LEADER 05525nam 2200697Ia 450 001 9910786064303321 005 20230721044649.0 010 $a3-0346-0990-6 024 7 $a10.1515/9783034609906 035 $a(CKB)2670000000317221 035 $a(EBL)1020500 035 $a(OCoLC)822025010 035 $a(SSID)ssj0000812570 035 $a(PQKBManifestationID)11443988 035 $a(PQKBTitleCode)TC0000812570 035 $a(PQKBWorkID)10859952 035 $a(PQKB)11058331 035 $a(MiAaPQ)EBC1020500 035 $a(DE-B1597)206248 035 $a(OCoLC)979970751 035 $a(DE-B1597)9783034609906 035 $a(Au-PeEL)EBL1020500 035 $a(CaPaEBR)ebr10634585 035 $a(EXLCZ)992670000000317221 100 $a20080213d2009 uy 0 101 0 $aeng 135 $aurnn#---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aAdrian Frutiger typefaces$b[electronic resource] $ethe complete works /$fSwiss Foundation Type and Typography ; edited by Heidrun Osterer and Philipp Stamm 205 $aEnglish ed. 210 $aBasel ;$aBoston $cBirkha?user$dc2009 215 $a1 online resource (459 p.) 300 $aIncludes two folded pages. 311 0 $a3-7643-8581-2 320 $aIncludes bibliographical references (p. 424-437). 327 $tFront matter --$tContent --$tAdrian Frutiger - The standard-setter /$rWeidemann, Kurt --$tA typeface is a tool /$rFrutiger, Adrian --$tIntroduction. How we made this book --$tIntroduction. How to use this book --$tCareer path. Adrian Frutiger's teachers and mentors --$tPrésident --$tType-design project. Delta --$tPHOEBUS --$tType-design project. Element-Grotesk --$tType-design project. Federduktus --$tONDINE --$tMÉRIDIEN --$tCaractères Lumitype --$tUNIVERS --$tEGYPTIENNE F --$tOpéra --$tAlphabet Orly --$tAPOLLO --$tType-design project. Alphabet Entreprise Francis Bouygues --$tConcorde --$tType-design project. Serifen-Grotesk --$tAlphabet Algol --$tSERIFA --$tOCR-B --$tUnivers IBM Composer --$tAlphabet EDF-GDF --$tType-design project. Katalog --$tDevanagari / Tamil --$tAlpha BP --$tDocumenta --$tAlphabet Facom --$tAlphabet Roissy --$tAlphabet Brancher --$tIRIDIUM --$tAlphabet Métro --$tALPHABET CENTRE POMPIDOU --$tFRUTIGER --$tGLYPHA --$tICONE --$tBREUGHEL --$tType-design project. Dolmen --$tTIEMANN --$tVERSAILLES --$tLinotype Centennial --$tAVENIR --$tWESTSIDE --$tVECTORA --$tLINOTYPE DIDOT --$tHERCULANUM --$tShiseido --$tFrutiger CAPITALI S --$tPompeijana --$tRUSTICANA --$tFRUTIGER STONES --$tFRUTIGER NEONSCRIPT --$tNAMI --$tSynopsis of Frutiger-Typefaces --$tAddendum 330 $aDas internationale Schriftschaffen nach 1950 wurde massgeblich geprägt vom Schweizer Adrian Frutiger. Sein Schriftprogramm Univers und die zum ISO-Standard erklärte maschinenlesbare Schrift OCR-B sind Meilensteine wie auch die zur Frutiger weiterentwickelte Schrift der Pariser Flughäfen - ein Qualitätsstandard für Signalisationsschriften. Mit den Corporate Types prägte er Firmenauftritte wie jenen der japanischen Kosmetiklinie Shiseido. Insgesamt entstanden rund 50 Schriften, darunter Ondine, Méridien, Avenir, Vectora.Auf Gesprächen mit Frutiger basierend sowie auf umfangreichen Recherchen in Frankreich, England, Deutschland und der Schweiz zeichnet die Publikation den gestalterischen Werdegang des Schriftkünstlers exakt nach. Erstmals werden alle Schriften - vom Entwurf bis zur Vermarktung - abgebildet sowie mit Bezug zu Technik und zu artverwandten Schriften analysiert. Bisher unveröffentlichte, nicht realisierte Schriften sowie über 100 Logos vervollständigen das Bild. 330 $aThe international creation of typefaces after 1950 was decisively influenced by the Swiss type designer Adrian Frutiger. His Univers typeface and the machine-readable font OCR-B, which was adopted as an ISO standard, are milestones, as is his type for the Paris airports, which set new standards for signage types and evolved into the Frutiger typeface. With his corporate types, he helped to define the public profiles of companies such as the Japanese Shiseido line of cosmetics. In all he created some fifty types, including Ondine, Méridien, Avenir, and Vectora.Based on conversations with Frutiger himself and on extensive research in France, England, Germany, and Switzerland, this publication provides a highly detailed and accurate account of the type designer's artistic development. For the first time, all of his types - from the design phase to the marketing stage - are illustrated and analyzed with reference to the technology and related types. Hitherto unpublished types that were never realized and more than one hundred logos complete the picture. 606 $aType and type-founding$xHistory$y20th century 606 $aType and type-founding$vSpecimens 606 $aGraphic design (Typography) 606 $aTypographers$zSwitzerland$vBiography 606 $aType designers$zSwitzerland$vBiography 615 0$aType and type-founding$xHistory 615 0$aType and type-founding 615 0$aGraphic design (Typography) 615 0$aTypographers 615 0$aType designers 676 $a686.224092 700 $aFrutiger$b Adrian$f1928-$0689582 701 $aOsterer$b Heidrun$f1966-$01219584 701 $aStamm$b Philipp$01170974 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910786064303321 996 $aAdrian Frutiger typefaces$93737094 997 $aUNINA LEADER 05044nam 2200661 450 001 9910817019903321 005 20200520144314.0 010 $a1-78439-992-2 035 $a(CKB)2670000000599099 035 $a(EBL)1973850 035 $a(SSID)ssj0001466789 035 $a(PQKBManifestationID)11831240 035 $a(PQKBTitleCode)TC0001466789 035 $a(PQKBWorkID)11505908 035 $a(PQKB)11314490 035 $a(Au-PeEL)EBL1973850 035 $a(CaPaEBR)ebr11025924 035 $a(CaONFJC)MIL734283 035 $a(OCoLC)906578274 035 $a(CaSebORM)9781784399931 035 $a(MiAaPQ)EBC1973850 035 $a(PPN)228008328 035 $a(EXLCZ)992670000000599099 100 $a20150312h20152015 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aBlender cycles $ematerials and textures cookbook : over 40 practical recipes to create stunning materials and textures using the cycles rendering engine with blender /$fEnrico Valenza ; cover image by Enrico Valenza 205 $aThird edition. 210 1$aBirmingham, England ;$aMumbai, [India] :$cPackt Publishing,$d2015. 210 4$d©2015 215 $a1 online resource (400 p.) 225 1 $aCommunity Experience Distilled 300 $aIncludes index. 311 $a1-78439-993-0 311 $a1-336-02997-8 327 $aCover; Copyright; Credits; About the Author; Acknowledgments; About the Reviewers; www.PacktPub.com; Table of Contents; Preface; Chapter 1: Overview of Materials in Cycles; Introduction; Material nodes in Cycles; Procedural textures in Cycles; Setting the World material; Creating a mesh-light material; Using volume materials; Using displacement; Chapter 2: Managing Cycles Materials; Introduction; Preparing an ideal Cycles interface for material creation; Naming materials and textures; Creating node groups; Grouping nodes under frames for easier reading; Linking materials and node groups 327 $aChapter 3: Creating Natural Materials in CyclesIntroduction; Creating a rock material using image maps; Creating a rock material using procedural textures; Creating a sand material using procedural textures; Creating a simple ground material using procedural textures; Creating a snow material using procedural textures; Creating an ice material using procedural textures; Chapter 4: Creating Man-made Materials in Cycles; Introduction; Creating a generic plastic material; Creating a Bakelite material; Creating an expanded polystyrene material; Creating a clear (glassy) polystyrene material 327 $aCreating a rubber materialCreating an antique bronze material with procedurals; Creating a multipurpose metal node group; Creating a rusty metal material with procedurals; Creating a wood material with procedurals; Chapter 5: Creating Complex Natural Materials in Cycles; Introduction; Creating an ocean material using procedural textures; Creating underwater environment materials; Creating a snowy mountain landscape with procedurals; Creating a realistic Earth as seen from space; Chapter 6: Creating More Complex Man-made Materials; Introduction; Creating cloth materials with procedurals 327 $aCreating a leather material with proceduralsCreating a synthetic sponge material with procedurals; Creating a spaceship hull shader; Chapter 7: Subsurface Scattering in Cycles; Introduction; Using the Subsurface Scattering shader node; Simulating Subsurface Scattering in Cycles using the Translucent shader; Simulating Subsurface Scattering in Cycles using the Vertex Color tool; Simulating Subsurface Scattering in Cycles using the Ray Length output in the Light Path node; Creating a fake Subsurface Scattering node group; Chapter 8: Creating Organic Materials; Introduction 327 $aCreating an organic-looking shader with proceduralsCreating a wasp-like chitin material with procedural textures; Creating a beetle-like chitin material with procedural textures; Creating tree shaders - the bark; Creating tree shaders - the leaves; Creating a layered human skin material in Cycles; Creating fur and hair; Creating a gray alien skin material with procedurals; Chapter 9: Special Materials; Introduction; Using Cycles volume materials; Creating a cloud volumetric material; Creating a fire and smoke shader; Creating a shadeless material in Cycles 327 $aCreating a fake immersion effect material 330 $aThis book is aimed at those familiar with the basics of Blender, looking to delve into the depths of the Cycles rendering engine to create an array of breath-taking materials and textures. 410 0$aCommunity experience distilled. 606 $aComputer animation 615 0$aComputer animation. 676 $a006.693 700 $aValenza$b Enrico$01605632 702 $aValenza$b Enrico 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910817019903321 996 $aBlender cycles$94054128 997 $aUNINA