DOCSLIB.ORG

Final Style Guide Graphic Design 3 Project 2 April 13, 2010 Tristan Bowersox Jovan Nedeljkovic Lindsey Nichols Lauren Schroer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Final Style Guide Graphic Design 3 Project 2 April 13, 2010 Tristan Bowersox Jovan Nedeljkovic Lindsey Nichols Lauren Schroer final style guide graphic design 3 project 2 April 13, 2010 Tristan Bowersox Jovan Nedeljkovic Lindsey Nichols Lauren Schroer TARGET AUDIENCE Young adults from the ages of 16-25 persuing or thinking about persuing a career in the visual arts. PUBLICATION NAME PRE We named our magazine PRE because of the way that word is used in our vocabulary. It is used before words and means “before, in advance of, early”. Our readers are in the “pre” section of their career. CONCEPT Our magazine applies to those who have not yet reached the professional part of their career and are still studying the area of visual art that they are interested in. PRE gives readers a chance to see what is going on outside of their school and helps them to prepare for life after they recieve their degree. TRIM SIZE A4 DESIGN TEAM Tristan Bowersox - Art Director Jovan Nedeljkovic Lindsey Nichols Lauren Schroer personas key words Angela Crafton is seventeen years old and in her senior year at Blue Valley Southwest in Stilwell, KS. She really enjoys the digital imaging springboard classes she has taken in her junior and senior focus years and is thinking about persuing something drive like this as a major in the future. Her teacher energy subscribes to PRE Magazine for the students ambition describing words to look at to inspire them to help with their devotion projects and inform them on upcoming design creativity events in their area. This helps angela see what intern is going on outside of her classroom and helps mentor her to focus on a future in design. supplies how-to educational knowledge original future personal toolbox helpful Andy Michaels is a twenty-one year old and is startup informative about to graduate his university with a degree origin fun in illustration. Andy’s passion is drawing and embark inspiring he dreams of being able to do what he loves boost creative as a professional someday. This magazine not launch entertaining only provides tips that will help him in assembling propel new a portfolio and preparing for interviews. what will the audience respond to in terms of editorial and design? Our audience is young adults from the ages of 16 - 25. These people are all wanting to persue a ca- reer in the visual arts. Our magazine will include articles on subjects that will be helpful to readers. It will include subject matter such as: inspirational artwork artist profiles student work features information on competitions and workshops tips and pointers upcoming events job opportunities study abroad opportunities table of contents features departments paint me a story story-telling in the visual arts book recommendations martin majoor pre-folios type nerd artist profiles robert frank tips and pointers dissecting the American image for interview, portfolios, etc. hand drawn type student spotlight “i don’t care!” regional a guide to pruning your audience color palette pre - table of contents Jovan Niedeljkovich Lauren Schroer Layout Coordinator Local Correspondant Paint Me a Story: 18 Storytelling in the Visual Arts Martin Majoor: 26 Type Nerd Robert Frank: 32 Dissecting the American Image Lindsey Nichols Tristan Bowersox Presources: Eduardo Recife: 42 Writer Art Director Recommendations 4 Collage & Typography Maker PreFolios Tips & Pointers 6 Student Spotlight 12 Hand Drawn Type 49 60 Pregional: “I Don’t Care!” 56 Kansas City 64 A Guide to Pruning Your Audience Minneapolis St. Louis 65 Chicago 66 Indianapolis 67 Cincinnati 70 71 1 Standards As ordained by Jovan & Tristan. If you have questions, contact either of us. And everyone ABSOLUTELY MUST USE PARAGRAPH AND CHARACTER STYLES, which are all included, so it should be no problem. :) The ‘A’ Master is for everything, the B Master is for the Departments. pre - department To change text that was on a masterpage, hold Com- mand and Shift and click on it. For this little header, put a shortened title of your department. For features, put the title of your article in quotes. For words that would nor- mally be lowercase in a title, use 5AM Gender Light. Example of a Title This is a sample paragraph So, not to sound longwinded, a digital portfolio is really the way a prospec tive employer will have the most time to take a look at your work. / (and the way to know what the employer is seeing is Asides should be set off with most current) / The best thing to do, is get yourself a website set up. a slash, followed by a “thin The website can be the cheapest plan possible because you don’t have space” (Command + Alt + to store your videos on it. You can upload your full res videos to vimeo, Shift + M), and then paren- and then just embed the vimeo video files onto your website, reduc- theses. Put a thin space and ing your bandwidth transfer and completely removing any need for an another slash at the end, expensive web hosting plan. There are even free web hosts out there, highlight it all and set the you just have to find or search for them. tint to 50% Use your own discresion whether or not to The fastest way for someone you meet at a conference or capitalize the sentence. industry event to see your work is to give them a business card with your website address on it, that way they can just visit your site, and you don’t have to give them a demo reel to awkwardly carry around all day if they don’t feel like it. When designing your site, you want it to be as easy to navigate as possible. Your demo reel should take no more than 1 click to get to if it isn’t already embedded on the first page we land on, and ev ery other project should be able to be located easily with simple navigation.A standard 2 frame website is best, Left column/ Frame is your Content Links, Right Column/Frame is your area to dis- play that content from the links. Most employers see the same thing over and over and over as well from graduating seniors, a mix of a few strong pieces, then a few bad ones mixed in, you have to edit and discipline yourself to only show your strongest work. / (I know its tough, all the time you spent on that one project that means so much, but may not be so strong to other viewers... has to get cut out) / Which leads me to how you can create great content for your demo reel, by participating in one of my favorite industry friends bi-weekly animation contest called 1 2 tags “Pencil Line” .25pt, black, 60% tint, solid line. Drawn with the pencil tool (N). Try to make the angles as straight as you can using the mouse—you won’t be able to, but that’s the point. The Pencil Line is used to link captions or images to sections of the body text that are vaguely related or the title. This is different from the way the dots are used because, basically, the pencil lines aren’t strictly neces- sary at all. They just link ideas together kind of like you might if you were drawing in the margins of a book. The idea is to add a human element to contrast the very simple, reserved style. Japanese dots .25pt, black. Always straight (or at right angles). Ends with a circle—which is .25pt, black, and 8.346pt wide. The Japanese Dots are used to link captions to the image they are describing (like on almost all of Jovan’s spreads). The line sits approximately 5pt below the headline. Colors These are the final colors. Jovan and I axed the yellow because in print it is nearly invis- ible. I also altered the others slightly to make them a bit more different from each other. 3 pre - example THIS IS WHAT IT SHOULD LOOK LIKE Example of a Department I am going to create an icon set to differentiate the depart- ments. That will go here instead of a thumbnail. Each one will be white inside a dot, which will be color coordinated by Tristan & Jovan Lead-in paragraph. This can be the first paragraph of your copy, if your department has body copy / (Like Jovan’s) / or a couple of sentences describing the content of the department. Like a brief or abstract. First person is okay here too—think of it like you describing the content briefly to the reader. This is always black. Jovan and I tried every possible way to use the colors. Trust us; this bal- ances the spread the best. 1 4 our department spreads include: a book review to help readers explore different kinds of books that could teach and inspire them in all aspects of visual arts and creativity. artist profiles that highlight artists across the nation student work to give students a chance to have their artwork seen by people who would not have seen it otherwise a local section divided into southwest, west, midwest, southeast, and northeast. a tips and pointers section that will guide readers in interviews, portfolios, and anything else that will help them to excel in the real world. pre - books design, typography, photography BOOKS WORTH A LOOK Font. The Sourcebook With essays and interviews from esteemed typographers, graphic designers and artists, Font: The Source- book explores font as information, fine art, reccomendations reviews identity and historical marker, all the while and charting the evolution of the typeface with pioneering fonts that have marked its his- tory. Looking at both the iconic and the more arcane arenas where fonts come into play, the book goes on to profile some of the most innovative and important historical and con- temporary typefaces currently in use, making by Tristan Bowersox Font: The Sourcebook a resource no designer, typographer, artist or aesthete will want to be without.
Load more

Recommended publications
  • Approaches to Applying Spacing Methods in Seriffed and Sans-Serif Typeface Designs
    Approaches to applying spacing methods in seriffed and sans-serif typeface designs Fernando de Mello Vargas January 2007 Essay submitted in partial fulfilment for the requirements for the Master of Arts in Typeface Design Department of Typography and Graphic Communication The University of Reading, United Kingdom, 2007 This paper cannot be reproduced or published, partially or integrally, without the written consent of the author. Acknowledgments The author would like to thank Nicolien Van der Keur for providing the Asa Types ‘Trinité 1, 2, 3’ catalog and Daniel Rathigan for proof reading. Set in FF Scala and FF Scala Sans in Adobe InDesign CS2. Contents 1 introduction 4 2 optical spacing concepts 5 2.1 Spacing a sequence of different shapes 5 2.2 Balancing internal and external white spaces in letterforms 6 2.3 Simultaneous contrast issue 6 2.4 Vertical optical centres 7 2.5 Influence of ascenders and descenders 7 3 applying spacing methods in seriffed and sans-serif typeface designs 8 3.1 Experiment procedures 8 3.2 Description of spacing methods used 9 3.2.1 Walter Tracy’s method 9 3.2.2 Miguel Sousa’s method 10 3.3 Analysis of the results 11 3.3.1 First approach: comparing paragraphs and phrases 11 3.3.2 Second approach: comparing words 14 4 epilogue 16 5 image sources 17 6 references 18 Approaches to applying spacing methods in seriffed and sans-serif typeface designs 1. Introduction 1 W. Tracy, ‘Letters of credit: a view The adjustment of space between letters in typeface design, a process commonly of type design’, p.
    [Show full text]
  • FSI: FF Scala Sans Offc Condensed Regular
    fontfont opentype® ▪▪▪��� fontfont info guide for ff Scala Sans Condensed Regular Offc | Offc Pro or Web | Web Pro Sections a | Font and Designer Information b | Language Support c | Type Specimens section a FONT & DESIGNER INFORMATION Handgloves about ff Scala Sans Condensed Martin Majoor enhanced his elegant serif ff Scala with a companion sans- Regular serif family. Again it is the simplicity that makes Scala Sans so captivating, while at the same time its distinct character is immediately recognizable. First, the family comprised six variants including an italic small caps style, a fairly rare beast in the typographic zoo. Later, two Condensed weights as well as the two missing Small Caps fonts were added making the Scala family suitable for complex book typography. There is also a collection of Scala Hands, pointing hands with and without serifs, right and left handed, feminine and masculine, thumbs up and thumbs down ... the list goes on. Finally, light and black weights were added. The design of a serif typeface and an accompanying sans resulted in a very happy combination for graphic designers around the world. about Martin Majoor has been designing type since the mid-1980s. After a martin majoor student placement at URW in Hamburg, he started in 1986 as a typographic designer in the Research & Development department at Océ- Netherlands. In 1988 he started working as a graphic designer for the Vredenburg Music Centre in Utrecht, for whom he designed the typeface Scala for use in their printed matter. Two years later FSI FontShop International published ff Scala as the first serious text face in the then- new FontFont-Library.
    [Show full text]
  • Krótki Przewodnik Po Typografii Dwudziestego Wieku Grzegorz Fijas
    System Postmodernizm Czytelność Rodzina NIE- Moda BEZPIECZNE diy Kapitalizm Nowoczesność Nacjonalizm Demokracja LITERY Kolonializm Rewolucja Płeć Piękno Przestrzeń Emigracja Krótki przewodnik po typografii Porażka dwudziestego wieku Recykling Żart Grzegorz Fijas Emocje Niebezpieczne litery Krótki przewodnik po typografii dwudziestego wieku NIEBEZPIECZNE Grzegorz Fijas LITERY Krótki przewodnik po typografii dwudziestego wieku Kraków 2020 Copyright © Grzegorz Fijas, 2020 Redakcja: Joanna Hałaczkiewicz Korekta: Aleksandra Smoleń, Marcin Bojda Projekt graficzny i łamanie: Grzegorz Fijas Książkę złamano krojami Sharik Sans i Tzimmes Michała Jarocińskiego oraz Podium Sharp Mateusza Machalskiego. Rączka na stronie 143 pochodzi z kroju Geller Ludki Binek. Decyzja, by wykorzystać kroje, które nie powstały w dwudziestym wieku, była całkowicie świadoma. Książkę w formie e-booka można ściągnąć za darmo ze strony gfijas.pl. Jeżeli książka Ci się spodobała, autor będzie wdzięczny, jeśli dasz mu znać, np. wysyłając e-mail na adres [email protected] lub wiadomość na facebookową stronę „Niebezpieczne litery – typografia i edytorstwo”. Spis treści 9 Wprowadzenie 13 Kilka terminów na start Typograficzne dylematy 22 Univers, czyli system 28 Optima, czyli postmodernizm 34 ocr-b, czyli czytelność 40 ff Scala, czyli rodzina 46 ff Meta, czyli moda 52 Keedy Sans, czyli diy Niebezpieczne litery 60 Futura, czyli kapitalizm 66 Chaim, czyli nowoczesność 70 Antykwa Połtawskiego, czyli nacjonalizm 78 Times New Roman, czyli demokracja 84 Unified Arabic, czyli kolonializm 90 Solidaryca, czyli rewolucja 96 Mrs Eaves, czyli płeć Typografia na co dzień 104 Hobo, czyli piękno 110 Johnston, czyli przestrzeń 116 Albertus, czyli emigracja 122 Sachsenwald, czyli porażka 128 Courier, czyli recykling 134 Helvetica, czyli żart 140 Zapf Dingbats, czyli emocje 147 Na zakończenie – spojrzenie w przyszłość Wprowadzenie Nigdy wcześniej typografia nie zmieniała się tak dynamicznie, jak w dwudziestym wieku.
    [Show full text]
  • Fontfont Focus Nexus.Pdf
    ★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆ three-way conversation in type, Threesome and The new cala? are just three qualifications that were given to Martin Majoor’s type family ff Nexus, when it was released in 2004. The fact that ff Nexus has three variants – a serif, a sanserif and a slabserif (a mix between serif and sans) – makes it a highly versatile typeface. Its third extension, the slabserif, is a logical result of Majoor’s type design philosophy which started with the release of ff Scala and ff Scala Sans some 15 years ago. first serif, then sans Almost 20 years ago, during the time Majoor started designing Scala, he almost intuitively developed a process in which the sans serif version was derived from the serif version: first the serif, then the sans. Later he called this theory, ‘2 typefaces, 1 form principle’, and the immediate success of ff Scala and ff Scala Sans was proof that he was on the right track. It turned out that his ‘theory’ wasn’t new at all, but thanks to digital techniques he was able to bring it into practice in a way that had not been seen before in type design. Features like old style figures and small caps, in all weights, in serif and sans and in 1 ★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★ regular and italic, simply had not been possible in the time of hot metal type. But at the start of the digital type era, this versatility was something new. It was 1993 and it was the first time ever that italic small caps were designed for a sans serif typeface.
    [Show full text]
  • Scala OT Regular Scala Pro Regular
    FontFont OpenType® nnIK nnnnABEM nnnnnn1032G9 nnZ5 nnND nnnn.,cR FontFont Info Guide Scala OT Regular Scala Pro Regular Version 01 | Nov 2005 Sections a | Introduction to OpenType® b | Font and Designer Information c | Supported Layout Features d | Language Support e | Type Specimens SECTION A INTRODUCTION TO OPENTYPE® What is OpenType® is a cross-platform font file format developed jointly by OpenType? Adobe and Microsoft. The two main benefits of the OpenType format are its cross-platform compatibility (the same font file works on Macintosh and Windows computers), and its ability to support widely expanded character sets and layout features, which provide rich linguistic support and advanced typographic control. OpenType fonts can be installed and used alongside PostScript® Type 1 and TrueType fonts. The range of supported layout features may differ in the various FontFont OpenType packages, therefore each OpenType package will be accompanied by this ff Info Guide listing the layout features supported by this specific font package. You’ll find a glossary of all available OpenType layout features in Section B of the general ff OpenType User Guide. Please see the FontFont OpenType® User Guide at http://www.fontfont.com/opentype ©fsi, 2005 All rights reserved. All information in this document is provided “AS IS” without warranty of any kind, either expressed or implied, and is subject to change without notice. All trademarks mentioned in this document are the trademarks or registered trademarks of their respective holders. You may reproduce and distribute this document as long as you do not remove fsi’s copyright information and do not make any changes in the document.
    [Show full text]
  • Writing with Scala
    writing by Ellen Lupton writing with s c a l a Scala by Martin Majoor i first used scala in 1991, when Robin Kinross mailed it to me in New York City on a fl oppy disk. Robin was writing an essay for an exhibition catalogue I was editing, Graphic Design in the Netherlands: A View of Recent Work. His essay was about typeface design, and this is what he had to say about Scala, designed by the brilliant young typographer Martin Majoor: Scala sums up many characterististics of recent Dutch type design. It is an “old style” face, perhaps, but it follows no established model— it invokes memories of W. A. Dwiggins and Eric Gill. Scala has a definite, sharp character of its own, which escapes the Van Krimpen mold. As usual with the Dutch, the italic has a strong, insistent rhythm, perhaps to an extreme. Much love and attention has gone into the “special sorts,”—there is even an x-height ampersand (&)—and the figures are, of course, non-lining.1 Presented on the following pages are specimens of texts that I have written over the years, sampled and reconfigured to provide a showing of this amazing typeface. All of these texts were originally written in Scala. As a writer who is also a designer, I often compose my words directly on the page, and I am happiest when writing in Scala. Its crisp geometry and humanist refer- ences make Scala at home with both the visual and literary qualities of the written word. Scala’s x-height, which may be unfashionably large by today’s standards, has always sat well with me, reminding me of my own bottom-heavy figure.
    [Show full text]
  • Reading Machines. Ambient Writing and the Poetics of Atmospheric Media
    READING MACHINES AMBIENT WRITING AND THE POETICS OF ATMOSPHERIC MEDIA ALEC MAPES-FRANCES HONORS THESIS IN MODERN CULTURE AND MEDIA (A.B., TRACK II) BROWN UNIVERSITY 2017 READING MACHINES: AMBIENT WRITING AND THE POETICS OF ATMOSPHERIC MEDIA ALEC MAPES-FRANCES HONORS THESIS IN MODERN CULTURE AND MEDIA (A.B., TRACK II) BROWN UNIVERSITY 2017 THESIS ADVISOR—TIMOTHY BEWES SECOND READER—DIEGO SEMERENE SPECIAL THANKS—ADA SMAILBEGOVIĆ 2 3 INTRODUCTION—6 1 DISAPPEARANCES—18 2 SMOOTH OPERATIONS—35 3 AMBIENT SELVES—54 4 “SPACES WE MIGHT NOT HAVE INHABITED”—74 CONCLUSION—94 BIBLIOGRAPHY—97 AUDIOVISUAL SOURCES—109 4 5 INTRODUCTION We are always living in a paradoxical situation. The mutations of subjectivity are sudden, occurring at ‘infinite speeds.’…one says to oneself: Isn’t it boring here? Isn’t it nerve-racking? Isn’t the ambiance great? —Félix Guattari1 Since Brian Eno pioneered the concept of ambient music in the 1970s, “ambient” has seen increasing circulation and proliferation in discourses on the arts and media as a catchword for work that surrounds, backgrounds, withdraws. Customarily, the genealogy of the term is audiocentric—Eno, the Muzak corporation’s “audio architecture,” Erik Satie’s “musique d’ameublement,” and even early modern “Tafelmusik”—leading music critics such as Mark Prendergast to name the 20th century the “ambient century.”2 But in contemporary usage, ambience and the ambient are frequently expanded well beyond music, sonic art, and sound studies, and into interior decoration, meteorology, computing, electronics, urbanism, corporate and 1 Félix Guattari, quoted in Maurizio Lazzarato, Signs and Machines (Los Angeles: Semiotext(e), 2014), 218.
    [Show full text]
  • MEET YOUR TYPE a Field Guide to Love & Typography CONTENTS CONTENTS
    MEET YOUR TYPE a field guide to love & typography CONTENTS CONTENTS TIME FOR “THE TALK” the elements of typography page 04 COULD THIS BE THE ONE? appropriate typeface selection page 16 MAKING IT WORK typographic details page 26 TIME TO COMMIT font licensing and creation page 38 Why settle for casual flirtation when looking for a long-lasting relationship? Finding the perfect match is easy if you know the rules. MEET YOUR TYPE will help you overcome common obstacles, and keep your heart thumping for your one true love: Ø5 THE BIRDS & THE BEES typeface vs. font typography. TIME FOR ”THE TALK” the elements of type peach MILO THIN 08 MILO REGULAR ITALIC fuMILO TEXT zz TRAINING MILOTHIN.OTF = FONT ABCDEGHIJK LMNOPQRST UVWXYZ abcdefghijkl mnopqrstuv wxyz bMILO EXTRA BOLD ra 007 THE BIRDS & THE BEES typeface vs. font You may notice that you’re changing. You’re noticing different letterforms. You may feel different around them. Don’t be embarrassed; these feelings are natural. fuzz A few basics can help you through the awkward years. TYPEFACE A typeface is a single set of characters that share stylistic unity. A typeface usually comprises an alphabet of letters, numbers, punctuation and diacritical marks. FONT Old school typographers defined a font as a complete character set of a particular typeface in one size. When type made the leap to the digital realm, a font became an electronic file that rendered the typeface in all sizes. A typeface is what you see– a font is what you use to make it happen. YOU JUST WANT ME FOR MY BODY type anatomy Double chin, big feet, or bowed legs.
    [Show full text]
  • ASRC Branding Guide
    LACH PA IA P N A ♦ ♦ S E E A U R C C H + RES APPALACHIAN SEARCH ANd RESCUE CONFERENCE Branding Guide Branding Guide of the Appalachian Search and Rescue Conference Version 1.3 Approved by the Board of Directors 11 April 2020 Appalachian Search & Rescue Conference, Inc. P.O. Box 400440, Newcomb Hall Station Charlottesville, VA 22904 The text of and illustrations in this document are licensed by the ASRC under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 license (“CC BY-NC-SA”). To view a copy of this license, visit https://creativecommons.org or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. The ASRC name, acronym, logo and all other associated marks are protected trademarks of the ASRC. Use of trademarks is not endorsement of any company. Set in Scala Sans and Minion with InDesign This document may be downloaded from http://archive.asrc.net Contents Introduction 5 Downloading 20 Logo 5 Overview of Slide Masters 20 Patches 6 Video 20 Logo Colors 6 Intellectual Property 21 Stationery and Internal Document Formats 7 Historical Background 22 Templates 7 Technical Details 23 Stationery Logo 7 Book Panel and Syncing 23 Stationery Typeface 7 Editing in Word/RTF, Publishing with How to Create 13 InDesign 23 Web Standards 13 Importing Word Files 24 Governing Document Format 13 Quick and Dirty Editing in InDesign 24 Style 14 Extensive Editing in InDesign 24 “One-Pagers” 14 Running Headers and Page Numbers 25 Slides 18 Training Standards Specific Notes 27 Colors 18 Bylaws-Specific Notes 27 Guidelines for Slide Presentations 18 Change History 27 Creating Slide Masters 19 3 This page intentionally left blank.
    [Show full text]
  • Types and Characters – Martin Majoor
    ff Scala ff Scala Sans FF Scala Jewels ff Seria ff Seria Sans ff Nexus Serif ff Nexus Sans ff Nexus Mix FF Nexus Typewriter FontFont presents to you two brochures concerning excellent type designers and their approach to designing fonts: the scribbling, the computer work, their sources of inspiration … The aim of the brochures is to provide an insight into the work of the nice people behind the letters. Have a glance at the work of the two type super heroes Xavier Dupré and Martin Majoor. types & characters Martin Majoor www.fontfont.com www.fontshop.com Æ 10 Questions to Martin Majoor What are your inspirations and Do you think there is a connection You design books. ff Scala what do you like about being a type between Dutch type designers? Do you like reading? designer? There is no jealousy between us, I don’t have enough time for reading, ff Scala Sans Old books, especially old books set rather respect, unlike in other unfortunately. But when I have time in hot metal type, are inspiring professions maybe. But after all, I love reading. Although I recently FF Scala Jewels 1988 – 1997 for me, although new books are the Netherlands are so small that noticed that I’ve become such a nerd inspiring, too, of course. What I like you see each other quite often. that I don’t see any texts but just type. in my profession is that I often see my typefaces out there used by other What problems did you have Are you living with your family in designers.
    [Show full text]
  • Ff Scala Is Named After the Teatro Alla Scala (1776–78) in Milan
    =f fontfont focus nº 1 scala @ Q g < n y g F O N T F O N T F O C U S 1 ff Scala is named after the Teatro alla Scala (1776–78) in Milan. There were two reasons for this name: ff Scala was made especially for a concert hall, the Vredenburg in Utrecht, and the design has it roots in around the time Teatro alla Scala was built, the mid- eighteenth century. Furthermore the word ‘scala’ has the meaning ‘a whole range’, which ff Scala certainly is: from a to z and from serif to sans serif, from light to black and from formal to decorated. As first released (1991) ff Scala had only four styles: Regular, Italic, Bold and small caps. Since then ff Scala has grown to 28 styles. ff Scala & ff Scala Sans: two typefaces, one form principle ff Scala and ff Scala Sans are two di=erent typefaces sharing a common form principle. The character of a seri=ed typeface mainly arises from the form principle and from elements such as serifs and contrast of the strokes. A sans serif design depends almost entirely on the form principle. ff Scala Sans was made simply by cutting the serifs o= from the characters of Scala and by adjusting their contrast. So the skeletons of both ff Scala and ff Scala Sans are identical. the skeleton of both ff scala and ff scala sans F O N T F O N T F O C U bembo fournier ff scala S 2 ff scala The form principle of ff Scala find its roots in the first vertically- stressed typefaces of the French typographer Pierre Simon Fournier (mid-eighteenth-century).
    [Show full text]
  • Combining Typefaces
    Five Simple Steps A Pocket Guide Combining typefaces by Tim Brown 2 3 A Pocket Guide to Combining Typefaces by Tim Brown Published in 2013 by Five Simple Steps Studio Two, The Coach House Stanwell Road Penarth CF64 3EU United Kingdom On the web: www.fivesimplesteps.com and: http://nicewebtype.com/ Please send errors to [email protected] Publisher: Five Simple Steps Editor: Stephen Coles Copy Editor: Owen Gregory Production Manager: Jo Brewer Art Director: Nick Boulton Designer: Nick Boulton, Colin Kersley Copyright © 2013 Tim Brown All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without prior permission in writing from the publisher. ISBN: 978-1-907828-17-1 A catalogue record of this book is available from the British Library. … Why combine typefaces? Why would anyone bother using more than one typeface? 6 Designers can, and often do, use a single variation of one typeface (for example, Proxima Nova Regular) for entire projects. This is a common exercise in Typography 101 classes because it helps students understand typesetting options and limitations, and it’s a popular aesthetic among professionals who are in a hurry, trying to be plain, or trying to be careful. Even sticking with a single typeface (for example, the complete Proxima Nova family) provides a multitude of possibilities, particularly if that face offers many weights, widths and styles. The act of bringing different typefaces together to convey a message is challenging, inspiring and fun.
    [Show full text]