I added an inner and outer glow to make him stand out, as well as to eliminate the roughness of the cut out.Įach image is 8 x 10 inches with a resolution of 300 pixels per inch. In the far-left third of the image is a cut out of Uncle Sam pointing at the viewer. For example, the background is an image of the Constitution with a light opacity against a black background. I modernized it by adding a few new elements. I also added an inner and outer glow as well as an inner shadow to eliminate the rough edges. In the left third of the photo is President Reagan, whom I cut out using the magnetic lasso tool. On the bottom is the rest of the quote, which is highlighted by a black stroke and a shadow. I added a white stroke and a outer glow to illuminate the quote and make it stand out from the background. I chose to overlay a very simplistic font– Helvetica Neue Light (one of my favorite fonts!), to display the quote. The second poster has a very pro-america, pro-government theme what with the American flags in the background, President Reagan, and a quote pertaining to our government system. I only wanted to portray the part that advertises “EBT or food stamps accepted here.” I added an inner and outer glow to each image in the foreground to soften any roughness. I used the magnetic lasso tool and the magic wand to cut out the meat of each image. However, this text is ultimately meant to imply that the content of the images within the collage are wrong… not the messiness and disorganization of the different images altogether. The text on top of it says, “there’s something terribly wrong with this picture.” I wanted this to be ambiguous so that the “wrong-ness” of the photo could be because of 2 things: (1) the messiness of everything, making my art atypical and (2) the messages of each image within the entire piece.
The image itself is supposed to look very messy, cut-and-paste, and all over the place. In the first poster, I created what’s meant to look like a collage of photos. Although this assignment is fictional, I incorporated my true beliefs into the posters. Aside from the original Helvetica from the 1960s, there is the 21st Century Helvetica World, with rich language support capabilities.For this final project, I intended to create three activism posters championing the concept of America as an anti-welfare state. Neue Helvetica is one of three Helvetica typeface families from Linotype. It is the quintessential sans serif font, timeless and neutral, and can be used for all types of communication. Neue Helvetica sets new standards in terms of its form and number of variants. The second figure gives information on the width and orientation of the font - Neue Helvetica 53 Extended or Neue Helvetica 57 Condensed, for instance. The first figure of the number describes the stroke thickness - 25 for ultra light to 95 for extra black. The designation 55 Roman forms the central point. The basic font weight, Neue Helvetica Roman, is at the heart of this numbering system. It's original numbering system for the weight designations came from Adrian Frutiger's numbering system for the Univers family. Stempel AG redesigned the famous Helvetica typeface for the digital age, creating Neue Helvetica for Linotype: a self-contained font family. This is Linotype's Arabic extension of Neue Helvetica, designed at Linotype GmbH in Germany by Nadine Chahine. The design may be protected in certain jurisdictions. This typeface is original artwork of Linotype Design Studio and Nadine Chahine. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp.
Helvetica is a trademark of Linotype Corp.
Helvetica neue light wordpress software#
This software is the property of Adobe Systems Incorporated and its licensors, and may not be reproduced, used, displayed, modified, disclosed or transferred without the express written approval of Adobe. The digitally encoded machine readable software for producing the Typefaces licensed to you is copyrighted (c) 1988, 1990, 1993 Adobe Systems. This software is the property of Linotype Corp., and may not be reproduced, used, displayed, modified, disclosed or transferred without the express written approval of Linotype Corp. Part of the digitally encoded machine readable outline data for producing the Typefaces provided is copyrighted 2009 Linotype Corp., All rights reserved.
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