MEET YOUR TYPE a Field Guide to Love & Typography CONTENTS
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Bit-Mapped Fonts
PRINTING METHOD 24-pin, impact dot matrix PAPER FEED Convertible push/pull tractor for rear, front and MECHANISM bottom feed; automatic fanfold paper load; auto- PRINT DIRECTION Bidirectional with logic seeking in text and graphics modes matic single sheet, paper stacking; friction feed; top and front automatic single sheet load; Advanced PRINT SPEED High speed draft: 225 cps (10 cpi) Paper Handling: micro-adjustment for top-of- (Bit-mapped fonts) Draft: 315 cps (15 cpi) form and tear-off mode, paper parking for loading 252 cps (12 cpi) single sheet paper without removing continuous 210 cps (10 cpi) paper; optional: additional pull tractor, standard- Letter quality: 105 cps (15 cpi) capacity cut sheet feeder and high-capacity cut 84 cps (12 cpi) sheet and envelope feeder 70 cps (10 cpi) PAPER FEED SPEED 77.6 milliseconds per 1/6" line spacing; CHARACTER MATRIX 9 x 22 draft mode (10 cpi) 2.2” per second continuous feed (Bit-mapped fonts) 31 x 22 letter-quality mode (10 cpi) 22 x 16 letterquality mode (15 cpi) PAPER HANDLING 37 x 22 proportional Single sheets: Top loading: 5.8” to 16.5” CHARACTER SETS 96 ASCII characters; 15 international Front, loading: 7.2” to 14.3” character sets; 128 user-defined ® Continuous: 4.0” to 16.0” characters; extended IBM -style No. 6 envelopes: 6.5” x 3.625” graphics characters: legal charac- No. 10 envelopes: 9.5” x 4.125” ters; 5-code pages Labels: 2.5” x 5.9” SCALABLE FONTS Epson Roman 8 to 32 points Forms: Continuous multi-part, original plus three carbon- Epson Sans Serif 8 to 32 points less copies; maximum thickness 0.012 inches RESIDENT Epson Draft 10, 12. -
FDA Visual Identity Guidelines September 27, 2016 Introduction: FDA, ITS VISUAL IDENTITY, and THIS STYLE GUIDE
FDA Visual Identity Guidelines September 27, 2016 Introduction: FDA, ITS VISUAL IDENTITY, AND THIS STYLE GUIDE The world in which the U.S. Food and Drug Administration Therefore, the agency embarked on a comprehensive (FDA) operates today is one of growing complexity, new examination of FDA’s communication materials, including an challenges, and increased risks. Thanks to revolutionary analysis of the FDA’s mission and key audiences, in order to advances in science, medicine, and technology, we have establish a more unified communications program using enormous opportunities that we can leverage to meet many consistent and more cost-effective pathways for creating and of these challenges and ultimately benefit the public health. disseminating information in a recognizable format. This has resulted in what you see here today: a standard and uniform As a public health and regulatory agency that makes its Visual Identity system. decisions based on the best available science, while maintaining its far-reaching mission to protect and promote This new Visual Identity program will improve the the public health, FDA is uniquely prepared and positioned to effectiveness of the FDA’s communication by making it much anticipate and successfully meet these challenges. easier to identify the FDA, an internationally recognized, trusted, and credible agency, as the source of the information Intrinsically tied to this is the agency’s crucial ability to being communicated. provide the public with clear, concise and accurate information on a wide range of important scientific, medical, The modern and accessible design will be used to inspire how regulatory, and public health matters. we look, how we speak, and what we say to the people we impact most. -
Desktop + Mobile Style Guide 06.22.15
DESKTOP + MOBILE STYLE GUIDE 06.22.15 SITE BASICS PRIMARY TYPEFACE PRIMARY COLORS SECONDARY COLORS Helvetica, Arial, sans-serif R0 G70 B127 R0 G24 B46 HEX# 00467F HEX# 00182E R255 G201 B57 R47 G107 B189 HEX# FFC939 HEX# 2F6BBD R77 G79 B83 HEX# 4D4F53 R0 G0 B0 HEX# 000000 2 UNIVERSAL ELEMENTS PRIMARY BUTTONS LINKS CARETS IDLE ROLLOVER IDLE ROLLOVER ON CLEAN BACKGROUND PRIMARY NAVIGATION ON BUSY BACKGROUND IDLE ROLLOVER 3 HEADINGS AND LISTS A Font Family Helvetica, Arial, sans-serif B Font Family Helvetica, Arial, sans-serif Font Size 40px/48px Font Size 30px A Font Weight Bold Color #ffffff Color #000000 B C C Font Family Helvetica, Arial, sans-serif D Font Family Helvetica, Arial, sans-serif Font Weight Bold Font Size 24px/34px D Font Size 24px/34px Color #000000 Color #2F6BBD E E Font Family Helvetica, Arial, sans-serif F Font Family Helvetica, Arial, sans-serif Font Size 24px/34px Font Size 24px/34px F Color #000000 Color #000000 Margin-bottom 34px Margin-bottom 17px G Font Family Helvetica, Arial, sans-serif Font Size 24px/34px Color #000000 Margin-bottom 17px G 4 DESKTOP TYPOGRAPHY B A A Font Family Helvetica, Arial, sans-serif B Font Family Helvetica, Arial, sans-serif C Font Size 16px Font Size 16px Font Weight Bold Color #ffffff Color #cccccc Hover Underline Hover Underline C Font Family Helvetica, Arial, sans-serif D Font Family Helvetica, Arial, sans-serif Font Weight Bold Font Size 24px/30px D Font Size 22px/24px Color #000000 E Color #ffffff F E Font Family Helvetica, Arial, sans-serif F Font Family Helvetica, Arial, sans-serif -
Copyrighted Material
INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets, -
Type ID and History
History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface -
Old Faces of Roman and Medieval Types : Lately Added to the De Vinne Press Pdf, Epub, Ebook
OLD FACES OF ROMAN AND MEDIEVAL TYPES : LATELY ADDED TO THE DE VINNE PRESS PDF, EPUB, EBOOK De Vinne Press | 66 pages | 17 May 2018 | Trieste Publishing | 9780649329755 | English | none Old Faces of Roman and Medieval Types : Lately Added to the de Vinne Press PDF Book I can see before me now some gray-haired old gentleman, very money-getting, very correct, very cleanly, who reads the morning paper with unction, and his Bible with determination, who listens to dull sermons with patience, and who prays with quiet self-applause ; and yet there are moments belonging to his life when his curdled affections yearn for something that they have not, when his avarice oversteps all the commandments, when his. Loneliness and lack of physical activity during lockdowns has led to a surge in depression and anxiety in In literature as in life we should keep the best company we can. Back to top Home News U. Cap 8. It defends itself well. Many Roman and Greek constructions are relatable to the level of the sea. Or wait for 1 or 2 volcanoes to go off. Most watched News videos Driver beaten with wrench by bikers in road rage attack Ackhurst Lodge seen almost submerged by flood water in Chorley The devastating scene inside a fire-ravaged Leeds General Infirmary Bill Clinton appears to doze off at Biden's inauguration Second rave! The seventh time, he reads it through and says, "Pshaw! JCH, to be fair anyone taking the short term trends of melting in Greenland and extrapolating them into the future is doing everyone a disservice. -
Agenda for the Regular Business Meeting of the Council of West Windsor Township 271 Clarksville Road to the Extent Known
MEETING TO BE BROADCAST ON COMCAST CHANNEL 27 AND VERIZON CHANNELS 41 AND 42 AGENDA FOR THE REGULAR BUSINESS MEETING OF THE COUNCIL OF WEST WINDSOR TOWNSHIP 271 CLARKSVILLE ROAD TO THE EXTENT KNOWN June 26, 2017 7:00 p.m. 1. Call to Order 2. Statement of Adequate Notice – January 6, 2017 to the Trenton Times and the Princeton Packet. 3. Salute to the Flag 4. Ceremonial Matters and/or Topics for Priority Consideration Recognition of Chief Joe Pica for his Years of Service to West Windsor Township Filling of Council Vacancy Filling of the Environmental Commission Liaison Route 1 Concept Plan Presentation Presentation from Mercer County – Rt. 571 and Clarksville Intersection Improvements 5. Public Comment: (30 minutes comment period; 3-minute limit per person) (1) 6. Administration Comments 7. Council Member Comments 8. Chair/Clerk Comments 9. Public Hearings 2017-23 AN ORDINANCE AUTHORIZING THE ACQUISITION OF A TEMPORARY CONSTRUCTION EASEMENT FROM ELISABETH LINDA LOUISE MIHAN LOCATED AT BLOCK 5, LOT 39 – 43 Cranbury Road 2017-24 AN ORDINANCE AMENDING THE CODE OF THE TOWNSHIP OF WEST WINDSOR, CHAPTER 168, “TRAFFIC AND PARKING” ARTICLE VI, “PARKING AUTHORITY PROPERTY” AND ARTICLE VII, “SCHEDULES” 10. Consent Agenda A. Resolutions 2017-R170 Appointing Jill M. Swanson and Eileen Lang as Alternate Deputy Registrars 2017-R171 Appointing James Yates, Manager of Fire and Emergency Services as Emergency Management Coordinator and Incoming Chief Garofalo as Deputy Emergency Management Coordinator for the Term of Three Years 2017-R172 Authorizing the Insertion of the State of New Jersey Clean Communities Program in the 2017 Municipal Budget - $59,059.86 (2) 2017-R173 Authorizing the Insertion of the Alcoholic Rehabilitation & Enforcement Fund in the 2017 Municipal Budget - $4,503.79 B. -
Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim
Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim To cite this version: Dae Hwan Kim, Jin Hyung Kim. Ligature Modeling for Recognition of Characters Written in 3D Space. Tenth International Workshop on Frontiers in Handwriting Recognition, Université de Rennes 1, Oct 2006, La Baule (France). inria-00105116 HAL Id: inria-00105116 https://hal.inria.fr/inria-00105116 Submitted on 10 Oct 2006 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim Jin Hyung Kim Artificial Intelligence and Artificial Intelligence and Pattern Recognition Lab. Pattern Recognition Lab. KAIST, Daejeon, KAIST, Daejeon, South Korea South Korea [email protected] [email protected] Abstract defined shape of character while it showed high recognition performance. Moreover when a user writes In this work, we propose a 3D space handwriting multiple stroke character such as ‘4’, the user has to recognition system by combining 2D space handwriting write a new shape which is predefined in a uni-stroke models and 3D space ligature models based on that the and which he/she has never seen. -
Optical Character Recognition - a Combined ANN/HMM Approach
Optical Character Recognition - A Combined ANN/HMM Approach Dissertation submitted to the Department of Computer Science Technical University of Kaiserslautern for the fulfillment of the requirements for the doctoral degree Doctor of Engineering (Dr.-Ing.) by Sheikh Faisal Rashid Dean: Prof. Dr. Klaus Schneider Thesis supervisors: Prof. Dr. Thomas Breuel, TU Kaiserslautern Prof. Dr. Andreas Dengel, TU Kaiserslautern Chair of supervisory committee: Prof. Dr. Karsten Berns, TU Kaiserslautern Kaiserslautern, 11 July, 2014 D 386 Abstract Optical character recognition (OCR) of machine printed text is ubiquitously considered as a solved problem. However, error free OCR of degraded (broken and merged) and noisy text is still challenging for modern OCR systems. OCR of degraded text with high accuracy is very important due to many applications in business, industry and large scale document digitization projects. This thesis presents a new OCR method for degraded text recognition by introducing a combined ANN/HMM OCR approach. The approach provides significantly better performance in comparison with state-of-the-art HMM based OCR methods and existing open source OCR systems. In addition, the thesis introduces novel applications of ANNs and HMMs for document image preprocessing and recognition of low resolution text. Furthermore, the thesis provides psychophysical experiments to determine the effect of letter permutation in visual word recognition of Latin and Cursive script languages. HMMs and ANNs are widely employed pattern recognition paradigms and have been used in numerous pattern classification problems. This work presents a simple and novel method for combining the HMMs and ANNs in application to segmentation free OCR of degraded text. HMMs and ANNs are powerful pattern recognition strategies and their combination is interesting to improve current state-of-the-art research in OCR. -
Cap Height Body X-Height Crossbar Terminal Counter Bowl Stroke Loop
Cap Height Body X-height -height is the distance between the -Cap height refers to the height of a -In typography, the body height baseline of a line of type and tops capital letter above the baseline for refers to the distance between the of the main body of lower case a particular typeface top of the tallest letterform to the letters (i.e. excluding ascenders or bottom of the lowest one. descenders). Crossbar Terminal Counter -In typography, the terminal is a In typography, the enclosed or par- The (usually) horizontal stroke type of curve. Many sources con- tially enclosed circular or curved across the middle of uppercase A sider a terminal to be just the end negative space (white space) of and H. It CONNECTS the ends and (straight or curved) of any stroke some letters such as d, o, and s is not cross over them. that doesn’t include a serif the counter. Bowl Stroke Loop -In typography, it is the curved part -Stroke of a letter are the lines that of a letter that encloses the circular make up the character. Strokes may A curving or doubling of a line so or curved parts (counter) of some be straight, as k,l,v,w,x,z or curved. as to form a closed or partly open letters such as d, b, o, D, and B is Other letter parts such as bars, curve within itself through which the bowl. arms, stems, and bowls are collec- another line can be passed or into tively referred to as the strokes that which a hook may be hooked make up a letterform Ascender Baseline Descnder In typography, the upward vertical Lowercases that extends or stem on some lowercase letters, such In typography, the baseline descends below the baselines as h and b, that extends above the is the imaginary line upon is the descender x-height is the ascender. -
Approaches to Applying Spacing Methods in Seriffed and Sans-Serif Typeface Designs
Approaches to applying spacing methods in seriffed and sans-serif typeface designs Fernando de Mello Vargas January 2007 Essay submitted in partial fulfilment for the requirements for the Master of Arts in Typeface Design Department of Typography and Graphic Communication The University of Reading, United Kingdom, 2007 This paper cannot be reproduced or published, partially or integrally, without the written consent of the author. Acknowledgments The author would like to thank Nicolien Van der Keur for providing the Asa Types ‘Trinité 1, 2, 3’ catalog and Daniel Rathigan for proof reading. Set in FF Scala and FF Scala Sans in Adobe InDesign CS2. Contents 1 introduction 4 2 optical spacing concepts 5 2.1 Spacing a sequence of different shapes 5 2.2 Balancing internal and external white spaces in letterforms 6 2.3 Simultaneous contrast issue 6 2.4 Vertical optical centres 7 2.5 Influence of ascenders and descenders 7 3 applying spacing methods in seriffed and sans-serif typeface designs 8 3.1 Experiment procedures 8 3.2 Description of spacing methods used 9 3.2.1 Walter Tracy’s method 9 3.2.2 Miguel Sousa’s method 10 3.3 Analysis of the results 11 3.3.1 First approach: comparing paragraphs and phrases 11 3.3.2 Second approach: comparing words 14 4 epilogue 16 5 image sources 17 6 references 18 Approaches to applying spacing methods in seriffed and sans-serif typeface designs 1. Introduction 1 W. Tracy, ‘Letters of credit: a view The adjustment of space between letters in typeface design, a process commonly of type design’, p. -
Main Category Sub Category Alpha Sub Category Beta Sub Category Gamma Description Typefaces Tapefaces/Fonts Serif Venetian/Human
Main category Sub category alpha Sub category beta Sub category gamma Description Typefaces Tapefaces/Fonts Serif Venetian/Humanist Old calligraphic style like Jenson and Centaur. Garalde More modeled like Garamond and Caslon Transitional More mechanical like Baskerville and Times Glyphic Incized Roman types. See Trajan, Goudy Trajan Didone High contrast like Didot and Bodoni Contemporary Serif typefaces with a modern appearance which doesn't fit Transitional Slab serif Egyptienne Square/unbracketed serifs. More sans-like. Clarendon/Ionic Robust yet antique. Bracketed serifs. Tuscan Western fonts and slab serifs with decorative serifs. Contemporary Modern slab serif like Prensa Slab or Museo Slab Sans Grotesque Robust and linear. See Helvetica, Univers, DIN. Geometric Based on geometric elements. See Futura, Eurostile, Nobel. Humanist Calligraphic influences. See Gill Sans, Frutiger, Ideal Sans. Chirographic Script Elegant writing fonts with swashes and ligatures etc. Hand writing Typical hand writing font. No scripts. Comic Hand-lettered sans fonts for comic books. See Comic Sans. Calligraphy Any font done in calligraphy (excluding blackletters) Blackletter Textura Blackletter with detail and texture. Old English, Diploma Schwabacher Typical German type. Rounded forms. See Schwabacher, Fette Deutsch Fraktur Most robust and mechanical blackletter. Fraktur, Fette Fraktur, Fakir Rotunda Most rounded blackletter. See Clemente Rotunda, San Marco. Hybrida/Bastarda Hybrid of Textura and Rotunda. Bastarda is typically French. See Burgundica, Givry Non-Latin Greek Cyrillic Armenian Any of these languages could be collapsed into the Miscellaneous category if it's not Georgian popular enough for its own category, though having these categories might stimulate Arabic people to add designs as well. Hebrew Devanagari Japanese Kanji, Hiragana (Kana), Katakana (Kana).