diff --git a/cc-by-sa/knowledge/modules/history_of_type/lessons/fitting_the_line/content.md b/cc-by-sa/knowledge/modules/history_of_type/lessons/fitting_the_line/content.md index b2bd68bb2..fa765a363 100644 --- a/cc-by-sa/knowledge/modules/history_of_type/lessons/fitting_the_line/content.md +++ b/cc-by-sa/knowledge/modules/history_of_type/lessons/fitting_the_line/content.md @@ -89,8 +89,8 @@ Decades before Cheltenham, though, manufacturers of wood display type were cutti
-![Book scan from American Wood Type, showing the letter “R” from three different typefaces in various widths.](images/fitting_the_line_8.jpg) -
**CHECK LICENSE** Various widths, from Rob Roy Kelly’s American Wood Type (1969).
+![Various widths of the letter “R” from two different typefaces.](images/fitting_the_line_8.svg) +
A modern approximation of an illustration from Rob Roy Kelly’s American Wood Type (1969), using the variable widths of Roboto Flex (top) and Amstelvar (bottom).
diff --git a/cc-by-sa/knowledge/modules/history_of_type/lessons/fitting_the_line/images/fitting_the_line_8.jpg b/cc-by-sa/knowledge/modules/history_of_type/lessons/fitting_the_line/images/fitting_the_line_8.jpg deleted file mode 100644 index b2ca514da..000000000 Binary files a/cc-by-sa/knowledge/modules/history_of_type/lessons/fitting_the_line/images/fitting_the_line_8.jpg and /dev/null differ diff --git a/cc-by-sa/knowledge/modules/history_of_type/lessons/fitting_the_line/images/fitting_the_line_8.svg b/cc-by-sa/knowledge/modules/history_of_type/lessons/fitting_the_line/images/fitting_the_line_8.svg new file mode 100644 index 000000000..7372510c8 --- /dev/null +++ b/cc-by-sa/knowledge/modules/history_of_type/lessons/fitting_the_line/images/fitting_the_line_8.svg @@ -0,0 +1 @@ + \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/history_of_type/lessons/the_tight_not_touching_style/content.md b/cc-by-sa/knowledge/modules/history_of_type/lessons/the_tight_not_touching_style/content.md index e5c4c9ce7..b324d5c75 100644 --- a/cc-by-sa/knowledge/modules/history_of_type/lessons/the_tight_not_touching_style/content.md +++ b/cc-by-sa/knowledge/modules/history_of_type/lessons/the_tight_not_touching_style/content.md @@ -1,6 +1,10 @@ In the 1960s, the introduction of photo-typesetting made it possible to set type tighter than ever before. Over the next two decades, designers like Herb Lubalin and Tom Carnase used this new ability in letter spacing to create a (very cool) new aesthetic called tight-not-touching. Read on to find out how this style came to be and how variable fonts make it easier to achieve the look today. -**MISSING: Caption: Look how cool the work of 1960s designers like Herb Lubalin and Tom Carnase is. (Image courtesy of Flat File) Alt text: The word “fact:” in white on a black background** +
+ +![The word “tight”, set in the “tight not touching” style.](images/the_tight_not_touching_style_EXTRA.svg) +
A modern interpretation of the “tight not touching” style, set in Fraunces.
+
## Letter spacing—linear scaling vs. optical scaling diff --git a/cc-by-sa/knowledge/modules/history_of_type/lessons/the_tight_not_touching_style/images/the_tight_not_touching_style_EXTRA.svg b/cc-by-sa/knowledge/modules/history_of_type/lessons/the_tight_not_touching_style/images/the_tight_not_touching_style_EXTRA.svg new file mode 100644 index 000000000..3d5f3b79e --- /dev/null +++ b/cc-by-sa/knowledge/modules/history_of_type/lessons/the_tight_not_touching_style/images/the_tight_not_touching_style_EXTRA.svg @@ -0,0 +1 @@ + \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/history_of_type/lessons/the_tight_not_touching_style/images/thumbnail.svg b/cc-by-sa/knowledge/modules/history_of_type/lessons/the_tight_not_touching_style/images/thumbnail.svg index ac2b72a1d..7322b16c3 100644 --- a/cc-by-sa/knowledge/modules/history_of_type/lessons/the_tight_not_touching_style/images/thumbnail.svg +++ b/cc-by-sa/knowledge/modules/history_of_type/lessons/the_tight_not_touching_style/images/thumbnail.svg @@ -1 +1 @@ - + diff --git a/cc-by-sa/knowledge/modules/using_type_in_ar_and_vr/lessons/technical_challenges_for_typography_in_ar_vr/content.md b/cc-by-sa/knowledge/modules/using_type_in_ar_and_vr/lessons/technical_challenges_for_typography_in_ar_vr/content.md index 7ff0d536c..b05782dae 100644 --- a/cc-by-sa/knowledge/modules/using_type_in_ar_and_vr/lessons/technical_challenges_for_typography_in_ar_vr/content.md +++ b/cc-by-sa/knowledge/modules/using_type_in_ar_and_vr/lessons/technical_challenges_for_typography_in_ar_vr/content.md @@ -54,7 +54,7 @@ Chromatic aberration is caused by lens dispersion, with different colors of ligh
![A representation of chromatic abberation, where text appears to be separated into differently colored layers, each slightly misaligned.](images/technical_challenges_for_typography_in_ar_vr_4.svg) -
Extreme effect of chromatic aberration on text. Image Source: Oculus Forums.
+
A simulated example of chromatic aberration on text.
@@ -67,7 +67,7 @@ This refers to the visible fine lines between pixels on a display, as if the use
![Two examples of the word “you”, shown zoomed in, where pixels are visible. The example on the left shows the lines between pixels appearing more obvious.](images/technical_challenges_for_typography_in_ar_vr_5.svg) -
Screen door effect comparison between Oculus Quest 1(left) and Quest 2. Image Source: Reddit.
+
A simulated example of the screen door effect on text.
diff --git a/cc-by-sa/knowledge/modules/using_type_in_ar_and_vr/lessons/type_selection_for_ar_vr/content.md b/cc-by-sa/knowledge/modules/using_type_in_ar_and_vr/lessons/type_selection_for_ar_vr/content.md index 4d7d8146e..63084d71f 100644 --- a/cc-by-sa/knowledge/modules/using_type_in_ar_and_vr/lessons/type_selection_for_ar_vr/content.md +++ b/cc-by-sa/knowledge/modules/using_type_in_ar_and_vr/lessons/type_selection_for_ar_vr/content.md @@ -109,7 +109,7 @@ Typefaces with sturdy stroke endings tend to perform better over those with less
![The English alphabet rendered in the typefaces Open Sans and Nunito, with screenshots of the AR scene showing how similar they appear in that environment.](images/type_selection_for_ar_vr_5.jpg) -
The images above show two typefaces, Open Sans (a) and Nunito (b), which have straight and round endings respectively, but render similarly in AR. Both Open Sans and Nunito Regular have 72 pt size in AR and 30pt in the reference string at the top.
+
The images above show two typefaces, Open Sans (left) and Nunito (right), which have straight and round endings respectively, but render similarly in AR. Both Open Sans and Nunito Regular have 72 pt size in AR and 30pt in the reference string at the top.