DOCSLIB.ORG

ABCDEFGHIJKLMNOPQRSTU VWXYZ Abcdefghijklmnopqrstu Vwxyz

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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 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 Helvetica Neue 75Bold 2 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 Antique Olive 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 Futura 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 Rockwell 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 Impact 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 Hobeaux Rococeaux 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 American Typewriter 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 Eagle Lake 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 3 4 TYPOGRAPHY TERMS h ANTI-ALIASING ANTIQUA / ANTIKVA APERTURE APEX ARC ARM ASCENDER ASCENDER LINE AXIS / STRESS BALL TERMINAL BASELINE BEAK BILATERAL SERIF BOWL BRACKET Semi-transparent Serif typefaces The opening of a Point at the top of Curved part of a A stroke that doesn’t On lowercase letters Invisible line marking Invisible line Terminal with a Invisible line on Decorative stroke Serif extending to Fully closed rounded Curved or wedge-like pixels along the designed between partially enclosed a letterform where letterform leading connect to another the vertical stroke the height of all dissecting the glyph circular shape which the letters at the end of the arm both sides of a main part of a letter connection between edges of letterform 16th–17th century counter shape two strokes meet into a straight stem stroke or stem on that extends above ascenders in a font from top to bottom in a font rest of a letter, similar stroke the stem and serif of outlines to smooth (or new designs one or both ends the x-height at its thinnest point to a serif but more some fonts jagged edges following the style) pronounced CAP HEIGHT CONDENSED COUNTER CROSS STROKE CROSSBAR CROTCH CURSIVE DESCENDER DESCENDER LINE DISPLAY FONT EAR EYE FINIAL FLAG FOOT Height of a capital Type style designed An area partially or The horizontal stroke Horizontal stroke Inside angle where Handwriting with Parts of lowercase Invisible line marking Typefaces used Small stroke Enclosed space in a Tapered or curved Horizontal stroke on The part of a stem letter measured from with narrow width entirely enclosed in a across a lowercase ‘t’ like the middle of two strokes meet joined-up letters. letters that extend the lowest part of for large type extending from the lowercase ‘e’ similar end on letters like the figure ‘5’ that rests on the the baseline proportions letterform or symbol or ‘f’ an ‘H’, ‘A’ and ‘e’ Can be used to below the baseline the descenders like banners and bowl of a lowercase to a counter the bottom of a ‘c’ baseline like an ‘o’, ‘p’ or ‘c’ describe an italic headlines ‘g’ or ‘r’ or ‘e’ or the top of a font which is similar double storey ‘a’ to handwriting GADZOOK GLYPH GROTESK HAIRLINE HALBFETT HEAD SERIF HINTING HOOK INK TRAP ITALIC JOINT / JUNCTURE KERNING LEADING / LEG LIGATURE An embellishment A single character German name for The lightest font German name for Half serif at the top Data instructions Curved stroke in a Areas of the counter Slanted to the Where a stroke joins Adjustments to LINESPACING Downward sloping Two or more letters in a ligature that is (number, letter, sans serif family weight name; the semi-bold weight starting point of the within a font to help lowercase ‘f’ are opened to allow right unlike roman a stem the space between Vertical space stroke on a ‘k’ and ‘R’ joined together to not originally part of mark or symbol) is can refer to thinnest in a type family letterform it render clearly at for ink to spread, typefaces which are pairs of letters, between lines of form one glyph either letter represented by a stroke of a letter varying sizes avoiding dark spots upright used to correct text, from baseline glyph spacing problems in to baseline combinations like ‘VA’ u LINK / NECK LOOP / LOBE MIDLINE OBLIQUE / SLANTED OLDSTYLE / OVERSHOOT PICA POINT POINT SIZE PRO RASTERIZATION ROMAN SERIF SHOULDER SINGLE-TIER The link connecting A rounded enclosed Invisible line resting Slanted typeface, HANGING FIGURES A round or pointed A unit of measure A unit of measure The size of the body Support additional Converting an image Standard type style Small stroke at the Curved part in a When an ‘a’ or ‘g’ the top and bottom or partially-enclosed on the body of the mechanically Numbers aligned letter extends higher corresponding to corresponding 1/12 of each character in languages including from vector to raster or regular weight of beginning or end of lowercase ‘h’, ‘m’ has one counter bowls of a lowercase projecting stroke lowercase letters sheared unlike italics with the lowercase, or lower than a flat 12 points or pixels of a pica or 1 pixel a font Central European (pixels or dots) an upright typeface main strokes of a and ‘n’ rather than two ‘g’ which are drawn and traditionally used for letter to make it and Cyrillic and/or letter crafted separately body text setting optically appear Greek the same size SMALL CAPS SPACING SPINE SPUR SPURLESS STEM SWASH TAIL TAPER TERMINAL TITTLE TRACKING VERTEX WEIGHT X-HEIGHT Capitals which are a Horizontal space The main curve in ‘S’ Small protruding part Curves transition A vertical stroke in Exaggerated The descending Thinner and refined The end of any The dot on the ‘i’ Spacing added to or The point where The heaviness Height of the similar height to the on the side of each and ‘s’ off a main stroke into straight stems a character decorative serif, stroke of the letter end of a stroke stroke that doesn’t and the ‘j’ removed from groups two strokes meet of a typeface, lowercase ‘x’ which lowercase, designed character without a spur terminal or tail ‘Q’ have a serif of letters outside the at the bottom of a independent of is used as a guideline for abbreviation and original spacing and character its size; can refer for the height of emphasis in texts kerning specified to a style within a unextended within a font file font family (Thin or lowercase letters Regular) This work is licensed under a Creative Commons Attribution 4.0 International Licence.
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]
  • A Stochastic Approach to “Dynamic-Demand” Refrigerator Control David Angeli, Senior Member, IEEE, and Panagiotis-Aristidis Kountouriotis
    IEEE TRANSACTIONS ON CONTROL SYSTEMS TECHNOLOGY, VOL. 20, NO. 3, MAY 2012 581 A Stochastic Approach to “Dynamic-Demand” Refrigerator Control David Angeli, Senior Member, IEEE, and Panagiotis-Aristidis Kountouriotis Abstract—Dynamic demand management is a very promising In order for such (supply) regulation to be possible, however, research direction for improving power system resilience. This it is required that “frequency response services”, as well as suffi- paper considers the problem of managing power consumption by cient reserves, are included in the system.1 This is essential not means of “smart” thermostatic control of domestic refrigerators. In this approach, the operating temperature of these appliances only for instantaneous frequency balancing, but, more impor- and thus their energy consumption, is modified dynamically, tantly, for the ability to respond to sudden power plant failures, within a safe range, in response to mains frequency fluctuations. which would otherwise lead to severe blackouts. Previous research has highlighted the potential of this idea for From an economic perspective, frequency response services responding to sudden power plant outages. However, deterministic and reserve power are costly and any method which manages control schemes have proved inadequate as individual appliances tend to “synchronize” with each other, leading to unacceptable to reduce the magnitude of these services, without sacrificing levels of overshoot in energy demand, when they “recover” their system stability, is of significant importance [16]. In recent steady-state operating cycles. In this paper we design decentral- years, research has been initiated on the possibility of using ized random controllers that are able to respond to sudden plant frequency responsive loads, commonly referred to as “dynamic outages and which avoid the instability phenomena associated demand control”, so as to reduce the amount of frequency with other feedback strategies.
    [Show full text]
  • Adobe Type 1 Font Format Adobe Systems Incorporated
    Type 1 Specifications 6/21/90 final front.legal.doc Adobe Type 1 Font Format Adobe Systems Incorporated Addison-Wesley Publishing Company, Inc. Reading, Massachusetts • Menlo Park, California • New York Don Mills, Ontario • Wokingham, England • Amsterdam Bonn • Sydney • Singapore • Tokyo • Madrid • San Juan Library of Congress Cataloging-in-Publication Data Adobe type 1 font format / Adobe Systems Incorporated. p. cm Includes index ISBN 0-201-57044-0 1. PostScript (Computer program language) 2. Adobe Type 1 font (Computer program) I. Adobe Systems. QA76.73.P67A36 1990 686.2’2544536—dc20 90-42516 Copyright © 1990 Adobe Systems Incorporated. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated and Addison-Wesley, Inc. Printed in the United States of America. Published simultaneously in Canada. The information in this book is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in this book. The software described in this book is furnished under license and may only be used or copied in accordance with the terms of such license. Please remember that existing font software programs that you may desire to access as a result of information described in this book may be protected under copyright law. The unauthorized use or modification of any existing font software program could be a violation of the rights of the author.
    [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]
  • Greek Type Design Introduction
    A primer on Greek type design by Gerry Leonidas T the 1997 ATypI Conference at Reading I gave a talk Awith the title ‘Typography & the Greek language: designing typefaces in a cultural context.’ The inspiration for that talk was a discussion with Christopher Burke on designing typefaces for a script one is not linguistically familiar with. My position was that knowledge and use of a language is not a prerequisite for understanding the script to a very high, if not conclusive, degree. In other words, although a ‘typographically attuned’ native user should test a design in real circumstances, any designer could, with the right preparation and monitoring, produce competent typefaces. This position was based on my understanding of the decisions a designer must make in designing a Greek typeface. I should add that this argument had two weak points: one, it was based on a small amount of personal experience in type design and a lot of intuition, rather than research; and, two, it was quite possible that, as a Greek, I was making the ‘right’ choices by default. Since 1997, my own work proved me right on the first point, and that of other designers – both Greeks and non- Greeks – on the second. The last few years saw multilingual typography literally explode. An obvious arena was the broader European region: the Amsterdam Treaty of 1997 which, at the same time as bringing the European Union closer to integration on a number of fields, marked a heightening of awareness in cultural characteristics, down to an explicit statement of support for dialects and local script variations.
    [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]
  • Image Making of the Letterforms Inspiration from Indian Image Making for Font Design
    RPS Research into Design — Supporting Sustainable Product Development “icord2011-lineup” 2010/12/24 826 IMAGE MAKING OF THE LETTERFORMS INSPIRATION FROM INDIAN IMAGE MAKING FOR FONT DESIGN Prasad Bokila and Shilpa Ranadeb Industrial Design Centre, IIT Bombay, Powai, Mumbai 400076. Email: [email protected], [email protected] Design field, being interdisciplinary in nature, has some roots in ‘art practices’. Study of the medieval Indian art and crafts through the design perspective may open lot more opportunities to relocate the design practice in Indian context. This work can be described as cross-pollination between Indian image making tradition and Typeface design, where the first is providing a structural tool for the experimentation in the other. This paper is divided in two parts. The first part presents a need for new approach in Devanagari type face design. Second part is the experimentation in font design based on Image making process in Indian tradition. The experiment generated a new font in which a spine for each letterform is designed based on a combination of regular horizontal grid and newly introduced angular grid. Keywords: Indian aesthetics, Typeface design, Image making, Art and design. 1. INTRODUCTION Contemporary design arrived in India in the later half of the twentieth century. It has been heavily influenced and benefited by European design theory and practice. As a result, it has inherited relation to the modern art, following the trends of modernism and post modernism. But on the broader scenario of design needs of India, this well equipped modern design was not emergence but the replacement of traditional indigenous design practices mainly covered under art and craft.
    [Show full text]
  • An Introduction to Graphology: Definition, Theoretical Background and Levels of Analysis
    AN INTRODUCTION TO GRAPHOLOGY: DEFINITION, THEORETICAL BACKGROUND AND LEVELS OF ANALYSIS EVA GÓMEZ-JIMÉNEZ Universidad de Granada [email protected] 71 1. Introduction Graphology is a linguistic level of analysis that comprises the study of graphic aspects of language1. This term was first brought into use in linguistic studies in the sixties by McIntosh (1961), who considered it an analogous mode to that of phonology. In his paper “Graphology and Meaning”, he declared he had used graphology “in a sense which is intended to answer, in the realm of written language, to that of ‘phonology’ in the realm of spoken language” (1961: 107). A few years later, Halliday, McIntosh and Strevens (1964: 50) broadened this concept when they connected it to spelling, punctuation and any other matter related to graphic resources in language. Other linguists such as Vachek (1973), Sampson (1985), Coulmas (1991, 1999) and Harris (1995) have also worked on graphology, paying close attention to the properties of alphabets and their evolution throughout history. The importance and status of graphology as a linguistic level of analysis is particularly prominent in stylistics and multimodality. Within stylistics, some scholars have studied how graphological deviation may affect meaning and produce aesthetic effects. Van Peer (1993), for instance, considered typographic foregrounding and its evolution as a poetic device, while Nänny (2001) checked the iconic properties of verses according to their length. Within multimodality, miscelánea: a journal of english and american studies 51 (2015): pp. 71-85 ISSN: 1137-6368 Eva Gómez-Jiménez and because of the recent relevance of images in communication, there is an attempt, currently, to integrate some graphological elements into the study of modes of communication.
    [Show full text]
  • 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.
    [Show full text]
  • Calligraphy-Magic.Pdf
    Calligraphy Magic How to Create Lettering, Knotwork, Coloring and More Cari Buziak Table of Contents Table of Contents Introduction Glossary of Terms CHAPTER 1 Calligraphy Tools and Supplies CHAPTER 2 How to Make Calligraphy Strokes CHAPTER 3 15 Alphabets From Basic to Fancy CHAPTER 4 Ornamentation, Gilding & Coloring CHAPTER 5 12 Calligraphy Projects Step by Step STATIONERY AND EVENT ANNOUNCEMENTS Bookplates Greeting Cards Bookmarks Logos Business Cards and Letterhead Wedding Announcements Invitations Place Cards and Thank-You’s DISPLAY PIECES Monograms Quotations Certifi cates Lettering with Celtic Decoration Illustrated Poems Lettering with Dragon Artwork CHAPTER 6 Creating Your Own Computer Fonts Pre-printed Celtic Knotwork Grid Paper Pre-ruled Calligraphy Practice Pages Index About the Author Dedication Acknowledgments Introduction Introduction Calligraphy is a fun craft to learn, as well as a useful one. Far from being an obsolete skill, more and more people today are picking up the pen and creating their own greeting cards, wedding invitations, fine art projects, and even creating their own computer fonts! In the old days, calligraphy tools were unique and specically crafted to their task. Today, a calligrapher has a wide variety of tools from which to choose, from traditional to completely modern, even digital! Calligraphers can now experiment with their artistic expression, freely mixing creative ideas and elements together to explore new artforms with their projects. In this book we’ll examine the basic techniques of calligraphy, covering calligraphy hands suitable for a wide variety of projects and easy for a beginner or intermediate calligrapher to practice and learn. We’ll also cover easy decorative techniques such as watercolor painting, Celtic knotwork, gold leang and illustration ideas to create a “toolkit” of creative techniques.
    [Show full text]