Poster Campaign Assignment
Print Order and Process Book due in lab class 3/29 and 3/30
Posters submitted for the Museum Show must be of highest quality.
Ideal size: 50 cm x 70 cm @ 300 dpi
You may request large format prints for less than $10
If you can not afford the print – at the very least you must tile laser print.
40 winning posters and assign a special mention plus a prize of 2,500 Euro to the author of the work that will interpret the values of Shaping the Future at its best.
All the selected posters will be part of a catalogue and will be part also of an exhibition in Florence in May 2018.
The contest is open to individuals or groups for up to three (3) entries per participant related to the following subjects:
- Climate changes and global warming effects
- Equal access to food and water
- AI and robotics
- Social relationship and human rights
Posterheroes: Shaping the Future is an international communication and social graphic art contest organized by PLUG – non profit Cultural Association, Favini S.r.l. and IED Firenze.
It’s free to enter.
- Please leave comments for participation credit
An animated simplified overview of the very basics.
Inge Druckrey – Teaching to See
I recommend setting the speed to 1.25 if her voice is too slow for you. I especially enjoy the Beethoven poster puzzle and cameo with Steve Jobs.
Please click on the glossary of common type terminology. Along with the FAQs, it may answer many font-related questions.
The DVD is available in the library for viewing.
Graphic Means (Official Trailer) from Briar Levit on Vimeo.
click here for a sample from the book.
Author Robert Bringhurst writes about designing with the correct typeface; striving for rhythm, proportion, and harmony; choosing and combining type; designing pages; using section heads, subheads, footnotes, and tables; applying kerning and other type adjustments to improve legibility; and adding special characters, including punctuation and diacritical marks. The Elements of Typographic Style teaches the history of and the artistic and practical perspectives on a variety of type families that are available in Europe and America today.
The last section of the book classifies and displays many type families, offers a glossary of typography terms, and lists type designers and type foundries. The book briefly mentions digital typography, but otherwise ignores it, focusing instead on general typography and page- and type-design issues. Its examples include text in a variety of languages–including English, Russian, German, and Greek–which is particularly helpful if your work has a multinational focus. –This text refers to an out of print or unavailable edition of this title.
Web safe fonts are fonts that are pre-installed by many operating systems. While not all systems have the same fonts installed, you can use a web safe font stack to choose several fonts that look similar, and are installed on the various systems that you want to support. If you want to use fonts other than ones pre-installed, as of CSS3, you can use Web Fonts.
What are Web Fonts?
Unlike web safe fonts, web fonts are not pre-installed on the user’s system. The fonts are downloaded by the user’s browser while rendering the webpage, and then applied to your text. The main drawbacks of using web fonts is it will slow your site’s load time. There is also limited support for CSS3 in older browsers which is required to use web fonts. The later limitation can be remedied by using a font stack, similar to the web safe font stacks, but including a web font as the first font of the stack. If a browser is unable to use the web font it will fall back on the web safe fonts in the stack.
Free fonts are notorious for being of low quality. Just because it is available on Google Fonts or Adobe TypeKit does not automatically guarantee anything other than it can be utilized as a web font with out uploading to your site’s server with the @font face CSS code.