Adobe Devanagari typeface

Typeface design: collaborative work commissioned by Adobe Inc. Published but unreleased. The Adobe Devanagari typefaces were commissioned from Tiro Typeworks and collaboratively designed by Tim Holloway, Fiona Ross and John Hudson, beginning in 2005. The types were officially released in 2009. The design brief was to produce a typeface for modern business communications in Hindi and other languages, to be legible both in print and on screen. Adobe Devanagari was designed to be highly readable in a range of situations including quite small sizes in spreadsheets and in continuous text setting, as well as at display sizes, where the full character of the typeface reveals itself. The construction of the letters is based on traditional penmanship but possesses less stroke contrast than many Devanagari types, in order to maintain strong, legible forms at smaller sizes. To achieve a dynamic, fluid style the design features a rounded treatment of distinguishing terminals and stroke reversals, open counters that also aid legibility at smaller sizes, and delicately flaring strokes. Together, these details reveal an original hand and provide a contemporary approach that is clean, clear and comfortable to read whether in short or long passages of text. This new approach to a traditional script is intended to counter the dominance of rigid, staccato-like effects of straight verticals and horizontals in earlier types and many existing fonts. OpenType Layout features in the fonts provide both automated and discretionary access to an extensive glyph set, enabling sophisticated typography. Many conjuncts preferred in classical literary texts and particularly in some North Indian languages are included; these literary conjuncts may be substituted by specially designed alternative linear forms and fitted half forms. The length of the ikars—ि and ी—varies automatically according to adjacent letter or conjunct width. Regional variants of characters and numerals (e.g. Marathi forms) are included as alternates. Careful attention has been given to the placements of all vowel signs and modifiers. The fonts include both proportional and tabular numerals in Indian and European styles. Extensive kerning covers several thousand possible combinations of half forms and full forms to anticipate arbitrary conjuncts in foreign loan words. _____

Quantifying the response of the ORAC aerosol optical depth retrieval for MSG SEVIRI to aerosol model assumptions

We test the response of the Oxford-RAL Aerosol and Cloud (ORAC) retrieval algorithm for MSG SEVIRI to changes in the aerosol properties used in the dust aerosol model, using data from the Dust Outflow and Deposition to the Ocean (DODO) flight campaign in August 2006. We find that using the observed DODO free tropospheric aerosol size distribution and refractive index increases simulated top of the atmosphere radiance at 0.55 µm assuming a fixed erosol optical depth of 0.5 by 10–15 %, reaching a maximum difference at low solar zenith angles. We test the sensitivity of the retrieval to the vertical distribution f the aerosol and find that this is unimportant in determining simulated radiance at 0.55 µm. We also test the ability of the ORAC retrieval when used to produce the GlobAerosol dataset to correctly identify continental aerosol outflow from the African continent and we find that it poorly constrains aerosol speciation. We develop spatially and temporally resolved prior distributions of aerosols to inform the retrieval which incorporates five aerosol models: desert dust, maritime, biomass burning, urban and continental. We use a Saharan Dust Index and the GEOS-Chem chemistry transport model to describe dust and biomass burning aerosol outflow, and compare AOD using our speciation against the GlobAerosol retrieval during January and July 2006. We find AOD discrepancies of 0.2–1 over regions of intense biomass burning outflow, where AOD from our aerosol speciation and GlobAerosol speciation can differ by as much as 50 - 70 %.

Marks, spaces and boundaries

Dictionary compilers and designers use punctuation to structure and clarify entries and to encode information. Dictionaries with a relatively simple structure can have simple typography, and simple punctuation; as dictionaries grew more complex, and encountered the space constraints of the printed page, complex encoding systems were developed, using punctuation and symbols. Two recent trends have emerged in dictionary design: to eliminate punctuation, and sometimes to use a larger number of fonts, so that the boundaries between elements are indicated by font change, not punctuation.

The GRAPE aerosol retrieval algorithm

The aerosol component of the Oxford-Rutherford Aerosol and Cloud (ORAC) combined cloud and aerosol retrieval scheme is described and the theoretical performance of the algorithm is analysed. ORAC is an optimal estimation retrieval scheme for deriving cloud and aerosol properties from measurements made by imaging satellite radiometers and, when applied to cloud free radiances, provides estimates of aerosol optical depth at a wavelength of 550 nm, aerosol effective radius and surface reflectance at 550 nm. The aerosol retrieval component of ORAC has several incarnations – this paper addresses the version which operates in conjunction with the cloud retrieval component of ORAC (described by Watts et al., 1998), as applied in producing the Global Retrieval of ATSR Cloud Parameters and Evaluation (GRAPE) data-set.

Validation of the GRAPE single view aerosol retrieval for ATSR-2 and insights into the long term global AOD trend over the ocean

The Global Retrieval of ATSR Cloud Parameters and Evaluation (GRAPE) project has produced a global data-set of cloud and aerosol properties from the Along Track Scanning Radiometer-2 (ATSR-2) instrument, covering the time period 1995�2001. This paper presents the validation of aerosol optical depths (AODs) over the ocean from this product against AERONET sun-photometer measurements, as well as a comparison to the Advanced Very High Resolution Radiometer (AVHRR) optical depth product produced by the Global Aerosol Climatology Project (GACP). The GRAPE AOD over ocean is found to be in good agreement with AERONET measurements, with a Pearson's correlation coefficient of 0.79 and a best-fit slope of 1.0±0.1, but with a positive bias of 0.08±0.04. Although the GRAPE and GACP datasets show reasonable agreement, there are significant differences. These discrepancies are explored, and suggest that the downward trend in AOD reported by GACP may arise from changes in sampling due to the orbital drift of the AVHRR instruments.

Do designers show categorical perception of typefaces?

Readers need to easily discriminate between different letters, so typefaces are designed to make these differences distinctive. But there is also a uniformity of style within a typeface. These styles are recognised by typographic designers and may be categorised to enable more efficient discrimination among typefaces. The manner in which designers perceive typefaces is explored using the paradigm of Categorical Perception (CP). A continuum of fonts is created by interpolating between two typefaces and two tasks (identification and discrimination) are used to test for CP. As the application of CP to typefaces is a new approach, various methodological issues are pursued. The experiments reveal that the conditions required to demonstrate CP are quite specific and CP was only evident in Times and Helvetica and not Garamond and Bodoni. Possible reasons for this difference are the characteristics of the two typefaces and their context of use. Speculation as to the purpose of CP in non-designers raises the under-researched question of how we identify letters in different typefaces when reading.

Between writing and type: the stencil letter

An exhibition of stencil letters from the 18th century to the present day. Co-curated by Eric Kindel and Fred Smeijers, the exhibition featured a wide selection of stencil letters in the context of historical artefacts, documents and ephemera, including stencil plates and stencilling devices, specimens and catalogues and patent inventions. The exhibition also introduced a series of new stencil fonts designed by Maurice Göldner, Pierre Pané-Farré and Fred Smeijers. The design of each font made reference to and was informed by the historical material.

Sarkar Bengali typeface

Fiona Ross, Tim Holloway (co-designers) were commissioned by the renowned newspaper and publishing house Anandabazar Patrika (ABP) to design a new low-contrast typeface in a contemporary style for print and screen use in its publications. Ross and Holloway designed ABP's Bengali house typeface (Linotype Bengali - the first digital Bengali font) that has been in daily use in its newspaper since 1982. The design team was augmented by Neelakash Kshetrimayum; OpenType production undertaken by John Hudson. This Bengali typeface is the first fully functional OpenType design for the script. It demonstrates innovative features that resolve problems which hitherto hindered the successful execution of low-contrast Bengali text fonts: this connecting script of over 450 characters has deep verticals, spiralling strokes, wide characters, and intersecting ascenders. The new design has solutions to overcome the necessity to implement wide interlinear spacing and sets more words to the line than has yet been possible. This project therefore combines the use of aesthetic, technical and linguistic skills and is highly visible in newspapers of the largest newspaper group and publishing house in West Bengal in print and on-line. The design and development of Sarkar has positive implications for other non-Latin script designs, just as the Linotype Bengali typeface formed the blueprint for new non-Latin designs three decades ago. Sarkar was released on 31 August 2012 with the launch of Anandabazar Patirka's new newspaper Ebela.

Investigating typographic differentiation: italics are more subtle than bold for emphasis

Text designers are likely to benefit from guidance on how to use typographic differentiation for emphasis. Three experiments use purposely-designed fonts to explore the size and nature of differences in the stylistic characteristics of fonts (weight, width, contrast, italic) which affect letter identification. Results indicate that words set in bold and expanded fonts, when alternated with words set in a Neutral test font, may impair performance, whereas changing to italic does not. Possible explanations are explored through measuring the physical and perceptual similarities of the test fonts.