Commercial Type Grilli Type | Independent Swiss Font Foundry Optimo Type Foundry A tutorial for good typography in InDesign - Setting up a baseline grid Good clean typography is a fundemental skill of any designer. Most designers believe they have good typography but in my experience it is something which is developed through time and experience. I think we all begin our design lives with a desire to be outrageously creative, and only as we mature, begin realise that simplicity and structure is just as, if not more important. In this article, I will go through some simple steps to acheive good clean well structured typography in Adobe Indesign. The first step is to choose your typefont. Next choose how many columns you want the page to be. So we have set up a grid vertically, the next step will be to set up a horizontal or baseline grid, which all our text will stick to. Start the grid at 10mm in accordance with your borders. Now we will add a heading. I shall now add an introduction paragraph in the exact same way. As you can see, everything is aligning perfectly giving the page a neat structured feel.
10 Display Faces that Digital Forgot Because of your enthusiastic response to my last column, I’ve moved up its sequel. In this installment, I’ll be looking at display and decorative faces that were somehow left in the archives when the winds of digital technology swept through the dusty vaults of yesteryear’s metal type foundries. Of all the thousands of typefaces that are created each year, the lion’s share are display and decorative faces. Once again, for lack of a better organizing principal, I’ll take these on in alphabetical order. Atlantis Grotesque is an apt name for a face that sank beneath the waves when the Weber type foundry foundered in 1970. I would like Atlantis as an alternative to the ubiquitous and rather cold Futura. In its day, the Atlantis family sported light, medium, and bold weights. Figure 1: There are lots of typefaces available with the catchy name Atlantis, but none of them are the face shown here. W. Figure 4: Condensa is a typeface on the go.
Haettenschweiler - letrag Creada por el equipo de diseño de la fundición Monotype en 1995, está basada en una tipografía más condensada aún llamada Schmalfette Grotesk, diseñada por Walter Haettenschweiler y que fue muy popular en la década de 1960. Esta fue vista por primera vez en un espléndido libro llamado “Lettera” de Walter Haettenschweiler y Armin Haab. La Schmalfette Grotesk (“schmalfette” significa “negrita condensada” en alemán y “grotesk” indica la ausencia de serifs) era un alfabeto muy condensado con todas las letras mayúsculas y que fue inmediatamente adoptado por los diseñadores de la revista “Paris Match” para utilizar en titulares. Debido a la popularidad de este estilo, pronto empezaron a aparecer otras tipografías extracondensadas y con gran peso como la Helvética imitando la Schmalfette original.
Klim Type Foundry - Lettering & Logotypes Under direction from Kevin Wilson & Mark Leeds. For Spark. Under direction from Kane McPherson & Shabnam Shiwan at Saatchi & Saatchi. For Z Zegna. Monogram for Sladen Legal. For Instapaper. For Make Collective. For Grafik Magazine. Under direction from Matt Curtis. Under direction from Ben Pearce. Under direction from Billy Sorrentino. Under direction from Daniel Matthews from Strategy in Auckland, New Zealand. Designed under direction from Clare Madden for Ocean Design in Wellington, New Zealand. Under direction from Eileen Schwab at Designworks in Wellington, New Zealand. Under direction from Dan Newman at Tigerspike in London, England. Custom lettering for the Cubana Apartments in Wellington, New Zealand. Custom lettering for IRD, under direction from Charlie Ward. Unused lettering for a book cover Designed for Festival Of Māori Writing. Custom lettering for Meridian Energy Ltd. Designed under direction from DoubleFish Custom lettering for Image Mechanics. Custom lettering for Chempaq.
typography posters Playtype | Typographer's Glossary Serif: Serif's are semi-structural details on the ends of some of the strokes that make up letters and symbols. A typeface that has serifs is called a serif typeface (or seriffed typeface). Some of the main classifications of Serif type are: Blackletter, Venetian, Garalde, Modern, Slab Serif, Transitional, and Informal.
Book Designer David Moratto, Book Design Glossary The following will help you understand the three main structures that an interior book design is comprised of and terminologies that a book designer and a printer might use. Front Matter (components that may appear at the begining of a book before the first chapter) Body Matter (components that may appear in the work of a book) Back Matter (components that may appear at the end of the book after a work) The following are terms that a book designer and a printer might use: Book Construction Glossary (The construction of a book may have...) Font Composition Glossary (fonts, words and paragraphs) Book Designer Glossary (terms a book designer might use) Printers Glossary (terms a printer might use) Components that may appear in the first section of the book. back to top The structure of a work (especially of its body matter) is hierarchically organized. Components that may appears after the 'body matter', the last section of the book. A book's materials that may have... Terms a printer might use
How to Speak Typography: Terms You Should Know If you are just beginning as a graphic designer, you should be knee-deep in typography, learning how to use it properly and how to speak about it using proper terminology. This is by no means an exhaustive list of typographic terms, but getting to know these and how to apply them will go a long way toward developing anyone as a typographer and designer. Baseline The invisible line upon which the letters of a typeface rest. It matters because: Letters which are flat should sit flush with the baseline, while curved letters should descend slightly below it (known as overshoot), otherwise they will appear to hover above the ground the other letters rest on. Cap Height The distance from the baseline that the top of capital letters reach. The cap height of most fonts are the same, while the relationship of other characteristics to the cap height are major factors in the character of a font. X-height The vertical distance from the baseline to the top of a lowercase x. Counter Ascender Ascender line