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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. -
264 Tugboat, Volume 37 (2016), No. 3 Typographers' Inn Peter Flynn
264 TUGboat, Volume 37 (2016), No. 3 A Typographers’ Inn X LE TEX Peter Flynn Back at the ranch, we have been experimenting with X LE ATEX in our workflow, spurred on by two recent Dashing it off requests to use a specific set of OpenType fonts for A I recently put up a new version of Formatting Infor- some GNU/Linux documentation. X LE TEX offers A mation (http://latex.silmaril.ie), and in the two major improvements on pdfLTEX: the use of section on punctuation I described the difference be- OpenType and TrueType fonts, and the handling of tween hyphens, en rules, em rules, and minus signs. UTF-8 multibyte characters. In particular I explained how to type a spaced Font packages. You can’t easily use the font pack- dash — like that, using ‘dash~---Ђlike’ to put a A ages you use with pdfLTEX because the default font tie before the dash and a normal space afterwards, encoding is EU1 in the fontspec package which is key so that if the dash occurred near a line-break, it to using OTF/TTF fonts, rather than the T1 or OT1 would never end up at the start of a line, only at A conventionally used in pdfLTEX. But late last year the end. I somehow managed to imply that a spaced Herbert Voß kindly posted a list of the OTF/TTF dash was preferable to an unspaced one (probably fonts distributed with TEX Live which have packages because it’s my personal preference, but certainly A of their own for use with X LE TEX [6]. -
Microsoft Core Fonts Package Post-Installation to Obtain a Proper Type Library
AP�������F��� ��� O���S�����T������� �� �� �������� ���� �� �� ��� ������ ��� ���������� �� ���� �� the development of libre ecosystems. Typography has always been a stubborn holdout in this regard, and to this day there remain few free high-quality comprehensive text typefaces. Free type is mainly concentrated in a handful of flagship “superfonts” that contain a staggering catalog of glyphs, but lack greatly in the quality of design and typographic styles and features seen in professional type. To my knowledge, there are currently just two great open source text families—Gentium, which is still incomplete, and Linux Libertine, in addition to a few corporate gifts such as Adobe Source Serif and Bitstream Charter. To help fill the gap, I present my own original type design and ask for the Wikimedia projects’ help in finishing and releasing my font to provide a quality free font choice. What is this font? ��� ���� � �� ��������� (��� ���� ��� ��� ��������� ������� 0 1 2 3 4 5 6 7 8 9 this paragraph in) is meant to be an original serif typeface that an editor might want to set a textbook in. It does not yet have an official name. Many existing open source typefaces are clones of 0 1 2 3 4 5 6 7 8 9 popular old public domain typefaces (like Asana, S���, EB Garamond, or Free Serif, which are clones of Palatino, Times, Garamond, and Times again, respectively). Others like Liberation Serif, Déjà Vu, and Droid Serif have a distinctive “computer type” style that makes them convenient for pixel display and easy to HQWinâaba construct and adapt but poor in most other regards. I tried to create something different. -
Branding Guidelines
Branding Guidelines Local understanding, national exposure. We connect a national network of commercial real estate professionals through technology, built and customized for each local market. network local-focus research connecting markets customized good value from the ground up Powered by Who We Serve Real Estate Brokerages Commercial Real Site Selectors Appraisers Economic Associations Estate Agents Developers Typeface Clear & Concise. Source Serif Pro We’re in the business of sharing data and making it easy to access Headline Font - #000000 (Black) and digest, and these fonts help us accomplish this. Source Serif Pro, a traditional but easily readable font adds class and clarity in our headlines as it’s paired with a more modern Open Sans for Source Sans Pro - Bold body text. Sub Headline Font - #c03b2b (Tall Poppy) Headlines should always be 2.25x the font size of the body text. For example, if the body text height is 14px, the headline should be Source Sans Pro 2.25x that height: 31.5px. Body Font - #232323 (Mine Sha) Our Logo Connected. With all units facing inward to a central point, this emblem represents a central source of communication, focus, and purpose. Sharing. Each unit opening outward paints a visual picture of data connectivity; while information comes from a single source, it is designed to share and spread through all units involved. Together. The “v” shapes evenly spaced between each other represents all units working together. We present our logo in these designs. Horizontal - Light Vertical - Light Only Horizontal -
Arno Bell Birch
Anony- Basker- mous Pro Arial Arno ville Bell Birch I I I I I I Black- Bodoni Book Bookman Bradley Brush oak Antiqua Old Style Hand Script I I I I I I Caslon Century Calibri Cambria Candara Pro Century Gothic I I I I I Charle- Claren- Comic Conso- Constan- magne I las tia Chaparral don Sans I I I I I I copper- Monotype Cooper Corbel Courier Ebrima plate Corsiva New I I I I I Franklin Fira Sans Freestyle Script French Script IFutura Gabriola Gothic I I I I I Gill Sans Goudy Old Gadugi Garamond Georgia Giddyup Nova StyleI I I I I I I Neue Haas HP simplified Impact Grotesk Hobo Jenson Juice ITC I I I I I I Lucida Kristen Letter Lithos Lucida Lucida Sans ITC Gothic Pro Console Hand Unicode I I I I I OCRA OratorI Minion Pro Nueva Std Mesquite Mistral Std Std I I I I I I Palatino Prestige Rock- Linotype Papyrus Poplar Std Elits Pristina well I I I I I I Rose- Segoe Segoe Segoe Source wood Print Script UI Sitka Code Pro I I I I I I Source Source Serif Stencil Sylfaen Symbol Sans Pro Pro Tahoma I I I I I I Tempus Sans Times New Trajan Tekton Pro Trebuchet Verdana ITC Roman Pro I I I I I I anony- basker- mous pro arial arno ville bell birch i i i i i i black- bodoni book bookman bradley brush oak antiqua old style hand script i i i i i i century calibri cambria candara caslon pro century gothic i i i i i charle- claren- comic conso- constan- magne i las tia chaparral don sans i i i i i i copper- monotype cooper corbel courier ebrima plate corsiva new i i i i i franklin fira sans freestyle script french script ifutura gabriola gothic i i i i i -
Brand Identity Guide UPDATED JULY 21, 2020 03 Mission & Values 10 Partner Lockup
Brand Identity Guide UPDATED JULY 21, 2020 03 Mission & Values 10 Partner Lockup 04 Refresh Rationale 11 Wordmark Table of Contents 05 Structure 12 Colour 06 Space & Size 15 Typography Correct Use Photography 07 17 In 1967 Mrs. Dorothy J. Killam donated $8 million toward a new pediatric hospital in the memory 08 Incorrect Use 18 Illustration of her late husband Izaak Walton Killam. This replaced the Halifax Children's Hospital (1907). The Department/Service Lockup Iconography Izaak Walton Killam Hospital 09 19 for Children (1970) and Grace Maternity Hospital (1922 with beginnings as Harrow House, 1906) merged in 1996 to become the IWK Grace Hospital for Women, Children and Families. The name was simplified to IWK Health Centre in 2001. IWK Health / Brand Identity Guide 2/20 IWK HEALTH MISSION & VALUES MISSION To passionately pursue a healthy future for women, children, youth and families. VALUES Safe, compassionate care through leadership, innovation, integrity, and partnerships. IWK Health / Brand Identity Guide 3/20 DIRECTION REFRESH RATIONALE Enduring nearly 20 years, the familiar blue and pink logo has built considerable brand equity as a stalwart of compassionate health care in Atlantic Canada. The logo refresh aims to preserve those professional and emotional ties while incorporating some modern refinements. Guided by research, the word Centre has been dropped to better encompass the wider reach of the organization — beyond a single building. The three panels are now one cohesive shape with the roughened edges traded for a malleable contour to flow with the 2001 2020 dynamic figures. This active shape is a nod to adaptation and progression. -
A Quick Guide to Great Looking Web Font Pairs That You Actually Want to Use in Your Next Website Design.
25 Simple and Practical Google … Font Combinations – A quick guide to great looking web font pairs that you actually want to use in your next website design. / ; & ¶ § O Rafal Tomal • May 2016 • typespiration.com Looking for the right font combination and going through the entire Google Font repository is a tedious job. If you want to save yourself some time or you just don’t have an eye to pair the right fonts, then this guide is for you. This ebook is your shortcut to some of the best-looking font pairs that I personally hand picked for my own projects. All of the examples are very practical and are meant to be used on content- heavy websites like a blog or a magazine. Google has a great repository, but free fonts also have their drawbacks. Not every Google font is really well-optimized for the web and not every font family comes with all different weights and styles to cover your website content needs. So, I filtered them all and in my selection I made sure all body text fonts come with regular, bold and italic options so that all heading fonts look great on a large scale. Feel free to choose your favorite combination and use it in your own design or tell your designer or developer to use it in your project. You may even want to experiment and make your own pairings if you like a heading font from one example and body text font from another. Also, you can search the Typespiration.com collection to find your favorite fonts in different color schemes. -
Beyond Trivial Counterfactual Generations with Diverse Valuable Explanations
Under review as a conference paper at ICLR 2021 BEYOND TRIVIAL COUNTERFACTUAL GENERATIONS WITH DIVERSE VALUABLE EXPLANATIONS Anonymous authors Paper under double-blind review ABSTRACT Explainability of machine learning models has gained considerable attention within our research community given the importance of deploying more reliable machine-learning systems. Explanability can also be helpful for model debugging. In computer vision applications, most methods explain models by displaying the regions in the input image that they focus on for their prediction, but it is dif- ficult to improve models based on these explanations since they do not indicate why the model fail. Counterfactual methods, on the other hand, indicate how to perturb the input to change the model prediction, providing details about the model’s decision-making. Unfortunately, current counterfactual methods make ambiguous interpretations as they combine multiple biases of the model and the data in a single counterfactual interpretation of the model’s decision. Moreover, these methods tend to generate trivial counterfactuals about the model’s decision, as they often suggest to exaggerate or remove the presence of the attribute be- ing classified. Trivial counterfactuals are usually not valuable, since the informa- tion they provide is often already known to the system’s designer. In this work, we propose a counterfactual method that learns a perturbation in a disentangled latent space that is constrained using a diversity-enforcing loss to uncover mul- tiple valuable explanations about the model’s prediction. Further, we introduce a mechanism to prevent the model from producing trivial explanations. Experi- ments on CelebA and Synbols demonstrate that our model improves the success rate of producing high-quality valuable explanations when compared to previous state-of-the-art methods. -
Science and Natural Language in the Eighteenth Century: Buffon and Linnaeus
Languages of Science in the Eighteenth Century Languages of Science in the Eighteenth Century Edited by Britt-Louise Gunnarsson De Gruyter Mouton An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org ISBN 978-3-11-021808-4 e-ISBN (PDF) 978-3-11-021809-1 e-ISBN (EPUB) 978-3-11-021806-2 ISSN 0179-0986 e-ISSN 0179-3256 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License, as of February 23, 2017. For details go to http://creativecommons.org/licenses/by-nc-nd/3.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. ISBN 978-3-11-025505-8 e-ISBNBibliografische 978-3-11-025506-5 Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliogra- Libraryfie; detaillierte of Congress bibliografische Cataloging-in-Publication Daten sind im Internet Data über http://dnb.dnb.de abrufbar. Languages of science in the eighteenth century / edited by Britt- ©ISBN 2016Louise 978-3-11-021808-4 Walter Gunnarsson. -
Pilcrows from Google Fonts.Pdf
True Reversed Pilcrows Arimo Cantarell Cardo EB Garamond Noto Sans Noto Serif ⁋ ⁋ ⁋ ⁋ ⁋ ⁋ Nova Mono Roboto Roboto Condensed Tinos Vollkorn ⁋ ⁋ ⁋ ⁋ ⁋ Mirrored Regular Pilcrows ABeeZee Abel Abhaya Libre Abril Fatface Aclonica Acme ¶ ¶ ¶ ¶ ¶ ¶ Actor Adamina Advent Pro Aguafina Script Akronim Aladin ¶ ¶ ¶ ¶ ¶ ¶ Alata Alatsi Aldrich Alegreya Alegreya Sans Aleo ¶ ¶ ¶ ¶ ¶ ¶ Alex Brush Alfa Slab One Alice Alike Alike Angular Allan ¶ ¶ ¶ ¶ ¶ ¶ Allura Almarai Almendra Almendra Display Almendra SC Amarante ¶ ¶ ¶ ¶ ¶ ¶ Amaranth Amatic SC Amethysta Amiko Amiri Amita ¶ ¶ ¶ ¶ ¶ ¶ Anaheim Andada Andika Annie Use Your Anonymous Pro Antic Telescope ¶ ¶ ¶ ¶ ¶ ¶ Antic Didone Antic Slab Anton Arapey Arbutus Arbutus Slab ¶ ¶ ¶ ¶ ¶ ¶ Architects Daughter Archivo Archivo Black Archivo Narrow Aref Ruqaa Arima Madurai ¶ ¶ ¶ ¶ ¶ ¶ Arizonia Armata Arsenal Artifika Arvo Arya ¶ ¶ ¶ ¶ ¶ ¶ Asap Asar Asset Assistant Astloch Asul ¶ ¶ ¶ ¶ ¶ ¶ Athiti Atma Atomic Age Aubrey Audiowide Autour One ¶ ¶ ¶ ¶ ¶ ¶ Average Average Sans Averia Gruesa Libre Averia Libre Averia Sans Libre Averia Serif Libre ¶ ¶ ¶ ¶ ¶ ¶ B612 B612 Mono Bad Script Bahiana Bahianita Bai Jamjuree ¶ ¶ ¶ ¶ ¶ Baloo Baloo Bhai Baloo Bhaijaan ¶ Baloo Bhaina Baloo Chettan Baloo Da ¶ ¶ ¶ ¶ ¶ ¶ Baloo Paaji Baloo Tamma Baloo Tammudu Baloo Thambi Balthazar Bangers ¶ ¶ ¶ ¶ ¶ Barlow Barlow Condensed Barriecito ¶ Basic Baskervville Baumans ¶ ¶ ¶ ¶ ¶ ¶ Be Vietnam Bebas Neue Belgrano Bellefair Belleza BenchNine ¶ ¶ ¶ ¶ ¶ ¶ Berkshire Swash Bevan Big Shoulders Display Big Shoulders Text Bigelow Rules Bigshot One ¶ ¶ ¶ ¶ ¶ -
Design Inquiry Through Data
Delft University of Technology Design Inquiry Through Data Kun, P. DOI 10.4233/uuid:7e914dd9-2b53-4b2c-9061-86087dbb93b9 Publication date 2020 Document Version Final published version Citation (APA) Kun, P. (2020). Design Inquiry Through Data. https://doi.org/10.4233/uuid:7e914dd9-2b53-4b2c-9061- 86087dbb93b9 Important note To cite this publication, please use the final published version (if applicable). Please check the document version above. Copyright Other than for strictly personal use, it is not permitted to download, forward or distribute the text or part of it, without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license such as Creative Commons. Takedown policy Please contact us and provide details if you believe this document breaches copyrights. We will remove access to the work immediately and investigate your claim. This work is downloaded from Delft University of Technology. For technical reasons the number of authors shown on this cover page is limited to a maximum of 10. Design Inquiry Through Data DISSERTATION for the purpose of obtaining the degree of doctor at Delft University of Technology by the authority of the Rector Magnificus, Prof.dr.ir. T.H.J.J. van der Hagen, Chair of the Board for Doctorates to be defended publicly on Tuesday 25 August 2020 at 12:30 o’clock by Péter KUN Master of Science in Interaction Design and Technologies, Chalmers University of Technology, Sweden born in Jászberény, Hungary This dissertation has been approved by the promotors. COMPOSITION OF THE DOCTORAL COMMITTEE: Rector Magnificus, chairperson Prof. -
Schriftanalyse Ausgewählter Open-Source-Schriften
Hochschule Merseburg Studiengang Technische Redaktion und E-Learning Systeme Vertiefung Technische Redaktion Bachelorarbeit Freie Fonts im Qualitätsvergleich. Ein Usability-Test zur Erkennbarkeit und Lesbarkeit ausgewählter Schriftarten. Vorgelegt von Gina Peschke Wielandstraße 11 04177 Leipzig [email protected] Matrikelnr.: 19622 Erstgutachter Prof. Dipl.-Grafikdesignerin Kerstin Alexander Zweitgutachter Wissenschaftliche Mitarbeiterin Cordula Wünsche Leipzig, den 13. Dezember 2017 Selbstständigkeitserklärung Selbstständigkeitserklärung Hiermit erkläre ich, dass ich die vorliegende Arbeit selbstständig und ohne frem- de Hilfe verfasst habe. Alle wörtlichen und sinngemäßen Übernahmen aus ande- ren Werken sind als solche kenntlich gemacht. Insbesondere versichere ich, dass ich keine anderen Hilfsmittel, als jene im Literaturverzeichnis angegebenen, verwendet habe. Dies bezieht sich sowohl auf Textinhalte, als auch auf Abbildungen und Tabellen. ___________________________ ________________________ Ort, Datum Gina Peschke I Inhaltsverzeichnis 1 Einleitung.................................................................................1 2 Problemdefinition..................................................................3 2.1 Forschungsstand und die DIN 1450..............................................4 3 Begriffsklärung........................................................................6 3.1 Erkennbarkeit und Leserlichkeit....................................................6 3.2 Lesbarkeit...........................................................................................6