Sentences with phrase «font designed by»

The Paperwhite 3 is the first e-reader to include the Bookerly font, a new font designed by Amazon, and includes updated formatting functions such as hyphenation and improved spacing.

And, with TypeGenius, you can create your own ideal reading experience by choosing from a selection of adjustable fonts — including a new, exclusive Kobo font designed by typography experts.

Font Designed by YOONDESIGN GROUP INC..

These techniques will enable you to enjoy font design by letting you focus on the actual drawing of characters with a clear plan and a workflow which does not get in your way.

Graph paper pad, offset print In collaboration with Jeong Hwa Min Cover font design by Wolfgang Breuer Published by Wiens Verlag, Berlin 32 x 29.7 cm, 96 pages, printed on one side, ed.

Not exact matches

Meenan designed a new batch of shirts, always using Mets colors and fonts but never referencing the team by name.

Rounding off the design, the printed front graphic provides a modern approach and the heat transfer gothic «A», inspired by the gothic font that featured on the club's crest in the past, is the official signoff on the back neck area.»

Like a shot of an antique shop raided by the royal court and Chris Van Allsburg, it blends opulent production design with near - absurdist block font, which serves to communicate the clout of the story, its endurance in modern times, a diva sensibility, and even the wintry Russia setting, reflected in the gleam of those imposing, towering letters.

For example, you could indicate that the design phase is complete only when all design templates, fonts, etc. are reviewed and approved by stakeholders.

And here's where an Instructional Designer comes in the picture: In collaboration with the tech - team, design team and the Subject Matter Expert, the Instructional Designer would brainstorm in context of aesthetics (size, font, design, and experience), placement, frequency of use of tools, content format, and more, to ensure learners are not overwhelmed by the experience.

You can carry this over to your eLearning course design by changing the font type.

By looking for ways to improve, you might be inspired to perk up your design with new elements or streamline a lesson using media instead of font.

A course may have exceptional content, but if the user is confused by a poorly designed interface or gets distracted by garish fonts and graphics, they may not end up absorbing the material.

Here is why in a nutshell: Ebooks are basically HTML, and not advanced web2.0 / webapp / skynet HTML, but stripped - down, carved in a stone slab as Cuneiform kind of HTML — no layers, limited positioning, tricky - to - non-existent font embedding... It's barbarian by web design standards.

So, we make sure that we use visually engaging fonts, images and design to give your book every chance it deserves to be lovingly held by a prospective reader.

You can do a cheaper cover by merely paying for one digital image from iStock or some other provider and add font and do it yourself graphically (not recommended), but a cover needs to look good on a thumbnail and a bad design can kill sales.

Garfield's breezy writing serves up many entertaining trivia - the role of hand gloves in font design; which font is used in the signs for the television sitcom The Office (and why); how Gotham played a large part in President Barack Obama's election campaign; and how the look of the entire city of London was changed by one beautiful font.

Although there are thousands of fonts available online, very few of these typefaces are appropriate choices for book covers or interior book design, as they tend to be tailored for use by artists and graphic designers.

I now see that publications like Rolling Stone offer the reader more choices in font size and readability than the, by comparison, locked - down design of the Conde Nast publications, including The New Yorker.

When designing your eBook, however, your design choices will be overridden by the user's choice of font size, the device size and layout, and the ability of the device to render graphics and characters.

Dyslexic readers are helped by fonts designed with their needs in mind.

The new font was designed by Type Together who had a brief for a new book typeface that would provide an outstanding reading experience on a whole range of devices and high - resolution screens running different rendering technologies.

To honour his memory, NewFest and NYC Pride partnered with Ogilvy & Mather's design team and created a font inspired by the Rainbow Flag named Gilbert.

Well, my social media pseudonym (mrseaves101) was inspired by an existing font called Mrs Eaves (designed by Zuzana Licko in 1996), so in a way it already exists!

Inkie has since worked as head of design for SEGA, Xbox, Jade Jagger's in - house designer as well as running a West London design studio creating prints, illustrations, clothing and with his trademark beauty on large - scale pieces, the globally respected artist, whose diverse inspirations collect Mayan architecture, William Morris, Mouse & Kelly, Alphons Mucha, The Arts & Crafts movement and Islamic geometry, has exhibited worldwide, been denounced as Banksy's right hand man by The Daily Mail and simultaneously lauded by The Times, his art published in the books Banksy's Bristol, Children of the Can, Graffiti World, Street Fonts and magazines GQ, Rolling Stone, Computer Arts, Huck, Graphotism and Dazed & Confused.

Font Study (TIME), 2011 Artist's book, full color, 196 pages 13.25 x 10.25 x 0.8 inches / 33.5 x 26 x 2 CM Designed by Mungo Thomson and Mark Owens Published by Los Angeles County Museum of Art

Presented as a sprawling discourse between two parties identified as «miner» and «weigher» by their specific symbols, the artist winds his way through a variety of seemingly disparate topics, including font choices, four color printing, television shows, movies, and graphic design.

The version hosted by Manchester Art Gallery was developed with Peter Saville and Richard Wentworth, a coupling that explains why the design of the show is an odd but likeable mix of slick graphics (instructions stencilled in large font on the wall of the main gallery) and DIY support structures, such as Wentworth's clunky viewing ramp, which also doubles as a display platform for piles of A4 take - home instructions.

Famira designed a custom - made typeface for Céline, another major fashion house, by interpreting metal type specimens of a 1931 font called Semplicità to create a digital font that the company uses for print and screen.

The pocket - sized gadget is designed to reveal a typeface by taking photos and cross-referencing it with a large database of fonts.

Readability is the next important design tip: you want your emails to be as easy to read as possible by not being afraid of white space, dividing content into sections, choosing legible fonts within the 14 - 16px range, and adding a clear call to action.

His fonts are influenced by the classic movements of the twentieth century — Modernism, Constructivism, the Bauhaus and Art Deco — yet he aims to create timeless designs, valid now and in the future.

Her Lushootseed font for the Tulalip Tribes of Washington was the first newly designed Native American font to be cut as wood type by the Hamilton Museum and is used in efforts to revive the daily use of the critically endangered language.

TAREK ATRISSI (MFA 2003 Design) Designer; creative director and founder Tarek Atrissi Design, the Netherlands; formerly creative director for Meta Design; Arabic language typeface designer behind some of the most visible branding fonts across the Middle East; included in the permanent design collection of the Affiche Museum, Hoorn, the Netherlands; exhibited at the Guggenheim Museum, NYC, and The VCU Gallery in Qatar; Adobe Design Achievement Awards (2002); Dutch Design Award (2007); included in Area, a global overview of contemporary printed graphic design published by Phaidon (2007); selected for Print magazine's 20 Under 30 (2005); clients include the Arab Museum of Modern Art, the BBC, MTV, Georgetown University and the V&A Museum in LDesign) Designer; creative director and founder Tarek Atrissi Design, the Netherlands; formerly creative director for Meta Design; Arabic language typeface designer behind some of the most visible branding fonts across the Middle East; included in the permanent design collection of the Affiche Museum, Hoorn, the Netherlands; exhibited at the Guggenheim Museum, NYC, and The VCU Gallery in Qatar; Adobe Design Achievement Awards (2002); Dutch Design Award (2007); included in Area, a global overview of contemporary printed graphic design published by Phaidon (2007); selected for Print magazine's 20 Under 30 (2005); clients include the Arab Museum of Modern Art, the BBC, MTV, Georgetown University and the V&A Museum in LDesign, the Netherlands; formerly creative director for Meta Design; Arabic language typeface designer behind some of the most visible branding fonts across the Middle East; included in the permanent design collection of the Affiche Museum, Hoorn, the Netherlands; exhibited at the Guggenheim Museum, NYC, and The VCU Gallery in Qatar; Adobe Design Achievement Awards (2002); Dutch Design Award (2007); included in Area, a global overview of contemporary printed graphic design published by Phaidon (2007); selected for Print magazine's 20 Under 30 (2005); clients include the Arab Museum of Modern Art, the BBC, MTV, Georgetown University and the V&A Museum in LDesign; Arabic language typeface designer behind some of the most visible branding fonts across the Middle East; included in the permanent design collection of the Affiche Museum, Hoorn, the Netherlands; exhibited at the Guggenheim Museum, NYC, and The VCU Gallery in Qatar; Adobe Design Achievement Awards (2002); Dutch Design Award (2007); included in Area, a global overview of contemporary printed graphic design published by Phaidon (2007); selected for Print magazine's 20 Under 30 (2005); clients include the Arab Museum of Modern Art, the BBC, MTV, Georgetown University and the V&A Museum in Ldesign collection of the Affiche Museum, Hoorn, the Netherlands; exhibited at the Guggenheim Museum, NYC, and The VCU Gallery in Qatar; Adobe Design Achievement Awards (2002); Dutch Design Award (2007); included in Area, a global overview of contemporary printed graphic design published by Phaidon (2007); selected for Print magazine's 20 Under 30 (2005); clients include the Arab Museum of Modern Art, the BBC, MTV, Georgetown University and the V&A Museum in LDesign Achievement Awards (2002); Dutch Design Award (2007); included in Area, a global overview of contemporary printed graphic design published by Phaidon (2007); selected for Print magazine's 20 Under 30 (2005); clients include the Arab Museum of Modern Art, the BBC, MTV, Georgetown University and the V&A Museum in LDesign Award (2007); included in Area, a global overview of contemporary printed graphic design published by Phaidon (2007); selected for Print magazine's 20 Under 30 (2005); clients include the Arab Museum of Modern Art, the BBC, MTV, Georgetown University and the V&A Museum in Ldesign published by Phaidon (2007); selected for Print magazine's 20 Under 30 (2005); clients include the Arab Museum of Modern Art, the BBC, MTV, Georgetown University and the V&A Museum in London.

The Cato report, titled: «Addendum: Global Climate Change Impacts in the United States» uses the same cover design, title and fonts as a report issued in 2009 by the US government's Global Change Research Program titled: Global Climate Change Impacts in the US.

Design: Choose options for the look of your site by selecting a layout, uploading a background image, selecting a font, and choosing a color palette.

Slaw, for example, uses as a favicon «Sl» in a particular font, Harrison Pensa uses its «HP» design (which, by the way, is a registered trademark), and my own blog uses my initials.

Did James say to lose it and go with a lightly modified version of a font notorious for being used exactly in this way — as a boring default selected by the design - unconscious?

Apart from being the standard road sign font in Germany and much of Europe, DIN is frequently used by graphic designers for its high legibility and clean, hard - working design style.

To Sony's credit they did improve the design of the homescreen by including larger app icons and nicer labels, but it's hardly a massive system - wide change, even introducing style inconsistencies such as conflicting fonts.

Don't mix and match fonts or overdo your resume by adding watermarks, designs, backgrounds, etc..

Alternative: Cormorant is inspired by Garamond's design, but it is openly available and Google Fonts financed the development to enable its libre release.

It is designed very beautifully, with crisp display of information by making use of good font, bullets, highlights, etc..

Sure, you want to stand out from the competition, but do so through the impressive content of your documents — not by using wacky designs, crazy fonts and colors, or any other overly creative flourishes.

What this means for your professional brand: When you're flashy — whether it be in an overly designed resume, using font colors that span the entirety of ROYGBIV, or a random melange of pictures on your personal website for the sake of having pictures — you're not taken as seriously by recruiters, clients or business partners.

Separate the header from the content of your letter by using design elements like color, a larger font size, or simple bold and underline styling.

You start by using a resume font people can actually read (that's what this post is for), then you design a resume that stands out from the rest (here's how you do that).

As a bonus, if you're struggling to condense your resume to one to two pages (which is a good idea), Garamond can help you fit more text on a page without sacrificing readability by lowering the font size or crowding your design by tightening up the spacing.

You can compensate for that by using fonts designed for easy screen reading: Times New Roman, Arial (or Helvetica), Verdana, or Tahoma.

This type can fit more text on a page without crowding your design by tightening up the spacing or sacrificing the readability by lowering the font size.