 4 6 7 7 3 7 7 7 4 Altura do Corpo / Força do Corpo 34 Barriga 62 Eixo Oblíquo 5 5 4 4 5 4 2 5 2 5 4 4 5 4 4 5 4 Body
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