DOCSLIB.ORG

Smartfont Price List 1..2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. (2) E100 Palace Script Semibold Aster (3) E120 Engravers Old English (1) E65 Av.Garde Gothic (14) E350 E Scripts 5 E135 Engravers (2) 100 Baskerville (8) E240 Eras (6) E18 0 Park Avenue Bauhaus (4) E135 Eurostyle (5) E15 0 Pepita Bell (8) E240 Excelsior (3) E120 Script Bold Bell Centennial (4) E135 Falstaff (1) E65 Swing Bold Bell Gothic (2) E100 Felix (1) E65 Headlines1 E135 Bembo (13) E340 Fenice (10) E300 Aachen Benguiat (12) E330 Festival (1) E65 Albertus Benguiat Gothic (8) E240 Figaro (1) E65 Bernhard Berkeley Old Style (8) E240 Folio (3) E120 Castellar Berling (4) E135 Footlight (8) E240 E E Headlines 2 E135 Bernhard 65 Forte (1) 65 Biffo E65 Fournier 285 (3) E120 Colonna BinnyOldStyle(2) E100 ITC Franklin Gothic (8) E240 Compacta Blado (1) E65 MT Franklin Gothic (2) E100 Falstaff Bodoni (14) E350 French Round Face (3) E120 Felix Bookman (8) E240 Friz Quadrata (2) E100 Headlines 3 E135 Bolt (1) E65 Frutiger (4) E135 Festival Braggadocio (1) E65 Futura (17) E380 Figaro Brush Script (1) E65 ITCGalliard (9) E270 Headline Caledonia (5) E15 0 Monotype Garamond (7) E210 Honda Calisto (5) E15 0 ITCGaramond (16) E370 Simoncini Garamond (4) E135 OCRA (1) E65 SINGLE PI-FONTS E65 Stempel Garamond (4) E135 OCRB (1) E65 E E Monotype Gill Sans (17) 380 Octavian (3) 120 PI-FONT PACKAGES Gloucester Old Style (1) E65 Old EnglishText (1) E65 E E Pi fonts (12) 1, 2, I, II, III, 3, 4, Gloucester 193 (1) 65 Old Style (6) 18 0 E Gloucester (3) E120 Optima (5) E15 0 5, 7, 8, 9, Europa 250 E E Numbering fonts (8) E200 GoudyOldStyle(3) 120 Palace Script (2) 100 E Goudy 441 (2) E100 Palatino (5) E15 0 Math-characters (19) 200 E E Greek (5) E15 0 Goudy 214 (1) 65 Park Avenue (1) 65 E Goudy Modern (2) E100 Pepita (1) E65 Keyboard (2) 100 E E Arrows (2) E100 Goudy Catalogue (2) 100 Perpetua (8) 240 E GoudyText (1) E65 Photina (9) E270 Dingbats (4) 15 0 E E Corners/Borders (2) E100 Monotype Grotesque (13) 340 ITC Pioneer (1) 65 E Headline (1) E65 Monotype Placard (2) E100 Bullets (4) 15 0 E E Miscellaneous (17) E250 Honda (1) 65 Monotype Plantin (11) 320 E Horley Old Style (8) E240 Poliphilus + Blado (3) E120 Aldina/Border (2) 100 Helvetica (33) E540 ITCQuorum (5) E15 0 Icone (2) E100 Monotype Rockwell (9) E270 Impact (1) E65 Monotype Runic (1) E65 Imperial (3) E120 Sabon (4) E135 Monotype Imprint (11) E320 Scotch roman (2) E100 Inflex (1) E65 Script Bold (1) E65 Ionic (3) E120 ITC Serif Gothic (6) E18 0 Isbell (8) E240 Serifa (4) E135 Italia (3) E120 ITCSouvenir (9) E270 Italian Old Style (5) E15 0 Monotype Spartan (7) E210 Monotype Janson (5) E15 0 Monotype Spectrum (4) E135 Joanna (7) E210 Stencil (1) E65 Kabel (5) E15 0 Stempel Schneidler (10) E300 Kino (1) E65 ITC Stone (3) E120 Monotype Klang (1) E65 Swift (7) E210 Korinn a ( 8) E240 ITC Symbol (8) E240 Latin (1) E65 Syntax (4) E135 ITCLeawood (2) E100 ITCT|ffany (8) E240 Lightline Gothic (1) E65 T|mes New roman (19) E400 Life (3) E120 Tr u m p M e di × v a l ( 4 ) E135 Lubalin Graphic (10) E300 20th Century (18) E390 Machine (2) E100 Ty p e w r i t e r ( 3 ) E120 Manhattan (1) E65 Univers (23) E440 Matura Script (2) E100 Van Dijck (3) E120 Maximus (3) E120 Vendo“ me (2) E100 Melior (4) E135 V|ktoria (1) E65 Mercurius (1) E65 Monotype Walbaum (8) E240 Meridien (4) E135 ITC Weidemann (4) E135 Monotype Modern (11) E320 W|nd s or ( 2) E100 ITC Modern (8) E240 W|ttenberger Fraktur (2) E100 Monoline Script (1) E65 Wolters Map Face (1) E65 Neo Didot (5) E15 0 Z-Antiqua PS (4) E135 Neographic (1) E65 ITC Zapf Book (8) E240 Neuzeit’S’ (2) E100 ITCZaph Chancery (6) E18 0 ITC New Baskerville (8) E240 ITCZapf International (8) E240 New Berolina (1) E65 New Clarendon (2) E100 News Gothic (5) E15 0 News Modern (2) E100 News Plantin (4) E135 ITCNewtext (8) E240 Nicholas Cochin (2) E100 Nimrod (11) E320 ITC Novarese (7) E210.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Century 100 Years of Type in Design
    Bauhaus Linotype Charlotte News 702 Bookman Gilgamesh Revival 555 Latin Extra Bodoni Busorama Americana Heavy Zapfino Four Bold Italic Bold Book Italic Condensed Twelve Extra Bold Plain Plain News 701 News 706 Swiss 721 Newspaper Pi Bodoni Humana Revue Libra Century 751 Boberia Arriba Italic Bold Black No.2 Bold Italic Sans No. 2 Bold Semibold Geometric Charlotte Humanist Modern Century Golden Ribbon 131 Kallos Claude Sans Latin 725 Aurora 212 Sans Bold 531 Ultra No. 20 Expanded Cockerel Bold Italic Italic Black Italic Univers 45 Swiss 721 Tannarin Spirit Helvetica Futura Black Robotik Weidemann Tannarin Life Italic Bailey Sans Oblique Heavy Italic SC Bold Olbique Univers Black Swiss 721 Symbol Swiss 924 Charlotte DIN Next Pro Romana Tiffany Flemish Edwardian Balloon Extended Bold Monospaced Book Italic Condensed Script Script Light Plain Medium News 701 Swiss 721 Binary Symbol Charlotte Sans Green Plain Romic Isbell Figural Lapidary 333 Bank Gothic Bold Medium Proportional Book Plain Light Plain Book Bauhaus Freeform 721 Charlotte Sans Tropica Script Cheltenham Humana Sans Script 12 Pitch Century 731 Fenice Empire Baskerville Bold Bold Medium Plain Bold Bold Italic Bold No.2 Bauhaus Charlotte Sans Swiss 721 Typados Claude Sans Humanist 531 Seagull Courier 10 Lucia Humana Sans Bauer Bodoni Demi Bold Black Bold Italic Pitch Light Lydian Claude Sans Italian Universal Figural Bold Hadriano Shotgun Crillee Italic Pioneer Fry’s Bell Centennial Garamond Math 1 Baskerville Bauhaus Demian Zapf Modern 735 Humanist 970 Impuls Skylark Davida Mister
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • Baskerville in France
    Baskerville in France A conference organised by John Baskerville (1707–75) was the École supérieure d’art an English typographer, printer, et de design (Amiens) industrialist and Enlightenment and the Centre for Printing figure with a worldwide reputa- History and Culture tion. He not only designed one (Birmingham) with the support of the world’s most popular and of the Ministère de la Culture, important typefaces, he also the Baskerville Society and the experimented with casting type, Bibliographical Society improved the construction of the printing press, trialled a new kind of paper and refined the quality of printing inks. His typographic experiments put him ahead of his Venue time, had an international impact Ministère de la culture and did much to enhance the et de la communication printing and publishing industries DRAC Hauts-de-France of his day. Site d’Amiens 5 rue Henri Daussy Baskerville, however, was a 80000 Amiens prophet without honour in his own land and ‘only in France did Registration he meet with the encouragement [email protected] he undoubtedly deserved.’ This conference considers the impact of Baskerville in France from the eighteenth century to the present day. Papers will present the tech- nical, aesthetic, literary, political or philosophical influences of Baskerville on France and France on Baskerville. A companion exhibition displays rare artifacts, Typefaces: Cardone Grotesk, Fátima Lázaro (EsadType 2016-18) and Baskerwille (designed after the types of Claude Jacob by books and documents related to Alexis Faudot, Rémi Forte, Morgane Pierson, Rafael Ribas, Tanguy Vanlaeys & Rosalie Wagner / ANRT 2017). his career and his posterity.
    [Show full text]
  • Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2005 Paragon/Paragone: Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano Margaret Ann Southwick Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1547 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. O Margaret Ann Southwick 2005 All Rights Reserved PARAGONIPARAGONE: RAPHAEL'S PORTRAIT OF BALDASSARE CASTIGLIONE (1 5 14-16) IN THE CONTEXT OF IL CORTEGIANO A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Cornmonwealtli University. MARGARET ANN SOUTHWICK M.S.L.S., The Catholic University of America, 1974 B.A., Caldwell College, 1968 Director: Dr. Fredrika Jacobs Professor, Department of Art History Virginia Commonwealth University Richmond, Virginia December 2005 Acknowledgenients I would like to thank the faculty of the Department of Art History for their encouragement in pursuit of my dream, especially: Dr. Fredrika Jacobs, Director of my thesis, who helped to clarify both my thoughts and my writing; Dr. Michael Schreffler, my reader, in whose classroom I first learned to "do" art history; and, Dr. Eric Garberson, Director of Graduate Studies, who talked me out of writer's block and into action.
    [Show full text]
  • Opentype Outline Flavour
    OpenType outline flavour: CFF - PostScript-Outlines Contained fonts: Akhbar™ Light Akhbar™ Regular Akhbar™ Bold Albany® Std Regular Albany® Std Italic Albany® Std Bold Albany® Std Bold Italic Albertina™ Std Regular Albertina™ Pro Regular Albertina™ Pro Italic Albertina™ Std Italic Albertina™ Std Medium Albertina™ Pro Medium Albertina™ Pro Medium Italic Albertina™ Std Medium Italic Albertina™ Std Bold Albertina™ Pro Bold Albertina™ Pro Bold Italic Albertina™ Std Bold Italic Albertus® Pro Light Albertus® Pro Roman Albertus® Pro Italic Albertus® Std Light Albertus® Std Roman Albertus® Std Italic Alisal™ Std Regular Alisal™ Pro Regular Alisal™ Pro Italic Alisal™ Std Italic Alisal™ Std Bold Alisal™ Pro Bold Almanac™ Regular Amadeo™ Std Regular Amadeo™ Std Regular SC Amadeo™ Std Bold Amadeo™ Std Bold SC Amanda™ Std Regular Amanda™ Pro Regular Amanda™ Pro Bold Amanda™ Std Bold Amasis™ eText Regular Amasis™ eText Italic Amasis™ eText Bold Amasis™ eText Bold Italic Andale® Mono WGL Regular Andale® Mono WGL Regular Andale® Mono WGL Italic Andale® Mono WGL Italic Andale® Mono WGL Bold Andale® Mono WGL Bold Andale® Mono Std Regular Andale® Mono Pro Regular Andale® Mono Pro Bold Andale® Mono Std Bold Andale® Mono WGL Bold Italic Andale® Mono WGL Bold Italic Andy™ Std Regular Andy™ Pro Regular Andy™ Pro Italic Andy™ Std Italic Andy™ Std Bold Andy™ Pro Bold Andy™ Pro Bold Italic Andy™ Std Bold Italic Antique Roman™ Std Solid Apollo™ Std Roman Apollo™ Pro Roman Apollo™ Pro Italic Apollo™ Std Italic Apollo™ Std Semibold Apollo™ Pro Semibold Aqua Life™ Pi
    [Show full text]
  • Adobe Font Folio Opentype Edition 2003
    Adobe Font Folio OpenType Edition 2003 The Adobe Folio 9.0 containing PostScript Type 1 fonts was replaced in 2003 by the Adobe Folio OpenType Edition ("Adobe Folio 10") containing 486 OpenType font families totaling 2209 font styles (regular, bold, italic, etc.). Adobe no longer sells PostScript Type 1 fonts and now sells OpenType fonts. OpenType fonts permit of encrypting and embedding hidden private buyer data (postal address, email address, bank account number, credit card number etc.). Embedding of your private data is now also customary with old PS Type 1 fonts, but here you can detect more easily your hidden private data. For an example of embedded private data see http://www.sanskritweb.net/forgers/lino17.pdf showing both encrypted and unencrypted private data. If you are connected to the internet, it is easy for online shops to spy out your private data by reading the fonts installed on your computer. In this way, Adobe and other online shops also obtain email addresses for spamming purposes. Therefore it is recommended to avoid buying fonts from Adobe, Linotype, Monotype etc., if you use a computer that is connected to the internet. See also Prof. Luc Devroye's notes on Adobe Store Security Breach spam emails at this site http://cgm.cs.mcgill.ca/~luc/legal.html Note 1: 80% of the fonts contained in the "Adobe" FontFolio CD are non-Adobe fonts by ITC, Linotype, and others. Note 2: Most of these "Adobe" fonts do not permit of "editing embedding" so that these fonts are practically useless. Despite these serious disadvantages, the Adobe Folio OpenType Edition retails presently (March 2005) at US$8,999.00.
    [Show full text]
  • 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.
    [Show full text]
  • Serif Fonts Vol 2
    Name Chaparral Pro Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Italic Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Italic Basic Latin ! " # $ % & ' ( ) * + , - .
    [Show full text]
  • Poster Design: the Basics Presented By: Irene Svete, Washington NASA Space Grant Jennifer Harris, Associate Director, URP Jake Deppen, Graduate Staff Assistant, URP
    Poster Design: The Basics Presented by: Irene Svete, Washington NASA Space Grant Jennifer Harris, Associate Director, URP Jake Deppen, Graduate Staff Assistant, URP Purpose Academic posters are a summary of what you did, how you did it, and what you learned. Most are divided into four parts: – Introduction (what you did) – Design or methods (how you did it) – Results – Conclusion (what you learned) Space is limited. Choose your words and graphics carefully. Getting Started A poster should be visually simple, yet highly informative. Programs for Poster Design ‒ MS PowerPoint (most popular) ‒ Impress (Open Office version) ‒ Adobe Illustrator ‒ Adobe Photoshop ‒ Adobe InDesign ‒ Adobe FreeHand (formerly Macromedia) ‒ LaTeX (mostly for Linux users) ‒ Paper, scissors & glue stick First Steps for PowerPoint 1) Open a New Presentation (ppt) 2) Change page size to poster size (40” wide x 32” tall for the Undergraduate Research Symposium) InDesign Illustrator Adobe Options Photoshop Poster Elements Words Graphics – Title Charts and Graphs – Section headings – Captions – Body Text Borders Photos Illustrations Backgrounds Layout Experiment with the different program features: – Creating text boxes – Adding images (insert or copy/paste) – Adding graphs (copy/paste, check font size) – Adding tables (copy/paste, create table & copy/paste content) – Background, etc. Layout Present information the way you would normally read — left to right, top to bottom. Use columns and line breaks to divide the poster into smaller sections. Use bullets instead of long paragraphs to summarize information. Fonts Someone standing 3-4 feet away should be able to read everything on your poster. – Title: 72-point – Headings/Section Titles: 40-point – Body Text: 28-point – Captions: 24-point Fonts Limit yourself to 2-3 types of fonts in order to create consistency and unity.
    [Show full text]