Sentences with phrase «in typeface design»

Type@Cooper and the Continuing Education Department of The Cooper Union, in conjunction with the Type Directors Club, offers a Postgraduate Certificate in Typeface Design.

Industry leaders conduct a rigorous 5 - week intensive program in typeface design this summer at Cooper Union's New York City campus.

A brief letter describing your experience and interest in typeface design and lettering (250 words maximum).

We also offer individual courses and Certificates for professionals in Typeface Design, a centuries - old art form that now also employs cutting - edge technology and in Digital Fabrication.

Type@Cooper and the Continuing Education Department of The Cooper Union, in conjunction with the Type Directors Club, offers a Postgraduate Certificate in Typeface Design.

He was involved in the creation of, and currently teaches in, the new post-graduate certificate program in typeface design at Cooper Union, called Type@Cooper.

Not exact matches

Robin Hercia runs AWMYL design studio in Los Angeles, Ca and has a heavy client base in wellness industries - «The branding needs to be original and it needs to be an all encompassing emotional and atmospheric expression of the business - typeface, color, and treatment are all a reflection of its essence and set the stage to attract the desired demographic.»

Designed by Geoffrey Lee in 1965, Impact was one of the last typefaces that the Stephenson Blake foundry in Sheffield made from metal.

It's easy to see why Comic Sans was a typeface designed for use in comic books, and would certainly look out of place in Vogue.

In the past two decades, HTML and CSS have worked with browsers to enhance layout, and PDF, a once - closed standard developed by Adobe in 1993, has afforded freedoms on par with print design, with additional security to protect commercial typefaces and private documentIn the past two decades, HTML and CSS have worked with browsers to enhance layout, and PDF, a once - closed standard developed by Adobe in 1993, has afforded freedoms on par with print design, with additional security to protect commercial typefaces and private documentin 1993, has afforded freedoms on par with print design, with additional security to protect commercial typefaces and private documents.

The last example is a typeface in which each letter is a work of art in itself, making the title hard to read, yet it might be effective for a historic or Gothic book cover design.

While there is no limit to formatting capabilities in print design, ebook formatting is limited to a selection of web - friendly typefaces, line spacing, etc..

InDesign comes with several typefaces suitable for book design, and in Book Design Made Simple we walk you through the process of setting up your pages and book cover using typefaces that are already available to you in InDdesign, and in Book Design Made Simple we walk you through the process of setting up your pages and book cover using typefaces that are already available to you in InDDesign Made Simple we walk you through the process of setting up your pages and book cover using typefaces that are already available to you in InDesign.

Cover design requires attention to color themes, spacing and typefaces in addition to selecting an image.

We created the formulas by setting 10,000 words in Minion (a commonly used serif typeface that comes with InDesign), and using the page margins recommended in Book Design Made Simple (0.75 ″ on all sides except 0.85 ″ at the top).

These days, typefaces are designed using computer programs such as Macromedia Fontographer, but in the early days of type, each was made by hand using basic tools.

The typography, also referred to as the font or typeface, plays a significant role in the overall design of a picture book.

5 Favorite Fonts for Interior Design 5 Great Fonts for Book Covers 3 Great Typeface Combinations You Can Use in Your Book

He is a sucker for well - designed serif typefaces and likes reading thrillers in his spare time.

I am not going to delve into a lot of detail on the basics of using typefaces in design.

Designers and self - published writers use page - layout and illustration software to pull together illustrations, cover designs, layouts and typefaces in a fraction of the time it would take by hand.

In 1551, 12 years after Olaus Magnus designed his famous Carta Marina, Antonio de Espinosa — unknown to the World but adored in Mexico — cut the first original printing typefaces of the Americas, severing the strict lash of Seville over anything book in the territories that now we call Latin AmericIn 1551, 12 years after Olaus Magnus designed his famous Carta Marina, Antonio de Espinosa — unknown to the World but adored in Mexico — cut the first original printing typefaces of the Americas, severing the strict lash of Seville over anything book in the territories that now we call Latin Americin Mexico — cut the first original printing typefaces of the Americas, severing the strict lash of Seville over anything book in the territories that now we call Latin Americin the territories that now we call Latin America.

Book Design for Self - Publishers: Workflow, Interior Design Stage including creating page elements, selecting typefaces to use in the book, and more

It's understandable in an age that puts so much of a book's interior design — typeface, font size, spacing, margins, etc. — in readers» hands.

tolino vision 3 HD: Crystal clear typeface meets sleek design In developing the new devices, technology partner Deutsche Telekom placed special emphasis on making the reading experience even easier, more enjoyable, and more user - friendly.

Things that might not have stood out to most potential users, but that seem to be a big deal in practice, are: the lighter weight of the new design (15 % lighter than the Kindle 2, which was itself noticeably lighter than the competing nook device), the rubber backing which greatly increases the comfort of reading one - handed (assuming no case, of course), and the ability to change your preferred typeface.

However, there have been stirrings in this area in Googleland recently, notably with the introduction of the specially designed Literata font as the default typeface on its Google Play Books app.

PROPRIETARY RIGHTS Loving Pets Corporation owns all rights, title and interest in and to the material appearing on www.LovingPetsProducts.com, including, without limitation, all marks, graphics, images, layouts, presentation, page headers, button icons, typefaces, trade names, trade dress, logos, content, website design, data compilations, and text, which are protected by copyright, trademark, trade dress and other intellectual property laws.

A family of grid based geometric typefaces designed in collaboration with The Designers Foundry

Organised chronologically, the volume features over 2,500 seminal designs from all over the world, seventy - two of which are profiled in detail beside 57 leaders in the field, including Alphonse Mucha (chocolate advertisements), Edward Johnston (London Underground logo and typeface), El Lissitzky (constructivist graphic), Herbert Matter (photomontage travel posters from Switzerland), Saul Bass (animated opening titles), and A. M. Cassandre (art deco posters).

This catalog was produced on the occasion of the exhibition ARLENE SHECHET In the Meantime April 27 — May 27, 2017 Corbett vs. Dempsey 1120 North Ashland Avenue, 3rd Floor Chicago, IL 60622 Tel. [phone] www.corbettvsdempsey.com Text John Corbett Publication Editor Emily Letourneau Photography Lee Stalsworth Phoebe d'Heurle Arlene Shechet Catalog Design David Giordano First printing, edition of 1,000 Printed on 100 # Classic Crest Eggshell cover stock And 100 # GPA Silk text stock Typefaces: ITC Cheltenham Std, Nueu Haas Grotesk Text Std © 2017 Corbett vs. Dempsey All rights reserved All works © Arlene Shechet 2017 ISBN 978 -0-9974995-9-9 Printed in Illinois CvsD01In the Meantime April 27 — May 27, 2017 Corbett vs. Dempsey 1120 North Ashland Avenue, 3rd Floor Chicago, IL 60622 Tel. [phone] www.corbettvsdempsey.com Text John Corbett Publication Editor Emily Letourneau Photography Lee Stalsworth Phoebe d'Heurle Arlene Shechet Catalog Design David Giordano First printing, edition of 1,000 Printed on 100 # Classic Crest Eggshell cover stock And 100 # GPA Silk text stock Typefaces: ITC Cheltenham Std, Nueu Haas Grotesk Text Std © 2017 Corbett vs. Dempsey All rights reserved All works © Arlene Shechet 2017 ISBN 978 -0-9974995-9-9 Printed in Illinois CvsD01in Illinois CvsD0110

The title of this exhibition, «Transport Medium» refers to a typeface designed in 1961 that is used exclusively for all road signs in Britain.

Using her instantly recognizable white - on - red Futura typeface, the project will include an installation for the popular Lower East Side skate park located beneath the Manhattan Bridge, created in partnership with NYC Parks and skate park designer Steve Rodriguez; the design of a billboard on 17th Street and 10th Avenue in Chelsea; and a full wrap of a classic school bus that will serve as a mobile site for community engagement.

In them, Brannon plays with the moment between representation and association, employing mid-century advertising and design language (pre-digital techniques, vintage colors and typefaces) to entice viewers, and his own poetic wit to disarm them.

As the Fontself Maker user community keeps growing (it started gathering during a successful Kickstarter campaign in 2015), it is now about to produce a whole new generation of typefaces, chromatic fonts and colour fonts, leading to a typographic renaissance that will benefit to the whole design community.

Charting its Bauhaus origins to its use as the first font on the moon in 1969, Futura: The Typeface is a new book that tells the story of how the typeface went from representing radicalism in design to dependTypeface is a new book that tells the story of how the typeface went from representing radicalism in design to dependtypeface went from representing radicalism in design to dependability.

Bara Dudova is a graphic designer living and working in London who also loves to explore the possibilities within illustration and typeface design.

The text is rendered in the now - familiar typeface of his own design, which he has referred to as «Boy Scout utility modern,» used in the renowned Mountain paintings.

Since 2007 he has taught typography and design at the Cooper Union School of Art, and also teaches the history of typeface design at Type@Cooper, the postgraduate certificate program he co-founded in 2010.

Representing Carter's favorites from typefaces designed by him in a wide variety of styles, both historically - derived and contemporary.

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.

Many of his works incorporate text, written in an angular typeface developed from a repeat pattern designed by the artist and based on the geometric shape of four concrete trees created by the modernist sculptors Jan and Joe Martel in 1925.

In honor of the first typeface acquired for MoMA's collection, the installation presents posters, signage, and other graphic material demonstrating the variety of uses and enduring beauty of this design classic.

... Many are packaged in grey or black containers — often resembling cigar or liquor packaging — with bold typeface and sparse design.»

Via Autobloggreen More Prius Hybrid The 2010 Toyota Prius Hybrid Got a Bladderectomy Toyota to Lease 500 Lithium - Ion Plug - in Prius Hybrids, But Don't Hold Your Breath... More Toyota Articles Toyota Might Not Make a Yaris - Based Hybrid After All... For Now Toyota to Sell a Yaris - Based Hybrid for Around $ 15.7 k in Late 2011 Belgian Ad Agency Designs Typeface Using a Moving 55 MPG Toyota iQ Microcar

In modern computer - based usage, font has come to indicate the style, but not the size or weight, as modern publishing and design applications can easily scale the size and weight of the typeface on the fly.

Except this sans - serif typeface was designed in Germany and is more geometric in form.

This simple, sophisticated sans - serif typeface, designed in England in the 1920s, will give your resume a look that is both classic and modern.

We work with brand leaders in every sector, developing original typefaces for print, web, and mobile environments, and licensing fonts from our library of more than one thousand designs.