Nestled right next to Grand Central Station, we offer travelers unparalleled access to the terminals, shops and restaurants of this New York City icon.
For those hosting a wedding or meeting in New York, make use of our 15, square feet of flexible indoor and outdoor venue space, thoughtfully enhanced by anticipatory Westin service. Hear from our guests about their stay from confirmed guest reviews.
Spanning 15, square feet of space, our hotel boasts adaptable meeting and event venues, including a scenic outdoor patio and a stunning ballroom. The more you travel, the more your well-being can get left behind. Our signature wellness programs empower you to sleep, eat, move, feel, work and play well, so you can be at your best while on the road.
Restorative sleep is essential to your well-being. Our signature sleep amenities and programs help you sleep well so that you can rise to the challenge of experiencing something new whever you travel. Currency Calculator. Your Stay. A study by the Funding Practice Alliance showed that the majority of local NPOs are newly established and micro annual income below R50, to small annual income above R50, and below R, Many South African non-profit organisations NPOs are already on a precarious financial footing, and they face an even more uncertain future given the coronavirus pandemic.
This is despite their services being so valuable, whether it is providing shelter for the homeless to setting up soup kitchens. Domingo: Our focus has been two-fold: ensuring support for our staff and ensuring their safety, and productivity; and, as a capacity-building and training organisation, advising other NPOs on building resilience and putting systems in place to boost the prospect of long-term sustainability.
Domingo: NPO staff are working under extremely challenging conditions and experiencing considerable stress. The already precarious financial state of many NPOs has been exacerbated by the economic downturn and limited opportunities to network and fundraise. While NPOs' work becomes more important by the day, their resources are dwindling. We have, accordingly, set up a portal so that NPOs and other organisations can access practical, accurate and relevant information, and find out more about resources to support their activities during this stressful time.
For more information, click here. Inyathelo also has numerous publications, training videos, toolkits and research reports online, many of which can be accessed free of charge.
We encourage NPOs to make use of these resources to help them navigate the current crisis and to better position themselves to attract support. How has the lockdown affected your staff? We also put in place measures to ensure all staff have the relevant tools, equipment and data capacity to work safely from home; and work plans and schedules to ensure that those working remotely feel included and participative in the ongoing work required to deliver on the mission of the organisation.
We obtained the approval of the board for our plans, and with their support, we ensured that our staff would have some form of secure livelihood during the lockdown period. The center also offers classes of ancient Greek, Greek history, mythology, and philosophy. The Lambda project center also includes in their teaching methods cultural activities and excursions in Athens and close by destinations.
This learning center offers modern Greek language programs to adults of all nationalities. Classes of participants take place throughout the year and it also includes beginning from advanced levels, for those who have that basic knowledge.
At the center there are weekly evening film sessions, book presentations, musical events, art, literature, and dancing workshops, aiming to bring students acquainted with Greek culture. The Athenian Riviera is your dream destination in the Mediterranean. With its unparalleled coastline, magnificent landscapes, golden Blue Flag awarded beaches and centuries old history, this part of Athens is its best kept secret. Become part of the Athenian Riviera and create your own memories. Your email address will not be published.
Save my name, email, and website in this browser for the next time I comment. This allows me to analyse and understand what is intuitive and what is referring to something else.
I think that it is important to know the major events in the history of typography to be able to understand certain forms and certain movements, but I am not a specialist or historian.
I am closer to the amateur, the observer. Nonetheless, I pay very close attention so that history and technology don't become a vector for creation as such. The technical challenge can be stimulating and attractive but it shouldn't overpower the design itself. In other words I attempt to be as accurate as possible with regard to commissions or particular uses. The quality of the publications made by bureau can only be a sign of good things to come for TF.
I am certain that my typefaces are in good hands. What's more, there is an important panel of creators that are embarking on this adventure, and so it is an honour for me to count myself among this gathering of French contemporary creators.
In as much that music can't save the world but can make it less grim. I had developed a passion for the mechanics of reading thanks to research done by Stanislas Dehaene. Discovering the developments and transformations of our system of reading and writing led me to design a first typeface for use in film subtitles.
At the time I was totally self taught. By a stroke of luck, Barbara Dennys was president of the panel who judged my degree. Ganeau, a family of latins designed in various optical sizes, is the result of that month of learning. I have been working as a freelance graphic and type designer, two disciplines which are closely connected in my practice, since My strong interest for systems of writing took shape while I was working on Infini, a free to use typeface family which I designed for the Cnap in When responding to a graphic design commission, I do my best to design a typeface which is made to measure, whether it be for a visual identity, for signage or a logotype… Typeface design is a means which allows one to accurately respond to the needs of the commission.
I try to be as precise as possible and typefaces contribute to this. Each project is specific in nature and may require its own character.
This is one of the main motivating factors in type design, how to juggle the existing with the new. Clearly we are not starting from scratch. Forms which influence matters of legibility exist, each medium and use come with their own set of restrictions.
To this can be added our stylistic references. I try not to look too much at my preferred typefaces out of a fear that I might try to redesign them, I keep my distance from them so as to avoid copying them. What I love more than anything else about typeface design is the question of nuances.
Tiny modifications can totally transform a text and the possibilities are endless! When beginning too design a typeface, I pay close attention to the commission while analyzing its context.
Then I seek to formalize all of this through new forms — those most adapted to each project — rather than beginning with an existing typeface. The first steps are always drawn by hand and then quickly digitized. I like taking my time when doing research and testing, but sometimes a sense of urgency does give rise to interesting surprises. A knowledge of the history of typography seems essential to me for both understanding the typefaces which surround us and for creating new ones.
History is a source of inspiration and provides a base which allows me to create a framework. It also allows me to play with appropriate references.
I am currently questioning type classification by developing a typeface intended to be unclassifiable, which will at the very least represent the intersection of a number of references. Technology has developed greatly in recent decades. We are lucky because it allows us to be both efficient and productive. It is, first and foremost, a tool in the service of design.
From my time as a student, I have followed and admired the designs produced by Bureau In their capacity as graphic designers they have a healthy awareness of the needs and desires of their fellow graphic designers. By opening the TF type foundry, they are daring to propose a catalog which is quite unlike anything found in the more traditional models. Various different kinds of typefaces can find a home.
Injurial for example, a display typeface composed solely of capitals. Typography is a tool for communication that can help people to gain a better understanding of the world. A sufficiently admirable vocation for its frail shoulders. I have been teaching, regularly or occasionally, in various different schools at different levels for around five years now.
I also run workshops for children and provide training for graphic designers. Thanks to these different activities I can share and transmit my passion for typography and type design, and also introduce people to the major issues in the field today. I am constantly concerned with questions of transmission and discovery.
I do my best not to approach things in a traditional way, and often I use play in my work. If one does not take pleasure in one is doing, one cannot learn. They have also asked me to design their visual identity. I grew up in a bilingual family in Rio, Brazil, and was very much influenced by my mother who was a linguist. Later on I studied design and visual communication at university. It was there that I discovered typography as the graphic expression of language.
It was while working with the layout of digital text that I was struck by a desire to acquire a deeper knowledge of typography and, more specifically, type design for the screen. This interest led me to begin a typeface design project as part of the Typography and Language post graduate program in the Esad of Amiens that I concluded in with the beginnings of Thelo, a type family that explores the idea of optical sizes for the screen. Since finishing the post graduate course I have continued my work in Service Design for businesses while simultaneously working on my personal projects around typography.
I consider them to be two passionate and complementary approaches to design. I have noticed that I am often visually attracted to typefaces created by Dutch designers.
For example it was love at first sight when I discovered the work of Bram de Does, and I was lucky enough to be able to consult the original drawings for his Lexicon in the archives of the University of Amsterdam during a study trip. I have also been heavily influenced by the work of Matthew Carter, and in particular by his approach to typeface design for screens and the way that he integrates the different constraints of the screen display into his drawings.
I had the opportunity to meet him when he participated in the Rencontres Internationales de Lure in and I really learned a lot from my contact with this very inspiring and accessible person. This is a question that I often ask myself. I tend to answer that it is like any form of creation. What is the point of writing a new novel or a new song?
For me the possibilities for exploration in the artistic domain are truly infinite. We have all been marked by the legacy of the great designers who sought to push back the boundaries of letterforms.
Beyond historical influences, the production constraints and contexts of use are constantly changing. The way that each type designer assimilates their influences and projects themselves into an original context leads to the emergence of new issues and new research. As with every other design project, before starting I need to appropriate the context and understand the issues involved. I seek to develop formal responses that are anchored in the associated constraints. Then, little by little I refine my sketches through a process of iteration, which consists of working simultaneously on an individual point of view of the letterform and within the overall nature of the typeface.
I particularly like this work of experimentation in which one must work on a level of detail while not losing sight of its impact within the type color, doing this until a balance, an equilibrium, a satisfying response is obtained. They are both intimately linked. In my historical references I have often sought to understand the technical context of typeface design and this is a great source of inspiration to me.
But though my Service Designer side feels comfortable with the exercise of responding to a particular need, I also have another more instinctive side that feeds off the formal and cultural aspects of the history of typography, not focusing too much on technique.
To be honest, this relationship can be somewhat conflictual: moving forward while holding on to what has been left behind, having a technical and historical framework while simultaneously trying to move beyond it. For me this is the essential mission of a designer, irrespective of the field in which they work.
I like the idea of being represented by a French foundry, as I learned everything that I know about type design in France and from French teachers. I also identify with the fact that TF is a business that operates on a human scale and one that represents independent designers. Ultimately the determining factor in my decision was the quality of the work of the range of designers that makes up the TF catalogue. I think that typography can be quite powerful in the manner in which it conditions the reader and thus plays a key role in the transmission of messages, in the learning process and in the various aspects of this close connection that written language has with humanity.
However it is doubtlessly through articulation with other disciplines that typography can provide its greatest contribution to the world. I have also begun to work with students who are writing their dissertations and also participate in teaching panels to whom the students present their work. In reality transmission is a two way street. For my part I find it highly stimulating to be in contact with them and to explore the subjects that drive them in their work.
I am currently working on a book of typographic illustrations that compare French and Portuguese expressions. For me this project is a way of creating a dialogue between my passions for typography, Graphic Design and languages. France How did you get involved with typeface design? I then worked as a Typeface Designer for Monotype for a number of years before starting my own practice in I also embarked on historical research with a PhD at the University of Reading, which I completed in My influences are quite diverse.
I like to draw on historical sources with a sweet spot for type specimens from French foundries from the end of the 19th century. I am instinctively drawn to typefaces that tell a story, that create a unique vibration. They have the common trait of developing a singular typographic style, each one in a very different tone but always with great mastery. Typeface designers often use the analogy of the chair, or the garment, to justify the fact of designing new typefaces: there are already many type families in existence, some more classical, some more fashionable; some tend to be functional and others are more ornamental, archetypal or unique… But like for any design object, it is always necessary to renew existing forms in order to respond to the needs and the spirit of a time.
Moving beyond this analogy, typefaces are fundamental tools for communication, and in that respect they have to respond to certain technical requirements and cultural needs, which are constantly evolving. It is therefore up to the type designer to identify these evolutions, in order to propose meaningful typographical tools to users.
Generally the process depends on the nature of the project. My design process varies depending whether it is a third party commission or a self-initiated project. A lot of my personal work is inspired by historical forms, or find qn origin in handwriting. I generally have a need to appropriate these forms and to bring them to maturity through drawing by hand, although digitization does arrive very early on in my process.
Both approaches nourish each other in parallel. Having embarked on a PhD in type history with a subject that takes a very close interest in the development of 20th century typesetting technologies, these two topics are definitely at the heart of my preoccupations.
Understanding where letterforms, and the typographical tools that we manipulate, come from, is for me an essential element of my type design practice. This has allowed me to develop a critical point of view regarding the design processes that we put into place. Typography remains an essential tool for communication and the circulation of knowledge, and in this it seems that it has an important role to play in our societies. It may not save the world, but it can certainly allow the world to communicate more easily.
This seems to me to be a good start. Art schools provide an extremely rich and stimulating environment. The students arrive with their personalities, their intuitions, their curiosity and their experiences, and it is extremely stimulating to work with them.
I think that my idea of teaching becomes tangible more-so in the exchanges rather than in transmission as such, even though, of course, I do accompany the students, sometimes guiding them and sharing my experience and my skills with them, particularly in typeface design. The ANRT is a particular case as we have been developing a number of research projects in typography in partnership with laboratories that operate in very different fields such as linguistics, computer sciences, egyptology… These projects have a prospective dimension and lead us to answering questions that we haven't necessarily been faced with before now, and to developing specific ways of working.
This research dimension implies that we are all constantly learning, whether speaking of our students or the teaching staff. It is a privileged work environment for the researcher and typeface designer that I am. This is a research project based at the University of Reading, and there are three of us in the team: Prof. Fiona Ross, Dr. Helena Lekka, and myself. A typeface is a piece of software. As with software , a typeface can not be installed without the prior acquisition of an appropriate license for the planned use.
If you are not in possession of such a license, you may not copy the files and you may not install the typeface. As with music , a typeface is protected by active copyright laws and the French Intellectual Property Code that, even after the acquisition of such a license, remains inalienable, irrespective of the country of exploitation.
When you install a TF typeface, you accept the terms of the license that outlines and details the rules and framework of the use of such a typeface, with the full text available here: A license is nominative and tied to a legal entity legal person or to a physical person.
The license holder recognises that the typeface is a creation and is by this fact protected by intellectual property rights. The person agrees to not modify the typeface in any way. Licenses are strictly non transferrable. The license acquirer certifies the validity of the information that is transmitted.
The typefaces distributed through the TF website can not be used for purposes that have been prohibited by 20STF. In addition, certain uses may be subject to prior authorisation. Any transfer, whether it be occasional or permanent, or sharing of a typeface is strictly prohibited. The license holder agrees to not distribute the files that have been transmitted to them.
The license holder agrees to protect files that have been transmitted from being copied by others. They agree to be responsible for informing all collaborators and any persons having access to the transmitted files of the terms of the current license.
Only one back up copy is authorised Any violation of this agreement may lead to legal action, TF carries out regular monitoring. In the context of a corporate use of a typeface, you may need a specific adaptation to be made or want some form of customisation.
After discussion, each typeface can be adapted to your needs modifications, added characters, particular presentation, etc. If this corresponds to your needs, contact us: M. Is it possible to purchase only one style of a particular typeface? It is not possible to purchase the styles separately. All of the available options are presented on the website. Is it possible to purchase a Web, App or Audio-visual license separately?
Web licenses are only available to holders of a Desktop license. This is why the purchase of a Web license is automatically linked to a Desktop license. For holders of a Desktop license for particular typefaces it is possible to purchase a corresponding Web, App or Audio-visual license by connecting to the appropriate user account.
How long is a license valid for? A license is perpetual in nature for its owner, and thus valid for as long as the owner wishes to use it. It is important to remember that a license cannot be transferred or passed on to a third party. Are there any limits to the use of a TF typeface?
Apart from the number of workstations using the typeface CPUs , a Desktop license has no limit to its use within the framework set by the general conditions. A Desktop license thus allows its holder to use the same typeface a number of times for different projects. The other licenses Web, App, Audio-visual all have limits which are defined and specified at the time of purchase number of pages viewed per month, number of applications, etc.
Am I required to pay for the Web license each month? A Web license is has no time limit and is payable only once on purchase. Is it possible to upgrade a license that has been previously purchased? To do this connect to the appropriate user account see C2 A7.
0コメント