IEEE Transactions on Applied Superconductivity, 2015
We report on technique and results for superconductor electronics fabrication process, featuring ... more We report on technique and results for superconductor electronics fabrication process, featuring customizable number of planarized superconducting layers. The novel technique enhanced yield on stackable vias of our standard planarized process (RIPPLE) by eliminating the need for an additional deposition of Aluminum as an etch stop in the metalvia stack. The drawback of the previous approach was the difficulty in processing Aluminum using either wet or dry etch mechanisms. Here, we discuss details of the novel fabrication process flow and its realization for 4.5 kA/cm 2 fabrication process with six Nb layers with two fully planarized layers. We report test results of various planarization diagnostics structures, accounting the influence of topology on Josephson junction quality, as well as yield and critical current of via stacks. We also report on inductance measurement results providing information on interlayer dielectric thickness for planarized layers; confirming a good uniformity over the wafer. Basic components of superconducting logic such as dc/SFQ, SFQ/dc converters, Josephson transmission lines (JTLs), and simple digital circuits such as half-adder (HA) have been designed, fabricated and tested using either conventional (RSFQ) or energy-efficient (ERSFQ) approach. The ERSFQ HA cells with bias inductors fabricated in two planarized layers were shown to function with the operational margins of +/-22%.
International Journal of Human-Computer Interaction, 2008
... words. One possible way of supplementing principle text is to replace descriptive text with k... more ... words. One possible way of supplementing principle text is to replace descriptive text with kinetic typography or animated text to convey missing sound and emotional information. ... screen. 1. ANIMATED TEXT/KINETIC TYPOGRAPHY. ...
Institutions teaching graphic design (and other post-secondary programs) are increasingly relying... more Institutions teaching graphic design (and other post-secondary programs) are increasingly relying on international students to populate and fund themselves. (Hegary, 2014) With current communication technologies and mobility of populations, audiences likewise are more likely to come from different cultures, whether as international students, or recent immigrants attending post-secondary education. Although we actively recruit students from abroad, the education we deliver is oriented towards our traditional student, someone who grew up using the English language and what we generally call the "Roman" alphabet. This paper considers the value of introducing using non-Roman writing systems in communication design courses both as exploring different ways of communicating language visually, and as a way of integrating the knowledge and culture of international students and others with differing cultural backgrounds into a graphic design education. By so doing, we can better recognize students with diverse backgrounds as holders of valuable cultural capital by making the formal and functional attributes of the scripts used to communicate language of which these students are often, by dint of their experience, expert users. At the same time, we can widen and enrichen the education of local students, who have little knowledge or understanding of other script traditions. The practice of including those non-Roman scripts used by some of our students has three principal potential benefits. The first is to foster appreciation and recognition of, and respect for, the affordances and characteristics of non-Roman scripts, the second is to encourage experimentation with how language can be visually represented, and the third is to promote a more inclusive environment for the growing number of beginning students who, while they may be at a disadvantage in the use of the Roman script system or visual communication of the English language, have the opportunity to bring a knowledge and critical appreciation of the forms and functions of other writing systems to their fellow students, and gain confidence in bringing their own individual backgrounds, abilities and understanding into their design school experience. There is also a by-product of this last aspect, as it exemplifies an aspect of the classroom, respect for students' opinions and individuality, and the encouragement of the expression of critical thought by students that may not be a part of educational structures in some educational cultures. For example, Chinese students, who make up the majority of international students are socialized to have respect for authority and social harmony in the classroom, with little active participation from students. (Wang, Sun, Liu) Students from other educational cultures can learn that the expression of the student's opinion and knowledge is valued, which is a model of what most of us expect, or at least hope, will be a normal aspect of our classes. This is important to do as early as possible for students to fully participate in the student-centered education that is characteristic of North American art and design schools.
Eh to Zed? Some contend that up here in the great, far-flung, white-space reaches of our strong-a... more Eh to Zed? Some contend that up here in the great, far-flung, white-space reaches of our strong-and-free O Canada we have our own true-North beginnings, ligatures and ends.
We are a lettered people, but admittedly, attempting a definitive ‘Canadian type issue’ may have been an impossible idea. This journal (at long last) in your hands is a manifest attempt at same, even if it has had to skim past many a type-A typographer between Antigonish and Abbotsford.
Typecasting Canada, Canadians, and their ilk is also no easy thing. In this issue you’ll encounter a variety of Canucks and their types, and you’ll read about others (past and present) who have left their imprint on our typology and communications landscape. Good type has always had to do with the use of space, a rare commodity in much of the crowded world, yet something we have in abundance up here. Arguably, there’s an aesthetic that grows in the vast spaces that separate Canadians (we can claim some of the widest character spacing on the planet) across the breadth of our five time zones.
What you’ll discover in these pages is only the tip of the iceberg, as regards typographis canadensis—a look at Luc Devroye’s extensive website at http://cgm.cs.mcgill.ca/~luc/fonts.html will bring you to a remarkable online collection of information and links—though you’ll be on your own in sorting the bona fide types from the ‘rasterbaters and pixel-jockies,’ as one cynical typophile labels the under-thirtysomething set.
The purpose of this journal is to provide a forum to encourage dialogue, to promote excellence in design and visual communication, and to help record the history and development of graphic design in Canada. To this end, we owe special thanks to this issue’s eloquent, talented (and patient) contributors: Matt Warburton, FGDC in Vancouver for his recollections (and production coordination); Nick Shinn, R.G.D., MGDC in Toronto for his insightful articles and the supply of unique fonts; Val Fullard for her piece on Mambo; maritimer Rod M c Donald for the article and font Cartier Book; Walter Jungkind, FGDC, of Edmonton for his scholarly call for a new alphabet to suit these times; Richard Hunt for his words of wisdom regarding scalability; the various contributors to the call for ‘character spaces;’ our production sponsors, StoraEnso, Blanchette and Pacific Bindery; book designer Zab (E.A. Hobart, MGDC) for the oh-so-apt Big-O cover; and to my Circle colleague Susan McWatt FitzGerald, MGDC for this publication’s design and her review of Canadian Robert Bringhurst’s The Solid Form of Language and The Elements of Typographic Style.
Much of this issue is set in Goodchild and Brown by Nick Shinn, R.G.D., MGDC. Les’ eponymous Usherwood, and Cartier Book by Rod M c Donald also make appearances. Let’s face it, this type was made for you and me….
In Advanced Typography, expert practitioner and instructor Richard Hunt goes beyond the basics to... more In Advanced Typography, expert practitioner and instructor Richard Hunt goes beyond the basics to take your understanding and usage to the next level.
Taking a practical approach, the book combines visual, linguistic, historical and psychological systems with the broad range of applications and audiences of type today.
From the challenges of designing across media and cultures, to type as information and craft, Hunt includes theory with illustrative applied examples.
Medical errors due to misreading written printed, and increasingly, screen-displayed medication n... more Medical errors due to misreading written printed, and increasingly, screen-displayed medication names or dosages are a relatively common source of iatrogenic outcomes. Although research has been done in general typographic legibility and in typographical treatment of medical names, there has been little, if any, systematic investigation of typographical forms themselves as a means of reducing communication errors leading to adverse medical outcomes. Further, research on disfluency and CAPTCHA (Completely Automated Public Turing test to tell Computers and Humans Apart) technologies also suggest approaches to reading that call into question traditional perceptions of readability and legibility. These aspects may inform the design of type forms that have the potential to reduce the frequency of medical errors related to the visual representation of medication names and doses.
IEEE Transactions on Applied Superconductivity, 2015
We report on technique and results for superconductor electronics fabrication process, featuring ... more We report on technique and results for superconductor electronics fabrication process, featuring customizable number of planarized superconducting layers. The novel technique enhanced yield on stackable vias of our standard planarized process (RIPPLE) by eliminating the need for an additional deposition of Aluminum as an etch stop in the metalvia stack. The drawback of the previous approach was the difficulty in processing Aluminum using either wet or dry etch mechanisms. Here, we discuss details of the novel fabrication process flow and its realization for 4.5 kA/cm 2 fabrication process with six Nb layers with two fully planarized layers. We report test results of various planarization diagnostics structures, accounting the influence of topology on Josephson junction quality, as well as yield and critical current of via stacks. We also report on inductance measurement results providing information on interlayer dielectric thickness for planarized layers; confirming a good uniformity over the wafer. Basic components of superconducting logic such as dc/SFQ, SFQ/dc converters, Josephson transmission lines (JTLs), and simple digital circuits such as half-adder (HA) have been designed, fabricated and tested using either conventional (RSFQ) or energy-efficient (ERSFQ) approach. The ERSFQ HA cells with bias inductors fabricated in two planarized layers were shown to function with the operational margins of +/-22%.
International Journal of Human-Computer Interaction, 2008
... words. One possible way of supplementing principle text is to replace descriptive text with k... more ... words. One possible way of supplementing principle text is to replace descriptive text with kinetic typography or animated text to convey missing sound and emotional information. ... screen. 1. ANIMATED TEXT/KINETIC TYPOGRAPHY. ...
Institutions teaching graphic design (and other post-secondary programs) are increasingly relying... more Institutions teaching graphic design (and other post-secondary programs) are increasingly relying on international students to populate and fund themselves. (Hegary, 2014) With current communication technologies and mobility of populations, audiences likewise are more likely to come from different cultures, whether as international students, or recent immigrants attending post-secondary education. Although we actively recruit students from abroad, the education we deliver is oriented towards our traditional student, someone who grew up using the English language and what we generally call the "Roman" alphabet. This paper considers the value of introducing using non-Roman writing systems in communication design courses both as exploring different ways of communicating language visually, and as a way of integrating the knowledge and culture of international students and others with differing cultural backgrounds into a graphic design education. By so doing, we can better recognize students with diverse backgrounds as holders of valuable cultural capital by making the formal and functional attributes of the scripts used to communicate language of which these students are often, by dint of their experience, expert users. At the same time, we can widen and enrichen the education of local students, who have little knowledge or understanding of other script traditions. The practice of including those non-Roman scripts used by some of our students has three principal potential benefits. The first is to foster appreciation and recognition of, and respect for, the affordances and characteristics of non-Roman scripts, the second is to encourage experimentation with how language can be visually represented, and the third is to promote a more inclusive environment for the growing number of beginning students who, while they may be at a disadvantage in the use of the Roman script system or visual communication of the English language, have the opportunity to bring a knowledge and critical appreciation of the forms and functions of other writing systems to their fellow students, and gain confidence in bringing their own individual backgrounds, abilities and understanding into their design school experience. There is also a by-product of this last aspect, as it exemplifies an aspect of the classroom, respect for students' opinions and individuality, and the encouragement of the expression of critical thought by students that may not be a part of educational structures in some educational cultures. For example, Chinese students, who make up the majority of international students are socialized to have respect for authority and social harmony in the classroom, with little active participation from students. (Wang, Sun, Liu) Students from other educational cultures can learn that the expression of the student's opinion and knowledge is valued, which is a model of what most of us expect, or at least hope, will be a normal aspect of our classes. This is important to do as early as possible for students to fully participate in the student-centered education that is characteristic of North American art and design schools.
Eh to Zed? Some contend that up here in the great, far-flung, white-space reaches of our strong-a... more Eh to Zed? Some contend that up here in the great, far-flung, white-space reaches of our strong-and-free O Canada we have our own true-North beginnings, ligatures and ends.
We are a lettered people, but admittedly, attempting a definitive ‘Canadian type issue’ may have been an impossible idea. This journal (at long last) in your hands is a manifest attempt at same, even if it has had to skim past many a type-A typographer between Antigonish and Abbotsford.
Typecasting Canada, Canadians, and their ilk is also no easy thing. In this issue you’ll encounter a variety of Canucks and their types, and you’ll read about others (past and present) who have left their imprint on our typology and communications landscape. Good type has always had to do with the use of space, a rare commodity in much of the crowded world, yet something we have in abundance up here. Arguably, there’s an aesthetic that grows in the vast spaces that separate Canadians (we can claim some of the widest character spacing on the planet) across the breadth of our five time zones.
What you’ll discover in these pages is only the tip of the iceberg, as regards typographis canadensis—a look at Luc Devroye’s extensive website at http://cgm.cs.mcgill.ca/~luc/fonts.html will bring you to a remarkable online collection of information and links—though you’ll be on your own in sorting the bona fide types from the ‘rasterbaters and pixel-jockies,’ as one cynical typophile labels the under-thirtysomething set.
The purpose of this journal is to provide a forum to encourage dialogue, to promote excellence in design and visual communication, and to help record the history and development of graphic design in Canada. To this end, we owe special thanks to this issue’s eloquent, talented (and patient) contributors: Matt Warburton, FGDC in Vancouver for his recollections (and production coordination); Nick Shinn, R.G.D., MGDC in Toronto for his insightful articles and the supply of unique fonts; Val Fullard for her piece on Mambo; maritimer Rod M c Donald for the article and font Cartier Book; Walter Jungkind, FGDC, of Edmonton for his scholarly call for a new alphabet to suit these times; Richard Hunt for his words of wisdom regarding scalability; the various contributors to the call for ‘character spaces;’ our production sponsors, StoraEnso, Blanchette and Pacific Bindery; book designer Zab (E.A. Hobart, MGDC) for the oh-so-apt Big-O cover; and to my Circle colleague Susan McWatt FitzGerald, MGDC for this publication’s design and her review of Canadian Robert Bringhurst’s The Solid Form of Language and The Elements of Typographic Style.
Much of this issue is set in Goodchild and Brown by Nick Shinn, R.G.D., MGDC. Les’ eponymous Usherwood, and Cartier Book by Rod M c Donald also make appearances. Let’s face it, this type was made for you and me….
In Advanced Typography, expert practitioner and instructor Richard Hunt goes beyond the basics to... more In Advanced Typography, expert practitioner and instructor Richard Hunt goes beyond the basics to take your understanding and usage to the next level.
Taking a practical approach, the book combines visual, linguistic, historical and psychological systems with the broad range of applications and audiences of type today.
From the challenges of designing across media and cultures, to type as information and craft, Hunt includes theory with illustrative applied examples.
Medical errors due to misreading written printed, and increasingly, screen-displayed medication n... more Medical errors due to misreading written printed, and increasingly, screen-displayed medication names or dosages are a relatively common source of iatrogenic outcomes. Although research has been done in general typographic legibility and in typographical treatment of medical names, there has been little, if any, systematic investigation of typographical forms themselves as a means of reducing communication errors leading to adverse medical outcomes. Further, research on disfluency and CAPTCHA (Completely Automated Public Turing test to tell Computers and Humans Apart) technologies also suggest approaches to reading that call into question traditional perceptions of readability and legibility. These aspects may inform the design of type forms that have the potential to reduce the frequency of medical errors related to the visual representation of medication names and doses.
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Papers by Richard G Hunt
We are a lettered people, but admittedly, attempting a definitive ‘Canadian type issue’ may have been an impossible idea. This journal (at long last) in your hands is a manifest attempt at same, even if it has had to skim past many a type-A typographer between Antigonish and Abbotsford.
Typecasting Canada, Canadians, and their ilk is also no easy thing. In this issue you’ll encounter a variety of Canucks and their types, and you’ll read about others (past and present) who have left their imprint on our typology and communications landscape. Good type has always had to do with the use of space, a rare commodity in much of the crowded world, yet something we have in abundance up here. Arguably, there’s an aesthetic that grows in the vast spaces that separate Canadians (we can claim some of the widest character spacing on the planet) across the breadth of our five time zones.
What you’ll discover in these pages is only the tip of the iceberg, as regards typographis canadensis—a look at Luc Devroye’s extensive website at http://cgm.cs.mcgill.ca/~luc/fonts.html will bring you to a remarkable online collection of information and links—though you’ll be on your own in sorting the bona fide types from the ‘rasterbaters and pixel-jockies,’ as one cynical typophile labels the under-thirtysomething set.
The purpose of this journal is to provide a forum to encourage dialogue, to promote excellence in design and visual communication, and to help record the history and development of graphic design in Canada. To this end, we owe special thanks to this issue’s eloquent, talented (and patient) contributors: Matt Warburton, FGDC in Vancouver for his recollections (and production coordination); Nick Shinn, R.G.D., MGDC in Toronto for his insightful articles and the supply of unique fonts; Val Fullard for her piece on Mambo; maritimer Rod M c Donald for the article and font Cartier Book; Walter Jungkind, FGDC, of Edmonton for his scholarly call for a new alphabet to suit these times; Richard Hunt for his words of wisdom regarding scalability; the various contributors to the call for ‘character spaces;’ our production sponsors, StoraEnso, Blanchette and Pacific Bindery; book designer Zab (E.A. Hobart, MGDC) for the oh-so-apt Big-O cover; and to my Circle colleague Susan McWatt FitzGerald, MGDC for this publication’s design and her review of Canadian Robert Bringhurst’s The Solid Form of Language and The Elements of Typographic Style.
Much of this issue is set in Goodchild and Brown by Nick Shinn, R.G.D., MGDC. Les’ eponymous Usherwood, and Cartier Book by Rod M c Donald also make appearances. Let’s face it, this type was made for you and me….
Robert L. Peters
Books by Richard G Hunt
Taking a practical approach, the book combines visual, linguistic, historical and psychological systems with the broad range of applications and audiences of type today.
From the challenges of designing across media and cultures, to type as information and craft, Hunt includes theory with illustrative applied examples.
Drafts by Richard G Hunt
We are a lettered people, but admittedly, attempting a definitive ‘Canadian type issue’ may have been an impossible idea. This journal (at long last) in your hands is a manifest attempt at same, even if it has had to skim past many a type-A typographer between Antigonish and Abbotsford.
Typecasting Canada, Canadians, and their ilk is also no easy thing. In this issue you’ll encounter a variety of Canucks and their types, and you’ll read about others (past and present) who have left their imprint on our typology and communications landscape. Good type has always had to do with the use of space, a rare commodity in much of the crowded world, yet something we have in abundance up here. Arguably, there’s an aesthetic that grows in the vast spaces that separate Canadians (we can claim some of the widest character spacing on the planet) across the breadth of our five time zones.
What you’ll discover in these pages is only the tip of the iceberg, as regards typographis canadensis—a look at Luc Devroye’s extensive website at http://cgm.cs.mcgill.ca/~luc/fonts.html will bring you to a remarkable online collection of information and links—though you’ll be on your own in sorting the bona fide types from the ‘rasterbaters and pixel-jockies,’ as one cynical typophile labels the under-thirtysomething set.
The purpose of this journal is to provide a forum to encourage dialogue, to promote excellence in design and visual communication, and to help record the history and development of graphic design in Canada. To this end, we owe special thanks to this issue’s eloquent, talented (and patient) contributors: Matt Warburton, FGDC in Vancouver for his recollections (and production coordination); Nick Shinn, R.G.D., MGDC in Toronto for his insightful articles and the supply of unique fonts; Val Fullard for her piece on Mambo; maritimer Rod M c Donald for the article and font Cartier Book; Walter Jungkind, FGDC, of Edmonton for his scholarly call for a new alphabet to suit these times; Richard Hunt for his words of wisdom regarding scalability; the various contributors to the call for ‘character spaces;’ our production sponsors, StoraEnso, Blanchette and Pacific Bindery; book designer Zab (E.A. Hobart, MGDC) for the oh-so-apt Big-O cover; and to my Circle colleague Susan McWatt FitzGerald, MGDC for this publication’s design and her review of Canadian Robert Bringhurst’s The Solid Form of Language and The Elements of Typographic Style.
Much of this issue is set in Goodchild and Brown by Nick Shinn, R.G.D., MGDC. Les’ eponymous Usherwood, and Cartier Book by Rod M c Donald also make appearances. Let’s face it, this type was made for you and me….
Robert L. Peters
Taking a practical approach, the book combines visual, linguistic, historical and psychological systems with the broad range of applications and audiences of type today.
From the challenges of designing across media and cultures, to type as information and craft, Hunt includes theory with illustrative applied examples.