Serif Essays

The drive to the core of absence is also evident in the realm of type design. In 1932, Beatrice Warde, an American typographic expert, published an essay ‘The Crystal Goblet’, or known as ‘Printing Should Be Invisible’, insists on a ‘invisible’ or ‘transparent’ typography in order to elevate the printed words. In her essay, Warde applied a metaphor that the design for typefaces should be as transparent as crystal glass for wine (Warde, 1936, p.6). A typeface, as a container, is calculated to reveal

In first glance of the Grey Goose “Fly Beyond” ad, the asymmetrical balance and positioning of the product catch your attention. The Grey Goose bottle setup is shifted slightly to the right on a marble slab table, while the accompanying text is placed overhead on the upper left, creating harmony and unity — evenly distributing the ad’s content. Paying attention to the colours, there are no outstanding or unfitting colors that seem out of place. The colours mainly found in the ad — grey, white, and

<p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;" id="docs-internal-guid-bff5b218-01d7-317d-ee31-a62255d1e662"><span style="font-size:18px;font-family:'Times New Roman';color:#000000;background-color:transparent;font-weight:normal;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;">God wants us to do, the covenants he made with us and how we are to follow in his footsteps.In the book of Exodus the people of Egypt known as the Israelites were

The representation of gender in mass communications has been a hugely debated topic for years and will continue to be one for many more years to come. The media plays a big role in how they want to portray a gender to the public. They create certain stereotypes through the role of a gender in order to attract a large audience and interest to sell a product, brand or image. Media is so important in today’s society, people spend hours and hours each day watching TV, browsing the Internet and reading

Simon the Serf was an average peasant in the great town of Great Bexley. Until the Bubonic Plague came from a ship with moldy, yellow toothed sailors, and killed his wife and millions of others. Here's how it all started. It was a Tuesday morning, Simon has just woken at 5:30am. Simon got his daily small serving of bread and cheese, and started towards the farm. Simon's wife, Bartha, woke a little after at about 6 o’clock and ate some cheese and bread and started towards the farm. Simon’s daughter

there. An example that is shown in the chapter from the book that relates to the restrictive roles of Albanian women is when Lola sees the weeding photo and she thinks it was an arranged wedding, but Serif and Stela show otherwise when they care for and protect each other. Another example is when Serif hires Lola to do the laundry for stela, it is not because he does not want her to do her laundry but he wants stela to be careful and safe while she is pregnant with Habib. Although, as one of the women’s

to stare at them all day. This explains why Garamond that get mentioned in both the lists of best and most hated typefaces. Analysis • Legibility Counters: open and wide counters x-height: moderate (61%) Width and weight: compared with other serif typefaces, Garamond is a relatively narrow (x=103%) and light (tk=18%, tn=7%) typeface. The differences

women. My purpose to discuss this community is to inform readers about what its purpose is in the book and how it took part of saving the haggadah and Lola. The Albanian language has influences in the characters of Brooks’ novel, for example, Lola, Serif and Stela Kamal, where they use the language to shelter Lola from being captured by the

stately elegance and rhythm, it offers legibility, readability to be suitable for a wide range of different applications. Analysis • Legibility Counters: moderate counters x-height: moderate ratio (61%) Width and weight: compared with other serif typefaces, Garamond is a relatively slightly narrow (X=103%) and light (tk=11%, tn=4%) type with clear stroke contrast. The variations in width are

appeal in a contemporary style. The new word mark reveals a new classical appeal. The letterforms have been changed to a retro style font using a san serif font for Mayberry and a serif font for diner. A san serif font was used for Mayberry to add a classical appeal, in a vibrant turquoise color reflecting to the 50’s diner style. In addition, a serif font was used for diner to tie together the retro style word mark and the color red was used to create contrast between Mayberry. Also, the three

Sans’. Secondly, in the Design Project, the ‘Normal Sans’ was emphasized to further practice the comprehensions and findings that were developed from the Literature Review and Case Study. The outcome of my project takes the form of a humanist sans-serif typeface entitled ‘Normal Sans’. The typeface consists of Roman, Bold and Light proportions with their corresponding Italics. The aim This thesis aims to reach three objectives: to define, based on the literature review, the concept of Super Normal

Frederic W. Goudy was a prolific American printer, artist and type designer whose typefaces include Copperplate Gothic, Goudy Old Style and Kennerley. Goudy designed his first typeface, Camelot, in 1896. In 1908, he created his first significant typeface for the Lanston MonotypeMachine Company: E-38, sometimes known as Goudy Light. In 1911, Goudy produced his first "Hit", Kennerley Old Style, for an H. G. Well santhology published by Mitchell Kennerley. This success was followed by Goudy's release

however I didn 't think that this was a true representation of my brand and therefore I chose to develop the idea of using an olive as the symbol instead, as it was more appropriate. I also experimented with different typefaces starting with a bold sans serif. I think that this made the logo too corporate for the brand so therefore chose a script font to develop further. I refined the letters so that they were smoother and matched the appearance of the olive. To make this effective, I positioned the olive

The type designer that I choose is Craig Ward, he is a British designer, typographer and art director, he comes from London and moved to New York in 2009. He went to work for Grey in the design department. He had his own studio from 2011 to 2016 in Brooklyn. He returned to working for an agency in 2016 as SVP Head of design in New York. Craig has contributed to some industry journals; and was the recipient of the Type Director’s Club Certificate of Typographic Excellence several times. Craig is the

Advertising: The Use of Typography and Color By Yosele Leon Senior Project Mrs. Bastian/Mrs. Myers 04 December 2014 Advertising: The Use of Typography and Color Have you ever considered why people buy the things that they buy? There is always an immense amount of options but what makes a product more desirable than others? Two of the biggest factors that can influence an audience’s decision making are the typography and color used in an advertisement. Typography plays a huge role

It must be communication in its most intense form. The emphasis must be on absolute clarity since this distinguishes the character of our own writing from that of ancient pictographic forms.” We can see from this quote from Moholy-Nagy’s essay on the New Typography, which was published in 1923, where Tschichold’s influences may have come from. The two clearly share the same basic view on how typography should be addressed. Moholy-Nagy was more notably a painter and photographer than a typographer

have to learn about Caslon and its designer. Caslon is and a Serif typeface design by William Caslon. William Caslon born in 1692 in Cradley, Worcestershire, England died in 1766 in Bethnal Green, England. In 1706 William began his career as an apprentice to an engraver (the practice of incising a deign onto a hard, usually flat surface, by cutting grooves into it) on gunlocks and barrels. He also worked on the traditional old style serif letter design that made letters look as though it was written

Suppose two individuals are corresponding with each other through two different messaging applications. One application displays text that is thin and sans-serif, the other application shows text that is bolded and serif. Depending on the application, the receiver may derive different connotations from the text, despite the message being written exactly the same. For instance, the receiver may find the text causal in the first application, and creepy or angry in the other. As noted by Abhijit Naskar

Brooks’ characters all have different places in the Haggadah’s journey; the characters connect with the book in dissimilar ways. Each character’s interaction with the Sarajevo Haggadah shows the reader a hidden meaning or key quality of that character. Serif Kamal’s actions involving the Haggadah display important aspects of his character: his courage, heroism and selflessness. As chief librarian at the National Museum in Bosnia, he decides it is his responsibility to keep the Haggadah safe from the German

What is the purpose of this media text, and who is the intended audience? What elements are used in order to achieve this purpose and attract the intended audience? The purpose of this World War One propaganda poster by the U.S. army is to persuade American civilians to enlist in the military. It aims to create an emotional connection with their adult target audience in order to attain their support and convince them to join the army. Some of the relevant elements that effectively demonstrate