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37

Great question! A good place to start is the faceted search tool on Typekit, which gives options for the main types of typeface and the main dimensions they can be measured against: So you could look for Typekit options that seem to match, and try them out. As you choose descriptions you can instantly see the sort of fonts that come up, so you can tell ...


27

Any font has built-in spacing determined by the "side bearing" of each character. In metal type, the side bearing is the physical right or left edge of the individual piece of type that determines its spacing from the characters on either side. Digital fonts mimic this in the basic design process. "To kern" means to adjust the spacing between a pair of ...


22

Two spaces after a period at the end of a sentence started when the typewriter replaced hand set printing presses. When type was set by hand the spacing was carefully crafted to make sentences and paragraphs easier to read. Typewriters use a monospace font that make it hard to distinguish the end of a sentence without adding the extra space. Modern fonts ...


21

Smashing Magazine has a really good article on combining typefaces: Try matching a Sans-Serif title type with a Serif body type Avoid similar classifications (don't use 2 slab typefaces or 2 condensed typefaces) Assign distinct roles to each typeface/font Contrast font weights Create a variety of typographic colors Don't mix moods Contrast distinct with ...


21

From the Wikipedia article on letter spacing: In typography, letter-spacing, also called tracking, refers to the amount of space between a group of letters to affect density in a line or block of text. Letter-spacing can be confused with kerning. Letter-spacing refers to the overall spacing of a word or block of text affecting its overall density ...


18

I instantly recommend you to look at the website Typography for Lawyers ( http://www.typographyforlawyers.com/ ) - in particular the font recommendations http://www.typographyforlawyers.com/?p=587 )


16

There is a great article called Designing for Dyslexics, and it's divided in three parts. Part 3 is about typography: Part 1 (Definition of dyslexia, population size, implications/effects) Part 2 (Lower color contrast & visually impaired users) Part 3 (Typography, layouts, language style, information architecture, screen readers) Here is a extract, ...


16

Regardless of @Scott's answer about the etiquette of avoiding ampersands in body text alltogther, there is a typographic recommendation to place connector words like "and" or "or" at the end of the line, not at the beginning of the new line. This helps to better connect the previous line to the next. THIS IS A LONG HEADLINE AND CONTINUES ON LINE TWO is ...


15

Technical documents will have a deeply nested, hierarchical structure, and also make use of footnotes, different types of emphasis, cross-referencing, pull outs and side bars of one sort of another and captions. The main distinguishing feature of technical documents tends to be complex structure. For headings, you can use any reasonably legible font; this ...


15

The main thing I keep in mind when pairing fonts is this: Is the second font saying something different? The answer will not necessarily determine whether you should or shouldn't pair the fonts, but it's very important. often adding another font to the design adds nothing other than unneeded complexity and busyness. It's also important that the font you're ...


15

Technical documents are often set in sans-serif. There are a couple of reasons why this is preferred over its serif counterpart: Serif typefaces are usually designed to be as transparent to the reader as possible. In a novel, reading should be a fluid activity, and the typeface must not call attention to itself. Technical documents are often filled with ...


15

Why justify Justification can make an important contribution to extended reading: Taming the visual 'noise' in a page of text. Nick Shinn made a particularly keen observation in this regard on Typophile: Justification avoids the "interference" of having shapes and coinicidences occur at the right column edge, which can be a distraction, as the ...


15

Stiff, P. (1996). The end of the line: a survey of unjustified typography. Information Design Journal, 8(2), 125–152. No empirical data, but a good overview. Science would tell us that inconsistent word-spacing as a result of justification may inhibit saccadic eye movement by creating irregular “jumps” for the eye to make. I have not read a study that ...


15

Fillerati Fillerama Gangsta Lorem Ipsum F*ck Lorem Ipsum Bacon Ipsum HTML Ipsum Loripsum.net LittleIpsum for OS X Professional Lorem Ipsum Generator Veggie Ipsum Hipster Ipsum Journo Ipsum Tuna Ipsum Samuel L Ipsum Charlie Sheen Lorem Ipsum The Web 2.0 Lorem Ipsum Generator Beer Ipsum Lorempixum Malevole GAG Ipsum Space Ipsum Cupcake Ipsum Zombie Ipsum ...


15

I would use half the width of the vertical for kerning between most areas (magenta rectangles) then the full width of the vertical on either side of the ls (orange rectangles). I would also shorten the height of the lowercase ls. The additional height of the ls is throwing off the balance considerably. Reducing the height of the ls to match the hight of ...


14

Serifs are the usually perpendicular projections found on the termini/endpoints in type. For instance, a capital "I" is usually rendered with 2 crossbars. Those are serifs. Sans-serif just means "without serif." The definition of serif / sans-serif typefaces should be self-explanatory. Another name for serif is "roman"; likewise, sans-serif typefaces may ...


14

After some digging, I found it is called a catchword. Read more about it here: http://english.stackexchange.com/questions/65963/in-old-books-why-is-the-first-word-of-the-next-page-printed-at-the-bottom-of-th I always assumed this was to improve readability, as the reader could continue more seamlessly onto the following page, but it turns out it was also ...


14

Look at the red below: We do have some good questions on this such as: Difference between kerning vs letter spacing? What is kerning and what is the point of it? The way I would come up with the kerning in this example is to use the given tracking. Example of this here: Do note that the kerning is subjective in nature and is typically ones ...


13

I think the Wikipedia kerning article essentially covers it, but the bulk of the article is about adding kerning information to a font during its design, or applications automatically using this built-in information to improve composition of a font's characters -- rather than the a fine-tuning a designer might do on a particularly problematic pair of ...


13

Robert Bringhurst's Elements of Typographic Style is a thorough and wonderful reference for things like this. It's long but very valuable. A lot of designers recommend a standard grid of lines so that a line+padding will always fit within, say, 16 pixels. So anything less than that would have a line height of 16, everything above that would have line height ...


13

Advertising. While it's a noble idea that it was done for readability, newspapers, in general, have columns that are overly narrow compared to most given readability information/data. Having multiple columns allows for a very versatile ad grid, and, traditionally, newspapers were in the business of selling ads. It also allows more stories to appear on ...


13

No, no, no, absolutely not, no, hell to the no, no way, and if I were working on this document in any capacity I would be looking for my Hammer of NO to hit the originator with. Did mention "no"? There is no reason, rule, suggestion, guide, stricture, or recommendation to put a space before a mark of punctuation. What I see there is someone who either ...


13

There are effects/scripts in Fontlab / Fontographer / Glyphs that can make a bolder/lighter version of a font but these effects create very clumsy results almost unsuitable for real use. When creating typeface with multiple weights one has to separately draw at least two full character sets (the lightest and the heaviest). The rest can be obtained by ...


12

Characters that could be interchanged, indeed, would save money in the days of moveable type. That said, the '1' and 'l' were given spots in the typical job case: When typewriters came along, the mechanics dictates that the fewer characters meant the fewer bars needed, which was a huge benefit giving the limited space. As such, early typewriters omitted ...


12

Of the original "web-safe" (that is, as close to universal as you'll get on the Web) sans-serifs (Arial, Impact, Tahoma, Trebuchet MS, Verdana), Verdana tends to get the most love. It's well-designed and is designed to be readable on the screen. It was designed by Matthew Carter, a respected typeface designer, and the design itself is pretty original, so it ...


11

Short answer: "No." Long answer: There are four factors involved in deciding the leading (nowadays meaning the distance from one baseline to the next, also called line height): the x-height of the characters, the measure (length of the line), the weight of the strokes of the characters themselves and the size of the type. In this answer, for simplicity, ...


11

The idea of a 'baseline grid' tends to be abused...especially on the web. The baseline grid is really for use in multi-column publications. The idea is to have consistent horizontal 'lines' across all the columns. And it should be used by default, but you should also know when NOT to use it. Your bulleted list example is a good case where it's probably ...


11

Pixel fonts aren't terribly different from tiny print fonts when you get right down to it*. The one big exception is that you know what the medium will do with pixel fonts -- a very big advantage. There really isn't an ideal pixel grid, per se. Obviously a larger grid gives you more room to work. The smallest types I've seen work successfully are 7px ...


11

NO, no, no, no, no. Double spaces are never necessary when using proportional fonts. Not if your sentences are one word each, two words each, two paragraphs each, or six pages long. The best way to typeset those two exact sentences in a proportional font is correctly: with one space after the period. Two spaces just makes my eye trip. Genuinely. I feel ...


10

Aside from the obvious rules (it must be comfortable to read if it is going to be used for long text, it has to fit with the theme of the rest of the design, etc), there are no hard rules about choosing a font. Picking a font is about choosing something that fits aesthetically with the rest of the design (and other fonts in the design), attracts the reader ...



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