This document provides an overview of typography principles and best practices for setting type. It discusses selecting appropriate typefaces, using a grid system, grouping similar information, using size, color and alignment to create hierarchy, adjusting leading and kerning for readability. The document emphasizes the importance of legibility, readability, and using techniques like adequate whitespace and appropriate choices for mobile screens.
The document discusses typography, which is the art and technique of selecting and arranging type styles, point sizes, line lengths, character spacing, and word spacing. It defines basic typography terms like typeface, point size, weight, and spacing. It also categorizes different types of typefaces such as Roman, sans-serif, script, and decorative and provides examples of each. The goal of the document is to explain typography fundamentals and how different typeface categories and styles impact readability.
The document discusses typography, which is the art and technique of selecting and arranging type styles, point sizes, line lengths, character spacing, and word spacing. It defines basic typography terms like typeface, point size, weight, and spacing. It also categorizes different types of typefaces such as Roman, sans-serif, script, and decorative and provides examples of each. The goal of the document is to explain typography fundamentals and how different typeface categories and styles impact readability.
Do you want to learn about typography art technique? Then come to Graphic Designing Institute in Delhi which allows you to write content in various ways.
This document provides an overview of typography terms and concepts. It discusses serif and sans serif typefaces, x-height and how it affects readability, measuring type by height and width, variations within type families, proportional and monospaced spacing, leading and kerning, word and letter spacing, typographic color, and proper usage of italics, boldface, and uppercase. The document aims to teach readers about typographic design and help them discuss type like experts.
This document discusses typography and typefaces. It begins by defining typography as the design and use of letterforms in printing. It then defines a typeface as a set of fonts that share design features like weight, style, and width. The document goes on to categorize and provide examples of different sans serif typeface classifications like grotesque, neo-grotesque, geometric, humanist, and informal. It also discusses typographic measurements like points, picas, and ems. The document concludes by discussing characteristics that make some typefaces like Helvetica easy to read.
This document provides information on type anatomy, classification, and history. It begins by defining various aspects of type anatomy such as x-height, ascenders, descenders, etc. It then discusses type classification systems including distinguishing humanist, old-style, transitional, modern, and slab-serif typefaces. Sans serif classifications of grotesque, neo-grotesque, humanist, and geometric are also outlined. Finally, there is a brief overview of the history of typography and an example demonstrating the use of a panagram to evaluate typeface characteristics.
This document provides a primer on selecting fonts for non-designers. It discusses various font categories including serif vs. sans-serif, traditional vs. contemporary styles, and levels of warmth and readability. The document presents 40 different font examples categorized by style and recommends some top fonts like Garamond, Gill Sans, Verdana and Georgia as good general purpose choices. It concludes with a map summarizing the different font styles and their characteristics.
The presentation for Gyaan Adda 46: Introduction to Typography by Hafsah Parkar (@hufflo)
On FB: http://on.fb.me/TWFQ7a
On Tumblr: http://bit.ly/ZkGijF
The document discusses typography, which is the art and technique of selecting and arranging type styles, point sizes, line lengths, character spacing, and word spacing. It defines basic typography terms like typeface, point size, weight, and spacing. It also categorizes different types of typefaces such as Roman, sans-serif, script, and decorative and provides examples of each. The goal of the document is to explain typography fundamentals and how different typeface categories and styles impact readability.
The document discusses typography, which is the art and technique of selecting and arranging type styles, point sizes, line lengths, character spacing, and word spacing. It defines basic typography terms like typeface, point size, weight, and spacing. It also categorizes different types of typefaces such as Roman, sans-serif, script, and decorative and provides examples of each. The goal of the document is to explain typography fundamentals and how different typeface categories and styles impact readability.
Do you want to learn about typography art technique? Then come to Graphic Designing Institute in Delhi which allows you to write content in various ways.
This document provides an overview of typography terms and concepts. It discusses serif and sans serif typefaces, x-height and how it affects readability, measuring type by height and width, variations within type families, proportional and monospaced spacing, leading and kerning, word and letter spacing, typographic color, and proper usage of italics, boldface, and uppercase. The document aims to teach readers about typographic design and help them discuss type like experts.
This document discusses typography and typefaces. It begins by defining typography as the design and use of letterforms in printing. It then defines a typeface as a set of fonts that share design features like weight, style, and width. The document goes on to categorize and provide examples of different sans serif typeface classifications like grotesque, neo-grotesque, geometric, humanist, and informal. It also discusses typographic measurements like points, picas, and ems. The document concludes by discussing characteristics that make some typefaces like Helvetica easy to read.
This document provides information on type anatomy, classification, and history. It begins by defining various aspects of type anatomy such as x-height, ascenders, descenders, etc. It then discusses type classification systems including distinguishing humanist, old-style, transitional, modern, and slab-serif typefaces. Sans serif classifications of grotesque, neo-grotesque, humanist, and geometric are also outlined. Finally, there is a brief overview of the history of typography and an example demonstrating the use of a panagram to evaluate typeface characteristics.
This document provides a primer on selecting fonts for non-designers. It discusses various font categories including serif vs. sans-serif, traditional vs. contemporary styles, and levels of warmth and readability. The document presents 40 different font examples categorized by style and recommends some top fonts like Garamond, Gill Sans, Verdana and Georgia as good general purpose choices. It concludes with a map summarizing the different font styles and their characteristics.
The presentation for Gyaan Adda 46: Introduction to Typography by Hafsah Parkar (@hufflo)
On FB: http://on.fb.me/TWFQ7a
On Tumblr: http://bit.ly/ZkGijF
This document discusses various typography terms and concepts. It defines terms like serif, sans serif, x-height, point size, leading, and monospaced versus proportional spacing. It explains how typefaces are measured based on height and width. It also outlines common typographic variations within type families like italic, bold, condensed, and extended styles.
This document discusses the basics of technical lettering including why lettering is important, common types of lettering styles like Old English, Roman, and Gothic, and secrets to good lettering such as using guidelines, proper form, stability, proportion, density, and spacing. It also notes recommended heights for numbers, fractions, and titles in technical drawings.
This document provides a guide to understanding typography through dating metaphors. It discusses typographic fundamentals like type anatomy, measurements, pairings, and distortions. The guide uses lighthearted dating scenarios to explain typographic concepts like selecting the right typeface for your audience or project, establishing visual hierarchy, and giving elements like lines of text enough but not too much spacing.
This document provides a summary of key concepts in typography and communication design, including:
1. Size and scale of typefaces can be measured in points, picas, pixels and other units. Larger x-height and cap height increase perceived size.
2. Leading, or line spacing, impacts readability and pace of reading. Too little or too much leading can cause issues.
3. Kerning and tracking adjust spacing between letters and groups of letters, respectively. Well-designed typefaces require minimal kerning while tracking can squeeze or spread out text.
4. Alignment, hierarchy, paragraphs and other typographic techniques help structure information and guide the reader through varying importance and relationships between
The document provides an overview of a book that describes 10 broad classifications of type. It explains that each classification will have a description page explaining the history and characteristics of the classification. It will also include a full specimen sheet example of a font from that classification. The last few pages will explain font flags and specimen sheets. The document is intended to help the reader learn and be familiar with the 10 type classifications.
part 2 of 2 for the Unit 2 typography introduction
(NOTE: one of the fonts did not come through --- on the Old Style/Transitional Slide --> that is NOT Goudy; that's Arial).
The document discusses different styles of lettering including serif, sans serif, gothic, calligraphy, block, and graffiti. It provides details on characteristics of each style such as serif letters having tails and sans serif using only straight lines. Guidelines are also discussed as an aid to creating uniform lettering with consistent height, style, and size. The guidelines include cap, waist, base, and drop lines to accommodate both uppercase and lowercase letters.
Anatomy of letterforms
Evolution of letterforms & type classifications
Type terminology typefaces, type styles & type families
Measurements of type
Line spacing
Letter spacing and word spacing
Working with large bodies of type
Alignment for large bodies of type
Choosing and using a typeface
This document defines typography and discusses its key elements and classifications. It covers:
- Typography is the style and appearance of text, making it readable and pleasing to the eye through adjustments to typefaces, point size, leading, and kerning.
- Type classifications include serif, sans serif, scripts, decorative, and others defined by their visual characteristics and historical origins.
- The history of typography progressed from ancient cave paintings, to illuminated manuscripts in the Middle Ages, to the printing press and widespread typeface development sparked by Gutenberg.
The document discusses various typographic techniques that can be used to impact readability and emphasis, including font size, weight, spacing, ligatures, and punctuation. Larger or bolder fonts draw more attention while smaller or lighter fonts seem more subtle. Contrast in size, weight, or spacing between words creates emphasis. Proper use of techniques like kerning, tracking, ligatures, and old style figures improves legibility.
This document provides an overview of typography concepts including:
- The historical development and basic terminology of typefaces.
- Examples of different type families (serif, sans serif, script, etc) and guidelines for pairing different families.
- Typographic techniques including kerning, ligatures, tracking, leading, alignment, and emphasis; examples are given to demonstrate proper and improper usage.
- Brief biographies of influential graphic designers including Saul Bass, Josef Muller Brockmann, Victor Moscoso, Neville Brody, David Carson, and Edward Fella.
Here are the key steps to sketching an object:
1. Look at the object from different angles to understand its overall shape and details.
2. Break down the object into simple geometric shapes like cubes, spheres, cones, cylinders etc. These are called primitives.
3. Use construction lines to lay out the positions and proportions of the primitives. Construction lines help ensure accuracy and proper perspective.
4. Sketch the outlines of each primitive using construction lines as guides. Keep lines light so they can be erased.
5. Add details like holes, edges, surface textures once the overall form is established.
6. Erase construction lines and clean up lines using precise, dark strokes
This document provides an overview of typography, including its history and evolution from ancient cave paintings to digital typesetting. It discusses key typographic concepts like typeface versus font, classifications of typefaces, the anatomy of letters, and principles of layout and design like balance, hierarchy, and grid systems. Examples are given of techniques like kerning and ligatures as well as tried and tested font combinations that look good on mobile screens. Further reading resources are listed for learning more about typography.
The document provides instructions for designing a sketchbook cover logo. It discusses key composition elements like size, view, placement, positive and negative space. Students will create 3 thumbnail sketches of initial logos, then enlarge one design on tracing paper. They will transfer the design onto colored construction paper to cut out shapes for the logo, gluing the positive shapes onto a cardboard cover with the negative space showing through. The goal is to practice composition skills in creating a personalized sketchbook cover logo.
The document summarizes the art of calligraphy. It defines calligraphy and discusses its history and importance. It also describes various calligraphy styles, tools, materials and techniques used, including different writing surfaces, inks, pens, brushes and styles. The document provides instructions for a calligraphy assignment asking students to write a poem using three different fonts.
This document provides an overview of typography concepts including:
1. The importance of typography and how typefaces can affect readability and aesthetics.
2. Common type classifications like serif, sans-serif, display, and script and examples of popular typefaces within each classification.
3. Guidelines for combining typefaces effectively including considering factors like contrast, weight, structure, style, hierarchy, classification, color, texture, and mood.
This document discusses the art of typography. It begins by defining typography as the arrangement of type to make language visible, which involves selecting typefaces, point sizes, line lengths, and spacing between letters and lines. It then provides background on the history of typography, from early alphabets to movable type and modern digital typography. The document also covers topics like legibility, readability, type classification, color, page layout, and the results of research studies on factors that influence reading ease.
Typography is the craft of arranging type to convey language visually. It involves both macrotypography, which addresses layout and composition, and microtypography, which focuses on typesetting details like kerning and leading. Understanding typographic fundamentals includes learning terminology, anatomy, and classification of type. Serif typefaces are classified as Humanist, Old Style, Transitional, or Modern depending on attributes like stroke contrast, stress, serif style, and character forms. Typography aims to effectively communicate information through refined and balanced function and aesthetics of type.
The term “Typography” comes from Greek words: “typos” (form) & “graphe” (writing). Easily the nemesis for most people - as a subject of understanding and application as well. This is my feeble attempt at explaining the very basics of "typography", its history, characteristics, terminology and best-practices.
Facilitating 21st century learning by leilani c. avilaLeilani Avila
The document discusses issues related to 21st century learning and learner-centered teaching, including the shift to a more student-centered approach that integrates technology, focuses on developing 21st century skills, and allows for new environments, content, and types of learning. It also examines the role of the teacher as a facilitator who guides students in project-based, collaborative learning and effectively manages the classroom environment.
This document provides information on how to reduce inflammation and heart disease risk through diet. It recommends eating more vegetables, fruits, whole grains, legumes, nuts and plant-based proteins while limiting meat, dairy, saturated fat, trans fat, added sugars and sodium. Specific anti-inflammatory foods mentioned include berries, kale, salmon, olive oil, soy, oats, spinach and walnuts. Sample recipes are provided for overnight oats, portobello mushroom stacks and a nut/cranberry/chocolate trail mix.
This document discusses various typography terms and concepts. It defines terms like serif, sans serif, x-height, point size, leading, and monospaced versus proportional spacing. It explains how typefaces are measured based on height and width. It also outlines common typographic variations within type families like italic, bold, condensed, and extended styles.
This document discusses the basics of technical lettering including why lettering is important, common types of lettering styles like Old English, Roman, and Gothic, and secrets to good lettering such as using guidelines, proper form, stability, proportion, density, and spacing. It also notes recommended heights for numbers, fractions, and titles in technical drawings.
This document provides a guide to understanding typography through dating metaphors. It discusses typographic fundamentals like type anatomy, measurements, pairings, and distortions. The guide uses lighthearted dating scenarios to explain typographic concepts like selecting the right typeface for your audience or project, establishing visual hierarchy, and giving elements like lines of text enough but not too much spacing.
This document provides a summary of key concepts in typography and communication design, including:
1. Size and scale of typefaces can be measured in points, picas, pixels and other units. Larger x-height and cap height increase perceived size.
2. Leading, or line spacing, impacts readability and pace of reading. Too little or too much leading can cause issues.
3. Kerning and tracking adjust spacing between letters and groups of letters, respectively. Well-designed typefaces require minimal kerning while tracking can squeeze or spread out text.
4. Alignment, hierarchy, paragraphs and other typographic techniques help structure information and guide the reader through varying importance and relationships between
The document provides an overview of a book that describes 10 broad classifications of type. It explains that each classification will have a description page explaining the history and characteristics of the classification. It will also include a full specimen sheet example of a font from that classification. The last few pages will explain font flags and specimen sheets. The document is intended to help the reader learn and be familiar with the 10 type classifications.
part 2 of 2 for the Unit 2 typography introduction
(NOTE: one of the fonts did not come through --- on the Old Style/Transitional Slide --> that is NOT Goudy; that's Arial).
The document discusses different styles of lettering including serif, sans serif, gothic, calligraphy, block, and graffiti. It provides details on characteristics of each style such as serif letters having tails and sans serif using only straight lines. Guidelines are also discussed as an aid to creating uniform lettering with consistent height, style, and size. The guidelines include cap, waist, base, and drop lines to accommodate both uppercase and lowercase letters.
Anatomy of letterforms
Evolution of letterforms & type classifications
Type terminology typefaces, type styles & type families
Measurements of type
Line spacing
Letter spacing and word spacing
Working with large bodies of type
Alignment for large bodies of type
Choosing and using a typeface
This document defines typography and discusses its key elements and classifications. It covers:
- Typography is the style and appearance of text, making it readable and pleasing to the eye through adjustments to typefaces, point size, leading, and kerning.
- Type classifications include serif, sans serif, scripts, decorative, and others defined by their visual characteristics and historical origins.
- The history of typography progressed from ancient cave paintings, to illuminated manuscripts in the Middle Ages, to the printing press and widespread typeface development sparked by Gutenberg.
The document discusses various typographic techniques that can be used to impact readability and emphasis, including font size, weight, spacing, ligatures, and punctuation. Larger or bolder fonts draw more attention while smaller or lighter fonts seem more subtle. Contrast in size, weight, or spacing between words creates emphasis. Proper use of techniques like kerning, tracking, ligatures, and old style figures improves legibility.
This document provides an overview of typography concepts including:
- The historical development and basic terminology of typefaces.
- Examples of different type families (serif, sans serif, script, etc) and guidelines for pairing different families.
- Typographic techniques including kerning, ligatures, tracking, leading, alignment, and emphasis; examples are given to demonstrate proper and improper usage.
- Brief biographies of influential graphic designers including Saul Bass, Josef Muller Brockmann, Victor Moscoso, Neville Brody, David Carson, and Edward Fella.
Here are the key steps to sketching an object:
1. Look at the object from different angles to understand its overall shape and details.
2. Break down the object into simple geometric shapes like cubes, spheres, cones, cylinders etc. These are called primitives.
3. Use construction lines to lay out the positions and proportions of the primitives. Construction lines help ensure accuracy and proper perspective.
4. Sketch the outlines of each primitive using construction lines as guides. Keep lines light so they can be erased.
5. Add details like holes, edges, surface textures once the overall form is established.
6. Erase construction lines and clean up lines using precise, dark strokes
This document provides an overview of typography, including its history and evolution from ancient cave paintings to digital typesetting. It discusses key typographic concepts like typeface versus font, classifications of typefaces, the anatomy of letters, and principles of layout and design like balance, hierarchy, and grid systems. Examples are given of techniques like kerning and ligatures as well as tried and tested font combinations that look good on mobile screens. Further reading resources are listed for learning more about typography.
The document provides instructions for designing a sketchbook cover logo. It discusses key composition elements like size, view, placement, positive and negative space. Students will create 3 thumbnail sketches of initial logos, then enlarge one design on tracing paper. They will transfer the design onto colored construction paper to cut out shapes for the logo, gluing the positive shapes onto a cardboard cover with the negative space showing through. The goal is to practice composition skills in creating a personalized sketchbook cover logo.
The document summarizes the art of calligraphy. It defines calligraphy and discusses its history and importance. It also describes various calligraphy styles, tools, materials and techniques used, including different writing surfaces, inks, pens, brushes and styles. The document provides instructions for a calligraphy assignment asking students to write a poem using three different fonts.
This document provides an overview of typography concepts including:
1. The importance of typography and how typefaces can affect readability and aesthetics.
2. Common type classifications like serif, sans-serif, display, and script and examples of popular typefaces within each classification.
3. Guidelines for combining typefaces effectively including considering factors like contrast, weight, structure, style, hierarchy, classification, color, texture, and mood.
This document discusses the art of typography. It begins by defining typography as the arrangement of type to make language visible, which involves selecting typefaces, point sizes, line lengths, and spacing between letters and lines. It then provides background on the history of typography, from early alphabets to movable type and modern digital typography. The document also covers topics like legibility, readability, type classification, color, page layout, and the results of research studies on factors that influence reading ease.
Typography is the craft of arranging type to convey language visually. It involves both macrotypography, which addresses layout and composition, and microtypography, which focuses on typesetting details like kerning and leading. Understanding typographic fundamentals includes learning terminology, anatomy, and classification of type. Serif typefaces are classified as Humanist, Old Style, Transitional, or Modern depending on attributes like stroke contrast, stress, serif style, and character forms. Typography aims to effectively communicate information through refined and balanced function and aesthetics of type.
The term “Typography” comes from Greek words: “typos” (form) & “graphe” (writing). Easily the nemesis for most people - as a subject of understanding and application as well. This is my feeble attempt at explaining the very basics of "typography", its history, characteristics, terminology and best-practices.
Facilitating 21st century learning by leilani c. avilaLeilani Avila
The document discusses issues related to 21st century learning and learner-centered teaching, including the shift to a more student-centered approach that integrates technology, focuses on developing 21st century skills, and allows for new environments, content, and types of learning. It also examines the role of the teacher as a facilitator who guides students in project-based, collaborative learning and effectively manages the classroom environment.
This document provides information on how to reduce inflammation and heart disease risk through diet. It recommends eating more vegetables, fruits, whole grains, legumes, nuts and plant-based proteins while limiting meat, dairy, saturated fat, trans fat, added sugars and sodium. Specific anti-inflammatory foods mentioned include berries, kale, salmon, olive oil, soy, oats, spinach and walnuts. Sample recipes are provided for overnight oats, portobello mushroom stacks and a nut/cranberry/chocolate trail mix.
Impacto de las tecnologías de la información en los cuidados. En: Jornadas Enfermeras en la Comunidad: nuevos y decisivos retos (Madrid, 5 de junio de 2008)
The document provides tips and strategies for effective literacy teaching organized by letter, including assessing students, being explicit in lessons, using class blogs, guided reading, independent reading, handwriting practice, oral language activities, questioning techniques, comprehension exercises, visual literacy, spelling programs, and using technology in literacy instruction. Many websites and resources are also recommended throughout for teachers to utilize. The author also provides her contact information and blog links at the end.
Ponchcrem es una empresa que comercializa una bebida con alcohol y vitaminas, la cual tiene un sabor cremoso y poco empalagoso. La empresa ofrece opciones de tamaño pequeña, mediana y grande por $4,000, $7,000 y $10,000 respectivamente.
Challenge based learning for rich, authentic engagementKim Flintoff
Gamification is the buzz word of business and education at the moment and is widely misunderstood.
The Strategic Innovations team at Curtin Teaching and Learning have embraced game-like challenge-based learning as one of the key drivers of the university’s Transformation of Teaching and Learning.
The team is involved in national and international developments around Digital Badging, Challenge-based Learning, Personalisation of Learning, Learning Analytics, Serious Games and other innovative approaches to drive student engagement, improve student achievement and student and employer satisfaction.
The team at Curtin has engaged in some collaborative projects with a range of international organisations (UNESCO, Pearson Research, UNEP-DHI, Serious Games Conference, etc) and have some exciting approaches to learning using serious games and challenges including offerings for the K-12 sector and pre-tertiary opportunities. The approaches offer authentic engagement with real-world issues and are mediated via a range of technologies.
This presentation will offer some demonstration and insights into some of these innovations including Curtin’s new Challenge platform, analytics strategies, and serious games in the classroom.
Join Kim Flintoff at the ECAWA Term 4 Professional Learning Day on Saturday the 25th of October at Wesley College.
For information see http://ecawa.wa.edu.au/pl-pd/2014-professional-learning-opportunities/
For the programme see http://ecawa.wa.edu.au/pl-pd/october-25th-professional-learning-day-programme/
Japan, Korea and India - Cross Cultural Paper - by Erek CyrErek Cyr
This document provides a summary of life in traditional Asian societies like Japan, Korea, and India as they underwent modernization. It describes challenges faced by families as societies shifted from being family-oriented to supporting stronger central states. Modernization brought both problems and solutions. Stories from individuals in each country illustrate how traditional ways of life were disrupted by forces like Western imperialism, war, and industrialization, but also how economic development eventually improved living standards. Traditional values around family, gender roles, and education were challenged but also maintained importance. Overall, the document examines the complex social impacts of modernization across different times and experiences in each society.
Remember enjoying Keebler Grasshopper Cookies as a child? Well, what's old is now new. It's time for the next generation of kids to learn about these yummy "bug cookies"
This document provides guidance on exploring research questions. It discusses that research questions should define the overall plan and scope of a project. The document outlines a process for moving from a general topic to specific research questions, including brainstorming questions in both structured and unstructured ways. Key steps involve clarifying concepts, stakeholders, goals and metrics; exploring "how" and "why" questions about the topic; and determining if questions are clear, focused, and complex enough to require analysis. Hypothesizing how others may challenge arguments is also recommended. Structured and unstructured brainstorming techniques are presented to generate potential research questions.
KMS Technology is a global technology company founded in 2009 with offices in Vietnam and the US. They have over 600 employees and are continuing to grow globally. Their vision is to become a diverse global technology company with a services core business and growing products portfolio. They value developing their people, giving back to the community, living healthily and having fun.
Learn about the effects of having a strong employer brand: lower cost of hire, lower turnover, & how you can leverage your employer brand to attract top candidates. This presentation also discusses how to communicate your employer brand on LinkedIn, and some great research LinkedIn released about employer branding in 2012.
How Lockheed Martin Built its employer brand and uses Glassdoor to drive talent attraction and employee engagement initiatives.
Resources:
3 Reasons Bad Reviews Are Good for Business: http://gldr.co/2b4NURV
The Business Case for Employer Branding: http://gldr.co/2bnntdo
Responding to Glassdoor Reviews: What, Why and How: http://gldr.co/2bnojqD
Enterprise Employee Engagement Playbook: http://gldr.co/2aZGGMR
Everything I know about Information Architecture (mostly categorization) in 9...Peter Van Dijck
1. Information architecture (IA) involves organizing and structuring information to help users find what they need. IA is like architecture in that it provides structure and navigation.
2. IA involves categorizing information through various techniques like taxonomies, lists, facets, and networks. Categorization is not objective and can affect different groups in different ways.
3. When designing categories and information structures, it's important to consider things like centrality, fuzzy borders between concepts, cultural and contextual factors, and how the structures may burden certain groups. The goal is to provide useful organization and navigation without unintended consequences.
The Ultimate Platform Hotness Smackdown: Twitter, Facebook, iPhone, the Native Web / Search (Dave McClure, David Cohen, Jeff Clavier, Howard Lindzon, Ryan McIntyre -- Startup2Startup Boulder @ TechStars, June 2009)
Typography is often compared to relationships in this guide about typefaces. It discusses choosing the right typeface based on the audience and purpose, pairing typefaces effectively, and issues like kerning, leading, and avoiding distortion. The guide also covers typographic fundamentals like font vs typeface, serifs, measurements, and style classifications to help the reader find the "perfect match" for their typographic needs.
The document is a field guide to typography that discusses selecting appropriate typefaces, proper typographic details like kerning and leading, and alternative typestyles like small caps and ligatures. It uses dating and relationship metaphors to explain typographic concepts in an engaging way. The goal is to help readers find the perfect typographic match and avoid common obstacles through understanding typeface anatomy, history, pairing, and hierarchy.
16. A Basic Introduction to Typography (Inglés) (Presentación) autor Northern...prologuitoedic
Typography is the art of arranging type. It involves considering how letters, words, and paragraphs will appear in order to effectively communicate information or ideas. Good typography comes from paying attention to details like kerning, tracking, leading, alignment, line breaks, hyphenation, and avoiding widows and orphans. The document provides examples and explanations of various typographic concepts like typefaces, fonts, classifications of fonts, font sizes, and other stylistic elements. It aims to give the reader a basic introduction and understanding of typographic design principles.
Practical Typography or Typography vs DesignRavi Bhadauria
The document is a presentation on practical typography by Ravi Bhadauria of ADMEC Multimedia Institute. It covers topics such as why typography matters, typography rules, terms, use of typefaces, readability and legibility. Specific guidelines are provided on type selection, font pairing, line length, leading, alignment and more. Examples demonstrate the impact of typography on design. The goal is to teach designers best practices for incorporating effective typography.
This document provides a lighthearted guide to typography using dating and relationships as a metaphor. It discusses various typographic concepts such as typeface vs. font, type anatomy, font families, pairing typefaces, kerning and leading, and more. Each section relates these concepts to different stages of a relationship from the initial attraction and compatibility to long-term commitment. The document uses humor and analogies to make typically dry typographic topics more engaging and accessible.
This document provides an overview of typography concepts using dating and relationships as an analogy. It begins with basic typography terminology like typeface vs. font and type anatomy. It then discusses appropriate typeface selection based on intended audience and medium. Details like hierarchy, alignment, kerning, and leading are covered to help "make it work." Alternative character styles and licensing are briefly touched on. The overall document aims to help readers find the "perfect match" in typography through understanding its fundamental elements.
The document categorizes and defines six main font styles: Oldstyle, Modern, Slab Serif, Sans Serif, Script, and Decorative. It provides examples for each category and defines their key characteristics, such as Oldstyle fonts having slanted serifs and medium thick-thin transitions, making them good for body text. Modern fonts have thin, flat serifs and dramatic thick-thin transitions, making them suitable for headlines. The document instructs students to find examples of five fonts for each of the six categories.
Graphic design touches everything we see from billboards to websites. It combines visual elements like words, pictures, and charts to create something distinctive. Good design focuses on practical aspects like functionality but also understands why designs work on emotional and psychological levels. There are basic design theories and principles that apply across different mediums like balance, scale, and emotion. Successful designs employ principles like balance, rhythm, proportion, dominance, and unity.
The document provides an overview of typography and data visualization design. It discusses goals of understanding fundamentals of typography and graphics and exploring the use of font and its effect on emotion. It covers typography terminology like point size, leading, letter spacing. It discusses how typography is used in data visualization and why it is important. It also talks about how fonts can connote different emotions and personalities and provides examples of research studies on the influence of fonts. Lastly, it provides tips for effectively combining fonts in designs.
The document discusses choosing an effective typeface for a horror magazine masterhead. It provides examples of different typefaces with descriptions of how they could work or not work for a horror magazine. The author experiments with writing the magazine title "slash" in each typeface. Ultimately, the author selects a typeface that is bold, displays distortion through a "slash effect" linking to the magazine name, and is easy to read while still conveying the horror genre.
1. This document discusses typography and font design. It covers topics like x-height, font size measured in points, font families, classification of typefaces, leading, kerning, tracking, and rules of thumb for readability.
2. Typefaces can have emotional connotations based on previous experiences. For example, Helvetica may have negative associations in the US because it is used on IRS forms.
3. Sans serif fonts are generally less readable for body text compared to serifs, but some sans serifs like Gill Sans and Optima can still work. Geometric sans serifs are better for headlines than long passages of text.
This document discusses typography and type design principles. It covers what typography is, how type conveys meaning through attributes like size, weight, and color, and how first impressions are important. Different typefaces have different characters that contribute to the message. The anatomy of a letter and classifications of typefaces like serif, sans-serif, slab-serif, and more are explained. Terms like letterspacing, line height, line length, and x-height are defined. The document concludes with discussions on legibility of type on screens and an assignment involving analyzing logo design principles.
The document provides tips for creating effective PowerPoint presentations. It recommends using high quality pictures that tell a story without pixellation or distortion. Font choices should create contrast between headings and body text. Slides should have boundaries, breathing room, repetition of elements, and alignment of lined-up items. Presentations should be unexpected and improve over iterations by applying the recommended tips.
This document discusses different font styles and their suitability for different purposes in a magazine. It describes sans serif fonts as commonly used for body text and being suitable for attracting a teenage audience. Serif fonts are described as classic but less versatile and more suitable for older audiences. Script fonts are seen as adding personality but being difficult to read. Display fonts are meant to draw attention, such as for mastheads. Hand lettered fonts can provide a personal touch for things like editorials and bylines. Each font style has strengths and weaknesses for different target audiences and uses.
Typography is the art of word design using typefaces. There are hundreds of typefaces available that can be categorized into serif, sans-serif, decorative/fancy, and script. When choosing a typeface, considerations include appearance, suitability for the content, and readability. A typeface's personality can also influence meaning through attributes like weight, spacing, and stylistic traits.
Design for non-designers: five visual principles to guide youDavid Hall
Are you depressed about your design skills? Panic attacks over that presentation? Looking down the abyss of artistic failure? Well, it’s not that bad. All you need are a few basic principles to help you through.
The document is a tutorial on proper formatting and style when creating documents on a computer. It provides guidance on topics like spacing, fonts, indentation, dashes and other punctuation. Key recommendations include using one space after periods, italicizing instead of underlining, limiting use of all caps, using serif fonts for body text and sans serif for headings, consistent line spacing and indentation, and taking advantage of special characters. The tutorial concludes with a sample document to identify errors and how it could be improved.
There are several main types of typefaces: serif, sans-serif, decorative/fancy, and script. Serif fonts have small lines or "serifs" at the ends of letters and help guide the reader's eyes along the line. Sans-serif fonts do not have serifs and tend to be used more for headings. Decorative fonts are difficult to read for large amounts of text. Script fonts mimic handwriting styles. The document discusses choosing fonts based on appearance, suitability for the content or product, and readability. Typefaces can convey different moods and personalities.
This document provides an overview of typeface basics and tips for using type effectively. It defines typeface terminology like ascenders, descenders, and x-height. It also describes the main classifications of type families like serif, sans serif, script, display, monospace, and dingbat fonts. The document provides examples of common fonts for each classification and tips for pairing personality with purpose, limiting the number of type families used, avoiding all capitals, paying attention to relationships between combined types, and learning from design experts.
Similar to Things I Know About Type [Field Guide] (20)
Value based approach to heritae conservation -.docxJIT KUMAR GUPTA
Text defines the role, importance and relevance of value based approach in identification, preservation and conservation of heritage to make it more productive and community centric.
Rethinking Kållered │ From Big Box to a Reuse Hub: A Transformation Journey ...SirmaDuztepeliler
"Rethinking Kållered │ From Big Box to a Reuse Hub: A Transformation Journey Toward Sustainability"
The booklet of my master’s thesis at the Department of Architecture and Civil Engineering at Chalmers University of Technology. (Gothenburg, Sweden)
This thesis explores the transformation of the vacated (2023) IKEA store in Kållered, Sweden, into a "Reuse Hub" addressing various user types. The project aims to create a model for circular and sustainable economic practices that promote resource efficiency, waste reduction, and a shift in societal overconsumption patterns.
Reuse, though crucial in the circular economy, is one of the least studied areas. Most materials with reuse potential, especially in the construction sector, are recycled (downcycled), causing a greater loss of resources and energy. My project addresses barriers to reuse, such as difficult access to materials, storage, and logistics issues.
Aims:
• Enhancing Access to Reclaimed Materials: Creating a hub for reclaimed construction materials for both institutional and individual needs.
• Promoting Circular Economy: Showcasing the potential and variety of reusable materials and how they can drive a circular economy.
• Fostering Community Engagement: Developing spaces for social interaction around reuse-focused stores and workshops.
• Raising Awareness: Transforming a former consumerist symbol into a center for circular practices.
Highlights:
• The project emphasizes cross-sector collaboration with producers and wholesalers to repurpose surplus materials before they enter the recycling phase.
• This project can serve as a prototype for reusing many idle commercial buildings in different scales and sizes.
• The findings indicate that transforming large vacant properties can support sustainable practices and present an economically attractive business model with high social returns at the same time.
• It highlights the potential of how sustainable practices in the construction sector can drive societal change.
1. FIELD
GUIDE
HELLO
type 1st
- Things I know about type -
!
by Prakash Nair
2. Things I’m going to talk about.
– Theory Intro to type
Type personality
Classifications
– Application Anatomy
Choosing a typeface
Combining typefaces
Typography
Web & Mobile
Designing Type
Tools + Resources
3. I really love your
personality
Why is this important?
Some of us have been guilty of focusing on
decoration and neglecting the details. I’m
talking about getting back to good, solid
design principles, like well-formed grids and
decent measures and incremental leading and
appropriately paired typefaces.
4. “
Web design is 95% typography...
Oliver Reichenstein
Information Architect (informationarchitect.jp)
+
This is because the web is content and content is type. Type
is an equal player in design. It doesn’t matter about your
color choices or grid if type becomes an afterthought.
Companies really do care about quality and precision.
Bonus points for an Art Director that cares about quality
and can effectively sell his visual concept.
5. Typography
is what language
looks like.
+
Most people, including some designers think
typography is about fonts. Typography is more than
that, its expressing language through type choice,
placement, composition.
6. +
When used improperly most people might not
notice it, but subconsciously they can feel that
something it wrong. If your type is bad the
design fails.
8. +
It can have a lot of personality. Think about keywords
during the conceptual/research phase.
Conservative, Strong, Edgy, Exciting, Feminine,
Boring, Informal etc.
9. +
And each personality should be in relation to
your content. Typography can create or change
context as well. It can elevate a message.
10. +
Dan Mall (Big Spaceship)
He takes mathematical measurements from
typefaces to design interfaces and UI elements.
11. +
In this site he designed for Nike, you can see how he
uses the type layout has influenced the navigation.
12. Aa Aa
_
Display
_
Text
+
Every typeface has an intended usage. There are two primary
categories of types; display and text. Display goes for a
stronger personality, elaborate and more expressive shapes,
and a more stylish look. Text is designed to be legible at
smaller sizes. Usually implies fairly clean, consistent,
uncomplicated design features. For example the typeface
Chronicle will have Chronicle Regular and Chronicle Display.
13. Basic Type Classifications
Aa SerifAa Aa
_
Aa
Old Style
_
Transitional
_
Modern
_
Egyptian
Garamond Baskerville Bodoni Clarendon
Aa Sans
+
5 basic classifications. Important to know as it will help
Aa Aa
you decide which typeface to choose in any project.
Old Style - Emulated classical calligraphy and movement
of the hand. From 1400s.
Serif
_ _ _ Transitional & Modern - More abstract and less organic.
Humanistic Transitional Geometric Modern - Very high contrast in the strokes.
Humanistic Sans - Characterized by presence of the hand.
Gill Sans Helvetica Futura Similar to Roman. Organic.
Transitional Sans - straight in appearance and less width
than Humanistic Sans. Also called “anonymous sans” due
to its plain appearance.
Geometric Sans - Geometric construction suggesting the
use of a compass.
* Notice these are all the same point size, yet some look
bigger in appearance.
14. This is a Family
Aa
_
Aa
_
Aa
_
Aa
_
Roman Italic Semi-Bold Bold
15. This is a Super Family*
Aa Aa Aa Aa Aa Aa
Aa Aa Aa Aa Aa Aa
Aa Aa Aa Aa Aa
* But not really.
17. How to choose
a typeface
1 Choose a category
+
Choose a type face that you think will match your work.
What’s the purpose? Is it a Display face or a text face? Whats
the classification? Old Style, Modern, Slab Serif, Sans Serif,
Script, Decorative? Serious look? Casual? Decorative?
18. How to choose
a typeface
1 Choose a category
2 Consider the medium
+
Where is this being shown? iPad? Web? Print? Are the
delicate serifs going to break if its too small? Is it going
to be legible?
19. How to choose
a typeface
1 Choose a category
2 Consider the medium
3 How much text?
+
Whats more important?
Readability or aesthetics?
20. How to choose
a typeface
1 Choose a category
2 Consider the medium
3 How much text?
+
4 Space How much space is required? Two equally
sized fonts can have very different widths.
You should never try to fit and squeeze a
typeface within the medium. The medium
should fit the typeface.
22. Pairing typefaces
DON’T mix two typefaces from the same family
I’m I’m
pretty. pretty too.
+
There is not enough variation to distinguish the two and
its sort of a pointless design decision.
23. Pairing typefaces
DON’T mix two typefaces with a strong personality.
I’m Chuck I’m Van fucking
Norris. Damme.
+
Or else the visual language starts to get noisy and chaotic.
Less is more.
24. Pairing typefaces
DO mix two typefaces with similar proportions.
x x x
+
I like to give each one a different role. There should be a
“star of the show” and a hardworking one.
25. Pairing typefaces
DO mix serif and sans under the same family.
I’m your father.
But, I’m older.
+
Check out the families of types containing serif and sans
under the same name: This is Fedra Sans and Fedra serif.
The only problem: most of these types are actually rooted
in a consensus, they are not expressing much. It's cool for
a bank report or an informative brochure, but might be
weak for a magazine.
26. How people read
Understanding how people read will help you
in making better decisions when setting type.
If a typeface is hard to read, the meaning of
the text will be lost.
27. Legibility Can you read it?
+
Legibility is “can you read it?”
Legibility refers to a reader’s ability to easily re-
cognize letterforms and the word forms built from
them. We don’t read by recognizing one letter at a
time, but by recognizing the shapes of whole words
and phrases.
28. Readability Do you want to read it?
+
Readability asks “do you want to read it?”
Readability is about the comfort with which text can
be understood. Text with good readability must also
be legible, but more legibility doesn’t make text
readable.
29. I got a dig bick.
You that read wrong.
+
People skim very quickly from one word to
the next. So any kind of hindrance will affect
your reading. They don’t want to be blown
away from the beautiful typeface. They want
You read that wrong too. to connect to the words on an emotional level.
30. times. Look at me read this super quickly. I never knew I had such sup
+
We use peripheral vision to decode whats coming up
next. We read ahead about 15 letters at a time, but only
get the meaning of that part of the span. Reading music
is similar to reading text.
31. ERSE. RIGHT THIS IS TAKING A WHILE TO READ. WHY ARE YOU SHOU
+
Uppercase is much harder to read since the letter are all
the same height and so we don’t recognize the characters
as quickly.
32. Eevn touhgh the wrosd are srcmaelbd, cahnecs are taht you can
raed tihs praagarph aynawy. The order of the ltteers in each word
is not vrey ipmrotnat. But the frsit and lsat ltteer msut be in the
rhgit psotitoin. The ohter ltetres can be all mxeid up and you can
sitll raed whtiuot a lot of porbelms. This is bceusae radenig is all
aobut atciniptanig the nxet word.
+
Most of you can read this! Fairly quick. You anticipate
what’s coming up next. The more previous knowledge
you have, the easier it is to interpret.
33. It will be colder.
+
Here I’m covering the upper half of the word.
What the hell is it?
34. It will be colder.
+
Here the bottom half is covered. But you can read it.
That’s because most of the information which defines
a character is contained in the upper half.
35. k erning
+
Kerning is the space in between two characters. Usually,
the larger the type, the tighter it needs to be kerned.
Optical kerning is set by the program and metric kerning
is set by the designer of the typeface. There’s no right
way. Kerning also needs to be adjusted if you are using
a shitty typeface.
36. tracking
+
Also called letter spacing, tracking is the space between
the characters. It’s an overall percentage across the
board, whereas kerning is between two characters.
37. I read ok but I sure could use a little bit more breathing room.
I read perfect. Boy is it good to achieve perfection, its what dreams are made of.
S h i t I g o t way o u t o f c o n t ro l . I i m m e d i a t e l y re g re t t h i s d e c i s i o n !
+
Adjust tracking accordingly to achieve readability.
Capital letters prefer a little distance from their
neighbors. Loosely space italics will looked weird since
italics are meant to be placed closely together.
38. If I get any bigger I will definitely need more
breathing room. Not only sideways but also above
and below.
I’m much much bigger now.
Good thing I have more
breathing room. I hope its easier
for you to understand me know.
+
Linespacing is also called leading. When the type-size
gets bigger, more leading is needed. Also the wider the
width of the sentence, the more leading is needed.
39. +
Another principle to think about is the width of your
copy. Notice the insanely long paragraph width here. I
don’t wanna read this! It's tiring for your eyes to follow
back and forth. Thats one way you develop fatigue.
40. +
This is much better. Keep the width of your paragraph
under 10 words (45-75 characters.) For multiple columns,
keep it between 40-50.
41. Hier
Creating
arc hy
+
Hierarchy is simply the way of organizing elements.
A typographic hierarchy organizes the content,
emphasizing some elements and de-emphasizing
others. Everything on the page cannot be important!
42. A visual hierarchy helps readers scan a text,
knowing where to enter and exit. It gives your
designs a flow.
43. I. Things to Buy Things to Buy
a. Avocado Avocado
b. Salsa (spicy) Salsa (spicy)
c. Milk Milk
d. Paper Towels Paper Towels
THINGS Avocado THINGS TO BUY
TO BUY Salsa (spicy) Avocado
Milk Salsa (spicy)
Paper Towels Milk
Paper Towels
+
Emphasizing a word or phrase within a body of text usually
requires only one signal. Italic is the standard form of
emphasis. There's also boldface, small caps, or a change
in color. There are endless ways to create emphasis.
45. [-]Space
+
Every design has whitespace (negative space), but
the problem is that not every design has enough.
Its a very under-utilized element. For those who
don’t understand what whitespace is, the following
slide will give you an idea of what whitespace is.
46. +
Let your type breathe. Whitespace is simply the empty
space between and around the elements of a design or
page layout. Whitespace is made of nothing, but shouldn’t
be treated that way. Being generous with your whitespace
will speak volumes about your brand. By using large
amounts of it, you’re saying that your content is far more
important than the screen real estate that it rests on.
47. Type on mobile
Reading from a digital screen is about 25%
slower than from paper so greater care must be
placed when designing for screen to improve
reading. Here are some guidelines…
48. Large x-height
Aa Aa
+
The x-height should be at least 2/3 the height of the
capital letter. The bigger the counters, the more
legible the characters get.
49. Ample stroke contrast
Aa Aa
+
This means the font should not be too thin or too
heavy, but somewhere in between. The thin strokes
will break at lower sizes.
50. Not too narrow
MY COUNTERS ARE TINY
+
These typefaces may look great in print or on the
web when displayed in large, but they will be hard
to read when rendered so much smaller on a mobile
screen. Notice you can barely see the counters as is.
51. Don’t get fancy
I’ f
+
Decorative fonts tend to break the above three rules
52. Distinctions
I wanna be different like
everyone else.
+
Obvious weight and style difference between
normal, bold and italic iterations. This creates
the best contrast.
54. My Nine Rules On Setting Type
01
Select the face.
+
Select a typeface appropriate for the subject matter
and consider the medium.
55. My Nine Rules On Setting Type
01 02
Select the face. Grid it.
+
Create a grid for the page/document.
56. My Nine Rules On Setting Type
01 02 03
Select the face. Grid it. Group it.
+
Study the copy and group similar information.
57. My Nine Rules On Setting Type
01 02 03
Select the face. Grid it. Group it.
04
Size matters.
+
Next comes contrast which can be achieved
through sizing.
58. My Nine Rules On Setting Type
01 02 03
Select the face. Grid it. Group it.
04 05
Size matters. Color.
+
Color is also part of hierarchy. Color referring to
the visual tone of a mass of text rather than color
in the RGB sense.
59. My Nine Rules On Setting Type
01 02 03
Select the face. Grid it. Group it.
04 05 06
Size matters. Color. Align it.
+
Next comes aligning the info based on the grid.
There are endless varieties of possibilities here and
I spend most of my time designing this.
60. My Nine Rules On Setting Type
01 02 03
Select the face. Grid it. Group it.
04 05 06
Size matters. Color. Align it.
07
Adjust leading.
+
To achieve readability, I adjust the leading.
99% of the time, its never right by default.
61. My Nine Rules On Setting Type
01 02 03
Select the face. Grid it. Group it.
04 05 06
Size matters. Color. Align it.
07 08
Adjust leading. Adjust kerning.
+
Adjust the kerning if needed.
62. My Nine Rules On Setting Type
01 02 03
Select the face. Grid it. Group it.
04 05 06
Size matters. Color. Align it.
07 08 09
Adjust leading. Adjust kerning. Read it!
+
Finally, look back and read it. Or give it to someone
to read and see if they hiccup.
63. Court forms Assistance Services; Bankruptcy,
Immigration, Evictions, Foreclosure, Divorce, Child
Support, All Civil Matters.
Office: 14536 Roscoe Blvd. Ste #215, Panorama City, CA 91402
Going through a Divorce, Child Custody, Child Support, Modification,
Paternity? We could help you, and not break your budget! Call us, we
could work with you!
Take action today, tomorrow may be too late!!! Hablamos Español!!!
Affordable Paralegal Services, don't lose your home!!! I
can help!!! I help you with:
Bankruptcy chapter 7 and chapter 13
Evictions for Landlords and for Tenants
Small Claims for all civil matters
Patty Perez
818-331-4950
http://www.sfvparalegal.com
NOTICES:
The above information is provided for informational purposes only and is
intended to be used as a guide prior to consultation with an attorney
familiar with your specific legal situation. We are not engaged in
rendering legal advice, and this add is not a substitute for the advice of an
attorney. If you require legal advice, you should seek the services of an
64. 01 Select the face.
-
02 Grid it.
-
03 Group it.
-
04 Size matters.
-
Dear Sarah,
05 Color it.
-
06 Align it.
-
07 Adjust leading.
-
08 Adjust kerning.
-
09 Read it!
65. 01 Select the face.
-
02 Grid it.
-
03 Group it.
-
04 Size matters.
-
Dear Sarah,
05 Color it.
-
06 Align it.
-
07 Adjust leading.
- Dear John,
08 Adjust kerning.
-
09 Read it!
66. 01 Select the face.
-
02 Grid it.
-
03 Group it.
-
04 Size matters.
-
05 Color it.
-
06 Align it.
-
07 Adjust leading.
-
08 Adjust kerning.
-
09 Read it!
67. 01 Select the face.
Going through a Divorce, Child Custody, Child Support,
- Modification, Paternity? We could help you, and not
Court forms Assistance break your budget! Call us, we could work with you!
02 Grid it. Services; Bankruptcy,
Immigration, Evictions,
Take action today, tomorrow may be too late!!! Hablamos
Español!!!
Foreclosure, Divorce, Child
- Support, All Civil Matters.
Affordable Paralegal Services, don't lose your home!!! I
03 Group it. can help!!! I help you with:
Bankruptcy chapter 7 and chapter 13
- Evictions for Landlords and for Tenants
Small Claims for all civil matters
04 Size matters.
Office: 14536 Roscoe Blvd.
- Ste #215, Panorama City,
CA 91402
05 Color it.
- NOTICES: Patty Perez
06 Align it. The above information is provided for informational purposes
only and is intended to be used as a guide prior to consultation 818-331-4950
with an attorney familiar with your specific legal situation. We are
- not engaged in rendering legal advice, and this add is not a http://www.sfvparalegal.com
substitute for the advice of an attorney. If you require legal
07 Adjust leading. advice, you should seek the services of an attorney. or we can
provide you with one. I am not an attorney. I can only provide
self help services at your specific direction.
-
08 Adjust kerning.
-
09 Read it!
68. Pa Perez
Affordable Paralegal Services
01 Select the face.
Going through a Divorce, Child
- Custody, Child Support,
Court forms Assistance
02 Grid it. Services; Bankruptcy, Modification, Paternity? We could help
Immigration, Evictions, you, and not break your budget. Call us, we
Foreclosure, Divorce, Child
- Support, All Civil Matters.
could work with you.
03 Group it. Hablamos Español
- Affordable Paralegal Services, don't lose your home!!! I
can help!!! I help you with:
04 Size matters. Bankruptcy chapter 7 and chapter 13
Evictions for Landlords and for Tenants
Office: 14536 Roscoe Blvd.
- Ste #215, Panorama City,
CA 91402
Small Claims for all civil matters
Patty Perez
05 Color it.
818-331-4950
- http://www.sfvparalegal.com
06 Align it. NOTICES:
The above information is provided for informational purposes only and is
intended to be used as a guide prior to consultation with an attorney familiar
- with your specific legal situation. We are not engaged in rendering legal
advice, and this add is not a substitute for the advice of an attorney. If you
require legal advice, you should seek the services of an attorney. or we can
07 Adjust leading. provide you with one. I am not an attorney. I can only provide self help
services at your specific direction.
-
08 Adjust kerning.
-
09 Read it!
69. Pa Perez
Affordable Paralegal Services
01 Select the face.
Going through a Divorce, Child
- Custody, Child Support,
Court forms Assistance
02 Grid it. Services; Bankruptcy, Modification, Paternity? We could help
Immigration, Evictions, you, and not break your budget. Call us, we
Foreclosure, Divorce, Child
- Support, All Civil Matters.
could work with you.
03 Group it. Hablamos Español
- Affordable Paralegal Services, don't lose your home!!! I
can help!!! I help you with:
04 Size matters. Bankruptcy chapter 7 and chapter 13
Evictions for Landlords and for Tenants
Office: 14536 Roscoe Blvd. Small Claims for all civil matters
- Ste #215, Panorama City,
CA 91402
Patty Perez
05 Color it.
818-331-4950
- http://www.sfvparalegal.com
06 Align it. NOTICES:
The above information is provided for informational purposes only and is
intended to be used as a guide prior to consultation with an attorney familiar
- with your specific legal situation. We are not engaged in rendering legal
advice, and this add is not a substitute for the advice of an attorney. If you
require legal advice, you should seek the services of an attorney. or we can
07 Adjust leading. provide you with one. I am not an attorney. I can only provide self help
services at your specific direction.
-
08 Adjust kerning.
-
09 Read it!
70. Pa Perez
Affordable Paralegal Services
01 Select the face.
-
02 Grid it. Going through a Divorce, Child Custody,
Child Support, Modification, Paternity?
-
We could help you, and not break your budget.
03 Group it. Call us, we could work with you. SERVICES
Court Forms Assistance
Bankruptcy
- Immigration
Evictions
Foreclosure
04 Size matters. Divorce
Child Support
CONTACT
All Civil Matters
- (818) 331 4950 (Hablamos Español) Bankruptcy
Evictions
14536 Roscoe Blvd. Ste #215, Panorama City, CA 91402
Small Claims
05 Color it.
-
06 Align it.
sfvparalegal.com
-
07 Adjust leading. The above information is provided for informational purposes only and is intended to be used as a guide prior to
consultation with an attorney familiar with your specific legal situation. We are not engaged in rendering legal
- advice, and this add is not a substitute for the advice of an attorney. If you require legal advice, you should seek
the services of an attorney. or we can provide you with one. I am not an attorney. I can only provide self help
services at your specific direction.
08 Adjust kerning.
-
09 Read it!
71. Pa Perez
Affordable Paralegal Services
01 Select the face.
-
02 Grid it. Going through a Divorce, Child Custody,
Child Support, Modification, Paternity?
-
We could help you, and not break your budget. SERVICES
03 Group it. Call us, we could work with you. Court Forms Assistance
Bankruptcy
- Immigration
Evictions
04 Size matters. Foreclosure
CONTACT Divorce
- (818) 331 4950 (Hablamos Español) Child Support
All Civil Matters
05 Color it. 14536 Roscoe Blvd. Ste #215, Panorama City, CA 91402 Bankruptcy
Evictions
- Small Claims
06 Align it.
sfvparalegal.com
-
07 Adjust leading. The above information is provided for informational purposes only and is intended to be used as a guide prior to
- consultation with an attorney familiar with your specific legal situation. We are not engaged in rendering legal
advice, and this add is not a substitute for the advice of an attorney. If you require legal advice, you should seek
the services of an attorney. or we can provide you with one. I am not an attorney. I can only provide self help
08 Adjust kerning. services at your specific direction.
-
09 Read it!
72. Pa Perez
Affordable Paralegal Services
01 Select the face.
-
02 Grid it. Going through a Divorce, Child Custody,
Child Support, Modification, Paternity?
-
We could help you, and not break your budget. SERVICES
03 Group it. Call us, we could work with you. Court Forms Assistance
Bankruptcy
- Immigration
Evictions
04 Size matters. Foreclosure
CONTACT Divorce
- (818) 331 4950 (Hablamos Español) Child Support
All Civil Matters
05 Color it. 14536 Roscoe Blvd. Ste #215, Panorama City, CA 91402 Bankruptcy
Evictions
- Small Claims
06 Align it.
sfvparalegal.com
-
07 Adjust leading. The above information is provided for informational purposes only and is intended to be used as a guide prior to
- consultation with an attorney familiar with your specific legal situation. We are not engaged in rendering legal
advice, and this add is not a substitute for the advice of an attorney. If you require legal advice, you should seek
the services of an attorney. or we can provide you with one. I am not an attorney. I can only provide self help
08 Adjust kerning. services at your specific direction.
-
09 Read it!
75. I love lamp
CAP HEIGHT
x - HEIGHT
BASELINE
+
These three characteristics sets the rule for any
typeface. Think of it as the Document Size/Settings
under a program.
76. CAP HEIGHT
x - HEIGHT
BASELINE
Counter
+
For small texts, the counters are usually huge so
there is more whitespace, which means a better
reading experience.
77. Ascender
CAP HEIGHT
x - HEIGHT
BASELINE
Counter
+
Ascender is a lowercase character stroke which extends
above the x-height
78. TERMINAL
Ascender
CAP HEIGHT
x - HEIGHT
BASELINE
Counter
+
Terminals are the shape in which a stroke ends.
79. TERMINAL
Ascender
CAP HEIGHT
x - HEIGHT
BASELINE
Counter
+
Terminals come in all shapes. These shapes depend on
the type classification.
80. TERMINAL
Ascender
CAP HEIGHT
x - HEIGHT
BASELINE
Serif
Counter
+
Serifs are the feet at the ends of some of the strokes.
81. TERMINAL
Ascender
CAP HEIGHT
x - HEIGHT
BASELINE
Serif
Counter
Bowl
+
Bowls are the curved stroke which surrounds a counter.
82. TERMINAL
Ascender
CAP HEIGHT
x - HEIGHT
BASELINE
Serif
Counter Descender
Bowl
+
Descender is a lowercase character stroke which extends
below the x-height
83. fi fi →
ff fl ſt st
+
A ligature are two characters joined as a single glyph.
They are created for special circumstances to prevent
overlapping between the two characters.
84. +
Theres a lot of optical tricks you have to use in type
design. To optically align all characters on a line, they
cannot not have exactly the same mathematical height.
For example the triangle on this drawing has to be higher
than the rectangle. Otherwise, the triangle will look
smaller than the rectangle. While creating a typeface,
you want all the letters to appear to have the same height.
85. +
When draw a curve think of riding a car down a curve.
It must be graceful.
86. +
The characters on the top line have a different construct-
ion than the characters on the bottom line. The contrast
is caused by changing the pressure on the pen, not
because of the form of the pen. From this perspective
there is no difference between Bodoni and Helvetica.
Both have the same construction, only the contrast varies.
87. +
Much more important than the shapes of the characters, is the
rhythm of the type. A typeface with beautiful characters which are
badly spaced is extremely hard to read. However, if the shapes of
the letters are not that good, but when they are all perfectly spaced,
the type will be fairly easy to read. The white spaces inside and in
between letters are defining the rhythm much more than the black
shapes of the letters.
88. +
Which x-height to define? Which descender depth?
Defining these proportions are essential, and very
strongly connected to the purpose of the type.
The proportions within a certain typeface influence
the way your type will work & look.
89. +
If you make a light weight and the black weight of one
typeface, you'll have to make sure that the black weight
has a bigger x-height than the light weight (top line
drawing). If this is not the case, the black weight will
look optically too small when it's combined with the light
weight in a line of text. In display faces this is not the
case. The difference should be much smaller.
90. +
Too many points (nodes) can cause technical problems -
e.g. the printer can't print the font anymore. It also makes
it much harder to control the shapes of a character.
Controlling a curve with 2 points is much easier than
12 points.
92. www. Tools Software
Typophile What The Font? Font Explorer X
(Font Management)
I Love Typography Tools and
Kern me (the kerning game)
FontLab
(Type Design)
Typography Served
Resources
Shape type (type design game)
Liveview
Thinking with Type
Font Finder
(Browser Extension)
Books Video
Stop Stealing Sheep Jason Santa Maria on
& Find Out How Type Web Typography
Works
by Erik Spiekermann
Helvetica
The Elements of (Documentary)
Typographic Style
by Robert Bringhurst