A Database of Typeface Classification Systems Anthony Kllc Di Pietro
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UNIT 2 Braille
Mathematics Enhancement Programme Codes and UNIT 2 Braille Lesson Plan 1 Braille Ciphers Activity Notes T: Teacher P: Pupil Ex.B: Exercise Book 1 Introduction T: What code, designed more than 150 years ago, is still used Whole class interactive extensively today? discussion. T: The system of raised dots which enables blind people to read was Ps might also suggest Morse code designed in 1833 by a Frenchman, Louis Braille. or semaphore. Does anyone know how it works? Ps might have some ideas but are T: Braille uses a system of dots, either raised or not, arranged in unlikely to know that Braille uses 3 rows and 2 columns. a 32× configuration. on whiteboard Here are some possible codes: ape (WB). T puts these three Braille letters on WB. T: What do you notice? (They use different numbers of dots) T: We will find out how many possible patterns there are. 10 mins 2 Number of patterns T: How can we find out how many patterns there are? Response will vary according to (Find as many as possible) age and ability. T: OK – but let us be systematic in our search. What could we first find? (All patterns with one dot) T: Good; who would like to display these on the board? P(s) put possible solutions on the board; T stresses the logical search for these. Agreement. Praising. (or use OS 2.1) T: Working in your exercise books (with squared paper), now find all possible patterns with just 2 dots. T: How many have you found? Allow about 5 minutes for this before reviewing. -
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 -
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. -
Typography One Typeface Classification Why Classify?
Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing. -
Bluebook Citation in Scholarly Legal Writing
BLUEBOOK CITATION IN SCHOLARLY LEGAL WRITING © 2016 The Writing Center at GULC. All Rights Reserved. The writing assignments you receive in 1L Legal Research and Writing or Legal Practice are primarily practice-based documents such as memoranda and briefs, so your experience using the Bluebook as a first year student has likely been limited to the practitioner style of legal writing. When writing scholarly papers and for your law journal, however, you will need to use the Bluebook’s typeface conventions for law review articles. Although answers to all your citation questions can be found in the Bluebook itself, there are some key, but subtle differences between practitioner writing and scholarly writing you should be careful not to overlook. Your first encounter with law review-style citations will probably be the journal Write-On competition at the end of your first year. This guide may help you in the transition from providing Bluebook citations in court documents to doing the same for law review articles, with a focus on the sources that you are likely to encounter in the Write-On competition. 1. Typeface (Rule 2) Most law reviews use the same typeface style, which includes Ordinary Times New Roman, Italics, and SMALL CAPITALS. In court documents, use Ordinary Roman, Italics, and Underlining. Scholarly Writing In scholarly writing footnotes, use Ordinary Roman type for case names in full citations, including in citation sentences contained in footnotes. This typeface is also used in the main text of a document. Use Italics for the short form of case citations. Use Italics for article titles, introductory signals, procedural phrases in case names, and explanatory signals in citations. -
Type ID and History
History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface -
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. -
A Catalogue of the Wood Type at Rochester Institute of Technology David P
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 11-1-1992 A Catalogue of the wood type at Rochester Institute of Technology David P. Wall Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Wall, David P., "A Catalogue of the wood type at Rochester Institute of Technology" (1992). 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]. 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 David P. Wall 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 DECEMBER 1992 Da,e Thesis Committee: David Pankow Thesis Advisor Marie Freckleton Graduate Program Coordinator George H. Ryan Direcmr or Designa[e A Catalogue of the Wood Type at Rochester Institute of Technology by David P. Wall A thesis project 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 ofTechnology November 1992 Project Advisor: Professor David Pankow Introduction type,' When Adobe Systems introduced in 1990 their first digital library of 'wood the event marked the latest step forward in a tradition dating back to 1828, when Darius Wells, ofNew Wells' York City, perfected the equipment and techniques needed to mass produce wood type. -
Vision Performance Institute
Vision Performance Institute Technical Report Individual character legibility James E. Sheedy, OD, PhD Yu-Chi Tai, PhD John Hayes, PhD The purpose of this study was to investigate the factors that influence the legibility of individual characters. Previous work in our lab [2], including the first study in this sequence, has studied the relative legibility of fonts with different anti- aliasing techniques or other presentation medias, such as paper. These studies have tested the relative legibility of a set of characters configured with the tested conditions. However the relative legibility of individual characters within the character set has not been studied. While many factors seem to affect the legibility of a character (e.g., character typeface, character size, image contrast, character rendering, the type of presentation media, the amount of text presented, viewing distance, etc.), it is not clear what makes a character more legible when presenting in one way than in another. In addition, the importance of those different factors to the legibility of one character may not be held when the same set of factors was presented in another character. Some characters may be more legible in one typeface and others more legible in another typeface. What are the character features that affect legibility? For example, some characters have wider openings (e.g., the opening of “c” in Calibri is wider than the character “c” in Helvetica); some letter g’s have double bowls while some have single (e.g., “g” in Batang vs. “g” in Verdana); some have longer ascenders or descenders (e.g., “b” in Constantia vs. -
A New Research Resource for Optical Recognition of Embossed and Hand-Punched Hindi Devanagari Braille Characters: Bharati Braille Bank
I.J. Image, Graphics and Signal Processing, 2015, 6, 19-28 Published Online May 2015 in MECS (http://www.mecs-press.org/) DOI: 10.5815/ijigsp.2015.06.03 A New Research Resource for Optical Recognition of Embossed and Hand-Punched Hindi Devanagari Braille Characters: Bharati Braille Bank Shreekanth.T Research Scholar, JSS Research Foundation, Mysore, India. Email: [email protected] V.Udayashankara Professor, Department of IT, SJCE, Mysore, India. Email: [email protected] Abstract—To develop a Braille recognition system, it is required to have the stored images of Braille sheets. This I. INTRODUCTION paper describes a method and also the challenges of Braille is a language for the blind to read and write building the corpora for Hindi Devanagari Braille. A few through the sense of touch. Braille is formatted to a Braille databases and commercial software's are standard size by Frenchman Louis Braille in 1825.Braille obtainable for English and Arabic Braille languages, but is a system of raised dots arranged in cells. Any none for Indian Braille which is popularly known as Bharathi Braille. However, the size and scope of the combination of one to six dots may be raised within each English and Arabic Braille language databases are cell and the number and position of the raised dots within a cell convey to the reader the letter, word, number, or limited. Researchers frequently develop and self-evaluate symbol the cell exemplifies. There are 64 possible their algorithm based on the same private data set and combinations of raised dots within a single cell. -
The Fontspec Package Font Selection for XƎLATEX and Lualatex
The fontspec package Font selection for XƎLATEX and LuaLATEX Will Robertson and Khaled Hosny [email protected] 2013/05/12 v2.3b Contents 7.5 Different features for dif- ferent font sizes . 14 1 History 3 8 Font independent options 15 2 Introduction 3 8.1 Colour . 15 2.1 About this manual . 3 8.2 Scale . 16 2.2 Acknowledgements . 3 8.3 Interword space . 17 8.4 Post-punctuation space . 17 3 Package loading and options 4 8.5 The hyphenation character 18 3.1 Maths fonts adjustments . 4 8.6 Optical font sizes . 18 3.2 Configuration . 5 3.3 Warnings .......... 5 II OpenType 19 I General font selection 5 9 Introduction 19 9.1 How to select font features 19 4 Font selection 5 4.1 By font name . 5 10 Complete listing of OpenType 4.2 By file name . 6 font features 20 10.1 Ligatures . 20 5 Default font families 7 10.2 Letters . 20 6 New commands to select font 10.3 Numbers . 21 families 7 10.4 Contextuals . 22 6.1 More control over font 10.5 Vertical Position . 22 shape selection . 8 10.6 Fractions . 24 6.2 Math(s) fonts . 10 10.7 Stylistic Set variations . 25 6.3 Miscellaneous font select- 10.8 Character Variants . 25 ing details . 11 10.9 Alternates . 25 10.10 Style . 27 7 Selecting font features 11 10.11 Diacritics . 29 7.1 Default settings . 11 10.12 Kerning . 29 7.2 Changing the currently se- 10.13 Font transformations . 30 lected features . -
Type Classification Ebook
Before You Begin... 6.The last 4 pages of the book explain what a “font flag” is and gives an example and also what a “font specimen sheet” it and an example. This book has been made to help you learn the 10 broad classifications of type. I won’t go into why you need to know them, but just face the fact... Regards, k you do. This book was specifically made for printing and web viewing. Jacob Cass jacobcassATjustcreativedesignDOTcom o Below is a brief description of what is inside the book and how it is layed http://justcreativedesign.com o out which will help you get more out of the book. © Copyright Jacob Cass - This book is licensed under a Attribution b Noncommercial Share Alike 2.0 Generic Creative Commons license. This 1. On the next page there are all 10 type classifications on one page. (ie. d Humanist, Garalde, Didone, Transitional, Lineal, Mechanistic, Blackletter, means you CAN copy, distribute, display, and use this work for any Decorative, Script and Manual.) These are the types classifications we will purpose under the conditions that you give me credit for the work and n that you do not make money from it, nor build upon or alter the work. be discussing. a 2. On the next two pages are layout guides to help you get familar with the layout of the book. H 3. The next page then continues to give a description of each type classification (ie. the 10 mentioned above). It will also provide the history n and characteristics of each type classification and appropriate font o examples on the same page as seen in the LAYOUT GUIDE.