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Supreme Court of the State of New York Appellate Division: Second Judicial Department
Supreme Court of the State of New York Appellate Division: Second Judicial Department A GLOSSARY OF TERMS FOR FORMATTING COMPUTER-GENERATED BRIEFS, WITH EXAMPLES The rules concerning the formatting of briefs are contained in CPLR 5529 and in § 1250.8 of the Practice Rules of the Appellate Division. Those rules cover technical matters and therefore use certain technical terms which may be unfamiliar to attorneys and litigants. The following glossary is offered as an aid to the understanding of the rules. Typeface: A typeface is a complete set of characters of a particular and consistent design for the composition of text, and is also called a font. Typefaces often come in sets which usually include a bold and an italic version in addition to the basic design. Proportionally Spaced Typeface: Proportionally spaced type is designed so that the amount of horizontal space each letter occupies on a line of text is proportional to the design of each letter, the letter i, for example, being narrower than the letter w. More text of the same type size fits on a horizontal line of proportionally spaced type than a horizontal line of the same length of monospaced type. This sentence is set in Times New Roman, which is a proportionally spaced typeface. Monospaced Typeface: In a monospaced typeface, each letter occupies the same amount of space on a horizontal line of text. This sentence is set in Courier, which is a monospaced typeface. Point Size: A point is a unit of measurement used by printers equal to approximately 1/72 of an inch. -
Sig Process Book
A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry. -
Classifying Type Thunder Graphics Training • Type Workshop Typeface Groups
Classifying Type Thunder Graphics Training • Type Workshop Typeface Groups Cla sifying Type Typeface Groups The typefaces you choose can make or break a layout or design because they set the tone of the message.Choosing The the more right you font know for the about job is type, an important the better design your decision.type choices There will are be. so many different fonts available for the computer that it would be almost impossible to learn the names of every one. However, manys typefaces share similar qualities. Typographers classify fonts into groups to help Typographers classify type into groups to help remember the different kinds. Often, a font from within oneremember group can the be different substituted kinds. for Often, one nota font available from within to achieve one group the samecan be effect. substituted Different for anothertypographers usewhen different not available groupings. to achieve The classifi the samecation effect. system Different used by typographers Thunder Graphics use different includes groups. seven The major groups.classification system used byStevenson includes seven major groups. Use the Right arrow key to move to the next page. • Use the Left arrow key to move back a page. Use the key combination, Command (⌘) + Q to quit the presentation. Thunder Graphics Training • Type Workshop Typeface Groups ����������������������� ��������������������������������������������������������������������������������� ���������������������������������������������������������������������������� ������������������������������������������������������������������������������ -
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. -
The Impact of the Historical Development of Typography on Modern Classification of Typefaces
M. Tomiša et al. Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama ISSN 1330-3651 (Print), ISSN 1848-6339 (Online) UDC/UDK 655.26:003.2 THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES Mario Tomiša, Damir Vusić, Marin Milković Original scientific paper One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well-acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users. Keywords: character, font, graphic design, historical development of typography, typeface, typeface classification, typography Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama Izvorni znanstveni članak Jedna je od definicija tipografije da je ona umjetnost odabira odgovarajućeg pisma za određeni projekt i njegova organizacija s ciljem ostvarenja što učinkovitije komunikacije. Da bi korisnik mogao odabrati pravo pismo za svoje potrebe treba prije svega dobro poznavati optičke ili geometrijske značajke tipografije, tipografska pravila i povijesni razvoj tipografije. -
Typeface Classification Serif Or Sans Serif?
Typography 1: Typeface Classification Typeface Classification Serif or Sans Serif? ABCDEFG ABCDEFG abcdefgo abcdefgo Adobe Jenson DIN Pro Book Typography 1: Typeface Classification Typeface Classification Typeface or font? ABCDEFG Font: Adobe Jenson Regular ABCDEFG Font: Adobe Jenson Italic TYPEFACE FAMILY ABCDEFG Font: Adobe Jenson Bold ABCDEFG Font: Adobe Jenson Bold Italic Typography 1: Typeface Classification Typeface Timeline Blackletter Humanist Old Style Transitional Modern Bauhaus Digital (aka Venetian) sans serif 1450 1460- 1716- 1700- 1780- 1920- 1980-present 1470 1728 1775 1880 1960 Typography 1: Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The model for the first movable types was Blackletter (also know as Block, Gothic, Fraktur or Old English), a heavy, dark, at times almost illegible — to modern eyes — script that was common during the Middle Ages. from I Love Typography http://ilovetypography.com/2007/11/06/type-terminology-humanist-2/ Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Types based on blackletter were soon superseded by something a little easier Humanist (also refered to Venetian).. ABCDEFG ABCDEFG > abcdefg abcdefg Adobe Jenson Fette Fraktur Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The Humanist types (sometimes referred to as Venetian) appeared during the 1460s and 1470s, and were modelled not on the dark gothic scripts like textura, but on the lighter, more open forms of the Italian humanist writers. The Humanist types were at the same time the first roman types. Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Characteristics 1. -
Style Guide: Best Practices in Formatting
Style Guide: Best Practices in Formatting According to Colin Wheildon, author of Type & Layout: Are You Communicating or Just Making Pretty Shapes, it’s possible that 75% of your readers attempting to access your content (whether online, in print, or via email) will disregard what you’re saying based solely on the type of font you choose. That’s right—75%! That’s why it’s critically important to choose fonts that are clean and accessible and to choose a layout that is visual but not busy. Don’t try to pack too much into your layout, or else you may run the risk of your message being lost. First, let’s look at the differences between a “serif” and “sans serif” font. Serif fonts are more embellished, with small lines attached to the end of a stroke in a letter or symbol. Popular serif fonts include Times New Roman, Georgia, and Garamond. Many books, newspaper, and magazines use a serif font. In print mediums, serif fonts are often easier to read. Sans serif fonts don’t have the added embellishments. These fonts are often used in advertisements, and are generally easier to read. In print, sans serif fonts are often used as a headline, whereas serif fonts are used for the body text. Popular sans serif fonts include Helvetica, Arial, and Calibri. There are some simple best practices in formatting print, online, and email communications for your organization. These best practices will make your information easier to understand and more accessible to the average reader. When do I use a serif font like Times New Roman or Garamond? For print items, it’s suggested to utilize serif fonts for brochures, donation letters in the mail, etc. -
The Complete Photo Guide to Hand Lettering and Calligraphy
Practice Sheets Swirls and strokes Using a brush marker: Follow along each brush stroke, as marked by the arrows. Take note of the alternate thick and thin stroke variations as you work on your drills. Proof 1 2CT Proof 150 THE COMPLETE PHOTO GUIDE TO HAND LETTERING & CALLIGRAPHY CPGHC_4C_release_13230_C2.indd 150 13/3/18 3:22 PM CPGHC_4C_release_13230_C2.indd 150 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM Text GLP SMJ Page: 150 Using a pen: Follow and finish each line of handwriting strokes. 2CT Proof 1 Practice Sheets 151 CPGHC_4C_release_13230_C2.indd 151 13/3/18 3:22 PM Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport) CPGHC_4C_release_13230_C2.indd 151 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM GLP SMJ Page: 150 Text GLP SMJ Page: 151 Alphabet Writing Instructions: Trace along the corresponding alphabet styles Recommended Tools: pencil, fineliner pen Proof 1 2CT Proof 152 THE COMPLETE PHOTO GUIDE TO HAND LETTERING & CALLIGRAPHY CPGHC_4C_release_13230_C2.indd 152 13/3/18 3:22 PM CPGHC_4C_release_13230_C2.indd 152 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM Text GLP SMJ Page: 152 2CT Proof 1 Practice Sheets 153 CPGHC_4C_release_13230_C2.indd 153 13/3/18 3:22 PM Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport) CPGHC_4C_release_13230_C2.indd 153 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM GLP SMJ Page: 152 Text GLP SMJ Page: 153 Spencerian Calligraphy Proof 1 2CT -
INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam. -
A Type of Communication What to Watch for in U.S. Presidential Campaign Promotional Ephemera & Typographic Choices Amanda C.R
Whitworth Digital Commons Whitworth University Library Faculty Scholarship Library 2012 A Type of Communication What to Watch for in U.S. Presidential Campaign Promotional Ephemera & Typographic Choices Amanda C.R. Clark Whitworth University, [email protected] Follow this and additional works at: http://digitalcommons.whitworth.edu/libraryfaculty Part of the Graphic Design Commons Recommended Citation Clark, Amanda C.R. , "A Type of Communication What to Watch for in U.S. Presidential Campaign Promotional Ephemera & Typographic Choices" Whitworth University (2012). Library Faculty Scholarship. Paper 2. http://digitalcommons.whitworth.edu/libraryfaculty/2 This Article is brought to you for free and open access by the Library at Whitworth University. It has been accepted for inclusion in Library Faculty Scholarship by an authorized administrator of Whitworth University. AMANDA C. R. CLARK A T YPE OF C OMMUNICATION: W HAT TO WATCH FOR IN U.S. P RESIDENTIAL C AMPAIGN P ROMOTIONAL E PHEMERA & T YPOGRAPHIC C HOICES Facets of graphic design, logo design, typefaces, and other images absorbed through rapid cognition have a psychological effect on the viewer. Well known to advertisers, these stylistic typographic choices transmit a powerful message to viewers and influence their impressions of the product (Coleman and Wasike 2003: 1). Visual design decisions may persuade at unquestioned and unconscious levels, and they may be indelibly imbued with their historical identity. How then do these choices, when applied to the promotional materials -
The Skillful Use of Typography
Written by Gary Gnidovic and Greg Breeding The Skillful Use Of Typography A publication of Magazine Training International. What’s inside Why typography decisions are important 2 Classification of type 4 Principles for good typography 9 Selecting and using a text font 14 Other typographic elements 23 Share your thoughts with #MTIebook Chapter 1 Why typography decisions are important Aaron Burns, an influential designer and founder of the International Typeface Corporation (ITC), once said, “In typography, function is of major importance, form is secondary, and fashion [trend] is almost meaningless.” Although this may sound like an extreme view, it holds a great deal of truth. If we choose to work well with our type, concentrating on its purpose, appropriateness, and legibility, our magazines will begin to take on an air of authenticity and integrity. Rather than blindly following stylistic trends in typography, intelligent, careful attention to detail will pave the way for a more expressive, creative approach. THE SKILLFUL USE OF TYPOGRAPHY 2 Share your thoughts with #MTIebook The skillful use of type in magazine design is an area where, even with limited resources, we can do a great deal to enhance the look and feel of our publications. The creative application of a couple of well-chosen font families is often preferable to a CD containing “600 Cool Fonts for Every Purpose.” This e-book will offer some principles that will help establish a firm foundation on which to build the visual approach to your magazine. THE SKILLFUL USE OF TYPOGRAPHY Chapter 1 3 Share your thoughts with #MTIebook Chapter 2 Classifications of type There are two major classifications of type: serif and sans-serif. -
Georgia Vs Bodoni Y Y Y Y
Georgia, a relatively new serif typeface, was designed in 1993 by Matthew Carter. Microsoft adopted this typeface to be the serif companion to Verdana both of which were intended to be optimally read on a digital screen. Georgia was ironically used in the branding for the 1996 Olympic Games in Atlanta, Georgia. Georgia has many similarities with Times New Roman, but its differences make Georgia much more legible in the digital format. Over 200 years ago, Giambattista Bodoni designed a classic serif typeface that has been used prevalently in design ever since. The early versions of Bodoni were considered transitional but have since been altered to be a modern Didone typeface. Giambattista Bodoni looked to the ideas of John Baskerville when designing this font. He also studied the French type founders Pierre Simon Fournier and Firmin Didot and drew inspiration from their work but ultimately found his own style of typography. Although Bodoni is said to be difficult to read in digital format, printers have acceptedk Bodoni as a beautiful and classic typeface. Although Bodoni and Georgia are separated greatly by age, the both have roots in the transitional typeface catagory. Bodoni has developed over time to be a much more modern typeface, while Georgia has stayed truer to its original design. The greatest similarities to be found between Georgia and Bodoni are when they are bold and oblique. The serifs become much more rounded. Bodoni already has proven its longevity, and in a few hundred years, Georgia may prove to as well. Southern Charm Georgia vs Bodoni y y y y.