#32575
Sometimes a simple idea can make a big difference in your work. One recent improvement to major design applications is the addition of glyph palettes. This handy feature will help you find and use the exact character you’re looking for – even if your font has thousands to choose from!
Strizver, Ilene. Upper and lowercase Magazine (2007). Articles>Typography>Fonts>Software
#32576
Does designing a table of contents drive you dotty? Next time, remember to say “take me to your tab leader.” Learning how to use your application’s automated tab leader function is a great way to save time and keep your layouts looking professional, down to the last detail.
Strizver, Ilene. Upper and lowercase Magazine (2007). Articles>Document Design>Typography>Adobe InDesign
#32577
Graphic designers love the convenience of today’s computer-created type designs, but too much perfection can get boring. When your eye gets tired of all those flawless, digitally-precise letters, it’s time to explore distressed typefaces. They’re weather-beaten, inconsistent, and utterly, irresistibly human.
Strizver, Ilene. Upper and lowercase Magazine (2007). Articles>Typography>Fonts
#32578
Finessing Typographic Details: Positioning Punctuation
Are your characters depressed? When punctuation marks are positioned next to ALL CAPS, it can leave them looking a little low. Even making small adjustments in a character’s position will create greater visual balance and give your layout a “lift,” especially in display sizes.
Strizver, Ilene. Upper and lowercase Magazine (2007). Articles>Document Design>Typography
#34764
This PDF is an excellent reference for designers who don’t want to spend a lot of time figuring out whether two or more fonts will work well together. This tool enables designers to choose the perfect typography combination.
