Uniting the Commonwealth Through Sport
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Brand Style Guide.Indd
California Baptist University Brand Style Guide CALIFORNIA BAPTIST UNIVERSITY BRAND STYLE GUIDE The CBU Brand A brand is the personality a consumer creates for the organizations or products he or she interacts with. Consumers attribute characteristics to organizations to help themselves understand and then engage or avoid them. Brands can be hopeful, helpful, funny, tired, aloof or cold. Consumers create and revise brand personalities every time they come into contact with the organization. These interactions leave impressions on the consumer’s memory. Visualize the impression a branding iron leaves on the backside of a cow and you begin to appreciate the value of each of your interactions with students, parents, alumni, donors and friends. Consistency is essential to building and maintaining a strong brand for two reasons. First, consumers compare each new interaction to memories of previous interactions. When each successive interaction reinforces previous interactions, brand strength is increased. When interactions conflict with each other, the consumer is left thinking the brand is confused and weak. Second, competition for the consumer’s mind is fierce with organizations competing for milliseconds of their attention through a steady barrage of commercial messages. Consistency in CBU’s message and presentation improves the viewer’s (or listener’s) comprehension and increases the likelihood he or she will understand our message in the brief moment we have to communicate it to them. This guide has been developed to help every member of the CBU workforce (1) understand that he or she IS the CBU brand, and (2) properly and consistently represent the brand in all visual and verbal communications. -
Design One Project Three Introduced October 21. Due November 11
Design One Project Three Introduced October 21. Due November 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used, or the evolving fashion of design. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. The second poster will present a visual analogy of the typeface, that combines both type and image, to broaden the viewer’s knowledge of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write a minimum150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer. -
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 -
The Story of Perpetua
The Story of Perpetua 3 Tiffany Wardle March 10, 2000 2 4 Essay submitted in partial fulfillment of the requirements for the Master of Arts in Theory and History of Typography and Graphic Communication, University of Reading, 2000. This essay relates the origins of the typeface Perpetua and Felicity italic which were designed by Eric Gill and produced byThe Monotype Corporation.Although the type and the collaborators are well known, the story has had to be pieced together from a variety of sources—Gill’s and Morison’s own writings and biographical accounts.There are accounts similar to this, but none could be found that either takes this point of view, or goes into as great detail. In 1924, an essay directed towards the printers and type founders was calling for a new type for their time. Entitled ‘Towards An Ideal Type,’ Stanley Morison wrote it for the second volume of The Fleuron. In the closing statement there is an appeal for “some modern designer who knows his way along the old paths to fashion a fount of maximum homogeneity, that is to say, a type in which the uppercase, in spite of its much greater angularity and rigidity, accords with the great fellowship of colour and form with the rounder and more vivacious lowercase.”1 Two years later, in 1926, again Morison is requesting a “typography based not upon the needs and conventions of renaissance society but upon those of modern England.”2 Only two years previous had the Monotype Corporation assigned Stanley Morison as their Typographical Advisor. Once assigned he pursued what he later came to call his “programme of typographical design”3 with renewed vigour. -
Standard Fonts List Used for Poster Creation
Standard Fonts List used for Poster Creation Please use any of the fonts listed below when designing your poster. These are the standard fonts. Failure to comply with using a standard font, will result in your poster not printing correctly. 13 Misa Arial Rounded MT Bold Bodoni MT 2 Tech Arial Unicode MS Bodoni MT Black 39 Smooth Arno Pro Bodoni MT Condensed 4 My Lover Arno Pro Caption Bodoni Poster MT Poster Compressed Abadi Condensed Light Arno Pro Display Book Antiqua ABCTech Bodoni Cactus Arno Pro Light Display Bookman Old Style ABSOLOM Arno Pro Smdb Bookshelf Symbol 7 Adobe Calson Pro Arno Pro Smdb Caption Bradley Hand ITC Adobe Calson Pro Bold Arno Pro Smdb Display Britannic Bold Adobe Fangsong Std R Arno Pro Smdb SmText Broadway Adobe Garamond Pro Arno Pro Smdb Subhead Brush Script MT Adobe Garamond Pro Bold Arno Pro SmTest Brush Script Std Adobe Heiti Std R Arno Pro Subhead Calibri Adobe Kaiti Std R Baskerville Old Face Californian FB Adobe Ming Std L Bauhous 93 Calisto MT Adobe Myungjo Std M Bell Gothic Std Black Cambria Adobe Song Std L Bell Gothic Std Light Cambria Math Agency FB Bell MT Candara Albertus Extra Bold Berlin Sans FB Castellar Albertus Medium Berlin Sans FB Demi Centaur Algerian Bernard MT Condensed Century AlphabetTrain Bickham Script Pro Regular Century Gothic Antique Olive Bickham Script Pro Semibold Century Schoolbook Arial Birch Std CG Omega Arial Black Blackadder ITC CG Times Arial Narrow Blackoak Std 1 Standard Fonts List used for Poster Creation Please use any of the fonts listed below when designing your poster. -
Introduction to Graphic Design Lecture 2
Introduction to Graphic Design Lecture 2 Type Classifications Introduction to Graphic Design Lecture 2 font or typeface? A typeface is a set of typographical symbols and characters. It’s the letters, numbers, and other characters such as diacritical marks that let us put words on paper or screen. A font, on the other hand, is traditionally defined as a complete character set within a typeface, often of a particular size and style. When most of us talk about “fonts”, we’re really talking about typefaces, or type families (which are groups of typefaces with related designs). Introduction to Graphic Design Lecture 2 Circular Std. WEIGHTS / STYLES Book 17.5 pt Book Italic 17.5 pt Medium 17.5 pt Medium Italic 17.5 pt Bold 17.5 pt Bold Italic 17.5 pt Black 17.5 pt Black Italic 17.5 pt Introduction to Graphic Design Lecture 2 Typographic classifications are both historical and reflect typographic anatomy. Basic Type Classifications serif / sans serif / script / decorative Lyon Display Reg. serif Circular Std. Med. sans serif Snell Roundhand Blk. script Hobeaux Rococeaux decorative Basic Type Classifications serif / sans serif serif sans serif Serif typefaces are called “serifs” in reference to the small lines that are attached to the main strokes of characters within the face. Typefaces in this category are also known as Roman and are most commonly used for large bodies of text. Sans serif means “without serif” in French. The first sans serif typeface was issued in 1816, but these typefaces did not become popular until the early twentieth century. -
Women Typeface Designers Laura Webber
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 5-1-1997 Women typeface designers Laura Webber Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Webber, Laura, "Women typeface designers" (1997). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Women Typeface Designers by Laura G.C. Webber A thesis project submitted in partial fulfillment of the requirements for the degree ofMaster of Science in the School of Printing Management and Sciences in the College ofImaging Arts and Sciences of the Rochester Institute ofTechnology May, 1997 Thesis Advisor: Professor Archibald D. Provan School ofPrinting Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate ofApproval Master's Thesis This is to certify that the Master's Thesis of Laura G.C. Webber With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master ofScience degree at the convocation of May, 1997 Thesis Committee: Archibald Provan Thesis Advisor Marie Freckleton Graduate Program Coordinator Director or Designate Women Typeface Designers I, Laura G.C. Webber, hereby grant permission to the Wallace Memorial Library ofR.I.T to produce my thesis in whole or part. Any reproduction will not be for commercial use or profit. May 21, 1997 To my family and Steve, who selflessly give their support and encouragement. -
Smartfont Price List 1..2
WEB PRINT Price list SmartFonts SmartFont LIBRARY E1,5 0 0 Headlines 4 E135 Calvert (3) E120 E 1050 SmartFonts and Pi-fonts Impact Candida (5) 15 0 E IncludesTypeface book/Manual,CD. Lightline Gothic Cantoria (10) 300 E Machine Caslon 224 (8) 240 Type Reference Book E25 Castellar (1) E65 Machine Bold E Free and shipped free E Caxton (4) 135 with order over E 250 Headlines 5 135 Centaur (7) E210 Neographic Monotype Century (7) E210 SINGLE FONTS E65 Pioneer ITCCentury (16) E370 Placard Condensed Century Old Style (4) E135 MIXED PACKAGES Placard Bold condensed Century Schoolbook (9) E270 E Headlines 6 E135 Cheltenham (16) E370 Scripts1 135 E Runic Clarendon12 (1) 65 Ashley Script E Stencil Clarendon (3) 120 Biffo E V|ktoria Clarion (4) 135 Brush Script E Gill Sans Extra Bold Display Monotype Clearface (1) 65 Dorchester Script ITCClearface (8) E240 Scripts 2 E135 Clearface Gothic (2) E100 Englische Schreibschrift PACKAGES Colonna (1) E65 E Englische Schreibschrift Medium Aachen (1) 65 Compacta (1) E65 E Abadi, (14) 350 Concorde (4) E135 Forte E Albertina, (3) 120 Cooper Black (3) E120 GoudyText E Albertus (3) 120 Corona (3) E120 Scripts 3 E135 E Albion (1) 65 Coronet (1) E65 Klang Amasis (10) E250 Courier12 (1) E65 Matura Script Americana (3) E120 Courier PS (4) E135 Matura Script Caps Am.Typewriter (6) E15 0 Dom (3) E120 Mercurius AntiqueOldStyle(1) E65 Dorchester Script (1) E65 Scripts 4 E135 Antique Olive (9) E270 Egyptienne E65 Monoline Script Apollo (4) E135 Ehrhardt (5) E15 0 New Berolina Arial (20) E410 Ellington (10) E300 Palace Script Ashley Script (1) E65 Englische Schreibs. -
300 Additional Linotype Public Domain Fonts
300 Additional Linotype Public Domain Fonts Compiled by Ulrich Stiehl, Heidelberg, May 2012 As of 1st January 2012, 300 additional Linotype fonts contained in the Linotype catalog of January 1986 "Lino Type Collection – Mergenthaler Type Library" entered the public domain. These additional fonts (font families) are emphasized in bold below. All the other fonts listed fell into the public domain earlier: The 1986 catalog contained 1700 fonts, the 1984 catalog 1400 fonts, and the 1982 catalog 1000 fonts. For these older fonts please read the main document http://www.sanskritweb.net/forgers/publicdomain.pdf and the subsequent document http://www.sanskritweb.net/forgers/publicdomain2.pdf. Some of the typefaces, e.g. the Linotype font family "Bryn Mawr", including eight font styles, seem to have vanished altogether. In the year 2012, most of the old ITC font families, marked below by "(ITC)", are now in public domain. Aachen Bank Gothic Bookman Ad Lib Barcelona (ITC) Bookman (ITC) Adroit Barry Boutique Adsans Basilia Haas Bramley Akzidenz-Grotesk Baskerville Breughel Aldus Baskerville No. 2 Brighton Allegro Fry's Baskerville Britannic Alpine New Baskerville (ITC) Broadway Alternate Gothic No. 1 Bauhaus (ITC) Bruce Old Style Amelia Becket Brush American Typewriter (ITC) Bell Centennial Bryn Mawr American Greeting Script Bell Gothic Bubble Americana Belwe Bulmer Antikva Margaret Bembo Busorama Antique No. 3 Benguiat (ITC) Caledonia (Cornelia) Antique Olive Benguiat Gothic (ITC) New Caledonia Antique Open Berkeley Oldstyle (ITC) Calligraphia Antique Solid Bernhard Candida Aquarius 5 Bernhard Modern Carnase Text (WTC) Ariston Beton Cartier Arnold Boecklin Biltmore Cascade Script Arrow Binny Old Style Caslon Antique A & S Gallatin Bison Caslon Old Face 2 Aster Blippo Caslon 3 New Aster Bloc Caslon 540 Athenaeum Block Caslon Open Face Auriga Block Gothic Caslon No. -
Font Considerations to Give Your Legal Briefs an Edge by Jason Steed (May 11, 2021)
Font Considerations To Give Your Legal Briefs An Edge By Jason Steed (May 11, 2021) On March 16, the U.S. Court of Appeals for the D.C. Circuit issued a notice on "Preferred Typefaces for Briefs," in which the court explicitly "discourage[d] the use of Garamond" because it "appears smaller" and is less "legible" than fonts like Century and Times New Roman.[1] This sparked a flare of discussion on #AppellateTwitter, about preferred fonts and about brief writing in general. And now that the flare-up has died down, it seems like a good time to provide a quick overview of font requirements and recommendations across the country. Jason Steed Notably, the D.C. Circuit did not amend its local rules to require — or disallow — any particular font. Federal Rule of Appellate Procedure 32(a)(5) requires only a legible 14-point serif font, and the D.C. Circuit's local rules say nothing further. The D.C. Circuit's discouragement of Garamond appears only in the court's recent notice, and in its updated Handbook of Practice. So this serves as a reminder to good practitioners everywhere: Don't rely only on the local rules. If there's a local handbook out there, find it and follow it. In other words, you shouldn't use Garamond in the D.C. Circuit, even though the rules allow it. Good examples of legible serif fonts that come preinstalled in Microsoft Word — or that are otherwise generally available for free — include Century, Century Schoolbook, Bell, Book Antiqua, Bookman, Caslon, Georgia, Miller, Palatino and Sabon. -
Official Nicgc Brand Identity Guide
BRAND IDENTITY GUIDE NICGC BRAND IDENTITYGUIDE CONTENTS INTRODUCTION 3 OUR DIRECTION 4 BRAND PROMISE 5 THE FLAG 6 THE OFFICIAL LOGOS 7 ELEMENTS OF LOGO 8 COLOURS 9 COLOUR VARIATIONS 10 ISOLATION AREA 11 MINIMUM REPRODUCTION SIZE 12 INCORRECT LOGO USAGE 13 TYPOGRAPHY 14 APPROVAL PROCEDURE 15 APPROVAL FORM 16 2 NICGC BRAND IDENTITYGUIDE INTRODUCTION HISTORY Often referred to as the ‘Friendly Games’ , the first Commonwealth Games were held in 1930 in Hamilton, Canada where 11 countries sent 400 athletes to take part in 6 sports and 59 events. Since then, the Games have been conducted every four years. From 1930 to 1950 the Games were known as the British Empire Games, from 1954 until 1966 the British Empire and Commonwealth Games and from 1970 to 1974 they took on the title of British Commonwealth Games. It was the 1978 Games in Edmonton that saw this unique, world class, multi-sports event change its name to the Commonwealth Games. Northern Ireland has taken part in every edition of the Games, bar 1950, and has the distinction of achieving medal success at each and every one. The par- ticipation in the Commonwealth Games and Commonwealth Youth Games is or- ganized by the Northern Ireland Commonwealth Games Council (NICGC) who are responsible for presenting a team of athletes at each game and promot- ing sport for the benefit of all. The NICGC presents local athletes with their only opportunity to represent Northern Ireland at an international multi-sport games. PURPOSE OF DOCUMENT To protect the integrity of NICGC’s brand identity, this guide outlines a system- atic approach to engaging with our trademark that is meticulous and consistent across all online and print material used by stakeholders. -
Booktango Allowable Font List
Booktango Allowable Font List Agency FB Bold Berlin Sans FB Bold Agency FB Berlin Sans FB Demi Bold Algerian Berlin Sans FB Book Antiqua Bold Broadway Book Antiqua Bold Italic Brush Script MT Italic Book Antiqua Italic Bookshelf Symbol 7 Arial Narrow Calibri Arial Narrow Bold Calibri Bold Arial Narrow Bold Italic Calibri Italic Arial Narrow Italic Calibri Bold Italic Arial Unicode MS Californian FB Bold Arial Rounded MT Bold Californian FB Italic Baskerville Old Face Californian FB Bauhaus 93 Calisto MT Bell MT Calisto MT Bold Bell MT Bold Calisto MT Bold Italic Bell MT Italic Calisto MT Italic Bernard MT Condensed Cambria & Cambria Math Book Antiqua Cambria Bold Bodoni Cambria Italic Bodoni Italic Cambria Bold Italic Bodoni Bold Candara Bodoni Bold Italic Candara Bold Bodoni MT Bold Candara Italic Bodoni MT Bold Italic Candara Bold Italic Bodoni MT Black Italic Castellar Bodoni MT Black Century Schoolbook Bodoni MT Condensed Bold Centaur Bodoni MT Condensed Bold Italic Century Bodoni MT Condensed Italic Chiller Bodoni MT Condensed Colonna MT Bodoni MT Italic Comic Sans Bodoni MT Poster Compressed Consolas Bodoni MT Consolas Bold Bookman Old Style Consolas Italic Bookman Old Style Bold Consolas Bold Italic Bookman Old Style Bold Italic Contantia Bookman Old Style Italic Contantia Bold Bradley Hand ITC Contantia Italic Britannic Bold (True Type) Contantia Bold Italic Page 1 of 3 Booktango Allowable Font List Cooper Black Century Gothic Bold Copperplate Gothic Bold Century Gothic Bold Italic Copperplate Gothic Light Century Gothic Italic