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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 -
Powerpoint 2007
Office 2007 Microsoft Office Fluent User Interface ........................................................................................................................................................ 2 Key Components ......................................................................................................................................................................................... 2 The Office Button .................................................................................................................................................................................... 2 The Ribbon .............................................................................................................................................................................................. 3 Contextual Tabs ....................................................................................................................................................................................... 3 Galleries .................................................................................................................................................................................................. 3 Live Preview ........................................................................................................................................................................................... 3 Mini Toolbar .......................................................................................................................................................................................... -
A Catalogue of the Wood Type at Rochester Institute of Technology David P
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 11-1-1992 A Catalogue of the wood type at Rochester Institute of Technology David P. Wall Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Wall, David P., "A Catalogue of the wood type at Rochester Institute of Technology" (1992). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. School ofPrinting Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate ofApproval Master's Thesis This is to Certify that the Master's Thesis of David P. Wall With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master ofScience degree at the convocation of DECEMBER 1992 Da,e Thesis Committee: David Pankow Thesis Advisor Marie Freckleton Graduate Program Coordinator George H. Ryan Direcmr or Designa[e A Catalogue of the Wood Type at Rochester Institute of Technology by David P. Wall A thesis project submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences in the College of Graphic Arts and Photography of the Rochester Institute ofTechnology November 1992 Project Advisor: Professor David Pankow Introduction type,' When Adobe Systems introduced in 1990 their first digital library of 'wood the event marked the latest step forward in a tradition dating back to 1828, when Darius Wells, ofNew Wells' York City, perfected the equipment and techniques needed to mass produce wood type. -
Declaration of Independence Font Style
Declaration Of Independence Font Style Heliocentric and implanted Jeremiah prize her duteousness cannonades while Tabor numerate some Davy tonally. How integrant is Juergen when natatory and denticulate Xenos balk some inmate? Outsize and unmeant Shimon spottings fundamentally and synthesise his loungers ghastfully and aguishly. Headings should be closer to the text they introduce than the text that preceeds them. Son foundry was divided among his heirs. HTML hyperlinks are automatically converted. Need help finding the right font for your brand? Prince currently defaults to the RGB color space. Characters are in this declaration independence calligraphy font was the lanston caslon. Mulberry comes as a group of six fonts that cover a whole array of different styles and ligatures. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. Now check your email to confirm your subscription. Research on font trustworthiness: Baskerville vs. Files included in attentions to hear from the depository of? Writers used both cursive styles: location, contents and context of the text determined which style to use. In general, although some of the shapes of individual characters are different, the biggest variation is in line spacing and character size. Some fonts give off assertiveness. The Declaration of Independence in its popular calligraphic form, with signatures. Should this be of importance, use the second approach instead. There are several bibles that are set with Lexicon as well. Garamond will undoubtedly fit the bill. However, it will be tricky to support nested styles this way. Who are your people, and how do you want to talk to them? QUILTSportraits of famous African Americans as a way to document and commemorate their achievements. -
Suggested Fonts List
Suggested Fonts List This is a list of some fonts our designers have available to use when designing your book. This is only a sample of some of the most popular fonts; they have thousands of others to choose from as well. For your convenience, we have marked each font as being appropriate for body text or display text. Body Text fonts are meant for the main body text of your book—paragraphs, lists, etc. These fonts are designed to be easier on the eyes for smoother reading. Display Text fonts are meant for chapter titles, subtitles, etc. They are often “fancier” fonts, such as script or handwriting. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Last updated 6/6/2014 B = Body Text: Fonts meant for the main body text of your book. D = Display Text: Fonts meant for chapter titles, etc. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Font Name Font Styles Font Sample BD Abraham Lincoln Regular The quick brown fox jumps over the lazy dog. 1234567890 Adobe Caslon Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Garamond Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Jenson Pro Light The quick brown fox jumps over the lazy dog. -
Serif Fonts Vol 2
Name Chaparral Pro Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Italic Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Italic Basic Latin ! " # $ % & ' ( ) * + , - . -
SWISS INTERNATIONAL / Overview I / Xxxv
GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / OVerView i / XXXV Swiss International 1 Origins 1 2 The International Typographic Style 11 3 Swiss Type Design 17 4 High Modernism 21 5 Conclusion 35 © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / OVerView ii / XXXV © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL 1 / 35 Origins 1902–1974 The seeds of the International Typographic Style were planted with the seminal writings of German designer Jan Tschichold in the late 1920’s. © KEVIN WOODLAND, 2015 ERNST KELLER GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Origins 2 / 35 1902–1974 Jan Tschichold • Leipzig, Germany • Design practitioner, writer, and theorirst • Son of a provincial signwriter • Trained in calligraphy • Artisan background and calligraphic skills gave him a distinct advantage © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Origins 3 / 35 1923–1933 Jan Tschichold • Converts to Modernist design principles after visiting the first Weimar Bauhaus exhibition • He becames a leading advocate of Modernist design (not unlike Bayer and van Doesburg) • Published many pamphlets proclaiming his modernist ideas • Quickly made use of Bauhaus and Constructivist ideals © KEVIN WOODLAND, 2015 (TOP) JAN TSCHICHOLD, POSTER FOR WARSAW PHILOBIBLON, 1924; (BOTTOM) JAN TSCHICHOLD, COVER FOR ELEMENTARE TYPOGRAPHIE, 1925 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Origins 4 / 35 © KEVIN WOODLAND, 2015 (LEFT) -
Perceived Legibility of Onscreen English Fonts: an Exploration Into Readers and Font Types
Perceived Legibility of Onscreen English Fonts: An Exploration into Readers and Font Types Dr. Chatpong Tangmanee, Chulalongkorn Business School, Chulalongkorn University, Thailand Thanaphorn Rotworaphorn, Chulalongkorn Business School, Chulalongkorn University, Thailand ABSTRACT Onscreen English fonts have a critical role in communicating information. Although there has been research into the legibility of these fonts, no study has yet explored font legibility in the context of ethnicity across font types. The present study attempts to fill this void. 402 Thai and non-Thai participants completed questionnaires that displayed texts using serif, sans serif and script fonts. The analysis revealed that Thai and non-Thai readers’ perception of font legibility are similar. Comparing between the two ethnicities, the differences in perceived legibility of the serif and script fonts are statistically significant however the difference when compared to the sans serif was not significant. In addition, Thai readers perceived significantly different degrees of legibility among the three fonts. Yet, non-Thai readers perceived legibility of the serif and the sans serif fonts to be about the same but significantly different from the script font. In addition to extending theoretical insights into digital typography across two groups of viewers, practitioners could adopt the findings and use the onscreen English fonts that enhance viewers’ legibility Keywords: Perceived legibility; Onscreen English fonts; Thai and Non-Thai readers; Serif; Sans serif; Script INTRODUCTION An onscreen English font is a set of English characters on a computer monitor of a certain design. A font is conceptually different from a typeface. In traditional typography, a font refers to a complete character set of a single size and style of a given typeface. -
0321722132.Pdf
Stunning CSS3: A project-based guide to the latest in CSS Zoe Mickley Gillenwater New Riders 1249 Eighth Street Berkeley, CA 94710 (510) 524-2178 Fax: (510) 524-2221 Find us on the Web at www.newriders.com To report errors, please send a note to [email protected] New Riders is an imprint of Peachpit, a division of Pearson Education Copyright © 2011 by Zoe Gillenwater Acquisitions Editor: Wendy Sharp Production Editor: Hilal Sala Project/Copy Editor: Wendy Katz Technical Editor: Chris Mills Cover design: Charlene Charles-Will Interior design: Mimi Heft, Charlene Charles-Will Compositor: Danielle Foster Indexer: Emily Glossbrenner Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact [email protected]. Notice of Liability The information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor New Riders shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks Acrobat, Dreamweaver, Fireworks, and Photoshop are all trademarks or registered trade- marks of Adobe Systems, Inc. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. -
Vision Performance Institute
Vision Performance Institute Technical Report Individual character legibility James E. Sheedy, OD, PhD Yu-Chi Tai, PhD John Hayes, PhD The purpose of this study was to investigate the factors that influence the legibility of individual characters. Previous work in our lab [2], including the first study in this sequence, has studied the relative legibility of fonts with different anti- aliasing techniques or other presentation medias, such as paper. These studies have tested the relative legibility of a set of characters configured with the tested conditions. However the relative legibility of individual characters within the character set has not been studied. While many factors seem to affect the legibility of a character (e.g., character typeface, character size, image contrast, character rendering, the type of presentation media, the amount of text presented, viewing distance, etc.), it is not clear what makes a character more legible when presenting in one way than in another. In addition, the importance of those different factors to the legibility of one character may not be held when the same set of factors was presented in another character. Some characters may be more legible in one typeface and others more legible in another typeface. What are the character features that affect legibility? For example, some characters have wider openings (e.g., the opening of “c” in Calibri is wider than the character “c” in Helvetica); some letter g’s have double bowls while some have single (e.g., “g” in Batang vs. “g” in Verdana); some have longer ascenders or descenders (e.g., “b” in Constantia vs. -
Web Typography │ 2 Table of Content
Imprint Published in January 2011 Smashing Media GmbH, Freiburg, Germany Cover Design: Ricardo Gimenes Editing: Manuela Müller Proofreading: Brian Goessling Concept: Sven Lennartz, Vitaly Friedman Founded in September 2006, Smashing Magazine delivers useful and innovative information to Web designers and developers. Smashing Magazine is a well-respected international online publication for professional Web designers and developers. Our main goal is to support the Web design community with useful and valuable articles and resources, written and created by experienced designers and developers. ISBN: 978-3-943075-07-6 Version: March 29, 2011 Smashing eBook #6│Getting the Hang of Web Typography │ 2 Table of Content Preface The Ails Of Typographic Anti-Aliasing 10 Principles For Readable Web Typography 5 Principles and Ideas of Setting Type on the Web Lessons From Swiss Style Graphic Design 8 Simple Ways to Improve Typography in Your Designs Typographic Design Patterns and Best Practices The Typography Dress Code: Principles of Choosing and Using Typefaces Best Practices of Combining Typefaces Guide to CSS Font Stacks: Techniques and Resources New Typographic Possibilities with CSS 3 Good Old @Font-Face Rule Revisted The Current Web Font Formats Review of Popular Web Font Embedding Services How to Embed Web Fonts from your Server Web Typography – Work-arounds, Tips and Tricks 10 Useful Typography Tools Glossary The Authors Smashing eBook #6│Getting the Hang of Web Typography │ 3 Preface Script is one of the oldest cultural assets. The first attempts at written expressions date back more than 5,000 years ago. From the Sumerians cuneiform writing to the invention of the Gutenberg printing press in Medieval Germany up to today՚s modern desktop publishing it՚s been a long way that has left its impact on the current use and practice of typography. -
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.