Compendium Font
Compendium Font – These products are created by scanning the original print edition. Many older books are in scanned image format because the digital design files did not exist or are no longer available from the publisher.
In PDF downloads, each page is run through optical character recognition (OCR) software to try to decipher the printed text. The output of this OCR process is placed invisibly behind the image of each scanned page, allowing text searches. However, any text in a given book set on graphic backgrounds or in handwritten fonts certainly cannot be picked up by OCR software and is therefore not searchable. Also, some large books may have to be resized to fit the system and may not have visible background text.
Compendium Font
For printed books, we look at the main notes in the first copy of the book. We reread the book digitally. Unfortunately, the quality of the results from these books is not high. It’s an imitation problem. The text is nice to read, but the illustration work is starting to look dark, pixelated and/or greyed out. Moiré patterns can develop in photographs. We clearly mark which print titles appear in the scanned picture books so you can make an informed purchasing decision about the quality of what you will receive.
The Type Compendium Freebie — Third Ginger Studio
These ebooks are created from original layout files and are therefore fully functional. Also, the file size tends to be smaller than scanned picture books. Most new books are in electronic format. Both copying and printing of such books must be of high quality. Alphabet Combination is my graduate thesis. At its core is a typeface for some usable fonts; In addition, I produced a small book that explains everything. Download your PDF here.
This project was inspired by one of the fundamental questions in Latin type design: what do the bones of the Roman alphabet actually look like? What makes [G] different from [C]? Why do some lower case letters [g] have two levels and others have one level?
A quick look at sample book type shows that, for a variety of reasons, type designers have continued to try to reinvent or distort the form of the Roman alphabet. This is true not only for obvious features such as weight, contrast, presence of serifs or decorative elements, but also for the structure of the skeleton. With the CIA Compendium project, I tried to map different types of bones, not to find a universal shape, but to celebrate the richness of our typographic heritage.
In order to be able to compare and contrast the bones of different species, I had to remove everything that made them distinctly different. Therefore, I reworked the existing letterforms as monochrome vertical sans serifs with moderate line width adjustments. This was an illegal decision; I would have drawn them as romantic semi-bold italics or condensed thick serifs.
Compendium, Inc. Tickle Monster Laughter Book & Mitts Kit
After collecting a large number of drawings, I scanned about 700 letters, whose fonts range from 15th century italics to geometric faces, from Art Nouveau eccentricities to Apple system fonts. This led to a typing system that contained between five and ten versions of each letter. Since all characters share the same physical properties, they are eventually mixed together to become single, extended, or multiple characters. Furthermore, there is no other consistent thread that connects the letters: no formal quality deriving from the writing instrument, or a set of predetermined rules or technical constraints, or the unifying power of each designer’s discourse — just size. in different ways. Can this be called a typeface?
For technical and practical reasons, the 700 characters are divided into five fonts according to different layouts. CIA Humdrum merges all the trademark characters into the widely used sans serifs. CIA Earthworm includes typefaces specially designed for optical character stabilization, space-saving printing, low-cost production systems or typewriters. CIA Dictator collects letterforms pressed by its designer’s use of simple geometric principles. CIA Dogsear is a straight monochrome italicized version of traditional book type, while CIA Antigill features anti-classical forms taken from Art Nouveau face catalogues, Letraset and phototypes.
The unusual structure of this family leads to another set of questions about second species concepts such as itlic or liver. If italic fonts do share weights with roman but not with forms, could there be a further departure from the formal vocabulary established by roman? What if the ‘italic’ font wasn’t a slanted version of roman, but more geometric? What if there wasn’t anyone named Roman, but just a bunch of bastards, second cousins?
Multiple tagging is an interesting effect of the CIA Compendium. Without changing the gray value, you can use geometry or alphabets to suggest different levels of emphasis. Another obvious meaning is the fly-by-wire production of other logos or titles. Or you can switch characters gradually, making subtle shifts between seemingly unrelated sources within a few lines or an entire story – to reinforce a slowly unfolding message as you read.
Providence Compendium — Whistlestop Bookshop
The CIA Compendium is encyclopedic and refers to history. It is, shall we say, an ironic, modern response to modernists such as Universidade or Futura, who arrogantly tried to achieve an archetypal or universal form. The CIA type, on the other hand, is extremely tolerant, trying to be all types of writing at once, collecting all idiosyncrasies. Everywhere.
Writing, Design and Typography: Jens Gehlhaar Consulting: Ed Fella, Jeffery Keedy, Lorraine Wild, Jonathan Hoefler, Just van Rossum, Erik van Blokland California Institute of Arts, School of Art, Program in Graphic Design, Valencia Award: American Center of Design , 21st Annual 100 Show, 1998 See Applied Compendium: California & Graphic Design
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