DOCSLIB.ORG

Image Quality for Scanning and Digital Imaging Systems 135

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Image Quality for Scanning and Digital Imaging Systems 135 3 ImageQualityforScanningand Digital Imaging Systems Donald R. Lehmbeck Xerox Corporation, Webster, New York, USA (retired) CollegeofImagingArtsandSciences,RochesterInstituteof Technology, Rochester, New York, USA (Adjunct Faculty) ImagingQualityTechnologyConsulting,Penfield,NewYork,USA TorreyPinesResearch,Fairport,NewYork,USA John C. Urbach Portola Valley, California, USA (deceased) CONTENTS 3.1 Introduction ........................................................................................................................ 135 3.1.1 Imaging Science for Scanned Imaging Systems ................................................ 135 3.1.1.1 Scope ......................................................................................................... 135 3.1.1.2 The Literature .......................................................................................... 136 3.1.1.3 Types of Scanners.................................................................................... 136 3.1.2 The Context for Scanned Image Quality Evaluation ........................................137 3.2 Basic Concepts and Effects ............................................................................................... 140 3.2.1 Fundamental Principles of Digital Imaging ...................................................... 140 3.2.1.1 Structure of Digital Images ................................................................... 140 3.2.1.2 The Sampling Theorem and Spatial Relationships ............................145 3.2.1.3 Gray Level Quantization: Some Limiting Effects .............................. 148 3.2.2 Basic System Effects ............................................................................................... 152 3.2.2.1 Blur ............................................................................................................ 152 3.2.2.2 System Response ..................................................................................... 153 3.2.2.3 Halftone System Response .................................................................... 155 3.2.2.4 Noise ......................................................................................................... 159 3.2.2.5 Color Imaging .......................................................................................... 160 3.3 Practical Considerations ................................................................................................. .. 166 3.3.1 Scan Frequency Effects ......................................................................................... 166 3.3.2 Placement Errors or Motion Defects ................................................................... 169 3.3.3 Other Nonuniformities ......................................................................................... 173 3.3.3.1 Perception of Periodic Nonuniformities in Color Separation Images ....................................................................................................... 173 3.4 Characterization of Input Scanners that Generate Multilevel Gray Signals (Including Digital Cameras)............................................................................................. 174 3.4.1 Tone Reproduction and Large Area Systems Response................................... 175 3.4.2 MTF and Related Blur Metrics ............................................................................. 181 3.4.2.1 MTF Approaches..................................................................................... 183 133 134 Handbook of Optical and Laser Scanning 3.4.2.2 The Human Visual System’s Spatial Frequency Response ............... 189 3.4.2.3 Electronic Enhancement of MTFs: Sharpness Improvement ............ 189 3.4.3 Noise Metrics .......................................................................................................... 190 3.5 Evaluating binary, thresholded, scanned imaging systems........................................ 193 3.5.1 Importance of Evaluating Binary Scanning....................................................... 193 3.5.1.1 Angled Lines and Line Arrays .............................................................. 193 3.5.2 General Principles of Threshold Imaging Tone Reproduction and Use of Gray Wedges....................................................................................... 194 3.5.2.1 Underlying Characteristic Curve and Noise ....................................... 194 3.5.3 Binary Imaging Metrics Relating to MTF and Blur.......................................... 195 3.5.3.1 Resolving Power (A Measure for Discrimination of Fine Detail) ....195 3.5.3.2 Line Imaging Interactions ...................................................................... 198 3.5.4 Binary Metrics Relating to Noise Characteristics ............................................. 198 3.5.4.1 Gray Wedge Noise .................................................................................. 198 3.5.4.2 Line Edge Noise Range Metric.............................................................. 199 3.5.4.3 Noise in Halftoned or Screened Digital Images.................................200 3.6 Summary Measures of Imaging Performance............................................................... 202 3.6.1 Basic Signal-to-Noise Ratio................................................................................... 202 3.6.2 Detective Quantum Efficiency and Noise Equivalent Quanta .......................204 3.6.3 Application-Specific Context ................................................................................204 3.6.4 Modulation Requirement Measures ...................................................................204 3.6.5 Area under the MTF Cure (MTFA) and Square Root Integral (SQRI) ...........205 3.6.6 Measures of Subjective Quality ........................................................................... 206 3.6.7 Information Content and Information Capacity ...............................................209 3.7 Specialized Image Processing.......................................................................................... 214 3.7.1 Lossy Compression ................................................................................................ 214 3.7.2 Nonlinear Enhancement and Restoration of Digital Images .......................... 216 3.7.3 Color Management ................................................................................................ 218 3.8 Psychometric Measurement Methods Used to Evaluate Image Quality ...................219 3.8.1 Relationships between Psychophysics, Customer Research, and Psychometric Scaling............................................................................................. 219 3.8.2 Psychometric Methods .......................................................................................... 220 3.8.3 Scaling Techniques ................................................................................................ 221 3.8.3.1 Identification (Nominal) .........................................................................222 3.8.3.2 Rank Order (Ordinal) .............................................................................222 3.8.3.3 Category (Nominal, Ordinal, Interval)................................................222 3.8.3.4 Graphical Rating (Interval)....................................................................222 3.8.3.5 Paired Comparison (Ordinal, Interval, Ratio).....................................222 3.8.3.6 Partition Scaling (Interval).....................................................................223 3.8.3.7 Magnitude Estimation (Interval, Ratio)...............................................223 3.8.3.8 Ratio Estimation (Ratio) .........................................................................223 3.8.3.9 Semantic Differential (Ordinal, Interval) ............................................223 3.8.3.10 Likert Method (Ordinal) ........................................................................223 3.8.3.11 Hybrids (Ordinal, Interval, Ratio) ........................................................ 224 3.8.4 Practical Experimental Matters Including Statistics......................................... 224 3.9 Reference Data and Charts............................................................................................... 226 Acknowledgments ...................................................................................................................... 237 References .................................................................................................................................... 238 Image Quality for Scanning and Digital Imaging Systems 135 3.1 INTRODUCTION 3.1.1 Imaging Science for Scanned Imaging Systems This chapter presents some of the basic concepts of image quality and their application to scanned imaging systems. In this revised edition, we have added more on tonal rendition including system plots and halftones, new approximations to MTF’s and revised pointers to the current industry standards in image quality, as well as more reference data and charts while reducing content on binary imaging and overall quality. New references and other technical details have been added throughout. The emphasis in this chapter will be on the input scanner. Output scanners will be dealt with mainly by inference since many input scanner considerations and metrics are directly applicable to the rest of a complete electronic scanned imaging system. Expanded discus­ sions of halftone methods, tone reproduction, and nonuniformity
Load more

Recommended publications
  • Teknik-Grafika-Dan-Industri-Grafika
    Antonius Bowo Wasono, dkk. T EKNIK G RAFIKA DAN I NDUSTRI G RAFIKA J ILID 2 SMK Direktorat Pembinaan Sekolah Menengah Kejuruan Direktorat Jenderal Manajemen Pendidikan Dasar dan Menengah Departemen Pendidikan Nasional Hak Cipta pada Departemen Pendidikan Nasional Dilindungi Undang-undang TEKNIK GRAFIKA DAN INDUSTRI GRAFIKA JILID 2 Untuk SMK Penulis : Antonius Bowo Wasono Romlan Sujinarto Perancang Kulit : TIM Ukuran Buku : 17,6 x 25 cm WAS WASONO, Antonius Bowo t Teknik Grafika dan Industri Grafika Jilid 2 untuk SMK /oleh Antonius Bowo Wasono, Romlan, Sujinarto---- Jakarta : Direktorat Pembinaan Sekolah Menengah Kejuruan, Direktorat Jenderal Manajemen Pendidikan Dasar dan Menengah, Departemen Pendidikan Nasional, 2008. iii, 349 hlm Daftar Pustaka : Lampiran. A Daftar Istilah : Lampiran. B ISBN : 978-979-060-067-6 ISBN : 978-979-060-069-0 Diterbitkan oleh Direktorat Pembinaan Sekolah Menengah Kejuruan Direktorat Jenderal Manajemen Pendidikan Dasar dan Menengah Departemen Pendidikan Nasional Tahun 2008 KATA SAMBUTAN Puji syukur kami panjatkan kehadirat Allah SWT, berkat rahmat dan karunia Nya, Pemerintah, dalam hal ini, Direktorat Pembinaan Sekolah Menengah Kejuruan Direktorat Jenderal Manajemen Pendidikan Dasar dan Menengah Departemen Pendidikan Nasional, telah melaksanakan kegiatan penulisan buku kejuruan sebagai bentuk dari kegiatan pembelian hak cipta buku teks pelajaran kejuruan bagi siswa SMK. Karena buku-buku pelajaran kejuruan sangat sulit di dapatkan di pasaran. Buku teks pelajaran ini telah melalui proses penilaian oleh Badan Standar Nasional Pendidikan sebagai buku teks pelajaran untuk SMK dan telah dinyatakan memenuhi syarat kelayakan untuk digunakan dalam proses pembelajaran melalui Peraturan Menteri Pendidikan Nasional Nomor 45 Tahun 2008 tanggal 15 Agustus 2008. Kami menyampaikan penghargaan yang setinggi-tingginya kepada seluruh penulis yang telah berkenan mengalihkan hak cipta karyanya kepada Departemen Pendidikan Nasional untuk digunakan secara luas oleh para pendidik dan peserta didik SMK.
    [Show full text]
  • SPECIMEN LA BOLDE VITA 1 / 131 ZIMULA ZIMULA ZIMULA ZIMULA ABOUT the TYPEFACE LA BOLDE VITA 2 / 131 Inktrap & Inkspot
    ZIMULA TYPE SPECIMEN LA BOLDE VITA 1 / 131 ZIMULA ZIMULA ZIMULA ZIMULA ABOUT THE TYPEFACE LA BOLDE VITA 2 / 131 InkTrap & InkSpot Zimula is a classic contemporary geometric typeface and TYPEFACE comes in a friendly and warm vibe. With 9 weights ranging Zimula from Thin to Black, the standard styles can be used as a WEIGHTS workhorse for everyday design tasks. Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, But the Zimula family comes in two other styles: InkTrap and ExtraBold, Black InkSpot. The former features generous, angular Inktraps, which ensure crisp text in smaller sizes and become a stylis- STYLES tic element in the heavier weights, perfect for catching titles InkTrap, Standard, InkSpot and posters. The latter, on the other hand, fill out the joints, DESIGNED BY resulting in an irregular texture for the lighter weights and a Fabian Dornhecker soft overall appearance for the heavier weights. With the available variable font, you can choose between YEAR OF RELEASE InkTrap and InkSpot seamlessly — this opens up options 2021 for optimizing body copy and finding just the right amount AVAILABLE ON of character for large-format designs. A generous charac- La Bolde Vita ter set, extensive OpenType features and an alternative set → www.laboldevita.com with filled-in punches come on top. ZIMULA OPENTYPE-FEATURES LA BOLDE VITA 3 / 131 STYLISTIC SET 01 (Single-storey a) ▶ SS01 Cutter PRETTY → Cutter PRETTY Mariah@támbien.it → Mariah@támbien.it DYNAMIC FRACTIONS ▶ FRAC STYLISTIC SET 02 (Alternative G) ▶ SS02 41/23 = 1,782 → 47/23
    [Show full text]
  • PDF Specimen Download
    Pensum a monster for text, text and nothing but text — 18 sharp ’n’ soft serif fonts by Nils Thomsen www.typemates.com Pensum Pro · by TypeMates Page 2 ensum is a typeface for text, text and nothing but text. A pure monster, straight and plain. It will set reliably word for word, line for line and paragraph for paragraph, sometimes a spark of the sexy, curvy and strongly ink trapped italic Psneaks into proceedings but anyhow the plain workhorse will keep on setting text. Deep inside some sharp details are hidden unlike some brushy and smooth shapes to be revealed in large sizes. But seriously … Pensum comes along with nine weights from thin to black plus italics. The strong serifs combined with the low contrast makes it excellent for long reading text for example in magazines and books. The extreme thin and fragile styles can give a stylish and fash- ionable look, while the strong black weights are great for the rough nature of mountain sports. Pensum counts around 1050 glyphs including lots of OpenType Features to full fill every typo- — sexy, curvy and graphical need. Most important for lovers of book typography, the strongly ink trapped small-caps are slightly wider than the caps. You will find punctuation italic shapes — in case- and small cap-sensitive variations. The Adobe Latin 3 encoding is a TypeMates standard and gives a wide range of flexibility for Latin language support. Pensum is broad-nib based and inspired by some handwritten brush exercises at Peter Verheuls class during Type and Media course 2009 in The Hague.
    [Show full text]
  • Type & Typography
    Type & Typography by Walton Mendelson 2017 One-Off Press Copyright © 2009-2017 Walton Mendelson All rights reserved. [email protected] All images in this book are copyrighted by their respective authors. PhotoShop, Illustrator, and Acrobat are registered trademarks of Adobe. CreateSpace is a registered trademark of Amazon. All trademarks, these and any others mentioned in the text are the property of their respective owners. This book and One- Off Press are independent of any product, vendor, company, or person mentioned in this book. No product, company, or person mentioned or quoted in this book has in any way, either explicitly or implicitly endorsed, authorized or sponsored this book. The opinions expressed are the author’s. Type & Typography Type is the lifeblood of books. While there is no reason that you can’t format your book without any knowledge of type, typography—the art, craft, and technique of composing and printing with type—lets you transform your manuscript into a professional looking book. As with writing, every book has its own issues that you have to discover as you design and format it. These pages cannot answer every question, but they can show you how to assess the problems and understand the tools you have to get things right. “Typography is what language looks like,” Ellen Lupton. Homage to Hermann Zapf 3 4 Type and Typography Type styles and Letter Spacing: The parts of a glyph have names, the most important distinctions are between serif/sans serif, and roman/italic. Normal letter spacing is subtly adjusted to avoid typographical problems, such as widows and rivers; open, touching, or expanded are most often used in display matter.
    [Show full text]
  • Harlequin RIP OEM Manual
    ® 0ECRM RIP for Windows 2000/2003/XP RIP Manual Harlequin RIP Genesis Release™ March 2005 AG12325 Rev. 7 Copyright and Trademarks Harlequin RIP Genesis Release™ March 2005 Part number: HK–7.0–OEMXP–GENESIS Document issue: 102 Copyright © 1992–2005 Global Graphics Software Ltd. All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmit- ted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Global Graphics Software Ltd. The information in this publication is provided for information only and is subject to change without notice. Global Graphics Software Ltd and its affiliates assume no responsibility or liability for any loss or damage that may arise from the use of any information in this publication. The software described in this book is fur- nished under license and may only be used or copied in accordance with the terms of that license. Harlequin is a registered trademark of Global Graphics Software Ltd. The Global Graphics Software logo, the Harlequin at Heart Logo, Cortex, Harlequin RIP, Harlequin ColorPro, EasyTrap, FireWorks, FlatOut, Harlequin Color Management System (HCMS), Harlequin Color Production Solutions (HCPS), Harlequin Color Proofing (HCP), Harlequin Error Diffusion Screening Plugin 1-bit (HEDS1), Harlequin Error Diffusion Screening Plugin 2-bit (HEDS2), Harlequin Full Color System (HFCS), Harlequin ICC Profile Processor (HIPP), Harlequin Standard Color System (HSCS), Harlequin Chain Screening (HCS), Harlequin Display List Technology (HDLT), Harlequin Dispersed Screening (HDS), Harlequin Micro Screening (HMS), Harlequin Precision Screening (HPS), HQcrypt, Harlequin Screening Library (HSL), ProofReady, Scalable Open Architecture (SOAR), SetGold, SetGoldPro, TrapMaster, TrapWorks, TrapPro, TrapProLite, Harlequin RIP Eclipse Release and Harlequin RIP Genesis Release are all trademarks of Global Graphics Software Ltd.
    [Show full text]
  • FFTA FIRST 5.0 Design Guide (Pdf)
    Complimentary Design Guide 5.0 Flexographic Image Reproduction Specifications & Tolerances Complimentary Design Guide An FTA Strategic Planning Initiative Project The Flexographic Technical Association has made this FIRST 5.0 supplement of the design guide available to you, and your design partners, as an enhancement to your creative process. To purchase the book in it’s entirety visit: www.flexography.org/first Copyright, © 1997, ©1999, ©2003, ©2009, ©2013, ©2014 by the Flexographic Technical Association, Inc. All rights reserved, including the right to reproduce this book or portions thereof in any form. Library of Congress Control Number: 2014953462 Edition 5.0 Published by the Flexographic Technical Association, Inc. Printed in the United States of America Inquires should be addressed to: FTA 3920 Veterans Memorial Hwy Ste 9 Bohemia NY 11716-1074 www.flexography.org International Standard Book Number ISBN-13: 978-0-9894374-4-8 Content Notes: 1. This reference guide is designed and formatted to facilitate ease of use. As such, pertinent information (including text, charts, and graphics) are repeated in the Communication and Implementation, Design, Prepress and Print sections. 2. Registered trademark products are identified for information purposes only. All products mentioned in this book are trademarks of their respective owner. The author and publisher assume no responsibility for the efficacy or performance. While every attempt has been made to ensure the details described in this book are accurate, the author and publisher assume no responsibility for any errors that may exist, or for any loss of data which may occur as a result of such errors. .1 ii Flexographic Image Reproduction Specifications & Tolerances 5.0 INTRODUCTION The Mission of FIRST FIRST seeks to understand customers’ graphic requirements for reproduction and translate those aesthetic requirements into specifications for each phase of the flexographic printing process including: customers, designers, prepress providers, raw material & equipment suppliers, and printers.
    [Show full text]
  • ABCDEFGHIJKLMNOPQRSTU VWXYZ Abcdefghijklmnopqrstu Vwxyz
    Color, Contrast, and Spacing COLOR CONTRAST COLOR CONTRAST COLOR CONTRAST COLOR COLOR Spacing COLOR Spacing COLOR Spacing COLOR Monotype 46 Typography 1 — The City College of New York 1 Proportions Helvetica Bold 72pt Modern proportions (uniform width) ABDEFGHIJKL MNOPQRST UVWXYZ Trajan 72pt Roman Proportions (varied widths) Thin: IJ Narrow: BEFLPRS Medium: HATVX ABDEFGHIJKL Wide: DCGNOQ Ultra Wide: MW *From Mark Jamra’s Form and Proportion in a Text Type- face: A Few Guidelines MNOPQRST Typography 1 — The City College of New York UVWXYZ 2 Proportions Helvetica Bold 84pt • Modern proportions (uniform width) • Tall x-height • Cap height = Ascender height RHAMburgers • Short descenders Optima Bold 84pt • Roman Proportions (BEFLPRS are nar- rowest and MW widest) • Tall x-height • Cap height < Ascender height RHAMburgers • Short descenders Helvetica Bold x Optima Bold 84pt Helvetica cap-HeigHt Optima cap-HeigHt Helvetica x-HeigHt Optima x-HeigHt RHAMburgers Baseline Typography 1 — The City College of New York 3 Proportions Helvetica Bold 84pt • Modern proportions (uniform width) • Tall x-height • Cap height = Ascender height RHAMburgers • Short descenders Adobe Garamond Pro Bold 84pt • Roman Proportions (BEFLPRS are nar- rowest and MW widest) • Short x-height • Cap height < Ascender height RHAMburgers • Short descenders Helvetica Bold x Adobe Garamond Pro Bold 84pt Helvetica cap-HeigHt garamOnd cap-HeigHt Helvetica x-HeigHt garamOnd x-HeigHt RHAMburgers Baseline Typography 1 — The City College of New York 4 Type Variables Type Variables H
    [Show full text]
  • 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.
    [Show full text]
  • Multilingual Typeface Anatomy Terminology Developing a Proposal for a Comprehensive Translation Framework Applicable to Multiple Languages
    Multilingual Typeface Anatomy Terminology Developing a proposal for a comprehensive translation framework applicable to multiple languages C1. Measurement Lines C1. Measurement Lines 1 Ascender Line E P S F 107 Plume 215 Beak 2072 terms found in literature references and proposed 2 Baseline E P S F D 108 Finial 216 Hook by experts. The English language is being used as a 3 Beard Line E P S 109 Tongue 217 Sheared central axis for the translation and synchronization of 1 2 4 5 6 7 3 4 Cap Line E P S F 110 Tail / Finial E P S F D 218 Serif Symmetry E P the terms and, therefore, presented here. Following C2. Proportions 5 Descender Line E P S F 111 Straight 219 Symmetric a common practice found in the literature references, 12 6 Meanline / Midline / Waist Line E P S F D 112 Curved. 220 Assymetric / Calligraphic the entries were compared and synthesized into an 7 Small Cap Line E P 113 Attached 221 Symmetric Splayed illustrated numbered list. The entries were organized 114 Dettached 222 Symmetric Vertical into 8 Categories (C). Each Category holds a specific C2. Proportions 115 Cross Stroke 223 Serif Taper E set of unique terms (T). Each term, when found 8 9 10 11 15 13 14 16 17 18 8 Ascender Height E P S 116 Talon / Link / Heel / Entry Arc S D 224 Wedge / Point in the references analysed, is identified with the C3. Positive and Negative Shapes 9 Beard / Reserve Space / Line Space E P S 117 Terminal E P S 225 Squared / Vertical corresponding language (E, P, S, F, D).
    [Show full text]
  • The Field Guide to Typography
    THE FIELD GUIDE TO TYPOGRAPHY TYPEFACES IN THE URBAN LANDSCAPE THE FIELD GUIDE TO TYPOGRAPHY TYPEFACES IN THE URBAN LANDSCAPE PETER DAWSON PRESTEL MUNICH · LONDON · NEW YORK To my parents, John and Evelyn Dawson Published in North America by Prestel, a member of Verlagsgruppe Random House GmbH Prestel Publishing 900 Broadway, Suite 603 New York, NY 10003 Tel.: +1 212 995 2720 Fax: +1 212 995 2733 E-mail: [email protected] www.prestel.com © 2013 by Quid Publishing Book design and layout: Peter Dawson, Louise Evans www.gradedesign.com All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, or otherwise without written permission from the publisher. Library of Congress Cataloging-in-Publication Data Dawson, Peter, 1969– The field guide to typography : typefaces in the urban landscape / Peter Dawson. pages cm Includes bibliographical references and index. ISBN 978-3-7913-4839-1 1. Lettering. 2. Type and type-founding. I. Title. NK3600.D19 2013 686.2’21—dc23 2013011573 Printed in China by Hung Hing CONTENTS_ Foreword: Stephen Coles 8 DESIGNER PROFILE: Rudy Vanderlans, Zuzana Licko 56 Introduction 10 Cochin 62 How to Use This Book 14 Courier 64 The Anatomy of Type 16 Didot 66 Glossary 17 Foundry Wilson 68 Classification Types 20 Friz Quadrata 70 Galliard 72 Garamond 74 THE FIELD GUIDE_ Goudy 76 Granjon 78 Guardian Egyptian 82 SERIF 22 ITC Lubalin Graph 84 Minion 86 Albertus 24 Mrs
    [Show full text]
  • A Study of Ink Trapping Comparing Gravimetric and Densitometric Methods of Measurement Jui-Lin Hsu
    Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 5-1-1989 A study of ink trapping comparing gravimetric and densitometric methods of measurement Jui-lin Hsu Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Hsu, Jui-lin, "A study of ink trapping comparing gravimetric and densitometric methods of measurement" (1989). 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]. Certificate of Approval -- Master's Thesis School of Printing Management and Sciences Rochester Institute of Technology Rochester, New York CERTIFICATE OF APPROVAL MASTER'S THESIS This is to certify that the Master's Thesis of Jui-lin Hsu With a major in Printing Technology has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master of Science degree at the convocation of May 1989 Thesis Committee: Thesis Advisor Gtaduate Program Coordinator Director or Designate A STUDY OF INK TRAPPING COMPARING GRAVIMETRIC AND DENSITOMETRY METHODS OF MEASUREMENT by Jui-lin Hsu A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences in the College of Graphic Arts and Photography of the Rochester Institute of Technology May, 1989 Thesis Advisor: Mr. Sven Ahrenkilde Copyright by Jui-lin Hsu 1989 All Rights Reserved ACKNOWLEDGMENTS I'd like to thank the following people for their assistance with this thesis: My advisor, Mr.
    [Show full text]
  • ABCDEFGHIJKLMNOPQRSTU VWXYZ Abcdefghijklmnopqrstu Vwxyz
    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 Didot Regular 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 Perpetua Bold 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 Palatino Bold 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 Centaur MT Std Bold 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 Adobe Caslon Pro Bold 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 Garamond Bold 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 Georgia Regular 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 1 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 Optima Bold 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 Verdana Bold 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 Gill Sans Semibold 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 Frutiger Bold 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 Trade Gothic Bold N2 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 Univers 65Bold
    [Show full text]