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Dårlig Gjennomgang (Av Min Egen Bok) Som Gjorde Meg Latter
Jeg drømt om å være en forfatter fra om andre klasse på, da jeg skrev min første novelle. Det var veldig korte, om tre eller fire avsnitt som krøp arbeidskrevende, omhyggelig ut over siden. Den lille epic er nå i The Lev Raphael papirer ved Michigan State University for fremtidige forskere av mitt arbeid å fange opp uendelig betydningen av, eller bare si, "Å, søt!" og gå videre.
I would like to use small captials for the names in my document. So it looks like this:
In the HILBERT space we have …
However, I am not sure what I would do with “Lagrangian”. The actual name is “Lagrange”. Should this be
- “LAGRANGian” (wrong Name highlighted)
- “LAGRANGEian” (wrong word in the end)
- “Lagrangian” (exception of the rule, since name is no full substring)?
Similarly “fermion” from Fermi, “boson” from Bose.
Any of you guys have any samples of Murray Hill Gothic? Ed Rondthaler talks about it in his book Life With Letters.
The family had several weights and they were all based on Railroad Gothic, but had a proper lowercase. It got a lot of use in the 40's and 50's, from what I can tell.
Anyone know why the 'W' sits slightly below the baseline? Ie next to the A
Just designing a logotype. Going to Align it but just thought I would ask as it obviously is intended to do that?
Does anyone know the meaning of the 'ℓ' glyph?
(Example from Lineto 'Circular')
"Why did the chicken cross the road? [...]
To get to the other side."
A normal ellipsis doesn't seem to convey enough and emphasizing it (using brackets here) looks a bit much. And it's confusing, like the intent is to remove text.
Is there a more eloquent way to represent this?
Whatever the virtues of the new layout, IMO this new FT typeface, at least what shows in the headline, is a bad choice - it's a bit spiky and it's busy - almost frenetic: it pulls the eye back and forth among the letters. Doesn't assist comprehension in moving forward efficiently along the lines of text. Ugg.
In contrast, the face used in the Guardian article about the change at the Financial Times clarifies meaning, doesn't impede. Never mind that I'm contrasting is between serif and sans.
Subject: Guidance with selecting typeface for family gravestone...
[First time poster, here. Just did comprehensive search of the forums for similar questions, and understandably found only a few on target (last one back in 2011).]
I appreciate any guidance you might provide on this matter --- I'm trying to select a typeface for the burial headstone for a close female family member (passed away at ripe old age). I'd like the typeface to convey a sense of her strong family ties, as well as her great warmth combined with her no-nonsense/resilient approach to life.
I've spent a good deal of time on this site over the past few months, focused mostly on helping people identify typefaces on the Font ID forum and on broadening my own knowledge of the current type landscape.
While I understand that non-designers may wrongfully assume that logotypes are born, fully-formed, from a typeface, I seem to be encountering a growing number design students and young designers who assume the same.
I did not go to art school, and I've only guest-lectured to design students a handful of times over the past twenty-five years. So my question to those of you who do interact with students more often—either as full-time faculty or as frequent guest lecturers—is this:
The U.S. Government has started a campaign to reduce print costs: PrintWise. Step 7 of their action plan states that ‘one of the three toner-efficient fonts’ should be used. Those fonts are Times New Roman, Garamond and Century Gothic.
You can read the 'Seven Steps to Lowering Print Costs' here:
They even used Garamond and Century Gothic for the campaign logo:
Undoubtedly the amount of Word documents set in Garamond and Century Gothic have grown by the thousands or even millions due to this campaign.
Hi! I'm wondering if there is a default slab serif that ships with all (or most) Macintoshes? Is Courier one of these? Are there others?
Thanks in advance!
I was wondering if anyone who had some familiarity with greek might be able to answer a couple of questions for me which I've been unable to track down.
First, I was curious as to whether the characters stigma and digamma, when used as numerals, are interchangeable or whether there are specific context in which each is favoured.
Second, In actual greek usage is it commonplace to make use of numeric stigma (U+03DB) or is plain vanilla stigma (U+03C2) more commonly used (as a number)? And does this differ between everyday use and professional typography?
I don't speak any languages which make use of cyrillic, so what seems sensible to me might seem completely non-sensical to those familiar with the script. To me, the alternate forms associated with Bulgarian seem to give the script a more latinized feel than other cyrillic-based languages, which leads me to the following question. Given the more latinized feel, does it make sense to base the Bulgarian letters Ka and Zhe on the Latin letter K rather than on cyrillic? Also, since El often takes a more lambda-like form, should de be given a more delta-like form? To clarify what I mean, please refer to the following image. The top two rows contain (what I believe to be) fairly standard Bulgarian alternates.
I've designed a book in two colors - red and black, mostly text, but some decorative graphics in red. This is my first book in two colors. I worked using CMYK specs, and set the red to 0,100,100,0. However, my printer needs the colors to be selected from the Solid Uncoated Pantone Library. I have had difficulty find the right red to use.
My printer has recommended Pantone 185, but I find this is not intense enough: a bit dull, or faint. Moving up just slightly, to 186 and higher, the colors become too brown.
I have seen books published in red and black ink (liturgical books, predominantly), where the red is bright, clear, and intense. Can someone recommend a good pantone number? Thank you.
Hi all, whilst working on a current project, I have been supplied a logo lock-up which consists of a main mark and a strapline. The strapline is set on a curve to simulate a smile. My argument is that the text on a curve offers space, design and legibility issues and would sit better if it set on a horizontal line without compromising the design. I know that setting type in a curve throws up kerning issues with particular glyphs and ascenders, I wondered if anyone has a method/logic of showing why not to set text on a curve. I have worked a quick example up by blurring a curved and straight version which helps so glyph clashes to a degree, are there any other ways of showing the problems with setting words on a curve.
Thanks in advance for any contributions/advice.
Im a NY illustrator/graphic designer who is becoming more and more interested and obsessed with type design, typography, and logo design. My illustration skills certainly help propel me forward into territories of originality and detail but I am lacking some basic and more fine tuned type skills. I have been working in NY as a graphic designer for several years so I have lots of basic knowledge but I am considering diving into this new passion and going back to school for my masters in type design/typography/branding- identity design (if that is a real major). Does anyone have any suggestions for great programs in NY; both for continuing ed and also for a full masters program?
Greetings, fellow type enthusiasts!
Please forgive me if I've posted this thread in the wrong section of the forums, but I can't exactly determine where it should be posted (or even if posts of this type are even allowed here). Type ID seems like the wrong place as I already know of the typeface and its name. What I have to say here boils down to more of a request than anything else, so General Discussion seems the most appropriate of all the options available. Also, please look kindly on my possible transgression if indeed posts of this kind are not permitted due to moral or legal considerations.
I'm not much of an Apple fanboy but I couldn't help but notice the font in their watch UI, it seems like a mix of Univers and DIN, like it's engraved, maybe they wanted to suggest a classic machined quality to the product.
A good thing they are drifting away from Helvetica.
Does anyone know something about it?
Some old book pages and fonts, and some commentary:
At $275 it's actually a fair price. But why ruling out the modest user who wants to try out and see?
hi guys, just curious to know if you have any preferred style/font for the page number of your papers. where in the sheet? up, down, in the middle, right, left? I usually prefer the middle of the page, number in courier or typewriter style (with akzidenz for the text body). cheers.
Does anyone have, or know of, some good documentation of what character sets (glyphs and other characters) need to go into what languages? I'd like to work with a setup where I can see what languages contain which characters, so that I know how to make the correct documentation for users and purchasers.
It would also help me not to make mistakes and oversee characters that needed to go into a font. That way I can work more structured updating my fonts. I will be reworking most of them for Fontshop, that will publish my fonts soon. ;-)
Thanks in advance.
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Are there any regular readers of The New Yorker here?
Could somebody tell me how do they format the quoted titles from other newspapers?
For example, in this article about Novak Đoković, take a look at how the formatted the headlines from Observer and Independent on Sunday?
Could you also take a look at the formating of A.M. and P.M.? They should both be in small caps, but the A in A.M. looks a bit bigger.