Amtrak Graphic Signage Standards Manual, 2010
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Rozdział 4.Struktura Systemu Identyfikacji Wizualnej Firmy
Artykuł pochodzi z publikacji: Produkcja przekazów multimedialnych, (Red.) M. Chrząścik, Wyższa Szkoła Promocji, Warszawa 2013 Rozdział 4. Struktura systemu identyfikacji wizualnej firmy Piotr Bajbak Wstęp Od dawna wiadomo, że jak widzi cię otoczenie, jak odbierany jesteś przez innych, tak będą o tobie mówić i pisać. W kontaktach biznesowych ten zewnętrzny wizerunek (identyfikacja wizualna) jest niesamowicie istotny, jeśli chcemy być konkurencyjni, wyróżnić sie na rynku czy zaskarbić sobie przychylność lub stałość klientów i partnerów biznesowych. Zachowanie spójności i jedności czasami sta- nowi duże wyzwanie, a kryteria opisywania są tak wielorakie jak ilość naszych odbiorców. Idealnym rozwiązaniem dla firm jest stworzenie systemu identyfikacji wizualnej. CI Corporate Identity (System Identyfikacji Wizualnej SIW) to zbiór (kodeks) porządkujący pracę firmy w sferze wizualnej. Kon- sekwentne stosowanie się do przedstawionych w nim zasad, norm, instrukcji i ustaleń powoduje w konsekwencji szybkie zbudowanie stabilnego i pozytywnie postrzeganego wizerunku firmy. Dziedzina kodeksu tworzącego SIW może być bardzo różnorodna i może dotyczyć wielu również konkretnych zagadnień w zależności od potrzeb firmy może on stanowić rozwiązanie nawet kilkudziesięciu problemów związanych z wizualnymi działaniami firmy. 104 105 Budowanie wizerunku i tożsamości firmy w takim ujęciu może powstawać wraz z jej rozwojem. Z Systemu Identyfikacji Wizualnej należy korzystać na co dzień i konsekwentnie wdrażać zawarte w nim wskazania i nie zmieniać umieszczonych w nim wzorów i projektów. Spójne bowiem wizual- ne komunikaty przedstawiane z żelazną i konsekwentną dyscypliną w ciągu szeregu lat wytworzą na rynku pozytywny obraz firmy i umoż- liwią szybką jej identyfikację. 4.1. Narzędzia i zastosowanie systemu wizualnego 4.1.1. Pojęcie i znaczenie systemu wizualnego System wizualny standaryzuje identyfikację wizualną firmy, bądź marki. -
The Signal Bridge
THE SIGNAL BRIDGE Volume 18 NEWSLETTER OF THE MOUNTAIN EMPIRE MODEL RAILROADERS CLUB Number 5B MAY 2011 BONUS PAGES Published for the Education and Information of Its Membership NORFOLK & WESTERN/SOUTHERN RAILWAY DEPOT BRISTOL TENNESSEE/VIRGINIA CLUB OFFICERS LOCATION HOURS President: Secretary: Newsletter Editor: ETSU Campus, Business Meetings are held the Fred Alsop Donald Ramey Ted Bleck-Doran: George L. Carter 3rd Tuesday of each month. Railroad Museum Meetings start at 7:00 PM at Vice-President: Treasurer: Webmaster: ETSU Campus, Johnson City, TN. John Carter Duane Swank John Edwards Brown Hall Science Bldg, Room 312, Open House for viewing every Saturday from 10:00 am until 3:00 pm. Work Nights each Thursday from 5:00 pm until ?? APRIL 2011 THE SIGNAL BRIDGE Page 2 APRIL 2011 THE SIGNAL BRIDGE Page 3 APRIL 2011 THE SIGNAL BRIDGE II scheme. The "stripe" style paint schemes would be used on AMTRAK PAINT SCHEMES Amtrak for many more years. From Wikipedia, the free encyclopedia Phase II Amtrak paint schemes or "Phases" (referred to by Amtrak), are a series of livery applied to the outside of their rolling stock in the United States. The livery phases appeared as different designs, with a majority using a red, white, and blue (the colors of the American flag) format, except for promotional trains, state partnership routes, and the Acela "splotches" phase. The first Amtrak Phases started to emerge around 1972, shortly after Amtrak's formation. Phase paint schemes Phase I F40PH in Phase II Livery Phase II was one of the first paint schemes of Amtrak to use entirely the "stripe" style. -
In the Vehicle Safety World, High-Tech Appears to Rule Supreme. a Recent MIT Study, Though, Has Proved How
TYPOGRAPHY TYPOGRAPHY Knowledge of all fonts In the vehicle safety world, high-tech appears to rule supreme. A recent MIT study, though, has proved how er Ky Pictures optimising typeface characteristicseiM couldDer s be a simple and hun ryan rG & t aGIN effective method of providingPe iM a significant reduction in ruce Mehler & b , MONOTY ELAB interface demandIT a G and associated distractions Jonathan Dobres,F M b AUTHOR COURTESY o IMAGES e have a strange relationship New Roman or clownish Comic touchscreen by the reader. At the same time, differences between the two typefaces. with typography. Every day Sans. More to the point, few people mounted in the letterforms must not become too Where Frutiger is open, leaving ample we see thousands of words realise that the design of typefaces simulator, with constrained or monotonous, lest the space between letters and the lines composed of millions of – and the way in which their strokes eye-tracking reader’s eye confuse a ‘g’ for a ‘9’. This of individual letterforms, Eurostile is letters. These letterforms and terminations play off each other cameras, an IR tension between legibility, consistency tighter and more closed. Eurostile also Wsurround us, inform us, and entice from letter to letter and word to word illumination pod and variation is at the heart of all enforces a highly consistent squared- us. Yet in our increasingly literate and – can have a significant impact on and the face typographic design. Consider Frutiger off style, while Frutiger allows for information-saturated society, we our ability to read and absorb what video camera – a typeface crafted in the ‘humanist’ more variety in letter proportions take them for granted, and rarely spare they are trying to communicate. -
Accessibility in Rail Facilities
9/7/2017 Accessibility in Rail Facilities Kenneth Shiotani Senior Staff Attorney National Disability Rights Network 820 First Street Suite 740 Washington, DC 20002 (202) 408-9514 x 126 [email protected] September 2017 1 ADA Transportation Provisions Making Transportation Accessible was a major focus of the statutory provisions of the ADA PART B - Actions Applicable to Public Transportation Provided by Public Entities Considered Discriminatory [Subtitle B] SUBPART I - Public Transportation Other Than by Aircraft or Certain Rail Operations [Part I] 42 U.S.C. § 12141 – 12150 Definitions – fixed route and demand responsive, requirements for new, used and remanufactured vehicles, complementary paratransit, requirements in new facilities and alterations of existing facilities and key stations SUBPART II - Public Transportation by Intercity and Commuter Rail [Part II] 42 U.S.C. § 12161- 12165 Detailed requirements for new, used and remanufactured rail cars for commuter and intercity service and requirements for new and altered stations and key stations 2 1 9/7/2017 What Do the DOT ADA Regulations Require? Accessible railcars • Means for wheelchair users to board • Clear path for wheelchair user in railcar • Wheelchair space • Handrails and stanchions that do create barriers for wheelchair users • Public address systems • Between-Car Barriers • Accessible restrooms if restrooms are provided for passengers in commuter cars • Additional mode-specific requirements for thresholds, steps, floor surfaces and lighting 3 What are the different ‘modes’ of passenger rail under the ADA? • Rapid Rail (defined as “Subway-type,” full length, high level boarding) 49 C.F.R. Part 38 Subpart C - NYCTA, Boston T, Chicago “L,” D.C. -
Krótki Przewodnik Po Typografii Dwudziestego Wieku Grzegorz Fijas
System Postmodernizm Czytelność Rodzina NIE- Moda BEZPIECZNE diy Kapitalizm Nowoczesność Nacjonalizm Demokracja LITERY Kolonializm Rewolucja Płeć Piękno Przestrzeń Emigracja Krótki przewodnik po typografii Porażka dwudziestego wieku Recykling Żart Grzegorz Fijas Emocje Niebezpieczne litery Krótki przewodnik po typografii dwudziestego wieku NIEBEZPIECZNE Grzegorz Fijas LITERY Krótki przewodnik po typografii dwudziestego wieku Kraków 2020 Copyright © Grzegorz Fijas, 2020 Redakcja: Joanna Hałaczkiewicz Korekta: Aleksandra Smoleń, Marcin Bojda Projekt graficzny i łamanie: Grzegorz Fijas Książkę złamano krojami Sharik Sans i Tzimmes Michała Jarocińskiego oraz Podium Sharp Mateusza Machalskiego. Rączka na stronie 143 pochodzi z kroju Geller Ludki Binek. Decyzja, by wykorzystać kroje, które nie powstały w dwudziestym wieku, była całkowicie świadoma. Książkę w formie e-booka można ściągnąć za darmo ze strony gfijas.pl. Jeżeli książka Ci się spodobała, autor będzie wdzięczny, jeśli dasz mu znać, np. wysyłając e-mail na adres [email protected] lub wiadomość na facebookową stronę „Niebezpieczne litery – typografia i edytorstwo”. Spis treści 9 Wprowadzenie 13 Kilka terminów na start Typograficzne dylematy 22 Univers, czyli system 28 Optima, czyli postmodernizm 34 ocr-b, czyli czytelność 40 ff Scala, czyli rodzina 46 ff Meta, czyli moda 52 Keedy Sans, czyli diy Niebezpieczne litery 60 Futura, czyli kapitalizm 66 Chaim, czyli nowoczesność 70 Antykwa Połtawskiego, czyli nacjonalizm 78 Times New Roman, czyli demokracja 84 Unified Arabic, czyli kolonializm 90 Solidaryca, czyli rewolucja 96 Mrs Eaves, czyli płeć Typografia na co dzień 104 Hobo, czyli piękno 110 Johnston, czyli przestrzeń 116 Albertus, czyli emigracja 122 Sachsenwald, czyli porażka 128 Courier, czyli recykling 134 Helvetica, czyli żart 140 Zapf Dingbats, czyli emocje 147 Na zakończenie – spojrzenie w przyszłość Wprowadzenie Nigdy wcześniej typografia nie zmieniała się tak dynamicznie, jak w dwudziestym wieku. -
Écriture Et Forme L’Œuvre Complète D’Adrian Frutiger Paraît Ces Jours-Ci Aux Éditions Birkhäuser
Écriture et forme L’œuvre complète d’Adrian Frutiger paraît ces jours-ci aux éditions Birkhäuser On associe souvent Adrian Frutiger à l’Univers, la famille de caractères qui lui a permis d’accéder à la notoriété internationale à la fi n des années 1950. De nos jours, nous côtoyons sa production typo- graphique au quotidien dans le monde entier, que ce soit dans la presse écrite, sur les titres universels de paiements, dans les publicités, sur les emballages, à la télévision, sur la Toile et dans les espaces publics. Cependant, bien qu’on ait écrit sur ce typo-graphiste suisse et que ce dernier ait lui-même beaucoup publié, l’ensemble de son œuvre est méconnu. Même des spécialistes n’ont qu’une connaissance parcellaire de sa production typographique. L’ouvrage «Adrian Frutiger – Caractères. L’œuvre complète» est le fruit d’une étroite collaboration avec Adrian Frutiger. Il comporte la première étude exhaustive et détaillée des caractères et logos signés Frutiger, y compris des créations à ce jour inédites et jamais réalisées, de l’ébauche à la réalisation, en passant par la mise au net, ainsi que du concept à la commercialisation. Une bonne cinquantaine de caractères, réalisés ou restés à l’état de projets, sont présentés dans l’ordre chronologique, expliqués et examinés au fi l de 460 pages abondamment illustrées. Dans le cadre d’interviews avec Adrian Frutiger, les caractères ont fait un à un l’objet d’un examen critique et ont été replacés dans leur contexte. En plus des recherches étendues dans les revues spécialisées, archives, bibliothèques, musées et collections de nombreux pays, ces entretiens constituent la matière principale de l’ouvrage. -
Typestyle Chart.Pub
TYPESTYLE CHART This is an abbreviated list of the typestyles available from 2/90. ADA fonts are designated with either one or two asterisks. Those with two asterisks comply with ANSI A.117.1 standards for enhanced readability of tactile signage elements. Use typestyle abbreviations in parentheses when placing an order. For additional fonts not on this list, contact Customer Service at 800.777.4310. Albertus (ALC) Commercial Script Connected (CSC) Americana Bold (ABC) *Compacta Bold®2 (CBL) Anglaise Fine Point (AFP) Engineering Standard (ESC) *Antique Olive Nord (AON) *ITC Eras Medium®2 (EMC) *Avant Extra Bold (AXB) *Eurostile Bold (EBC) **Avant Garde (AGM) *Eurostile Bold Extended (EBE) *BemboTM1 (BEC) **Folio Light (FLC) Berling Italic (BIC) *Franklin Gothic (FGC) Bodoni Bold (BBC) *Franklin Gothic Extra Condensed (FGE) Breeze Script Connecting (BSC) ITC Friz Quadrata®2 (FQC) Caslon Adbold (CAC) **Frutiger 55 (F55) Caslon Bold Condensed (CBO) Full Block (FBC) Century Bold (CBC) *Futura Medium (FMC) Charter Oak (COC) ITC Garamond Bold®2 (GBC) City Medium (CME) Garth GraphicTM3 (GGC) Clarendon Medium (CMC) **Gill SansTM1 (GSC) TYPESTYLE CHART (CON’T) Goudy Bold (GBO) *Optima Semi Bold (OSB) Goudy Extra Bold (GEB) Palatino (PAC) *Helvetica Bold (HBO) Palatino Italic (PAI) *Helvetica Bold Condensed (HBC) Radiant Bold Condensed (RBC) *Helvetica Medium (HMC) Rockwell BoldTM1 (RBO) **Helvetica Regular (HRC) Rockwell MediumTM1 (RMC) Highway Gothic B (HGC) Sabon Bold (SBC) ITC Isbell Bold®2 (IBC) *Standard Extended Medium (SEM) Jenson Medium (JMC) Stencil Gothic (SGC) Kestral Connected (KCC) Times Bold (TBC) Koloss (KOC) Time New Roman (TNR) Lectura Bold (LBC) *Transport Heavy (THC) Marker (MAC) Univers 57 (UN5) Melior Semi Bold (MSB) *Univers 65 (UNC) *Monument Block (MBC) *Univers 67 (UN6) Narrow Full Block (NFB) *V.A.G. -
Model Sign Ordinance a Comprehensive, Content-Neutral Approach to Local Sign Control
Prepared by the Montgomery County Planning Commission A comprehensive, content-neutral approach to local sign control NewModel town Sign mixed Ordinance use district Montgomery County Commissioners Josh Shapiro, Chair Leslie S. Richards, Vice Chair Bruce L. Castor, Jr. MMontgomeryontgomery County Planning Commission Board Marc D. Jonas, Esq., Chair Dulcie F. Flaharty, Vice Chair Robert E. Blue, Jr. Jill Blumhardt Scott Exley Roy Rodriguez, Jr. Charles J. Tornetta Pastor John West Rachel Yoka Jody L. Holton, AICP, Executive Director Model Sign Ordinance A comprehensive, content-neutral approach to local sign control Prepared by the Montgomery County Planning Commission 2014 introduction ii model sign ordinance Table of Contents Introduction ........................................................................................................................................ vii Hot Topics in Signage Reference Guide ................................................................................ix Part 1: Purpose of Signs ............................................................................................................. 1 Part 2: Community Impact of Signs Safety Issues .......................................................................................................................... 9 Public Welfare and Aesthetics Issues .................................................................................. 10 Environmental Issues .......................................................................................................... -
Bureau of Land Management Sign Guide Book
December 2004 Mission Statements The mission of the Department of the Interior is to protect and provide access to our Nation’s natural and cultural heritage and honor our trust responsibilities to tribes and our commitments to the island communities. The mission of the Bureau of Land Management is to sustain the health, diversity, and productivity of the Nation’s public lands for the use and enjoyment of present and future generations. Suggested citation: Bureau of Land Management. 2004. Sign Guidebook. Denver, Colorado. BLM/WY/AE-05/010+9130. 170 pp. BLM/WY/AE-05/010+9130 P-447 Consultants: Compiled by Lee Campbell, National Sign Coordinator, and edited by Robert Woerner, BLM National Business Center. Layout and design by Ethel Coontz, BLM National Science and Technology Center. i Preface Effective communication requires the clear, concise delivery of an understandable message through a powerful medium. Signs are one of the avenues for conveying infor mation to the public about the Bureau of Land Management (BLM). They are a key factor in the way the public views the BLM’s competency to manage the public lands and waters under its jurisdiction. Signs on the BLM-managed public lands and waters are our “silent employees.” A comprehensive sign program fosters safety, facilitates the management of an area, pro vides a learning opportunity for visitors, and offers a positive image and identity for all entities involved in the management of that area. This National Sign Guidebook estab lishes standards and guidelines for signs and the BLM’s National Sign Program. Signs purchased and installed on the public lands must comply with a number of procurement and accessibility laws and regulations. -
State of Indiana
Amtrak Fact Sheet, Fiscal Year 2007 State of Indiana Amtrak Service & Ridership Amtrak operates three long-distance trains through Indiana: • The Capitol Limited (daily Chicago-Waterloo-Cleveland-Pittsburgh-Washington, D.C.) • The Cardinal (tri-weekly Chicago-Indianapolis-Cincinnati-New York) • The Lake Shore Limited (daily Chicago-South Bend-Cleveland-Buffalo-Boston/New York) Amtrak also operates one corridor train, the Hoosier State (four days per week Indianapolis-Lafayette- Chicago), which operates on the days that the Cardinal does not. Additionally, the Chicago-Detroit Wolverine serves Hammond-Whiting and Michigan City with three daily round trips. During FY07 Amtrak served the following Indiana locations: City Boardings + Alightings Connersville 497 Crawfordsville 4,431 Dyer 1,723 Elkhart 11,718 Hammond-Whiting 6,457 Indianapolis 29,110 Lafayette 18,483 Michigan City 1,941 Rensselaer 1,630 South Bend 15,856 Waterloo 16,217 Total Indiana Station Usage: 108,066 Procurement/Contracts Amtrak expended $9,874,137 for goods and services in Indiana in FY07. Most of this money, $6,924,792 was spent in Indianapolis. Amtrak Government Affairs: January 2008 Employment At the end of FY07, Amtrak employed 780* Indiana residents. Total wages of Amtrak employees living in Indiana were $37,754,274* during FY07. *Due to a change in methodology, FY07 employment and wage figures are not directly comparable to those reported in prior years. Major Facilities Amtrak’s principal heavy maintenance facility is located in Beech Grove, southeast of Indianapolis. Here, approximately 550 employees rebuild and overhaul Amtrak’s Superliner, Viewliner, Surfliner, Hi-Level, Heritage, and Horizon car fleets. P32, P42, and F59 locomotives also are overhauled and rebuilt here for use across the Amtrak system. -
Thursday, July 9, 2020 3:51 PM To: MCKERROW Mike J
From: Mike Reeder <[email protected]> Sent: Thursday, July 9, 2020 3:51 PM To: MCKERROW Mike J <MMcKerrow@eugene‐or.gov> Cc: Hoobler, Rob <[email protected]>; Valencia, Mary <[email protected]>; Aaron Noteboom <[email protected]>; Chris Zukin <[email protected]>; [email protected]; John Fitzmaurice <[email protected]>; John Lehman <[email protected]>; Mike Zukin <[email protected]>; Hill, Christie D <[email protected]> Subject: RE: Eugene Sign Code ‐ Digital Importance: High [EXTERNAL ⚠] Mike: Please see the attached. We appreciate all of you work on this matter. I hope all is well with you. Best, Mike Office: (458) 210‐2845 | oregonlanduse.com 375 W. 4th Ave., Suite 205, Eugene, OR 97401 NOTICE: This email is for the sole use of the intended recipient(s) and may contain confidential or privileged information. Any unauthorized review, use, disclosure, or distribution is prohibited. If you received this message in error, please contact the sender by reply email and destroy all copies of the message. Digital Sign Amendments Ordinance Proposed Land Use Code Changes DRAFT – June 9, 2020 (Including MMR Edits 7/9/2020) Language to be added is shown in bold italics. Language to be removed is show by strikeout. Definitions: Cutout. A supplemental design element attached to or superimposed upon a billboard. Digital Billboard. Any billboard that changes messages by any electronic process. Digital Sign. Any sign with a sign face of 20 or fewer square feet in surface area that changes messages by any electronic process. Electronic Message Center. A sign, or portion of a sign, that conveys information through a periodic automatic change of message on a lampbank, through the use of fiber optics, or through mechanical means. -
Amtrak Station Program and Planning Guidelines 1
Amtrak Station Program and Planning Guidelines 1. Overview 5 6. Site 55 1.1 Background 5 6.1 Introduction 55 1.2 Introduction 5 6.2 Multi-modal Planning 56 1.3 Contents of the Guidelines 6 6.3 Context 57 1.4 Philosophy, Goals and Objectives 7 6.4 Station/Platform Confi gurations 61 1.5 Governing Principles 8 6.5 Track and Platform Planning 65 6.6 Vehicular Circulation 66 6.7 Bicycle Parking 66 2. Process 11 6.8 Parking 67 2.1 Introduction 11 6.9 Amtrak Functional Requirements 68 2.2 Stakeholder Coordination 12 6.10 Information Systems and Way Finding 69 2.3 Concept Development 13 6.11 Safety and Security 70 2.4 Funding 14 6.12 Sustainable Design 71 2.5 Real Estate Transactional Documents 14 6.13 Universal Design 72 2.6 Basis of Design 15 2.7 Construction Documents 16 2.8 Project Delivery methods 17 7. Station 73 2.9 Commissioning 18 7.1 Introduction 73 2.10 Station Opening 18 7.2 Architectural Overview 74 7.3 Information Systems and Way Finding 75 7.4 Passenger Information Display System (PIDS) 77 3. Amtrak System 19 7.5 Safety and Security 78 3.1 Introduction 19 7.6 Sustainable Design 79 3.2 Service Types 20 7.7 Accessibility 80 3.3 Equipment 23 3.4 Operations 26 8. Platform 81 8.1 Introduction 81 4. Station Categories 27 8.2 Platform Types 83 4.1 Introduction 27 8.3 Platform-Track Relationships 84 4.2 Summary of Characteristics 28 8.4 Connection to the station 85 4.3 Location and Geography 29 8.5 Platform Length 87 4.4 Category 1 Large stations 30 8.6 Platform Width 88 4.5 Category 2 Medium Stations 31 8.7 Platform Height 89 4.6 Category 3 Caretaker Stations 32 8.8 Additional Dimensions and Clearances 90 4.7 Category 4 Shelter Stations 33 8.9 Safety and Security 91 4.8 Thruway Bus Service 34 8.10 Accessibility 92 8.11 Snow Melting Systems 93 5.