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43

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 ...


38

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 ...


24

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 ...


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 ...


19

Serif Vs Sans Serif (a picture speaks a thousand words) Read @Calvin's answer for explanation.


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 )


18

There are several reasons why you might end up kerning type. Well-made and carefully designed typefaces include a kerning table that provides applications with instructions on how to adjust space between letters when they are displayed in text. Unfortunately, there is no way to account for every single letter relationship at every single possible size. ...


17

While this is primarily a list of sites, know that browsing a website is not the only way to look for typefaces. Some type foundries still publish specimen catalogs, and some now have mobile apps and Adobe plugins. Many will also have e-mail newsletters to update on new things. Myfonts.com Fontfont.com Typophile.com Letterheadfonts.com Linotype.com ...


16

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 ...


16

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 ...


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

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 ...


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 ...


16

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 ...


16

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 ...


16

There are two types of ligatures. Type 1: The reason ligatures exist is to prevent spaces between some letters which could disturb your reading flow. For example in some fonts "fi" overlap each other or especialy "fl". In order to find a solution for this problem, ligatures were invented, each becoming just one letter on the typeblock: Normal letters vs ...


16

Fifteen Centuries of Versals There are many ways to indicate the beginning (or resumption) of a section of text, including paragraph indents, blank lines, changing the weight or style of the opening part of the text, ornamentation like fleurons — and versals, a category that includes drop caps. A Manuscript Example Versals, also known as lettrines, ...


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

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 ...


15

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 ...


14

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 ...


14

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 ...


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

They're almost interchangeable - but there's a difference of emphasis that can be useful. If you talk about the typeface, your focus is on the end result, some type's appearance and aesthetics in use. It might have come from a font, or it might not: hand-painted signs, graffiti art, comic lettering, calligraphy, logos etc can all have distinctive typefaces ...


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

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 ...


13

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 ...


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

Linked below is a short but good read summarizing different studies on line lengths. Studies were done as far back as the 1880s demonstrating that optimal line-length for reading was between 3.6 - 4 inches. Even 50 years later, this was still the deal: One of the best studies was done by Tinker and Paterson in 1929. Using 10-point black type on white ...



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