Manuais de Tipografia: Duerer, Tory 1505: Albrecht Dürer Underweysung der Messung, Nuremberg. Além de ser um belíssimo livro, este famoso tratado é uma obra pioneira na ilustração exacta, no que hoje chamamos «desenho técnico»; contém mais de 150 gravuras, incluindo projecções ortográficas. CD de Octavo: Comentários de David Price, English translation of the Latin text by Silvio Levy for Octavo, and of the German text by Walter L. 1529: Geofroy Tory Champ Fleury au quel est contenu lart & science de la deue & vraye proporttio des lettres , Paris. Version en ligne en fac-similé (images pdf ou tiff multipages, index) par Gallica numérisation BnF de l'édition de Paris gallica.bnf.fr/ark:/12148/bpt6k50961p CD de Octavo : Commentary by Kay Amert, printing historian – Complete English translation of the French text by George B. 1723: Martin-Dominique Fertel La science pratique de l'imprimerie..., Saint Omer. Fertel, Martin Dominique. 1751-1772: Diderot & D'Alembert CD éditions Redon. 1764-1766: Pierre-Simon Fournier, dit le jeune.
responsive typography in web design Responsive web design, also abbreviated as RWD, is a well-known concept on the internet nowadays. It is very popular and was introduced about 4-5 years ago to the masses. Since then, everybody talks about it and website owners without a responsive layout look on how to change that. RWD is important because the internet nowadays is mobile, not static. We do not only browse from our desktop machines anymore, we use tablets and smartphones. Why consider typography? The content is the most important element of a website, we all know this by know. Typography is already introduced in Responsive Web Design to some extent (column width, type size or line height, for example), but this article will help you take beyond the default settings of RWD. What’s important There are three basic principles you need to keep in mind. But before looking at these, the choice usually is down to serif or sans serif fonts. The font size should be specified in the stylesheet according to different screen sizes. Coop
design et typo | Typographie et valeurs sémantiques, décryptage des courants graphiques et typographiques Laurent Bourcellier Unicopte Copte Scripte Joos Unicopte Création d'une typographie copte à usage éditorial. → Mémoire de diplôme. ∧ haut de page ∧< Retour à la sélection des projets Copte Scripte Typographie copte. → Affiche A3. ∧ haut de page ∧< Retour à la sélection des projets Joos Italique redressée. → Affiche A3. ∧ haut de page ∧< Retour à la sélection des projets arial vs helvetica Typography is a fine art form. To the untrained eye, it seems like there are about 40 unique fonts with identical copies abound that make up the hundreds of fonts in existence. However, typographers are a keen type and there are small differentiating features that when combined, result in a finely-crafted and unique font. As commoners, we may not be able to pinpoint the specific differences between two fonts, but we can often sense that there’s a difference, even if it’s minute. We may even be drawn to one over another, and are not quite sure why. One of the most common mix-ups is between Arial and Helvetica. Helvetica was originally created in 1957 by Max Miedinger and Eduard Hoffmann of the Haas type foundry based in Switzerland. Helvetica blew up in the ‘60s and ‘70s as it became the favorite font of designers, for its modern, clean, and commercial appeal. Arial was created in 1982 by Robin Nicholas and Patricia Saunders of Monotype (a type foundry). Different strokes
Graphic Design - Eskilson, Stephen Stephen J. Eskilson Instructors: Visit the accompanying web site for the second edition at yalebooks.com/Eskilson; more information is below. Now in its second edition, this innovative look at the history of graphic design explores its evolution from the 19th century to the present day. Author Stephen J. The second edition features over 80 new images, revised text throughout, a new chapter on 19th-century design, and expanded sections on critical topics including the Swiss Style, Postmodernism, and contemporary design. Stephen J. Instructors: * Visit the updated accompanying web site for the second edition at yalebooks.com/Eskilson for quizzes, discussion questions and comparisons. * A pagination comparison of the two editions is available here.* A set of 100 color and black and white images in the book is available for $5.00 to instructors who adopt the book. * If you would like to view an e-examination copy of this title in uncorrected form, please click the request button above.
Infographie : Guide de la Typographie je ne vous cache pas qu’en tant que webdesigner, je suis souvent amené à me casser la rétine sur des créations ayant des énormes fautes de choix de typographie ou simplement des typographies illisibles. Bref, je pense que je ne suis pas le seul. Je ne reproche pas du tout les choix des créatifs pour 2 raisons. La plupart du temps c’est le client qui souhaite la typographie de son choix et c’est non négociable ou bien c’est simplement un travail très important de choisir « LA » typographie adaptée à la création. Je pense que je vais passer sur l’étape de la comic Sans ou du logo en WordArt couplé aux superbes Gif animés des années 90… Voici donc une infographie qui nous explique rapidement les fondamentaux de la typographie. Il existe déjà différents types de typographie : les typefaces avec la sans-serif, les scripts ou encore les serif. Chaque typographie possède sa qualité, sa force et sa faiblesse dans chaque cas. « Don’t try to be original, just try to be good. » — Paul Rand via
arial vs helvetica Seconds Out, Round One Every typeface, like every one of us, has its distinguishing features. You might be forgiven for thinking that some fonts are clones, or identical twins. However, closer inspection reveals subtle differences and nuances that simply escape casual perusal. Something that can really help heighten our sensitivity to those differences is getting out our magnifying glasses and really taking a closer look. Today we’re going to de-robe two popular typefaces, namely Arial and Helvetica — faces that are often confused, and often the subjects of mistaken identity. HelveticaDesigned in 1957 by Max Miedinger, Helvetica’s design is based on that of Akzidenz Grotesk (1896), and classified as a Grotesque or Transitional san serif face. ArialDesigned in 1982 by Robin Nicholas and Patricia Saunders for Monotype (not Microsoft), it’s classified as Neo Grotesque, was originally called Sonoran San Serif, and was designed for IBM’s bitmap font laser printers.
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