Life turns it into a mind. Its content grew in a haphazard manner over the years. When I encountered a brain science article or topic that seemed particularly relevant to my interests in education, I added it to the IAE-pedia Brain Science page. I made little effort to relate the new section to previous sections.
They were characteristic of the earliest non-blackletter typefaces in European printing, and typefaces with serifs are still used. People writing for the page rather than the screen tend to choose serif typefaces, based on the belief that the serifs help the eye follow the text more easily.
To ease identification, serif types are usually broken up into subtypes based on their features. Terminology and the precise number of categories varies, but in general we have: The types of the European Renaissancespanning from the late s to the late s.
Generally split into two phases: Humanist, Jensonian or Venetian Old-Style: The earliest printed serif fonts, making a break with the earlier Blackletter tradition e. More-or-less codified by the work of Nicolas Jenson c.
The crossbar of the lowercase "e" sits at an angle, and the whole thing feels more "written" than "designed". Italic type doesn't exist yet. Named after printers Aldo Manuzio and the later Claude Garamont, both of whom established models that numerous others followed.
First used by the Aldine Press in printing a book by Pietro Bembo about a trip up Mount Aetna aroundit features a lowercase "e" with a horizontal bar and overall more regular proportions and details. Line contrast is low-to-moderate. The French old-styles in the manner of Garamont and his contemporaries continue this theme, gradually becoming more formalized and distinct from writing.
Italic type exists also first printed by the Aldine Pressbut at the time is completely independent of the upright roman style. The handwriting after effects tutorial facet contribution in French old-styles is the use of slanted capitals to flow with the italic lowercase; previously, only upright roman capitals were used apart from swash calligraphic initials, which were usually written in after printing.
In general, the stroke angle goes from diagonal to upright or nearly upright, under the influence of the handwriting of the period using the pointed pen. There is greater contrast from thick to thin, and a greater influence of geometry.
Because the term is so vague, it's often broken down into several subgroups: The types of the Enlightenment, characterized by the work coming out of the Low Countries during the 17th and early 18th century, particularly Amsterdam and Antwerp.
The overall style is similar to the 16th-century French models, but is more condensed and has a darker overall impression, influenced by the blackletter styles still prevalent there.
These types were brought to England by Dr. John Fell in the early 18th century, influencing the subsequent work of William Caslon. Italic type is starting to be used in combination with the roman, but only tentatively. Contrast is much more pronounced than before, and italic types more closely resemble their roman counterparts, being more readily intermixed.
Technical improvements in ink and punchcutting allow much sharper corners and thinner strokes on type, and in combination with smooth, bright white "wove" paper, there was a belief among critics that reading them for long stretches would cause blindness. Others were more enthusiastic; Benjamin Franklin actually wrote to Baskerville, praising his work.
Scotch Roman or Scotch Modern: Types originating in Scotland at the end of the 18th century, influenced in equal measure by the Neoclassical faces from England and the Didones from France and Italy. Once the types made it to the U. There's some debate as to whether they should be considered as Transitional or Modern types, however, as Scotch has an overall Didone structure, yet it also has bracketed serifs sloping smoothly into the body of the letter rather than meeting at a corner and lower contrast, which it has in common with the late Transitional faces.
Modern, Didone or Romantic: The quintessential types for fashion magazines, epitomized by the work of Giambattista Bodoni in Italy, the Didot family in France, and to a somewhat lesser extent Justus Erich Walbaum in what is now Germany.
Everything adheres to strict geometry, with a clear vertical axis to all letters. Serifs are barely-there hairlines, with abrupt transitions between thick and thin strokes. There are ball-shaped doodads on the ends of lowercase "a", "c" and "r", and the capital "R" has a wide bowl and a bendy tail that ends in a vertical curlicue, a feature also present in the exit strokes of the equally rigid italic.
By the end of the 19th century, there is a pronounced backlash against these types, with the Arts and Crafts movement and adherents such as William Morris advocating a return to calligraphic roots, and American printer Theodore Low De Vinne commissioning the Century series with lowered contrast and heavier strokes.
A style that grew out of the 19th-century "Modern", except with all strokes including serifs readjusted to more-or-less equal width in monoline, mechanistic fashion.
Subtypes are Clarendons, with smoother transitions between the serifs and the main strokes akin to Scotch Romansand Egyptians, with mechanical, sharp corners akin to Didone models. Originally conceived as type for headings and ads, they eventually found their way into more traditional roles, and the 20th century saw them following similar trends to sans serifs, giving rise to geometric e.
Memphis and even humanist e. Glyphic, Latin or flared serif:Spens Report 'Secondary education with Special Reference to Grammar Schools and Technical High Schools' (). In this After Effects tutorial, we’ll place some text, trace over it using the Pen Tool, adjust the path, use a simple Trim Path effect and animate it to build out a handwriting effect.
Lastly, we’ll use a track matte to mask the handwriting effect to any type that we want. Learn to animate text in Adobe After Effects CS3 with this video tutorial so that it looks like it is being handwritten.
This video tutorial from Matthew Butler shows three different methods of animating in After Effects CS3, the techniques can also be used in CS4 and CS5.
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AFTER EFFECTS TUTORIAL: Handwriting Effect Tutorial! | In this tutorial we’ll use a mask and a path to complete this self-writing type effect in After Effects. In this After Effects tutorial, we’ll place some text, trace over it using the Pen Tool, adjust the path, use a simple Trim Path effect.