Totally stole this from invertedsoapbox.com

GateHouse — I found my first-ever post-college actual real Newspaper Job in the gray back pages of Editor & Publisher, the highly respected and absurdly long-running industry publication that covered newspapers for 108 years — literally 108, as in more than a century, as in the Cubs have won many World Series since it’s been around.

I say “covered” because E&P suddenly folded last week, making it a very visible casualty of the epic and unremitting print-journalism final-half-hour-of-”Braveheart” in one sense, but in another it was nothing more than the newest.

You could, of course, fill books with sweat-drenched tales of the abused, scorched-earth nature of what passes as the current state of journalism, and many people have, except they’re not books, they’re the Internet, which is free and does not require publishers to purchase Donkey Kong barrel-sized monster-rolls of delicious Amazon Rainforest Paper and, as such, some people think it may have a future of some kind.

(OK, full disclosure: Actually, I got my second job out of E&P, but I am quietly fudging details in order to amplify dramatic effect, a tactic which will be a major part of the Future of Journalism, so get used to it, readers in all 52 states.)

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Paperboy – Ditty

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E&P’s back pages used to contain Classified Ads, which, for you fresh-faced young people were tiny advertisements that used to run in the back pages of newspapers and were very successful, until Craigslist came along and destroyed everything for everybody, except Craig.

In that first Newspaper Job I was a page designer, which means I routinely worked into the late hours of the night, which means I often found myself waiting for proofs/killing time in expansive, largely deserted newsrooms, where most reasonable people had already decamped for the night, where the environmental noise provided by a hundred humming computers, the occasional, near-hieroglyphic bursts of liveliness from the police scanner and the eerie, speechless tappity-tappity of the copy desk staff became a sort of ambient comfort. Usually I’d do this by stumbling around the early, Times New Roman-heavy wonderlands of the World Wide Web (“This site has U2 setlists already posted from JUST LAST WEEK! And look at all these unattributed movie rumors — why, I am sure this wild brand of shameless unchecked pop-gossip will never last!”) and looking for jobs, which you used to be able to do in newspapers, all by yourself.

These days are over, of course, and hardly just for journalists; we just have access to a platform from which we can whine about it more conveniently. And that we do. Columnists like the NYT’s David Brooks write lengthy pieces about torch-passing and old-school insiders’-club-busting and this bright, vague Devastator-like monster that will be gloriously assembled from the scrap chunks of Old Journalism’s substantial corpse, but in the end no one can muster much more than a closing graf blankly handing over some shapeless power to The Young People, and hoping they can come up with something, like, now would be good.

Well, worry no more, Journalism Industry, I have the solution to all of our job-related woes, a single-step way to further your journalism career and secure a high-profile job in a major-market metro: just sleep with Eliot Spitzer, for money.

Now, before I go any further I should note that I am currently unprepared to take this important step (just playing devil’s advocate here, but Mark Sanford could make his smoochy mash notes dance a linguistic tango, while Spitzer looks like someone squished together John C. Reilly and an elderly cantaloupe and mowed down the middle quadrant of the resulting abhorrence’s hair).

But I am also not Ashley Alexandra Dupre — no really, I’m not, I checked my Facebook — who now has a love-and-sex advice column in the New York City’s vivacious newspaper-like delicious-pun factory, the New York Post. Now, despite what you may have been led to believe by a sextastic and terribly written HBO series/delicious pun factory, being a sex advice columnist for a newspaper is not necessarily the urbane success story you might be hoping for when you land your journalism degree; it’s more like being someone who hosts a morning show on FM. But that said, it is a high-profile and certainly lucrative job that went not to a skilled educated journalism person but a former hooker, which is pretty hard to get around if you spend any portion of your nights flinging Scotch at your stack of college newspapers.

Times New Roman - Gold

Photoshop with Layer Effects and Times New Roman – Gold.

Folks-

Overall, I enjoyed your first paper a lot. The average for the two classes combined was approximately an 11.5, which I am sure will improve with revisions. That said, I noticed a pattern of problems that kept reoccurring. I have detailed some of them below:

• Redundant phrases: Be cautious of phrases like “in order to” that are extremely wordy. A simple “to” will suffice.
• Paraphrasing and plagiarism: As we’ve discussed in class, I have very merciful this time about plagiarism but in the future failing to cite your sources will result in a zero for the paper. Please consult the citation handout from Wednesday or see me if you still need help. Later in the semester we will spend an entire class on citation.
• Correct font: Your papers should be Times New Roman and size 12. Other fonts are prettier but that is the standard for MLA writing.
• Block quotes: If you are citing more than three lines of poetry or four lines from another source you must put it in a block quote. See the citation handout for more information.
• Space between paragraphs: There is no need for space between paragraphs.
• Ending paragraphs on a quote: Do not end paragraphs on a quote; elaborate on the quote and then transition to the next idea.
• Transitions: We discussed transitions over multiple classes and, still, some students did not use them in their papers. In academic writing, you will need to transition from idea to idea. See your notes from the lectures on transition for more information.
• You only need to write out the full author’s name once. Use their last name afterwards. Do not use refer to them by their first name.
• Avoid the following phrases or words: Unique, in my opinion, basically, main focus, “till,” etc

Oppg. 1.2 Analog typografi - 3 bokstaver (brukt 5 her)

bokstaver i 4 kjernefamilier

Oppgave 2.2 (brukte 5 bokstaver i steden for 3)

 Oppgave 1.1 

Har prøvd finne forskjellige eksempler på typografi. I mangel av scanner satt jeg oppe i natt og tegnet av overskriftene. Så hadde jeg tenkt å skrive noen refleksjoner over forskjellene og variasjonene i de forskjellige eksemplene, og så scanne inn senere. Men tror det blir bare rot, så venter i stedet til jeg får tak på en scanner. (Kan ta litt tid).

(Men nå – på fredag 11. september fikk jeg et supert forslag: Fotografer og lim inn istedenfor. Så det  har jeg nå gjort – se ovenfor!)

I mellomtiden gjør jeg det jeg kan med de andre oppgavene vi har fått:

Oppgave 1.2 - tegne 3 bokstaver og beskrive utfordringene ved de forskjellige fontene og hvorfor,

og

Oppgave 2.2 – skissere bokstavene i 4 kjernefamilier (2 sans seriff og 2 seriff-familier). Skal også skrive  hvordan jeg  foretok valget om kjernefamiliene og hvorfor – og hva som er de karakteristiske forskjellene mellom de 4 fontene.

Jeg har tegnet fontene men enda ikke fått scannet dem inn. Men her kommer noe informasjon om  hvilken fonter jeg har valgt, og kjernefamiliene de tilhører:

Seriffene – også kalt Antikvaene har fire kjernefamilier:

Old Style (også kalt Diagonal). Eksempler: Venetian, Aldine, Gewalde

Transantikvaene  (også kalt barokk) som har større kontrast mellom grunnstrek og hårstrek. Seriffene er ofte spisse. (Eks: Baskerville, Caledonia, Caslon og Century)

Disse to øverste er lettere å lese enn de to neste antikvaene:

Slab serif (Eks: Clarendon, Rockwell, Courier)

Modern  (Eks: Bodoni, Didot, Computer Modern)

(Som jeg har forstått det kan de to siste slås sammen til en gruppe som kalles vertikalantikvaer. Andre eksempler her er: Fransk Antikva, Walbaum.)

Blant disse valgte jeg to fonter:

Times New Roman – som tilhører kjernefamilien transitional serif (eller barokkantikva). Fonten ble laget av Stanley Morrison for Monotype og avisen The Times i 1932.

Jeg valgte denne fonten fordi den er veldig anvendelig og så  mye brukt.

og

Garamond – som tilhører Old Style Seriffer

Fonten ble designet av Claude Garamond (1499 – 1561). Siden er den utvidet med mange familiemedlemmer. Fontene i Garamond-familien gir en følelse av flyt og konsistens. Den lille rundingen i a-en og det lille øyet i e-en er karakteristisk. Den har lange endinger og toppseriffen daler nedover. Den er blant de best lesbare seriff fontene til trykk (offline).

Jeg valgte denne fordi den er så lesbar.

I den andre hovedgruppen fonter – sans seriffene  (fonter uten seriffer) – er det også fire kjernefamilier:

Primform – har en tydelig retning i sin åpne form, som lett binder bokstavene sammen til ord. Gjør seg bra i aviser. Eks: Newa Gothic, Trade Gothic, Franklin og Akzidenz.

Neoform – Lukket bevegelsesretning, passer best i rubrikker. Eks: Helvetica, Univers, Folio.

Geometrisk form – Gjør seg godt på bokomslag og på plakater. Eks: Futura, Avant Garde.

Humanform - Mindre geometrisk, mykere, i en sterkt åpen bevegelsesretning. Eks. Gill Sans, Frutiger og Kabel.

Blant disse valgte jeg først

Arial Rounded MT Bold – tilhører kjernefamilien Neoform.

Arial blir av noen sett på som en kopi av Helvetica.

Egentlig ville jeg velge Helvetica, men den har jeg ikke tilgang til. Dermed ble Arial et godt alternativ. Fonten er enkel og funksjonell. Om den ikke passer så godt i lange tekster, er den et godt valg til korte rubrikker.

og deretter

Bell Gothic Std Black – som tilhører kjernefamilien Primform.

Denne fonten valgte jeg fordi jeg har tilgang på den og fordi den regnes som god i spalter i aviser.

Karakteristiske forskjeller mellom fontene:

De to første er seriff-fonter (også kalt antikvaer). Det betyr at de har seriffer som letter lesbarheten på teksten ved at de gir øyet en “linje” å følge. De to siste er sans -seriffer, og mangler seriffer. De er enklere, men lesbarheten er kanskje ikke helt den samme som de første. Arial har en “lukket” skrift. Det synes på bokstavene a – e og c. Bell Gothic Std Black derimot har en åpen skrift. Bokstavene a – e og c fører blikket videre i setningen og gjør den lettere å lese.

Ellers finnes det andre kjernefamilifonter enn disse:

Mekaner: Eks. Beton, Clarendon, Egyptienne, Kunstlerscript, Mistral

Frie skrifter

Digitale tegnskrift: Eks. Georgia (antikva) og Verdana (sansserif).

Dette innlegget kommer jeg altså til å redigere etter hvert inntil oppgavene blir helt besvart.

I mellomtiden fortsetter jeg å fotografere og begynner å tenke litt på Logo-oppgaven. Og lese selvsagt.

Se questa è una bambina. Questo pensi leggendo “Il rogo di Berlino”, racconto autobiografico di Helga Schneider sugli ultimi mesi della Seconda Guerra Mondiale vissuti al centro del rogo, tra i palazzi di una Berlino assediata e bombardata dai russi.

Il ricordo del libro di Levi, ma anche del diario di Anna Frank, è potente. Tanto più se si tiene presente che la sofferenza della piccola Helga e dei suoi compagni di sventura, con i quale condivide l’angusta cantina, sono in qualche modo speculari rispetto a quelli – causati dai tedeschi – dei campi di concentramento. Ma la loro assoluta identità di dolore li accomuna su un unico piano universale, quello degli esseri umani travolti dalla storia.

Helga vive una situazione familiare frustrante. Abbandonata dalla madre è preda di una matrigna che non la accetta e di un fratello che non ne ricambia l’affetto, lontana dal padre che combatte al fronte una guerra in dirittura di disfatta. Con l’inizio del 1945 si infittiscono i bombardamenti su Berlino e il mondo di Helga si riduce allo spazio buio e affollato della sua cantina, i cui abitanti vivono una quotidianità di fame, rabbia e progressivo disincanto dal nazismo.

Nell’aprile del 1945 Berlino è quasi completamente distrutta – ma non il palazzo di Helga, miracolosamente in piedi – e le truppe russe la attraversano portando con sè la temuta piaga degli stupri a donne e bambine. La guerra finirà e Helga tornerà piano alla normalità, provando a non dimenticare le cose viste nella cantina sulla cui soglia si ferma, un attimo, prima di tornare in superficie.

Oggi Helga Schneider vive in Italia. Nel 1977 ha voluto incontrare di nuovo la madre, che l’aveva abbandonata per seguire l’ideale nazista. Ha trovato una donna che non ha rinnegato la follia che ha vissuto (è stata guardiana a Birkenau e perciò condannata a sei anni d carcere). E l’ha persa per la seconda volta.

http://www.lettidarifare.com/2009/09/04/il-rogo-di-berlino-di-helga-schneider

I’ve long been a fan of ‘pretty’ handwriting and swirly fonts – if people use Times New Roman out of choice, I seriously wonder about their creativity. However, the Church of the customer blog reports that when popular furniture store, IKEA changed the standard font it used in its brochures, it’s customers became very ‘upset’. The change was from Futura to Verdana – both pretty standard, in my mind. Nothing to blog home about. It just shows you how much impact the font that is chosen for a logo and corporate identity hold, as there has been a flurry of irate tweets and online discussions – even petitions! – over this change in typeface.

On this note, I have discovered to my joy that along with the myriad ‘handwriting’ style fonts out there, you can now devise your own personal font – all you need to do is fill out a template using the handwriting you would like as your computer font, and hey presto! Typed documents that look handwritten.

I was asked: “Why do newspapers always use Times Roman typeface?”. My answer was that newspapers seldom do, but it is still one of the most common fonts when it should not be.

Times is a great font for papers printed on very high quality newsprint. But most newspapers have used more suitable fonts even from before Times New Roman was designed. Stanley Morison of Monotype created that in 1932 for a specific use and it got out of hand when it was built in to most of the early laserprinters a half century later. "The Times" has not used it for decades. I made the point in an article usually titled Face it – your body matters" which has been published in a number of publications for newspaper and periodical publishers. Here’s an extract:

I asked a number of typographers for their recommendations for a newspaper font, to be printed on standard newsprint. Six came up with nine recommendations. I’ll list them all in no particular order: Nimrod, Olympian, Rotation, Times Europa, Calisto, Melior, Stone, Lucida and Lino Letter. While some are categorised as serif fonts, others are classified by the foundries as "slab serif". All have most aspects in common – wideset, with good variation between thick and thin strokes, but with no fine strokes, large bowls to letters such as e and a and relatively large x-height. X-height is the height of lowercase characters such as x which have no descenders or ascenders.

The same principles apply if you are using a low cost book paper, especially those which are intended to bulk-up a book. Different font choices would apply if you are producing text on coated stock. People in general don’t know they are seeing bad or good typographic choices — they just stop reading if the task is made unnecessarily difficult. Those choices are partially conditioned by experience and by fashion but also by more direct influences such as the ease with which the eye can take in the information.

No matter how nicely you format your report or presentation or portfolio, someone’s bound to ask,

Is that Calibri?

or perhaps,

Did you use Arial?

and otherwise,

You used Times New Roman right? What font size?

Most of our understanding of what constitutes a beautiful or user-friendly font theme or style comes from Microsoft Word’s default formatting or our friends, the majority of whom invariably uses Microsoft’s default formatting.

It’s time that we changed some of that. The ugliness of and the ignorance surrounding the use of this “mainstream” variety fonts is unacceptable. We can overcome this through a proper cultivation of taste, beginning with a brief introduction of what makes a font practical and polished simultaneously.

The following are 3 categories of fonts which are readily used by a generic audience, and comprises at least 5 of my favourite fonts. Each of them have wonderful flavour, and each glyph (character) carries with it character and accomplishment. A word of caution: use them appropriately, use them well. Don’t ever abuse a font.

(For easy reference and high-quality zoom, use the pdf instead.)

*Simple Sophistication fonts are fully interchangeable.

Dopo tante discussioni nella blogosfera, improbabili misunderstandings e prese per il culo varie, finalmente le diatribe sono state fermate.
La pace è tornata nel mondo virtuale. Come pure l’insopprimibile senso di nausea per chiunque osservi l’obbrobrio creativo qui sopra, che qualcuno ha osato definire “il nuovo logo per rilanciare l’Italia”. Rilanciarci ancora più in basso, evvai!

Un altro successo della premiata ditta B&B.

p.s: che poi come qualcuno giustamente faceva notare, è stato incaricato uno studio di grafica per produrre quella robaccia? E’ stato fatto un bando? Si no boh forse? Quando come dove perchè? Dettagli insignificanti, sono domande che solo i complottisti comunisti potrebbero fare.

De poco le sirvieron a Cristina, sus clases de grafología. Su historia de amor con Cariño, su marido, se había escrito alternando Times New Roman número 12 y frecuentes sms.

más en LdN

Justo encima del supermercado que abastece de todo lo necesario para vivir a esta parte de esta parte de la ciudad. Aquí vivo. Justo encima de la salida de sus conductos de ventilación. Un metro o un metro y medio por encima de esas rejillas que no paran ni un momento de elevar hacia mi casa chorros de aire frío en invierno y de aire caliente en verano. Aquí intento dormir. Porque son las cuatro de la madrugada de un día de junio y siguen zumbando, vomitando sin tregua nubes invisibles de calor. Para que mañana el primer cliente que entre se encuentre fresquito y a gusto y hacer la compra no le suponga el menor esfuerzo. Nunca lo he tenido en las manos pero estoy seguro de que hay un manual de protocolo para cada establecimiento de esa cadena de alimentación. Y de las demás. Un protocolo cuyo punto X precisa a qué temperatura debe mantenerse la atmósfera de la tienda. Lo visualizo perfectamente. Impreso en Times New Roman con el 21º en negrita. Y me siento tan en el primer mundo… A oscuras en este cuarto, transpirando insomne, rodeado de aparatos electrónicos y aparatos informáticos. Tan en el primer mundo. Me levanto y contribuyo a aumentar mi particular ola de calor encendiendo el ordenador. Infojobs me ha mandado un email. Esta noche el mundo me ofrece ser vendedor de libros a puerta fría. Anoche reponedor en una gran superficie treinta kilómetros al oeste. Mañana algo por el estilo. Y sudo un poco más. Mi compañero de piso también me ha mandado un email. Desde su país natal. Europeo, por supuesto. Dice que se ha ido por unos días a su tierra porque tenía cita con el dentista. Y me siento tan en el primer mundo… Con los dientes y los pulmones manchados de tabaco, sin saber dónde coño he puesto la tarjeta SIP. Tan en el primer mundo. Debajo de la pila del lavabo sólo hay frascos de aftershave y cremas exfoliantes y gomina-efecto-mojado. Todo lo necesario para ser un buen italiano. Ni rastro de analgésicos, antidepresivos o somníferos. Ni una simple aspirina. Nada de lo que se necesita para ser un buen nadie. Así que me miro un rato las ojeras en el espejo sucio de gotitas de pasta de dientes y vuelvo a mi burbuja cúbica de calor o fiebre. Podría mirar las gilipolleces ajenas en Facebook. O podría abrir el Word y escribir algunas propias. Pienso en Saroyan. Pienso en Carver. Pienso en Ford. Y me doy vergüenza. Y ése es el sentimiento del que intento huir al poner en marcha el reproductor de música y sumergirme en la inofensiva posmodernidad de mi muro, los de mis amigos y los de gente que ni siquiera conozco. Y me siento tan en el primer mundo… Relleno uno de esos estúpidos tests virtuales. Con qué celebridades vivas o muertas te gustaría emborracharte. Pongo el primero a Bukowski porque es el único que añado sinceramente a la lista. Aunque supongo que nadie se preguntará Por qué cuando lo vea por la mañana en su pantalla. Tan en el primer mundo. Es más importante salvarle la vida al gato atropellado, caído, pateado o nada más que abandonado que lleva cinco minutos quejándose sin tristeza ni miedo en algún lugar de esta calle, simplemente quejándose como el animal que es. Así que no tarda nada en llegar una camioneta del servicio de animales municipal. Y me siento tan en el primer mundo… Cuando el hombre se tumba sobre el asfalto sucio y mete medio cuerpo debajo de un coche para salvar a un gato herido. Cuando una mujer y su hijito aplauden desde su ventana el éxito de la operación de rescate. Tan en el primer mundo.

OpenOffice.org è senza dubbio la office suite gratuita che può certamente rivaleggiare alla pari con la più nota della Microsoft. Inoltre è anche multipiattaforma, ciò consente di poter scambiare, leggere e modificare i documenti dei nostri amici.

La completa compatibilità però non sempre è garantita, si può essere abbastanza tranquilli solo se si è utilizzatori di Windows. OpenOffice.org infatti manca di tutti quei caratteri true type propri di Windows, ciò comporta che, nello scambio di file con amici “miscredenti” utilizzatori di Windows, i documenti vengano automaticamente riformattati, con la sostituzione dei caratteri originali con quelli più “vicini” disponibili nel sistema operativo.

Ovviamente quanto detto vale anche per una visualizzazione ottimale dei siti internet.

Come risolvere questo problema? Semplice, basta installare i più comuni caratteri true type!!! Il filmato che vi propongo è abbastanza esplicativo, il pacchetto che c’interessa è ttf-mscorefonts-installer.

Al termine dell’installazione avrete i più comuni caratteri true type, arial, courier new, times new roman, verdana, per citarne alcuni.

shredded A via swiss-miss

typefaces as we know them have more or less been created in the same practice from the first type foundries of the 1450’s to their demise in the 1970’s.  because linotype <metal> was the leading cost-effective method, there was not much variance in terms of ornamentation.  to create dynamic text, designers were limited to difference in serifs/sans – italics – bold.  when the photographic technology known as phototypesetting came about – 2 very important differences set it apart: with this innovation, both type size and kerning were easily adjustable without casting new letters forms.  the next breakthrough in font design was -of course- the 1980’s digital boom.  now fonts are created using materials varying from knits to edibles to poo

tie-pography

handmadefont.com

character, a finnish company – takes old shop signs and reconfigures the wiring to create individual letter lamps.  if chico’s brand holds a special place in your heart – pick up the ‘c’ from character’s shop for 150€

S : Smart Design

there are scores of good and bad new type designed daily.  personally, i tend to be a traditionalist – i truly love futura.  and helvetica.  sadly though i have yet to see the film.  might be reason to <re>join netflix. and finally – are you older than your favorite font?

some of our most + least favorite font time line

1757: Baskerville
1798: Bodoni
1858: Bookman
1924: Futura
1931: Times New Roman
1948: Palatino
1952: Optima
1955: Courier
1957: Helvetica
1982: Arial, Papyrus
1991 : Century Gothic
1993: Georgia
1994: Comic Sans

I confess. I love fonts. I even have a t-shirt that reads “Times New Roman” across the front, and that’s it. AND it’s written in Times New Roman! I have a tendency to use a the same font for a really long period of time on everything I type. My old standby is Lucida Sans. And it excited me to know that Switzerland’s official name in Latin is Confoederatio Helvetica.

I have an entire lecture that probably bores my students to tears because it’s all about typefaces and fonts. (Geek Info: there is actually a difference between a typeface and a font but we tend to use the term font more often because of computer usage.) Then again, I could be wrong about the boredom thing. One of my students from a couple of semesters ago sent me a link to this utterly hilarious vide0: Font Fight – http://www.collegehumor.com/video:1908292

Turns out that it is the sequel to Font Conference -http://www.collegehumor.com/video:1823766.

Sabe aquelas fontes que a gente usa no Word ou no Paint? Como Times New Roman ou Arial. Elas não tem muita graça quando se vai fazer algo fofo e bonitinho! Para isso que existe o dafont ( http://www.dafont.com ), um site onde você pode baixar inumeras fontes, podem ser umas que copiam logos famosos, ou para meninas. Tem de tudo, para terem um exemplo, escolhi minhas fontes favoritas e vou coloca-las no post.

Espero que curtam, pois esse é só o inicio de uma série em que vou dar dicas de sites legais na internet!