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abc          del
Diseño Editorial
a
Utiliza tipografías clásicas
Adobe Caslon   Perpetua
        Garamond       Courier
        Bembo          Times
Serif   Bodoni         Trajan
        ...
Akzidens Grotesk   Gill Sans
             Avenir             Helvetica
             Bell Centenial     Meta
Sans Serif   F...
b
No utilices demasiadas fuentes
¡10 fuentes diferentes!
Tampoco utilices muchas
fuentes parecidas
Trabaja con las familias
                           c
Busca alineaciones y trabaja con la




                         d
retícula
Cuerpos de texto
e
Utiliza cuerpos que faciliten la lectura
8-12 puntos es una tamaño establecido de buena lectura

    A few years ago, there were good reasons for web developers to...
f       Evita fuentes demasiado gruesas o demasiado
delgadas así como fuentes muy angostas o extendidas
A few years ago, there were good reasons for web developers to take the easy way out: an HTML spec that lacked
recommendat...
g
Usa líneas de longitud adecuada. Las
líneas demasiado cortas o demasiado
largas interrumpen la lectura
Every now and again designers stumble upon the very same problem: the choice of a unique and
beautiful typeface which mana...
Use interlineados que lleven al ojo con
    facilidad de una línea a la siguiente




h
A few years ago, there were good reasons for web developers to take
the easy way out: an HTML spec that lacked recommendat...
i   Evita viudas y huérfanas
j
Cuida los ríos y avenidas
El tracking es el espaciado que
 se da entre todas las letras




El kerning es el espaciado que se
da entre dos letras es...
Brinda respiro al texto marcando párrafos




k
Utiliza columnas
                   l
m
Cuida el ancho de las columnas
               e intercolumnas
Every now and again            Every now and again designers                    Every now and again
designers stumble     ...
n
Usa una alineación que facilite la lectura
Every now and again designers stumble upon the      Every now and again designers stumble upon the
very same problem: the ...
Selecciona los márgenes de acuerdo al
proyecto




                         ñ
Utiliza la teoría del color para
         optimizar la legibilidad




o
Every now and again designers stumble upon the very same            Every now and again designers stumble upon the very sa...
p
Combina todas las variables anteriores
para obtener la mejor legibilidad
q
Utiliza imágenes atractivas en tu composición
Piérdele el miedo a los
espacios blancos
                          r
Di NO al sello de agua




                   s
Combina serif y sans-serif




t
Nuevamente las familias son una buena opción
Aunque también puedes combinar fuentes que armonicen entre sí
Un ejemplo clásico es utilizar
sans-serif para los titulares y
serif para cuerpos de texto
u
Conoce los formatos y experimenta con ellos
v
Conoce los diferentes tipos de papel y tintas
Mantén uniformidad en todo el diseño




w
Estudia los casos de éxito
                             x
y
Cuida TODOS los detalles
Experimenta, diviértete y practica




z
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Abc del Diseño Editorial

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Abc del Diseño Editorial

  1. 1. abc del Diseño Editorial
  2. 2. a Utiliza tipografías clásicas
  3. 3. Adobe Caslon Perpetua Garamond Courier Bembo Times Serif Bodoni Trajan Lucida Stempel Schneidler Minion Walbaum
  4. 4. Akzidens Grotesk Gill Sans Avenir Helvetica Bell Centenial Meta Sans Serif Franlink Gothic Myriad Frutiger Univers Futura Vag rounded
  5. 5. b No utilices demasiadas fuentes
  6. 6. ¡10 fuentes diferentes!
  7. 7. Tampoco utilices muchas fuentes parecidas
  8. 8. Trabaja con las familias c
  9. 9. Busca alineaciones y trabaja con la d retícula
  10. 10. Cuerpos de texto
  11. 11. e Utiliza cuerpos que faciliten la lectura
  12. 12. 8-12 puntos es una tamaño establecido de buena lectura A few years ago, there were good reasons for web developers to take the easy way out: an HTML spec that lacked recommendations for appropriate symbols, combined with browers that frequently ignored what standards existed, made that level of precision next to impossible. So it made sense to use double hyphens (--) instead of em dashes and double primes (quot;) instead of quotation marks. In any case, those workarounds were already familiar to anyone who’d grown up with typewriters, and readers adapted to ascii-only typography during the early days of the Internet when usenet, email, and the web all shared the same primitive markup and text display. These days, standards-compliant browsers can handle entity names, and even Netscape 4.x can manage numeric entity codes—but why should you care? After all, using the technically correct punctuation marks would mean a dozen new entities to be memorized and a lineup of well-meaning but under-informed editors and teammates to win over—and retrofitting any significant amount of copy is always a hassle. Since most people don’t know or care about the difference between an em dash and an Emmy, why bother to make the switch? In some cases, switching to correct typography may honestly not make sense. For all the rest, two arguments: usability and style.
  13. 13. f Evita fuentes demasiado gruesas o demasiado delgadas así como fuentes muy angostas o extendidas
  14. 14. A few years ago, there were good reasons for web developers to take the easy way out: an HTML spec that lacked recommendations for appropriate symbols, combined with browers that frequently ignored what standards existed, made that level of precision next to impossible. So it made sense to use double hyphens (--) instead of em dashes and double primes (quot;) instead of quotation marks. In any case, those workarounds were already familiar to anyone who’d grown up with typewriters, and readers adapted to ascii-only typography during the early days of the Internet when usenet, email, and the web all shared the same primitive markup and text display. These days, standards-compliant browsers can handle entity names, and even Netscape 4.x can manage numeric entity codes—but why should you care? After all, using the technically correct punctuation marks would mean a dozen new entities to be memorized and a lineup of well-meaning but under-informed editors and teammates to win over—and retrofitting any significant amount of copy is always a hassle. Since most people don’t know or care about the difference between an em dash and an Emmy, why bother to make the switch? In some cases, switching to correct typography may honestly not make sense. For all the rest, two arguments: usability and style. A few years ago, there were good reasons for web developers to take the easy way out: an HTML spec that lacked recommendations for appropriate symbols, combined with browers that frequently ignored what standards existed, made that level of precision next to impossible. So it made sense to use double hyphens (--) instead of em dashes and double primes (quot;) instead of quotation marks. In any case, those workarounds were already familiar to anyone who’d grown up with typewriters, and readers adapted to ascii-only typography during the early days of the Internet when usenet, email, and the web all shared the same primitive markup and text display. These days, standards-compliant browsers can handle entity names, and even Netscape 4.x can manage numeric entity codes—but why should you care? After all, using the technically correct punctuation marks would mean a dozen new entities to be memorized and a lineup of well-meaning but under-informed editors and teammates to win over—and retrofitting any significant amount of copy is always a hassle. Since most people don’t know or care about the difference between an em dash and an Emmy, why bother to make the switch? In some cases, switching to correct typography may honestly not make sense. For all the rest, two arguments: usability and style.
  15. 15. g Usa líneas de longitud adecuada. Las líneas demasiado cortas o demasiado largas interrumpen la lectura
  16. 16. Every now and again designers stumble upon the very same problem: the choice of a unique and beautiful typeface which manages to fulfill three basic tasks. Support the corporate identity, enrich the visual appearance and is compatible with the overall design. However, usually there are simply too many options you can consider, which is why you need time to find the option you are most comfortable with. Every now and again designers stumble upon the very Every now and again same problem: the choice of a unique and beautiful designers stumble upon the typeface which manages to fulfill three basic tasks. very same problem: the Support the corporate identity, enrich the visual choice of a unique and appearance and is compatible with the overall design. beautiful typeface which However, usually there are simply too many options you manages to fulfill three can consider, which is why you need time to find the basic tasks. Support the option you are most comfortable with. corporate identity, enrich the visual appearance and is compatible with the overall design. However, usually there are simply too m a ny o p t i o n s yo u c a n consider, which is why you need time to find the option you are most comfortable with.
  17. 17. Use interlineados que lleven al ojo con facilidad de una línea a la siguiente h
  18. 18. A few years ago, there were good reasons for web developers to take the easy way out: an HTML spec that lacked recommendations for appropriate symbols, combined with browers that frequently ignored what standards existed, made that level of precision next to impossible. A few years ago, there were good reasons for web developers to take the easy way out: an HTML spec that lacked recommendations for appropriate symbols, combined with browers that frequently ignored what standards existed, made that level of precision next to impossible. A few years ago, there were good reasons for web developers to take the easy way out: an HTML spec that lacked recommendations for appropriate symbols, combined with browers that frequently ignored what standards existed, made that level of precision next to impossible.
  19. 19. i Evita viudas y huérfanas
  20. 20. j Cuida los ríos y avenidas
  21. 21. El tracking es el espaciado que se da entre todas las letras El kerning es el espaciado que se da entre dos letras específicas.
  22. 22. Brinda respiro al texto marcando párrafos k
  23. 23. Utiliza columnas l
  24. 24. m Cuida el ancho de las columnas e intercolumnas
  25. 25. Every now and again Every now and again designers Every now and again designers stumble stumble upon the very same designers stumble upon upon the very same problem: the choice of a unique problem: the choice and beautiful typeface which the very same problem: of a unique and manages to fulfill three basic the choice of a unique beautiful typeface tasks. Support the corporate and beautiful typeface which manages to i d e n t i t y, e n r i c h t h e v i s u a l fulfill three basic appearance and is compatible which manages to fulfill tasks. Support the with the overall design. However, three basic tasks. corporate identity, usually there are simply too Support the corporate enrich the visual many options you can consider, appearance and is which is why you need time to identity, enrich the visual compatible with the find the option you are most appearance and is overall design. comfortable with. compatible with the H o w e v e r, u s u a l l y overall design. However, there are simply too many options you can usually there are simply consider, which is why too many options you you need time to find can consider, which is the option you are most comfortable why you need time to with. find the option you are most comfortable with.
  26. 26. n Usa una alineación que facilite la lectura
  27. 27. Every now and again designers stumble upon the Every now and again designers stumble upon the very same problem: the choice of a unique and very same problem: the choice of a unique and beautiful typeface which manages to fulfill three beautiful typeface which manages to fulfill three basic tasks. Support the corporate identity, basic tasks. Support the corporate identity, enrich the visual appearance and is compatible enrich the visual appearance and is compatible with the overall design. However, usually there with the overall design. However, usually there are simply too many options you can consider, are simply too many options you can consider, which is why you need time to find the option which is why you need time to find the option you are most comfortable with. you are most comfortable with. Every now and again designers stumble upon the Every now and again designers stumble upon the very same problem: the choice of a unique and very same problem: the choice of a unique and beautiful typeface which manages to fulfill three beautiful typeface which manages to fulfill three basic tasks. Support the corporate identity, basic tasks. Support the corporate identity, enrich the visual appearance and is compatible enrich the visual appearance and is compatible with the overall design. However, usually there with the overall design. However, usually there are simply too many options you can consider, are simply too many options you can consider, which is why you need time to find the option which is why you need time to find the option you are most comfortable with. you are most comfortable with.
  28. 28. Selecciona los márgenes de acuerdo al proyecto ñ
  29. 29. Utiliza la teoría del color para optimizar la legibilidad o
  30. 30. Every now and again designers stumble upon the very same Every now and again designers stumble upon the very same problem: the choice of a unique and beautiful typeface which problem: the choice of a unique and beautiful typeface which manages to fulfill three basic tasks. Support the corporate manages to fulfill three basic tasks. Support the corporate identity, enrich the visual appearance and is compatible with the identity, enrich the visual appearance and is compatible with the overall design. However, usually there are simply too many overall design. However, usually there are simply too many options you can consider, which is why you need time to find options you can consider, which is why you need time to find the option you are most comfortable with. the option you are most comfortable with. Every now and again designers stumble upon the very same Every now and again designers stumble upon the very same problem: the choice of a unique and beautiful typeface which problem: the choice of a unique and beautiful typeface which manages to fulfill three basic tasks. Support the corporate manages to fulfill three basic tasks. Support the corporate identity, enrich the visual appearance and is compatible with the identity, enrich the visual appearance and is compatible with the overall design. However, usually there are simply too many overall design. However, usually there are simply too many options you can consider, which is why you need time to find options you can consider, which is why you need time to find the option you are most comfortable with. the option you are most comfortable with. Every now and again designers stumble upon the very same Every now and again designers stumble upon the very same problem: the choice of a unique and beautiful typeface which problem: the choice of a unique and beautiful typeface which manages to fulfill three basic tasks. Support the corporate manages to fulfill three basic tasks. Support the corporate identity, enrich the visual appearance and is compatible with the identity, enrich the visual appearance and is compatible with the overall design. However, usually there are simply too many overall design. However, usually there are simply too many options you can consider, which is why you need time to find options you can consider, which is why you need time to find the option you are most comfortable with. the option you are most comfortable with.
  31. 31. p Combina todas las variables anteriores para obtener la mejor legibilidad
  32. 32. q Utiliza imágenes atractivas en tu composición
  33. 33. Piérdele el miedo a los espacios blancos r
  34. 34. Di NO al sello de agua s
  35. 35. Combina serif y sans-serif t
  36. 36. Nuevamente las familias son una buena opción
  37. 37. Aunque también puedes combinar fuentes que armonicen entre sí
  38. 38. Un ejemplo clásico es utilizar sans-serif para los titulares y serif para cuerpos de texto
  39. 39. u Conoce los formatos y experimenta con ellos
  40. 40. v Conoce los diferentes tipos de papel y tintas
  41. 41. Mantén uniformidad en todo el diseño w
  42. 42. Estudia los casos de éxito x
  43. 43. y Cuida TODOS los detalles
  44. 44. Experimenta, diviértete y practica z

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