Sans Serif Quotes

I am the twentieth century. I am the ragtime and the tango; sans-serif, clean geometry. I am the virgin's-hair whip and the cunningly detailed shackles of decadent passion. I am every lonely railway station in every capital of Europe. I am the Street, the fanciless buildings of government. the cafe-dansant, the clockwork figure, the jazz saxophone, the tourist-lady's hairpiece, the fairy's rubber breasts, the travelling clock which always tells the wrong time and chimes in different keys. I am the dead palm tree, the Negro's dancing pumps, the dried fountain after tourist season. I am all the appurtenances of night.

I can offer you water or, um, water. Some of the pouches have a slightly different font, so you can choose serif hydration or sans serif hydration.

Oh, sure," Gansey said, still cold and annoyed. "God forbid young men display their principles with futile but public protests when they could be skipping school and judging other students from the backseat of a motor vehicle." "Principles? Henry Cheng's principles are all about getting larger font in the school newsletter," Ronan said. He did a vaguely offensive version of Henry's voice: "Serif? Sans serif? More bold, less italics.

I read somewhere online that sans serif fonts are easier for people with dyslexia to read, so I changed my requirements. Forced everyone else I oversee to switch with me or else they would face my wrath. All because I wanted to help you.

I hate New York.” It almost makes me recoil, the way he’s said this. Bold, sans serif. No caps, but italics for the It’s not a harmless, pedestrian “I hate this song” or “I hate those chocolate balls rolled in shredded coconut.” It’s not one of those small, meaningless hatreds that shear the word of its meaning.

weight. Arnhem also sports an unusually large x-height for a serif, which enables not only dense text, but also a more harmonious fit with most sans serifs. Good for: Magazines. Forward-thinking newspapers.

It's not a remarkable note except for one thing. The typeface Tony used to print it is the exact typeface Kubrick used for the posters and title sequences of 'Eyes Wide Shut' and '2001'. 'It's Futura Extra Bold,' explains Tony. 'It was Stanley's favorite typeface. It's sans serif. He liked Helvetica and Univers too. Clean and elegant.' 'Is this the kind of thing you and Kubrick used to talk about?' I asked. 'God, yes,' says Tony. 'Sometimes late into the night. I was always trying to persuade him to turn away from them. But he was wedded to his sans serifs.

Released at the height of the “Web 2.0” era, Klavika has become a prototypical sans serif of the information age. This is reinforced by the fact that it is the basis for the Facebook logo, but it’s been widely used in many other markets as well, including the automobile, sports, and publication industries. The foundation of the typeface is the pill shape.

When sans serif printing type first appeared in the early to mid-1800s, some found the style so strange they called it “grotesque.” These typefaces kept the nickname even after they gained popularity and Grotesque (or “Grotesk” in German-speakers) is now associated with any sans serif in this early style. The characteristics of Grotesque typefaces are similar

Among them was a calligraphy class that appealed to him after he saw posters on campus that were beautifully drawn. “I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can’t capture, and I found it fascinating.

FF Yoga Sans is part of a double-barreled assault on the traditional classics, with its partner an update of Humanist serifs like Garamond. Not since FF Scala has there been such a bold attempt to redefine these models. Good for: When Gill Sans is wanted but its idiosyncrasies aren’t.

You said somewhere that you would like to write in one of the Nordic languages because they have more vowels, and vowels are more serious.’ You: ‘Did I say that? But Latin languages have more vowels than Nordic ones! I think what I meant was that I would like to write in one of those ancient northern tongues which were almost entirely made up on vowels. I’ve always felt it had something to do with the climate. They were hot languages, insulated by all those heaped up vowels.’ Me: ‘Ancient Hebrew only had consonants. Presumably so that there was no risk of them accidentally writing the secret name of God.’ You: ‘Or perhaps that was to do with the climate too. Consonants were more open and airy, more suited to a language of the desert.’ ‘You also said that you hated sans serif typefaces.’ ‘Oh, yes, they’re terrible! All those naked letters, reduced to their stark scaffolding. No-one can possibly recognise their mother tongue when printed in a Futura typeface. It lacks maternal warmth, it lacks friendliness.’ ‘I fear Cuervo may be right: we are somewhat unscientific.’ ‘And prejudiced too. Vowels can be dispensed with. A text written solely using vowels would be illegible, but in a text using only consonants, one could guess the vowels. A text in which X replaced all the Os, as in that story by Poe, might prove difficult to read, but would, ultimately, be decipherable.

I looked over at the dresser and saw a new issue of Zoobooks sitting there. On the cover was an owl. I love owls. Owls are beautiful and fierce. There was an owl right there on the front. A close-up of its face. Two big black eyes, bulbous, shiny, and empty. A brown-and-black feathered face. And its beak. I didn't see its beak. What were those two things coming out of its neck? I stepped closer. And in the lower corner of the cover, in white all-caps sans-serif font: "SPIDERS." I looked back into that face, brown and black fur, two big black eyes, and more eyes, and pincers. And oh god. I screamed. I screamed and I ran. I am still screaming and running from this, only on the inside now.

SIWƎ┴ɹIČN∀ ʞOWƎpIſ∀ Wouᴉ-n pǝ qnlᴉ Zʌɐo sǝ uǝʞɐp lǝodɐɹp ƃɐžɐ qǝšǝ lɾᴉƃɐʌɐ slɐuᴉuɐ oʌuɐ ᴉ ʞɹʇᴉuɐ ƃɐzǝlǝ ɹɐp qᴉ zuɐo ʌɐšǝ ɯᴉšlɾǝuɾǝ ʞɐʞo ɯn ʞᴉčɯɐ osǝćɐšǝ zʌǝzpǝ ʞɹoz žᴉɔǝ znqᴉ ʞɹoz ʇnuǝl ƃlᴉsʇɐ˙ Nɐ lǝžɐɾn uoć n uoćᴉ sʇɹʌᴉuɐɹ zʌǝzpǝ sn qlǝsɐʞ nɯᴉuđnšǝuoƃ nɯɐ zʌǝzpǝ nqǝsʞɹɐɾǝuǝ lᴉɹsʞᴉ zʌǝzpǝ dop loƃɐɹᴉʇɯoɯ ɾnžuoƃ dolɐ lǝʇǝ šɐʞɐlsʞᴉ ɥǝʞsɐɯǝʇɹᴉ ɾɐɯqᴉ ǝlǝɟɐuʇɐ sɐʞsoɟousʞᴉ sᴉƃuɐl ɥᴉɾǝuǝ zɐ ɯǝsǝčǝʌǝ ɯɐuǝ n ʞnlᴉsɐɯɐ dop šɐʇoɹᴉɯɐ oɯɐɹǝ ɾɐ ʌɐs ʌolᴉɯ ʞɐo ɹᴉs ɹᴉsɐ )ɐq(uoɹɯɐluo˙ ∩ ɐɯɐlƃɐɯn čǝžuɾǝ čnluo n ʌǝʇɹoʌᴉʇᴉɯ ʌopɐɯɐ sǝuɐsʇǝ lᴉɹᴉʞǝ ʇɐʞo ʇᴉ ʞoqᴉ ʇᴉ ʇɐʞo¿ žǝlᴉ sǝ sɯɹʇ ɐʇᴉusʞoɯ ɹɐpošćn sʌǝʇloƃ ʞɹǝznqoƃ sᴉsɐučǝʇɐ ɹnƃoqoɯ ʇǝlɐsɐsʇᴉɥ čǝlɾnsʇᴉ ʞnʇuɾɐčʞᴉɯ ʌᴉlᴉɔɐɯɐ ɹɐʞᴉpžᴉsʞᴉɯ ƃlɐsuᴉɔɐɯɐ snlnupɐɹsʞᴉɯ sᴉlɐsʞoɯ ɔɹǝʌɐ oʞɐɹuᴉɐsʇᴉɯ žǝlnpɔǝɯ sdǝlnuʞoɯ pǝɾǝʞɔᴉɾǝ dlɐʌoɯ ʞɐo ʞɐdɹᴉ zqoƃ lᴉɹsʞǝ ʇǝzǝ ɐquoɹɯɐluǝ zʌǝzpǝ zqoƃ pžǝlɐʇɐ lɾᴉƃɐʌoƃ oʌuɐ ʞɹʇǝ ƃɐzǝlǝ ɹsʞɐʌǝ zʌǝzpǝ zpǝuɐsʇǝ lɐsʇǝ sʇǝƃunʇoƃ ƃunɐ ɐƃunsɐ pǝᴉ oɐʇɐuǝ

His brows pull together. “Ask me why I hate when people use Times New Roman instead of Arial.” “Are you serious right now? What does that have to do with any of this?” “Because I chose it for you.” “I’m sorry, what?” “I read somewhere online that sans serif fonts are easier for people with dyslexia to read, so I changed my requirements. Forced everyone else I oversee to switch with me or else they would face my wrath. All because I wanted to help you.

His brows pull together. "Ask me why I hate when people use Times New Roman instead of Arial." "Are you serious right now? What does that have to do with any of this?" "Because I chose it for you." "I'm sorry, what?" "I read somewhere online that sans serif fonts are easier for people with dyslexia to read, so I changed my requirements.

Ask me why I hate when people use Times New Roman instead of Arial.” “Are you serious right now? What does that have to do with any of this?” “Because I chose it for you.” “I’m sorry, what?” “I read somewhere online that sans serif fonts are easier for people with dyslexia to read, so I changed my requirements. Forced everyone else I oversee to switch with me or else they would face my wrath. All because I wanted to help you.

The minute I dropped out I could stop taking the required classes that didn’t interest me, and begin dropping in on the ones that looked interesting. It wasn’t all romantic. I didn’t have a dorm room, so I slept on the floor in friends’ rooms, I returned coke bottles for the 5¢ deposits to buy food with, and I would walk the seven miles across town every Sunday night to get one good meal a week at the Hare Krishna temple. I loved it. And much of what I stumbled into by following my curiosity and intuition turned out to be priceless later on. Let me give you one example: Reed College at that time offered perhaps the best calligraphy instruction in the country. Throughout the campus every poster, every label on every drawer, was beautifully hand calligraphed. Because I had dropped out and didn’t have to take the normal classes, I decided to take a calligraphy class to learn how to do this. I learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can’t capture, and I found it fascinating. None of this had even a hope of any practical application in my life. But ten years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, it’s likely that no personal computer would have them. If I had never dropped out, I would have never dropped in on this calligraphy class, and personal computers might not have the wonderful typography that they do. Of course it was impossible to connect the dots looking forward when I was in college. But it was very, very clear looking backwards ten years later. Again, you can’t connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something—your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life. The narrator of this story is Steve Jobs, the legendary CEO of Apple. The story was part of his famous Stanford commencement speech in 2005.[23] It’s a perfect illustration of how passion and purpose drive success, not the crossing of an imaginary finish line in the future. Forget the finish line. It doesn’t exist. Instead, look for passion and purpose directly in front of you. The dots will connect later, I promise—and so does Steve.

Chapter 5.2: Generic Fonts - Sans -Serif Setting font properties will be among the most common uses of style sheets. Unfortunately, there exists no well-defined and universally accepted taxonomy for

And there’s nothing that looks like a school bus except a school bus. Except… except… It was the wrong color. Honestly, if it had been blue or something, it might have been easier to take. I would have shrugged and said that perhaps the school buses in this world were simply blue. But this was just close enough that it was jarring. School buses are usually goldenrod, and this one was a shade darker, with too much orange to it. Carrot colored. I’m a graphic designer, I notice these things. If it had been paler, I could have chalked it up to bleaching in the sun, but not this. Also, the font they had used for SCHOOL BUS was a serif font, not sans serif. It was pretty chunky, still easy enough to stencil on, but… serif.

Exclusive rights to publish and sell this book in print form in English are licensed to The MIT Press. All other rights are reserved by the author. An electronic version of this book is available under a Creative Commons license. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email special_sales@mitpress.mit.edu or write to Special Sales Department, The MIT Press, 5 Cambridge Center, Cambridge, MA 02142. Set in Stone sans and Stone serif by The MIT Press. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Hippel, Eric von. Democratizing innovation / Eric von Hippel.

Letterpress was a dying art, another casualty of the digital age. The bank sent her threatening letters run off on cheap paper and laser-printed in Helvetica, the font she despised the most, because it was sans serif, overused, and, to her, it heralded the reign of the impersonal.

The wording should be simple and exact, Boorman went on, and use the familiar language of the profession. Even the look of the checklist matters. Ideally, it should fit on one page. It should be free of clutter and unnecessary colors. It should use both uppercase and lowercase text for ease of reading. (He went so far as to recommend using a sans serif type like Helvetica.)