Typography is the study and process of typefaces; how to select, size, arrange, and use them in general. Traditionally, typography was the use of metal types with raised letterforms that were inked and then pressed onto paper. In modern terms, typography today also includes computer display and output.
I am trying to evangelize the 10/20/30 Rule of PowerPoint. It’s quite simple: a PowerPoint presentation should have ten slides, last no more than twenty minutes, and contain no font smaller than thirty points. While I’m in the venture capital business, this rule is applicable for any presentation to reach agreement: for example, raising capital, making a sale, forming a partnership, etc.
Typography is often a deciding factor in the success of a design. Its importance cannot be overstated. Effective typography can be achieved in so many different ways, as demonstrated in the 17 different categories below. Some of the most common ways to treat type is with size, color variation, creative illustrations, and use of textures. The examples below are just the tip of the iceberg as far as the possibilities for type.
Typography for the Web has come a long way since Tim Berners-Lee flipped the switch in 1991. Back in the days of IE 1.0, good web typography was something of an oxymoron. Today things are different. Not only do we have browsers that support images (gasp!), but we have the opportunity to make our web pages come to life through great typography.
Have you ever needed to set an accented character in copy but couldn’t find it on your keyboard? If these characters leave you feeling naïve, you’re not alone. Diacritic characters, as these accented letters are called, are essential to the proper pronunciation and meaning of many foreign words. When you come across an accented letter, don’t assume it can be eliminated without consequence, or you might end up misspelling a person’s name! Accent marks also turn up frequently in foreign-born words and phrases that have become part of common English usage, such as résumé, passé and tête-à-tête. Happily, diacritic characters can be accessed or created with most professional-quality fonts.
TrueType-Schriften erscheinen in der Standardeinstellung der Adobe-Software Acrobat 3 am Bildschirm immer nur stark gepixelt, während PostScript-Schriften sauber lesbar sind (das Problem konnte in Acrobat 4 bislang nicht beobachtet werden). Das muss nicht sein!
The sizes listed in the picture above are the default type sizes listed in FrameMaker's Paragraph and Character Designers. If your favorite choices are listed, great! If not, you have to type the size you want into the Size field. If you'd like to modify the Size list so that it includes your favorite Sizes, read on.
I never like opening up a FrameMaker document and getting the dreaded unavailable fonts dialog box. Sadly, with multiple authors who contribute documents to me from around the world, it's just a fact of life that I see the dialog box frequently.
This forum is for the passionate. It’s for those who are crazy in love with type, absolutely hate the problems fonts can cause, have an uncontrollable need to learn more about typography, or an irresistible desire to share typographic opinions and stories. This is not a place for the typographically indifferent. This is the place to rant about dumb quotes (hey, I still see them in supposedly good design), find out why font foundries don’t want you to embed fonts in the files you send to service bureaus, discuss the merits of Emigre’s new font family, or ponder the value of hanging punctuation. It’s a place for criticism, observations and lively discourse. Come on in!
Many of the principles that the print typographer has learned and holds sacred, are no longer true when the medium is a neon sign, a television title sequence or a Web page. Text that is not printed on paper takes them into alien territory.
Kenn Munk designs wonderfully different fonts and dingbats that allow the user to 'build' words, or in the case of dingbats - images. This obsesion is probably due to the hours and hours spent playing with LEGO bricks in his childhood. Shhhhh... be quiet!
Ampersands have long been the character in a typeface with which typographers can indulge themselves. Sweeping curves, flirtatious finishes and bold statements – these are the things that make ampersands an exciting character to use and, better still, to design. There are, however, two problems.
You may have noticed that an uppercase A is drastically different than its lowercase counterpart (a), and indeed, very different than the letter Z. Before we can understand the differences between letters, we must understand the parts that make up letters.
When discussing or working with type, it’s not only important to understand the anatomy of the parts of letterforms, but it’s also important to understand how type is measured. We’re accustomed to measuring things in inches, yards, or miles, or, heaven forbid, the metric system. Type, on the other hand, has its own system of measurement of which most of us have a vague understanding. For example, most of us understand that normal body text is set between 10 and 12 points, and 72 points is much too large for everyday use. Few of us, however, really know what a point really is.
How do you tell one typeface from another? If you’re trying to distinguish Helvetica from Times Roman, the difference is obvious. In other cases, however–especially between text designs having similar characteristics–the differences can be subtle and difficult for the less–experienced eye to see. One important step in training your eye to notice the details that set one design apart from another is to examine the anatomy of the characters that make up our alphabet.
Today we’re going to de-robe two popular typefaces, namely Arial and Helvetica — faces that are often confused, and often the subjects of mistaken identity.
Typography is a central component of design. It gives us an understanding of the heritage behind our craft. It’s one of the primary ways we, as a society, pass on information to others. Imagine a website, a magazine or even TV without text. Typography is a subject that raises passions and it can become a consuming obsession. If this subject is relatively new to you, or perhaps something you want to know more about, then this guide can start you on that journey.
While Firefox 3.0 improved typographic rendering by introducing support for kerning, ligatures, and multiple weights along with support for rendering complex scripts, authors are still limited to using commonly available fonts in their designs. Firefox 3.5 removes this restriction by introducing support for the CSS @font-face rule, a way of linking to TrueType and OpenType fonts just as code and images are linked to today. Using @font-face for font linking is relatively straightforward. Within a stylesheet, each @font-face rule defines a family name to be used, the font resource to be loaded, and the style characteristics of a given face such as whether it’s bold or italic. Firefox 3.5 only downloads the fonts as needed, so a stylesheet can list a whole set of fonts of which only a select few will actually be used.
It doesn't matter how many hours of video and megabytes of graphics can be stuffed onto a silver platter, typefaces still serve an essential function that can't be duplicated by other means--transmitting complex intellectual and emotional messages in a very concise and precise way.