Visual Identity Quick Guide 2017
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Download Fedra Sans Bold
Download fedra sans bold click here to download Download Fedra Sans Std Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans Expert Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans SC Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download fedra sans std bold font with bold style. Download free fonts for Mac, Windows and Linux. All fonts are in TrueType format. Download fedra sans std bold font for Windows, Linux and Mac free at www.doorway.ru - database of around free OpenType and TrueType. Fedra Sans Book ItalicMacromedia Fontographer 4. 1 Fedra Sans Book ItalicFedra Sans Book ItalicMacromedia Fontographer 4. 1 Fedra Sans Pro-Bold. Download OTF. Similar. Fedra Sans Pro-Bold Italic · Fedra Sans Pro Light Light · Fedra Sans Pro Normal Normal · Fedra Sans Pro-Book. Fedra Sans was originally commissioned by Paris-based Ruedi Baur Integral Design and developed as a corporate font for Bayerische Rück, a German. Fedra Sans: Fedra Sans is a contemporary sans serif, highly legible, font Fedra Sans Medium Italic px Fedra Sans Bold Italic px . Is there any reason to make new fonts when there are so many already available for downloading? Fedra Sans is a typeface designed by Peter Bil'ak, and is available for Desktop. Try, buy and download these fonts now! Bold SC Italic. Büroflächen. Bold TF. Font Fedra Sans Std Normal font download free at www.doorway.ru, the largest collection of cool fonts for Fedra Sans Std Bold Italic font. -
CSS Font Stacks by Classification
CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed. -
Sponsored Programs New Developments and Important Reminders
Sponsored Programs New Developments and Important Reminders Rebecca Trahan Office of Sponsored Programs January 16, 2019 1 NSF Updates NIH Updates Federal Update OSP Updates Q & A 2 1 3 4 2 NSF 19-1 effective 1/28/2019 Effective for proposals submitted or due on or after 1/28/2019. Slides and video from NSF PAPPG Webinar on 11/27/2018: https://nsfgrantsconferences.com/pappg- webinar-19/. 5 Proposal Submission via Research.gov . Research.gov is an alternative to NSF FastLane and Grants.gov proposal submission. Can be used for full, research non-collaborative proposals. On-screen instructions in Research.gov must be followed when different than PAPPG. Project Description – Proposed Subawards . The description of the work to be performed by the proposed subrecipient must be included in the project description. 6 3 Proposals with international subrecipients or consultants . NSF rarely provides funding support to foreign organizations. In cases where the proposer considers the foreign organization’s involvement to be essential to the project (e.g., through subawards or consultant arrangements), the proposer must explain why local support is not feasible and why the foreign organization can carry out the activity more effectively. In addition, the proposed activity must demonstrate how one or more of the following conditions have been met: . The foreign organization contributes a unique organization, facilities, geographic location and/or access to unique data resources not generally available to U.S. investigators (or which would require significant effort or time to duplicate) or other resources that are essential to the success of the proposed project; and/or . -
FONT GUIDE Workbook to Help You Find the Right One for Your Brand
FONT GUIDE Workbook to help you find the right one for your brand. www.ottocreative.com.au Choosing the right font for your brand YOUR BRAND VALUES: How different font styles can be used to make up your brand: Logo Typeface: Is usually a bit more special and packed with your brands personality. This font should be used sparingly and kept for special occasions. Headings font: Logo Font This font will reflect the same brand values as your logo font - eg in this example both fonts are feminine and elegant. Headings Unlike your logo typeface, this font should be easier to read and look good a number of different sizes and thicknesses. Body copy Body font: The main rule here is that this font MUST be easy to read, both digitally and for print. If there is already alot going on in your logo and heading font, keep this style simple. Typefaces, common associations & popular font styles San Serif: Clean, Modern, Neutral Try these: Roboto, Open Sans, Lato, Montserrat, Raleway Serif: Classic, Traditional, reliable Try these: Playfair Display, Lora, Source Serif Pro, Prata, Gentium Basic Slab Serif: Youthful, modern, approachable Try these: Roboto Slab, Merriweather, Slabo 27px, Bitter, Arvo Script: Feminine, Romantic, Elegant Try these: Dancing Script, Pacifico, Satisfy, Courgette, Great Vibes Monotype:Simple, Technical, Futuristic Try these: Source Code Pro, Nanum Gothic Coding, Fira Mono, Cutive Mono Handwritten: Authentic, casual, creative Try these: Indie Flower, Shadows into light, Amatic SC, Caveat, Kalam Display: Playful, fun, personality galore Try these: Lobster, Abril Fatface, Luckiest Guy, Bangers, Monoton NOTE: Be careful when using handwritten and display fonts, as they can be hard to read. -
Using Fonts Installed in Local Texlive - Tex - Latex Stack Exchange
27-04-2015 Using fonts installed in local texlive - TeX - LaTeX Stack Exchange sign up log in tour help TeX LaTeX Stack Exchange is a question and answer site for users of TeX, LaTeX, ConTeXt, and related Take the 2minute tour × typesetting systems. It's 100% free, no registration required. Using fonts installed in local texlive I have installed texlive at ~/texlive . I have installed collectionfontsrecommended using tlmgr . Now, ~/texlive/2014/texmfdist/fonts/ has several folders: afm , cmap , enc , ... , vf . Here is the output of tlmgr info helvetic package: helvetic category: Package shortdesc: URW "Base 35" font pack for LaTeX. longdesc: A set of fonts for use as "dropin" replacements for Adobe's basic set, comprising: Century Schoolbook (substituting for Adobe's New Century Schoolbook); Dingbats (substituting for Adobe's Zapf Dingbats); Nimbus Mono L (substituting for Abobe's Courier); Nimbus Roman No9 L (substituting for Adobe's Times); Nimbus Sans L (substituting for Adobe's Helvetica); Standard Symbols L (substituting for Adobe's Symbol); URW Bookman; URW Chancery L Medium Italic (substituting for Adobe's Zapf Chancery); URW Gothic L Book (substituting for Adobe's Avant Garde); and URW Palladio L (substituting for Adobe's Palatino). installed: Yes revision: 31835 sizes: run: 2377k relocatable: No catdate: 20120606 22:57:48 +0200 catlicense: gpl collection: collectionfontsrecommended But when I try to compile: \documentclass{article} \usepackage{helvetic} \begin{document} Hello World! \end{document} It gives an error: ! LaTeX Error: File `helvetic.sty' not found. Type X to quit or <RETURN> to proceed, or enter new name. -
Package 'Showtextdb'
Package ‘showtextdb’ June 4, 2020 Type Package Title Font Files for the 'showtext' Package Version 3.0 Date 2020-05-31 Author Yixuan Qiu and authors/contributors of the included fonts. See file AUTHORS for details. Maintainer Yixuan Qiu <[email protected]> Description Providing font files that can be used by the 'showtext' package. Imports sysfonts (>= 0.7), utils Suggests curl License Apache License (>= 2.0) Copyright see file COPYRIGHTS RoxygenNote 7.1.0 NeedsCompilation no Repository CRAN Date/Publication 2020-06-04 08:10:02 UTC R topics documented: font_install . .2 google_fonts . .3 load_showtext_fonts . .4 source_han . .4 Index 6 1 2 font_install font_install Install Fonts to the ’showtextdb’ Package Description font_install() saves the specified font to the ‘fonts’ directory of the showtextdb package, so that it can be used by the showtext package. This function requires the curl package. font_installed() lists fonts that have been installed to showtextdb. NOTE: Since the fonts are installed locally to the package directory, they will be removed every time the showtextdb package is upgraded or re-installed. Usage font_install(font_desc, quiet = FALSE, ...) font_installed() Arguments font_desc A list that provides necessary information of the font for installation. See the Details section. quiet Whether to show the progress of downloading and installation. ... Other parameters passed to curl::curl_download(). Details font_desc is a list that should contain at least the following components: showtext_name The family name of the font that will be used in showtext. font_ext Extension name of the font files, e.g., ttf for TrueType, and otf for OpenType. regular_url URL of the font file for "regular" font face. -
P Font-Change Q UV 3
p font•change q UV Version 2015.2 Macros to Change Text & Math fonts in TEX 45 Beautiful Variants 3 Amit Raj Dhawan [email protected] September 2, 2015 This work had been released under Creative Commons Attribution-Share Alike 3.0 Unported License on July 19, 2010. You are free to Share (to copy, distribute and transmit the work) and to Remix (to adapt the work) provided you follow the Attribution and Share Alike guidelines of the licence. For the full licence text, please visit: http://creativecommons.org/licenses/by-sa/3.0/legalcode. 4 When I reach the destination, more than I realize that I have realized the goal, I am occupied with the reminiscences of the journey. It strikes to me again and again, ‘‘Isn’t the journey to the goal the real attainment of the goal?’’ In this way even if I miss goal, I still have attained goal. Contents Introduction .................................................................................. 1 Usage .................................................................................. 1 Example ............................................................................... 3 AMS Symbols .......................................................................... 3 Available Weights ...................................................................... 5 Warning ............................................................................... 5 Charter ....................................................................................... 6 Utopia ....................................................................................... -
Translate's Localization Guide
Translate’s Localization Guide Release 0.9.0 Translate Jun 26, 2020 Contents 1 Localisation Guide 1 2 Glossary 191 3 Language Information 195 i ii CHAPTER 1 Localisation Guide The general aim of this document is not to replace other well written works but to draw them together. So for instance the section on projects contains information that should help you get started and point you to the documents that are often hard to find. The section of translation should provide a general enough overview of common mistakes and pitfalls. We have found the localisation community very fragmented and hope that through this document we can bring people together and unify information that is out there but in many many different places. The one section that we feel is unique is the guide to developers – they make assumptions about localisation without fully understanding the implications, we complain but honestly there is not one place that can help give a developer and overview of what is needed from them, we hope that the developer section goes a long way to solving that issue. 1.1 Purpose The purpose of this document is to provide one reference for localisers. You will find lots of information on localising and packaging on the web but not a single resource that can guide you. Most of the information is also domain specific ie it addresses KDE, Mozilla, etc. We hope that this is more general. This document also goes beyond the technical aspects of localisation which seems to be the domain of other lo- calisation documents. -
Zapfcoll Minikatalog.Indd
Largest compilation of typefaces from the designers Gudrun and Hermann Zapf. Most of the fonts include the Euro symbol. Licensed for 5 CPUs. 143 high quality typefaces in PS and/or TT format for Mac and PC. Colombine™ a Alcuin™ a Optima™ a Marconi™ a Zapf Chancery® a Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf International® a AMS Euler™ a Marcon™ a Medici Script™ a Shakespeare™ a Zapf International® a Melior™ a Aldus™ a Melior™ a a Melior™ Noris™ a Optima™ a Vario™ a Aldus™ a Aurelia™ a Zapf International® a Carmina™ a Shakespeare™ a Palatino™ a Aurelia™ a Melior™ a Zapf book® a Kompakt™ a Alcuin™ a Carmina™ a Sistina™ a Vario™ a Zapf Renaissance Antiqua® a Optima™ a AMS Euler™ a Colombine™ a Alcuin™ a Optima™ a Marconi™ a Shakespeare™ a Zapf Chancery® Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf international® a AMS Euler™ a Marconi™ a Medici Script™ a Shakespeare™ a Zapf international® a Aldus™ a Melior™ a Zapf Chancery® a Kompakt™ a Noris™ a Zapf International® a Car na™ a Zapf book® a Palatino™ a Optima™ Alcuin™ a Carmina™ a Sistina™ a Melior™ a Zapf Renaissance Antiqua® a Medici Script™ a Aldus™ a AMS Euler™ a Colombine™ a Vario™ a Alcuin™ a Marconi™ a Marconi™ a Carmina™ a Melior™ a Edison™ a Shakespeare™ a Zapf book® aZapf international® a Optima™ a Zapf International® a Carmina™ a Zapf Chancery® Noris™ a Optima™ a Zapf international® a Carmina™ a Sistina™ a Shakespeare™ a Palatino™ a a Kompakt™ a Aurelia™ a Melior™ a Zapf Renaissance Antiqua® Antiqua® a Optima™ a AMS Euler™ a Introduction Gudrun & Hermann Zapf Collection The Gudrun and Hermann Zapf Collection is a special edition for Macintosh and PC and the largest compilation of typefaces from the designers Gudrun and Hermann Zapf. -
User Manual 19HFL5014W Contents
User Manual 19HFL5014W Contents 1 TV Tour 3 13 Help and Support 119 1.1 Professional Mode 3 13.1 Troubleshooting 119 13.2 Online Help 120 2 Setting Up 4 13.3 Support and Repair 120 2.1 Read Safety 4 2.2 TV Stand and Wall Mounting 4 14 Safety and Care 122 2.3 Tips on Placement 4 14.1 Safety 122 2.4 Power Cable 4 14.2 Screen Care 123 2.5 Antenna Cable 4 14.3 Radiation Exposure Statement 123 3 Arm mounting 6 15 Terms of Use 124 3.1 Handle 6 15.1 Terms of Use - TV 124 3.2 Arm mounting 6 16 Copyrights 125 4 Keys on TV 7 16.1 HDMI 125 16.2 Dolby Audio 125 5 Switching On and Off 8 16.3 DTS-HD (italics) 125 5.1 On or Standby 8 16.4 Wi-Fi Alliance 125 16.5 Kensington 125 6 Specifications 9 16.6 Other Trademarks 125 6.1 Environmental 9 6.2 Operating System 9 17 Disclaimer regarding services and/or software offered by third parties 126 6.3 Display Type 9 6.4 Display Input Resolution 9 Index 127 6.5 Connectivity 9 6.6 Dimensions and Weights 10 6.7 Sound 10 7 Connect Devices 11 7.1 Connect Devices 11 7.2 Receiver - Set-Top Box 12 7.3 Blu-ray Disc Player 12 7.4 Headphones 12 7.5 Game Console 13 7.6 USB Flash Drive 13 7.7 Computer 13 8 Videos, Photos and Music 15 8.1 From a USB Connection 15 8.2 Play your Videos 15 8.3 View your Photos 15 8.4 Play your Music 16 9 Games 18 9.1 Play a Game 18 10 Professional Menu App 19 10.1 About the Professional Menu App 19 10.2 Open the Professional Menu App 19 10.3 TV Channels 19 10.4 Games 19 10.5 Professional Settings 20 10.6 Google Account 20 11 Android TV Home Screen 22 11.1 About the Android TV Home Screen 22 11.2 Open the Android TV Home Screen 22 11.3 Android TV Settings 22 11.4 Connect your Android TV 25 11.5 Channels 27 11.6 Channel Installation 27 11.7 Internet 29 11.8 Software 29 12 Open Source Software 31 12.1 Open Source License 31 2 1 TV Tour 1.1 Professional Mode What you can do In Professional Mode ON, you can have access to a large number of expert settings that enable advanced control of the TV’s state or to add additional functions. -
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. -
No. 3 Science and History Behind the Design of Lucida Charles Bigelow
204 TUGboat, Volume 39 (2018), No. 3 Science and history behind the design of Lucida Charles Bigelow & Kris Holmes 1 Introduction When desktop publishing was new and Lucida the first type family created expressly for medium and low-resolution digital rendering on computer screens and laser printers, we discussed the main design de- cisions we made in adapting typeface features to digital technology (Bigelow & Holmes, 1986). Since then, and especially since the turn of the 21st century, digital type technology has aided the study of reading and legibility by facilitating the Figure 1: Earliest known type specimen sheet (detail), development and display of typefaces for psycho- Erhard Ratdolt, 1486. Both paragraphs are set at logical and psychophysical investigations. When we approximately 9 pt, but the font in the upper one has a designed Lucida in the early 1980s, we consulted larger x-height and therefore looks bigger. (See text.) scientific studies of reading and vision, so in light of renewed interest in the field, it may be useful to say Despite such early optimism, 20th century type more about how they influenced our design thinking. designers and manufacturers continued to create The application of vision science to legibility type forms more by art and craft than by scientific analysis has long been an aspect of reading research. research. Definitions and measures of “legibility” Two of the earliest and most prominent reading often proved recalcitrant, and the printing and ty- researchers, Émile Javal in France and Edmund Burke pographic industries continued for the most part to Huey in the US, expressed optimism that scientific rely upon craft lore and traditional type aesthetics.