Class Characteristics of Foreign Typewriters and Typefaces David A
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The Origins of the Underline As Visual Representation of the Hyperlink on the Web: a Case Study in Skeuomorphism
The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Romano, John J. 2016. The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797379 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism John J Romano A Thesis in the Field of Visual Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 Abstract This thesis investigates the process by which the underline came to be used as the default signifier of hyperlinks on the World Wide Web. Created in 1990 by Tim Berners- Lee, the web quickly became the most used hypertext system in the world, and most browsers default to indicating hyperlinks with an underline. To answer the question of why the underline was chosen over competing demarcation techniques, the thesis applies the methods of history of technology and sociology of technology. Before the invention of the web, the underline–also known as the vinculum–was used in many contexts in writing systems; collecting entities together to form a whole and ascribing additional meaning to the content. -
Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles
Bitstream Fonts in May 2005 at http://www.myfonts.com/fonts/bitstream totaling 350 font families with a total of 1357 font styles The former Bitstream typeface libraries consisted mainly of forgeries of Linotype fonts and of ITC fonts. See the list below on the pages 24–29 about the old Bitstream Typeface Library of 1992. The 2005 Bitstream typeface library contains the same forgeries of Linotype fonts as formerly and also the same ITC fonts, but it also includes a lot of new mediocre „rubbish fonts“ (e.g. „Alphabet Soup“, „Arkeo“, „Big Limbo“), but also a few new quality fonts (e.g. „Drescher Grotesk“, „Prima Serif“ etc.). On the other hand, a few old fonts (e.g. „Caxton“) were removed. See the list below on pages 1–23. The typeface collection of CorelDraw comprises almost the entire former old Bitstream typeface library (see the list below on pages 24–29) with the following exceptions: 1. A few (ca. 3) forgeries of Linotype fonts are missing in the CorelDraw font collections, e.g. the fonts „Baskerville No. 2“ (= Linotype Baskerville No. 2), „Italian Garamond“ (= Linotype Garamond Simoncini), and „Revival 555“ (= Linotype Horley Old Style). 2. A lot (ca. 11) of ITC fonts are not contained in the CorelDraw font collections, e.g. „ITC Berkeley Oldstyle“, „ITC Century“, „ITC Clearface“, „ITC Isbell“, „ITC Italia“, „ITC Modern No. 216“, „ITC Ronda“, „ITC Serif Gothic“, „ITC Tom’s Roman“, „ITC Zapf Book“, and „ITC Zapf International“. Ulrich Stiehl, Heidelberg 3-May 2005 Aachen – 2 styles Ad Lib™ – 1 styles Aerospace Pi – 1 styles Aldine -
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 -
Amenity Center
AMENITY CENTER Conference Center Café / Tenant Lounge Fitness Center & Bike Room 1 National Press Building Conference Center 529 14th Street N.W. Washington, DC 20045 The National Press Building Conference Center offers a 20,000 SF assembly space for use by its tenants. The facility is located within the National Press Building on the 2nd floor at 529 14th Street, N.W., Washington, DC 20045. The conference center features: • Tenant Lounge • The Sidebar Café • Pantries • Concierge • Three Boardrooms • Two Training Rooms Tenant Lounge Embrace the sleek, modern, and convenient 2,300 SF lounge exclusive to the National Press Building tenants, featuring vibrant colors and finishes. This private tenant lounge serves as the perfect gathering point before, in- between, and after conferences. The lounge features (4) 1080p 70” LED High Definition TV screens that are accompanied by dining tables and chairs, charging docks and work stations. The design also accommodates cozy seating areas and private alcoves. The Sidebar Café The Sidebar Café has partnered with Starbucks® to provide specialty coffee, espresso bar beverages, smoothies, sandwiches, salads, baked items, yogurt and fruit. Take your items to go or dine inside 3,850 square feet of freshly renovated space. Pantry The full functioning pantry accommodates all your catering needs. Concierge Capitol Concierge Inc. provides full concierge services for all tenants, such as catering, ticket booking, dry cleaning, tailoring, and automotive detailing. The concierge is located within the conference center’s reception area. Concierge Phone: (202) 662-7070 Concierge E-Mail: [email protected] Boardrooms Clean lines. Sleek finishes. Contemporary furnishings. The Conference Center’s accessible design influences synergy during engagements and beyond. -
Type Design for Typewriters: Olivetti by María Ramos Silva
Type design for typewriters: Olivetti by María Ramos Silva Dissertation submitted in partial fulfilment of the requirements for the MA in Typeface Design Department of Typography & Graphic Communication University of Reading, United Kingdom September 2015 The word utopia is the most convenient way to sell off what one has not the will, ability, or courage to do. A dream seems like a dream until one begin to work on it. Only then it becomes a goal, which is something infinitely bigger.1 -- Adriano Olivetti. 1 Original text: ‘Il termine utopia è la maniera più comoda per liquidare quello che non si ha voglia, capacità, o coraggio di fare. Un sogno sembra un sogno fino a quando non si comincia da qualche parte, solo allora diventa un proposito, cio è qualcosa di infinitamente più grande.’ Source: fondazioneadrianolivetti.it. -- Abstract The history of the typewriter has been covered by writers and researchers. However, the interest shown in the origin of the machine has not revealed a further interest in one of the true reasons of its existence, the printed letters. The following pages try to bring some light on this part of the history of type design, typewriter typefaces. The research focused on a particular company, Olivetti, one of the most important typewriter manufacturers. The first two sections describe the context for the main topic. These introductory pages explain briefly the history of the typewriter and highlight the particular facts that led Olivetti on its way to success. The next section, ‘Typewriters and text composition’, creates a link between the historical background and the machine. -
Brother Electronic Typewriter! This Product Is Designed to Deliver Years of Reliable Operation
,-- - brothel~ ELECTRONIC TYPEWRITER USER'S GUIDE AMERICAN '---- - Thank you for choosing a Brother electronic typewriter! This product is designed to deliver years of reliable operation. Some of the outstanding features of this typewriter are illustrated in the letter below. The numbers in brackets refer to the page and bo x where you can find further information explaining a feature. For example, Margins (p.2 , Bo x 3) means that this feature is explained in box 3, on page 2. Ribbon replacement is explained on page 10. Margins (p.2, Box 3) -------t-----.------------------------,. Right Margin Flush (p.6, Box 18) - - -+----------------- 1 "'" "'i • '' Capital (p.4, Box 9) ------ --+--- • ' : Indent (p.6, Box 16) -------+-----.. ~ I I : ' 1 II '·'• I• 111.1 I t)• I ,.,: I I h I),, :1 . j ,• I•!. T iJ i '/ l 11! I! hdV~ tint>~ I Jl !- ,,_..~I 1),. 1 lli d ,-, I y , \·Jitii')J l.' •U ! JtS I I I h· ''d 111'1 IT!~ I J ko-· 11 1 JJ' s _ , '-.7 , inj c;•.; _ r ~,'"" r t J r • .m .._ Jlilfl 1 'hctnqt-_·s I wuu1 I 11 b '/ ,J I q I . I J n Underline (p.5, Box 14) ------t----1~ l..l..'--"1 l.ittt- Subscript (p.4, Box 10) -----..........._ H I' ~~ - Superscript (p.4, Box 10) -----+---~-""~"- Jl JITI ( • H,_l / ~. · Tabs~.5 , Box1~ -------+---------~-------__/ IiI 11•~/ ,.... ·t,_.t ·i! y th1nk t ~l?ndln·.j y·•u •Ur 1 i tr L 111 C.J~~t:' h .... Jij n< t , .:~11 v: m.. · I JlVt 1 ' ' u : Centering (p.6, Box 17) -----~f------- 1 ,,_ • _ · "e ·t,. -
Volume 18-4 (Low Res).Pdf
A a Bb Cc Dd Ee Ff Gg Hh liJj Kk LI MmNnOoPp Qq RrSsTt UuVvWwXxYyZz1234567890&fECE$$(£.%!?0 [] Brookie ilaxtt7e11: Walking Up Dream .Street tl hat Modern {Vas Italian Beach Signs Book Jackets of t he 1920s & 1930s Hidden Music: A Print by Glaser 3 The Cat's Out of the Bag. On September 10, 1991, PC Magazine called Arts & Letters "the easiest-to-use illustration product for the PC' PC Magazine made it official. However, Arts & Letters clip-art images. The Editor offers a list of features you owners have known for years how easy it is to use. can really sink your teeth into; like multi-tasking of screen Instructions are clear and concise. Commands are kept redraw, data-driven charting, gradient fills and blends, to a minimum. Everything is object-oriented, and what text-along-a-path, lock/hide/name, warp/perspective, you see is what you get. To top it off, the latest version hole cutting, and object and text masking. Automatic spot of the Graphics Editor (3.1) is even quicker and more and four-color separations are also available. powerful than its predecessors. Rave reviews about Arts & Letters are commonplace. Arts & Letters offers several built-in advantages: you The Arts & Letters clip-art collection also received can draw upon the award-winning 5,000-image clip-art Publish magazine's Readers' Choice award two years in collection, 80 superb typefaces, Bezier drawing tools and a row and PC Magazine named it a host of spectacular special effects. Editors' Choice for 1991. There is no limit to the kinds of electronic artwork Try your hand at turning a you can create with the Arts & Letters Graphics Editor: tabby into a tiger. -
Download Free Typewriter Font 14 Fun Fonts to Put a Smile on Your Face
download free typewriter font 14 fun fonts to put a smile on your face. Who doesn't want a bunch of fun fonts to cheer up their projects? The good news is there's almost an endless supply of friendly, happy fonts whirling around the web, and we've picked out the best ones available, for an injection of fun typography into your work. The fun fonts on the list below have a range of price points and have been selected by us – whether that's 'cos they are funny fonts, exciting fonts, friendly fonts or they just make us happy. With the list below, you're sure to be able to find the best fun font for your project (and don't worry – Comic Sans didn't make the cut). If you want something slightly different, then don't miss our selection of top retro fonts, free script fonts or calligraphy fonts. 01. Balgin. Balgin is here to take you back to the '90s for a dose of nostalgic fun. This happy font designed by Cahya Sofyan is formed from basic shapes and is available in three 'flavours' – display, normal and text and six different weights. It supports over 75 languages and we just love its bright and friendly look – the very definition of fun typography. It's available from £7.99. 02. Mohr Rounded. A curvier version of the Mohr typeface, this fun font features soft terminals for a friendly look. The family includes three versions (normal, alt and italic) in a wide range of weights, making it nice and versatile. -
Magnetic Tape Selectric Typewriter
DOCUMENT RESUME ED 112 083 CE 004 849 AUTHOR Pieslak, Raymond F. TITLE Magnetic Tape Selectric Typewriter. INSTITUTION Rutgers, The State Univ., New Brunswick, N.J. Curriculum Lab. SONS AGENCY New Jersey State Dept. of Education, Trenton. Div. of Vocational Education. PUB DATE Jul 74 NOTE 138p. EDRS PRICE MF-$0.76 HC-$6.97 Plus Postage DESCRIPTORS Business Skills; Curriculum Guides; *Office Occupations Education; Post Secondary Education; Secondary Education; *Study Guides; Supplementary Textbooks; *Typewriting ABSTRACT The manual provides students with basic knowledge and practical applications needed in the efficient operation of the IBM Magnetic Tape Selectric Typewriter (MT/ST). It is designed for use as a text by business training students who have already completed one year of typewriting instruction while they are being instructed in the use of the MT/ST. Suggested adjuncts to the use of the manual are teacher demonstrations, visual aids, use of the TEM MT/ST Training Guide, and use of instructor devised supplemental practice. Fifty-eight lessons following the same basic format are provided. For each lesson an information section describes in detail (with illustrations) the part of the machine or procedure being taught. Comprehension is checked through use of an assignment consisting of several completion exercises. Some lessons also include practice experiences which give step-by-step directions in crder to demonstrate a particular procedure on the machine. (Author/MS) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). -
Requirements and Suggestions for Typography in Briefs and Other
REQUIREMENTS AND SUGGESTIONS FOR TYPOGRAPHY IN BRIEFS AND OTHER PAPERS Federal Rule of Appellate Procedure 32 contains detailed requirements for the production of briefs, motions, appendices, and other papers that will be presented to the judges. Rule 32 is designed not only to make documents more readable but also to ensure that different methods of reproduction (and different levels of technological sophistication among lawyers) do not affect the length of a brief. The following information may help you better under- stand Rule 32 and associated local rules. The Committee Note to Rule 32 pro- vides additional helpful information. This section of the handbook also includes some suggestions to help you make your submissions more legible—and thus more likely to be grasped and retained. In days gone past lawyers would send their work to printers, who knew the tricks of that trade. Now composition is in-house, done by people with no education in printing. Some of the printer’s toolkit is simple to use, however. Subsection 5, below, contains these hints. 1. Rule 32(a)(1)(B) requires text to be reproduced with “a clarity that equals or exceeds the output of a laser printer.” The resolution of a laser printer is expressed in dots per inch. First generation laser printers broke each inch into 300 dots vertically and horizontally, creating characters from this 90,000-dot matrix. Second generation laser printers use 600 or 1200 dots per inch in each direction and thus produce a sharper, more easily readable output; commercial typesetters use 2400 dots per inch. Any means of producing text that yields 300 dots per inch or more is ac- ceptable. -
Base Monospace
SPACE PROBE: Investigations Into Monospace Introducing Base Monospace Typeface BASE MONOSPACE Typeface design 1997ZUZANA LICKO Specimen design RUDY VANDERLANS Rr SPACE PROBE: Investigations into Monospace SPACE PROBE: Occasionally, we receive inquiries from type users asking Monospaced Versus Proportional Spacing Investigations Into Monospace us how many kerning pairs our fonts contain. It would seem 1. that the customer wants to be dazzled with numbers. Like cylinders in a car engine or the price earnings ratio of a /o/p/q/p/r/s/t/u/v/w/ Occasionally, we receive inquiries fromstock, type theusers higher asking the number of kerning pairs, the more us how many kerning pairs our fonts contain.impressed It thewould customer seem will be. What they fail to understand /x/y/s/v/z/t/u/v/ that the customer wants to be dazzled iswith that numbers. the art Like of kerning a typeface is as subjective a discipline as is the drawing of the letters themselves. The In a monospaced typeface, such as Base Monospace, cylinders in a car engine or the price earnings ratio of each character fits into the same character width. a stock, the higher the number of kerningfact pairs,that a theparticular more typeface has thousands of kerning impressed the customer will be. What theypairs fail is relative,to understand since some typefaces require more kerning is that the art of kerning a typeface pairsis as thansubjective others aby virtue of their design characteristics. /O/P/Q/O/Q/P/R/S/Q/T/U/V/ discipline as is the drawing of the lettersIn addition, themselves. -
„Bitstream“ Fonts
Key to the „Bitstream“ Fonts The history of typefaces is the history of forgeries. One of the greatest forgers of the 20th century was Matthew Carter. The Bitstream website (http://www.myfonts.com) describes him as follows: Matthew Carter of United Kingdom. Born: 1937 Son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman, trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981. Carter co-founded Bitstream with Mike Parker in 1981. In 1991 he left Bitstream to form Carter & Cone with Cherie Cone. In 1997 he was awarded the TDC Medal, the award from the Type Directors Club presented to those „who have made significant contributions to the life, art, and craft of typography“. Carter’s „significant contribution to the life, art, and craft of typography“ consisted of forging the Linotype typeface collection. Carter can be characterized as a split personality. On the one hand, he has designed several original typefaces. On the other hand, he has forged hundreds of fonts. The following lists reveal that ca. 90% of the „Bitstream“ fonts are forgeries of the fonts contained in the catalog „LinoTypeCollection 1987“ („Mergenthaler Type Library“), i.e. the „Bitstream“ fonts are „nefarious evil knock-off clones“ (Bruno Steinert) of fonts sold by Linotype in the mid-1980s.1 „L“ in the following lists denotes that the font is contained in the „LinoTypeCollection 1987“. In the mid-1980s, the Linotype library comprised hundreds of typefaces with a total of 1700 fonts.