Psychology of Onscreen Type: Investigations Regarding Typeface Personality, Appropriateness, and Impact on Document Perception
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Brand Style Guide.Indd
California Baptist University Brand Style Guide CALIFORNIA BAPTIST UNIVERSITY BRAND STYLE GUIDE The CBU Brand A brand is the personality a consumer creates for the organizations or products he or she interacts with. Consumers attribute characteristics to organizations to help themselves understand and then engage or avoid them. Brands can be hopeful, helpful, funny, tired, aloof or cold. Consumers create and revise brand personalities every time they come into contact with the organization. These interactions leave impressions on the consumer’s memory. Visualize the impression a branding iron leaves on the backside of a cow and you begin to appreciate the value of each of your interactions with students, parents, alumni, donors and friends. Consistency is essential to building and maintaining a strong brand for two reasons. First, consumers compare each new interaction to memories of previous interactions. When each successive interaction reinforces previous interactions, brand strength is increased. When interactions conflict with each other, the consumer is left thinking the brand is confused and weak. Second, competition for the consumer’s mind is fierce with organizations competing for milliseconds of their attention through a steady barrage of commercial messages. Consistency in CBU’s message and presentation improves the viewer’s (or listener’s) comprehension and increases the likelihood he or she will understand our message in the brief moment we have to communicate it to them. This guide has been developed to help every member of the CBU workforce (1) understand that he or she IS the CBU brand, and (2) properly and consistently represent the brand in all visual and verbal communications. -
Supreme Court of the State of New York Appellate Division: Second Judicial Department
Supreme Court of the State of New York Appellate Division: Second Judicial Department A GLOSSARY OF TERMS FOR FORMATTING COMPUTER-GENERATED BRIEFS, WITH EXAMPLES The rules concerning the formatting of briefs are contained in CPLR 5529 and in § 1250.8 of the Practice Rules of the Appellate Division. Those rules cover technical matters and therefore use certain technical terms which may be unfamiliar to attorneys and litigants. The following glossary is offered as an aid to the understanding of the rules. Typeface: A typeface is a complete set of characters of a particular and consistent design for the composition of text, and is also called a font. Typefaces often come in sets which usually include a bold and an italic version in addition to the basic design. Proportionally Spaced Typeface: Proportionally spaced type is designed so that the amount of horizontal space each letter occupies on a line of text is proportional to the design of each letter, the letter i, for example, being narrower than the letter w. More text of the same type size fits on a horizontal line of proportionally spaced type than a horizontal line of the same length of monospaced type. This sentence is set in Times New Roman, which is a proportionally spaced typeface. Monospaced Typeface: In a monospaced typeface, each letter occupies the same amount of space on a horizontal line of text. This sentence is set in Courier, which is a monospaced typeface. Point Size: A point is a unit of measurement used by printers equal to approximately 1/72 of an inch. -
Design One Project Three Introduced October 21. Due November 11
Design One Project Three Introduced October 21. Due November 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used, or the evolving fashion of design. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. The second poster will present a visual analogy of the typeface, that combines both type and image, to broaden the viewer’s knowledge of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write a minimum150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer. -
Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
15 the Effect of Font Type on Screen Readability by People with Dyslexia
The Effect of Font Type on Screen Readability by People with Dyslexia LUZ RELLO and RICARDO BAEZA-YATES, Web Research Group, DTIC, Universitat Pompeu Fabra, Barcelona, Spain Around 10% of the people have dyslexia, a neurological disability that impairs a person’s ability to read and write. There is evidence that the presentation of the text has a significant effect on a text’s accessibility for people with dyslexia. However, to the best of our knowledge, there are no experiments that objectively 15 measure the impact of the typeface (font) on screen reading performance. In this article, we present the first experiment that uses eye-tracking to measure the effect of typeface on reading speed. Using a mixed between-within subject design, 97 subjects (48 with dyslexia) read 12 texts with 12 different fonts. Font types have an impact on readability for people with and without dyslexia. For the tested fonts, sans serif , monospaced, and roman font styles significantly improved the reading performance over serif , proportional, and italic fonts. On the basis of our results, we recommend a set of more accessible fonts for people with and without dyslexia. Categories and Subject Descriptors: H.5.2 [Information Interfaces and Presentation]: User Interfaces— Screen design, style guides; K.4.2 [Computers and Society]: Social Issues—Assistive technologies for per- sons with disabilities General Terms: Design, Experimentation, Human Factors Additional Key Words and Phrases: Dyslexia, learning disability, best practices, web accessibility, typeface, font, readability, legibility, eye-tracking ACM Reference Format: Luz Rello and Ricardo Baeza-Yates. 2016. The effect of font type on screen readability by people with Dyslexia. -
Publication Notes – 3Nt.Xyz
Publication Notes – 3nt.xyz Pete Matthews Jr – https://3nt.xyz – © June 19, 2021 Some of the material in this document originally appeared on the MIT/DL Bridge Club site, at http://web.mit.edu/mitdlbc/www/contrib.html. This article, at https://3nt.xyz/about/, is now the official home of this material. Look for updates here. Most of the MS Office documents about the game of bridge use the free Cards font. Starting in 2018, this font is also used in writing up deals with Bridge Composer. Many of the Portable Bridge Notation (PBN) files on this site were created or edited with BridgeComposer; some were created with Dealmaster Pro. The PDF files should be complete and need only Acrobat Reader. That is, all necessary font components are embedded in the files. Items are noted (I) when appropriate for Intermediate players, or (A) for Advanced or Advancing players. Titles of mainstream articles are bold, while more esoteric or less important titles are in italics. Media Codes To describe attributes of the intended media, PDF documents are noted with these Media Codes: Media Size Description Portrait orientation, 1-2 columns, US Letter, usually single column, best 8.5"W for printing and viewing on a moderate to large screen. Articles P x 11"H published before July 1, 2018 and most other bridge material is in this format. 11"W x Landscape orientation, 1-2 columns, US Letter. Only used fort the L 8.5"H occasional spreadsheet that is too wide for some other format. Portrait orientation, 1 column, US Junior (Half Letter). -
New Opentype Fonts on Folio 11
New OpenType Fonts on Folio 11 Postscript Name Preferred Name AdobeArabic-Bold.otf Adobe Arabic Bold AdobeArabic-BoldItalic.otf Adobe Arabic Bold Italic AdobeArabic-Italic.otf Adobe Arabic Italic AdobeArabic-Regular.otf Adobe Arabic Regular AdobeHebrew-Bold.otf Adobe Hebrew Bold AdobeHebrew-BoldItalic.otf Adobe Hebrew Bold Italic AdobeHebrew-Italic.otf Adobe Hebrew Italic AdobeHebrew-Regular.otf Adobe Hebrew Regular AdobeThai-Bold.otf Adobe Thai Bold AdobeThai-BoldItalic.otf Adobe Thai Bold Italic AdobeThai-Italic.otf Adobe Thai Italic AdobeThai-Regular.otf Adobe Thai Regular AmigoStd.otf Amigo Std Regular ArnoPro-Bold.otf Arno Pro Bold ArnoPro-BoldCaption.otf Arno Pro Bold Caption ArnoPro-BoldDisplay.otf Arno Pro Bold Display ArnoPro-BoldItalic.otf Arno Pro Bold Italic ArnoPro-BoldItalicCaption.otf Arno Pro Bold Italic Caption ArnoPro-BoldItalicDisplay.otf Arno Pro Bold Italic Display ArnoPro-BoldItalicSmText.otf Arno Pro Bold Italic SmText ArnoPro-BoldItalicSubhead.otf Arno Pro Bold Italic Subhead ArnoPro-BoldSmText.otf Arno Pro Bold SmText ArnoPro-BoldSubhead.otf Arno Pro Bold Subhead ArnoPro-Caption.otf Arno Pro Caption ArnoPro-Display.otf Arno Pro Display ArnoPro-Italic.otf Arno Pro Italic ArnoPro-ItalicCaption.otf Arno Pro Italic Caption ArnoPro-ItalicDisplay.otf Arno Pro Italic Display ArnoPro-ItalicSmText.otf Arno Pro Italic SmText ArnoPro-ItalicSubhead.otf Arno Pro Italic Subhead ArnoPro-LightDisplay.otf Arno Pro Light Display ArnoPro-LightItalicDisplay.otf Arno Pro Light Italic Display ArnoPro-Regular.otf Arno Pro Regular ArnoPro-Smbd.otf -
Menupro 9 User Guide Getting Started • I
MenuPro® by SoftCafé Version 9 MenuPro® User's Guide Copyright © 1994-2010 SoftCafe, LLC. All rights reserved. Microsoft is a registered trademark of Microsoft Corporation. Monotype is a trademark of Agfa Monotype Limited registered in the U.S. Patent and Trademark Office and elsewhere. Adobe and Acrobat are trademarks of Adobe Systems Incorporated. Abadi, Albertus, Arial, Bembo, Corsiva, Gill Sans, Pepita and Swing are trademarks of The Monotype Corporation registered in the U.S. Patent and Trademark Office and certain other jurisdictions. Binner Gothic, Braggadocio, Broadway, Colonna, Coronet, Forte, Gallia, Ginger, Impact, Imprint, Matura, Palace Script, and Runic are trademarks of The Monotype Corporation and may be registered in certain jurisdictions. American Diner is a trademark of HandCraftedFonts Company. Buffalo Gal is a trademark of Thomas A. Rickner. Curlz is a trademark of The Monotype Corporation. Ginko is a trademark of Paul Pegoraro. Lebeau is a trademark of Bo Berndal. Andy and Looseprint are trademarks of Steve Matteson. Caslon Antique, Choc, Mistral, Ortem and Zambesi are trademarks of Polyvroom BV. Cruz Handy and Woodcut Alpha are trademarks of Agfa Monotype Corporation may be registered in certain jurisdictions. Balmoral, ITC Braganza, ITC Juanita, ITC Rastko and Papyrus are trademarks of the International Typeface Corporation and may be registered in certain jurisdictions. ITC Eras and ITC Rennie Mackintosh are trademarks of the International Typeface Corporation registered in the U.S. Patent & Trademark Office and may be registered in certain jurisdictions. Ashley Crawford, Galaxy Run, Goudy Ornate, Haarlemmer and Othello are trademarks of Agfa Monotype Corporation and may be registered in certain jurisdictions. -
The Impact of the Historical Development of Typography on Modern Classification of Typefaces
M. Tomiša et al. Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama ISSN 1330-3651 (Print), ISSN 1848-6339 (Online) UDC/UDK 655.26:003.2 THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES Mario Tomiša, Damir Vusić, Marin Milković Original scientific paper One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well-acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users. Keywords: character, font, graphic design, historical development of typography, typeface, typeface classification, typography Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama Izvorni znanstveni članak Jedna je od definicija tipografije da je ona umjetnost odabira odgovarajućeg pisma za određeni projekt i njegova organizacija s ciljem ostvarenja što učinkovitije komunikacije. Da bi korisnik mogao odabrati pravo pismo za svoje potrebe treba prije svega dobro poznavati optičke ili geometrijske značajke tipografije, tipografska pravila i povijesni razvoj tipografije. -
System Profile
Steve Sample’s Power Mac G5 6/16/08 9:13 AM Hardware: Hardware Overview: Model Name: Power Mac G5 Model Identifier: PowerMac11,2 Processor Name: PowerPC G5 (1.1) Processor Speed: 2.3 GHz Number Of CPUs: 2 L2 Cache (per CPU): 1 MB Memory: 12 GB Bus Speed: 1.15 GHz Boot ROM Version: 5.2.7f1 Serial Number: G86032WBUUZ Network: Built-in Ethernet 1: Type: Ethernet Hardware: Ethernet BSD Device Name: en0 IPv4 Addresses: 192.168.1.3 IPv4: Addresses: 192.168.1.3 Configuration Method: DHCP Interface Name: en0 NetworkSignature: IPv4.Router=192.168.1.1;IPv4.RouterHardwareAddress=00:0f:b5:5b:8d:a4 Router: 192.168.1.1 Subnet Masks: 255.255.255.0 IPv6: Configuration Method: Automatic DNS: Server Addresses: 192.168.1.1 DHCP Server Responses: Domain Name Servers: 192.168.1.1 Lease Duration (seconds): 0 DHCP Message Type: 0x05 Routers: 192.168.1.1 Server Identifier: 192.168.1.1 Subnet Mask: 255.255.255.0 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: Yes Auto Discovery Enabled: No Ethernet: MAC Address: 00:14:51:67:fa:04 Media Options: Full Duplex, flow-control Media Subtype: 100baseTX Built-in Ethernet 2: Type: Ethernet Hardware: Ethernet BSD Device Name: en1 IPv4 Addresses: 169.254.39.164 IPv4: Addresses: 169.254.39.164 Configuration Method: DHCP Interface Name: en1 Subnet Masks: 255.255.0.0 IPv6: Configuration Method: Automatic AppleTalk: Configuration Method: Node Default Zone: * Interface Name: en1 Network ID: 65460 Node ID: 139 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: -
The Monotype Library Opentype Edition
en FR De eS intRoDuction intRoDuction einFühRung pReSentación Welcome to The Monotype Library, OpenType Edition; a renowned Bienvenue à la Typothèque Monotype, Édition OpenType; une collection Willkommen bei Monotype, einem renommierten Hersteller klassischer Bienvenido a la biblioteca Monotype, la famosa colección de fuentes collection of classic and contemporary professional fonts. renommée de polices professionnelles classiques et contemporaines. und zeitgenössischer professioneller Fonts, die jetzt auch im OpenType- profesionales clásicas y contemporáneas, ahora también en formato Format erhältlich sind. OpenType. The Monotype Library, OpenType Edition, offers a uniquely versatile La Typothèque Monotype, Édition OpenType propose une collection range of fonts to suit every purpose. New additions include eye- extrêmement souple de polices pour chaque occasion. Parmi les Die Monotype Bibliothek, die OpenType Ausgabe bietet eine Esta primera edición de la biblioteca Monotype en formato OpenType catching display faces such as Smart Sans, workhorse texts such as nouvelles polices, citons des polices attrayantes destinées aux affichages einzigartig vielseitige Sammlung von Fonts für jeden Einsatz. Neben ofrece un gran repertorio de fuentes cuya incomparable versatilidad Bembo Book, Mentor and Mosquito Formal plus cutting edge Neo comme Smart Sans, des caractères très lisibles comme Bembo Book, den klassischen Schriften werden auch neue Schriftentwicklungen wie permite cubrir todas las necesidades. Entre las nuevas adiciones destacan Sans & Neo Tech. In this catalogue, each typeface is referenced by Mentor et Mosquito Formal, et des polices de pointe comme Neo die Displayschrift Smart Sans, Brotschriften wie Bembo Book, Mentor llamativos caracteres decorativos como Smart Sans, textos básicos classification to help you find the font most suitable for your project. -
Frutiger (Tipo De Letra) Portal De La Comunidad Actualidad Frutiger Es Una Familia Tipográfica
Iniciar sesión / crear cuenta Artículo Discusión Leer Editar Ver historial Buscar La Fundación Wikimedia está celebrando un referéndum para reunir más información [Ayúdanos traduciendo.] acerca del desarrollo y utilización de una característica optativa y personal de ocultamiento de imágenes. Aprende más y comparte tu punto de vista. Portada Frutiger (tipo de letra) Portal de la comunidad Actualidad Frutiger es una familia tipográfica. Su creador fue el diseñador Adrian Frutiger, suizo nacido en 1928, es uno de los Cambios recientes tipógrafos más prestigiosos del siglo XX. Páginas nuevas El nombre de Frutiger comprende una serie de tipos de letra ideados por el tipógrafo suizo Adrian Frutiger. La primera Página aleatoria Frutiger fue creada a partir del encargo que recibió el tipógrafo, en 1968. Se trataba de diseñar el proyecto de Ayuda señalización de un aeropuerto que se estaba construyendo, el aeropuerto Charles de Gaulle en París. Aunque se Donaciones trataba de una tipografía de palo seco, más tarde se fue ampliando y actualmente consta también de una Frutiger Notificar un error serif y modelos ornamentales de Frutiger. Imprimir/exportar 1 Crear un libro 2 Descargar como PDF 3 Versión para imprimir Contenido [ocultar] Herramientas 1 El nacimiento de un carácter tipográfico de señalización * Diseñador: Adrian Frutiger * Categoría:Palo seco(Thibaudeau, Lineal En otros idiomas 2 Análisis de la tipografía Frutiger (Novarese-DIN 16518) Humanista (Vox- Català 3 Tipos de Frutiger y familias ATypt) * Año: 1976 Deutsch 3.1 Frutiger (1976)