Differences Of Arial And Helvetica

Old school conquers new school: A personal response to “An Ode to the User-Friendly Pencil”

“‘On the one side we have the free personality: by definition it is not neurotic, for it has neither conflict nor dream. Its desires, such as they are, are transparent, for they are just what institutional approval keeps in the forefront of consciousness; another institutional pattern would alter their number and intensity; there is little in them that is natural, irreducible, or culturally dangerous’”(para. 3).

In the beginning of chapter four, The Typographic Mind, Neil Postman delivers an impressive narrative argument about the impact of print information culture on 17th and 19th century minds. Postman makes a few claims with respect to the contrasts between the written and spoken word. In this essay, there are four qualities of the typographic mind: attention span, listening ability, knowledge of issues, and literary language.

Leslie Slater is a handwriting enthuses who believes that the future of technology is crippling our art of writing and her strong evidence suggest that she might be on to something. The tone in opinion piece is pure and evidential, Leslie mention a substantial amount of studies and she really worry about good old fashion ink writing.

The influential typeface Helvetica, a neo-grotesque1 sans serif type design, came into being in the early 1950s - after the Second World War. The expectation of the designers, Edouard Hoffman and Max Miedinger was to create a neutral typeface that had great clarity, no intrinsic meaning in its form and could be used on a wide variety of signage to remake a new identity apart from the past (). Originally named as Neue Haas Grotesk, the typeface was changed to Helvetica in 1960. Today, Helvetica, as an aesthetics constant, although not perfect, mastered the quantum leap in 1957 from metal type to the digital age of word processing. Axel Langer, a curator of Islamic Near Eastern Art, mentioned it as ‘an impersonal typeface for today and tomorrow ().’

PSYCHOLOGY Custom Edition for Bergen Community College: (pages 150-151, chapter 4, altered states 4.7 & 4.8)

So why cursive still needed in our education system? This seems to be a alarming question the education policy makers are facing with technology on the rise. A place where the curls and the beautiful long handed writing seems to be outdated. In this short essay I will explain the benefits of why cursive should remain in our school system.

Graphic design set its first roots in Germany in 1455 with the introduction of the Blackletter typeface and Johannes Gutenberg’s Gutenberg Bible. Coined as the godfather of printing Gutenberg helped to spread Blackletter in popularity. With the advent of Martin Luther’s New Testament, however, a schism was created between those that chose to use

He addresses the valid observation that though mediocrity may be accepted in society, positive exceptionality is embraced just as often. Davis describes Galton’s revisions to accommodate this phenomenon, where “He created what he called an ‘ogive’, which is arranged in quartiles with an ascending curve that features the desired trait as ‘higher’ than the undesirable deviation.” (Davis 33, 34) Thus our former model becomes bounded by both negative and positive extremes. Consequentially, it seems that now we are at a greater loss for understanding the dilemma of the X-Men. If Davis’ model is valid, the X-Men’s super-abilities should land them in this “upper quartile”, a cause for celebration. Despite this fact, the disgust and fear they encounter is more typical of the opposite end of the spectrum, reserved for ruffians, paraplegics, and the like. Though it is counterintuitive to lump super heroes with such groups, drawing a comparison can provide great insight, especially by merging observations from the fields of crip

As we are currently strong and well in the new generation of technology, cursive hand writing may seem ancient. Now days students and even small children are becoming exceptional typers. Some may ask, "Is cursive still detrimental to today's society?" Although it is an act of beautiful penmenship it is no longer as valuable.

What is normal to one may have a conflicting meaning to another. This creates an avenue for discussion and observation having to do with abnormality in everyday life. In order to do this one must consider the three important dynamics in the field: cultural, statistical, and evolutionary/biological studies. These tools essentially provide the framework in allowing one to make further connections in regards to abnormality and normality.

Physiologists and others interested in “normality”, look over at ones behavior to see how well they can function. If one is unable to function adequately they are deemed abnormal. In order to determine how well one functions, psychologists consult Rosenhan and Seligman’s list of characteristics that define abnormality (1989). Rosenhan and Seligman argued that in order to classify someone as “inadequate in life” they must meet several of the characteristics as a pose to

typography. In fact, it is describing the typeface using hierarchy. Even with just looking at the black and white

Futura is a sans serif typeface. It is classified as geometric, meaning that the looks of the letterforms are based on geometric shapes. The bowls of the letters are almost-perfect circles and the peaks of some letters such as W’s and uppercase A’s create triangles. This gives the letterforms a very simple look that can be broken down into just a few key elements. For example, letters such as the lowercase ‘d’ and ‘b’ are made up of a circle and str¬aight, vertical line on one side, and letters such as the uppercase ‘T’ are simply made up of two perfectly straight lines—one horizontal and one vertical, with the vertical line extending directly below the center of the horizontal line. The lowercase ‘t’ changes things up a bit with the fact that the two lines are off-centered. Instead of being directly in the center like the uppercase, the vertical line is positioned slightly to the left. The lowercase ‘f’ mimics this as well.

In 1970 began the spread of Swiss typography. The postmodern generations began looking for a new design solution by using the new technical means that were becoming available. Two of these great designers were Wolfgang Weingart and Hans-Rudolf Lutz. These men are vastly different but their designs have many similarities. They were both trained typesetters and experienced creative limits and wanted to seek more training. They both attended the school of Schule Für Gesteltung Basel, where they both were taught by Emil Ruder. Aside from their normal classes students could pursue individual projects in the schools typesetting workshop. This is where Weingart began his third project with the letter “M.” Before we begin with this project we