Article Abstract:
TX Unlimited produced the superb cover for Atari Games Corp's 1992 annual report. It features vehicles from Atari's most popular video games of the year. TX hired a model maker to make models of the vehicles, took photographs of them, then scanned the photos onto a background made with Adobe Photoshop. Unable to achieve the desired effect, the TX crew used Specular International's Infini-D 3-D modeling and rendering program to produce computer models on their Mac Quadra. The crew then rendered them at low resolution and exported them into Photoshop for composition and printed them on a Kodak XL 7700 dye-sublimation printer. Then the models were rendered at high resolution, producing much larger files. The Kodak Premier system was used to work with these large files, color correcting them and adding details. The Pixar image processing system was used for final composition and masking. To image the file, the crew used a Cymbolic Sciences International Fire 1000 film recorder driven by an Everex Step 386/25 PC.
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Article Abstract:
The technology-related magazine publishing industry can create a dilemma for publishers because the companies and products covered by the magazine are also responsible for the vital advertising revenue stream, which can place the publisher in a difficult situation. Publishers of computer, audio and car magazines are responsible for providing objective information about companies and products available in the marketplace. Readers often depend upon these publications for unbiased information for their important purchasing decisions. Some magazines allow manufacturers to write their own product articles, but these publications quickly become known for their biased industry coverage. The companies covered in a publication are also responsible for paying for advertising, which is vital for the existence of a magazine, so some companies believe that they are entitled to favorable reporting in the magazine's articles.
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Article Abstract:
Uncopyrighted typefaces are available with the same name and appearance as the copyrighted versions, but they have subtle and distinct differences. Bodoni represents this class of type because it is not copyrighted and is popular. Bodoni's place in typographic history is significant in that it emerged at the same time as and influenced the movement of type into the Modern era of typography. Bodoni is distinctive for its serif style, which is both longer and thinner than older faces and evokes a feeling of perpendicularity and precision. Designers using Bodoni often alter these and other aspects of the face such as kerning, ascenders and descenders, and text weight. The legal status of Bodoni and other faces means that companies are free to use and manipulate the type-producing customized faces based on an established face style.
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