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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 ...


19

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

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 ...


16

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 ...


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, ...


16

In Illustrator, you can use a Mesh Envelope distort to non-destructively warp text like this: Select your text object, then use Object > Envelope Distort > Make With Mesh... and add however many rows and columns you need to get the desired effect. I used 16 rows and 1 column in my example.


13

By making the right leg of the A vertical the connection to the T can be cleaned up. This also helps to balance the logo, making the initial A more prominent (as prominent as the final C). In the logo below this is further reinforced by making the A a bit bolder than in your original logo.


12

No One Rule Fits All Situations This is all somewhat complicated, because it ties in with kerning support and font selection, and there is no one-size-fits-all answer that will serve for all situations. In my experience, ligatures are more apt to be needed in a tightly set serif roman or italic, not so much in a sans font. For more discussion and ...


12

It doesn't matter what you do. Some will always read them in a different order. The brand should include use of the company name in some locations so that, eventually, the public gets used to thinking H-- S--- S--- C---. As you can see HERE the order is largely irrelevant and makes no sense until the actual name of the company is included. I, personally, ...


11

There are a couple of problems: The sides of the A strokes need to be straight and parallel, to match the parallel edges of the other letters. The counters beneath the arms of T are very unbalanced. You can't do much about the spacing around the capital I (because C is curved), but they are better balanced. The C might still be moved left slightly, ...


10

Of course everybody will read in a different way, but when you consider all possible combinations, you can still find out which has the highest probability of being read in the right order. Since we read from left to right and top to bottom, we can rule the right and bottom quarters out as starting points. Here are the possible reading orders: Since two ...


10

Limit their options. Lots of people like to think they are knowledgable in design, or typography, because 'anyone can judge whether something looks good or not, right?'—while they aren't. Don't let them do your work for you. My advice would be to do your research and deliver three options (possibly four), and present those to them, nothing more. Do ...


9

I totally understand the frustration of being in weak in grids and typography, specially if you are a self taught graphic designer. To me this is very open ended question and that there is no right answer to point out for you. In my personal experience, it is how you train your eyes and get feedback from your fellow designers would certainly improve your ...


9

I would first ask myself, why is the client picking typefaces at all? Are there brand standards in place I have not been made aware of? For the record, there's nothing which states two or three or fifteen typefaces are too many for a logo. If designed well the quantity of typeface variation is irrelevant. If you can pull off a great logotype with six fonts ...


9

What do they mean? as explained here The BQ and BE OpenType Basic versions correspond to the Berthold BQ and Adobe BE PostScript Type 1 Legacy versions. What is the difference as explained here The Berthold BQ and Adobe Berthold versions are derived from the same data source and so the character outlines are almost identical. The metrics (spacing and ...


9

how do you present multiple examples to the team I agree with Vincent, but will be a bit more emphastic: You don't Your job is to present the best option and then back up that decision as you see fit. Avoid too many options if you can. One, maybe two is ideal.


8

The most condensed monospace, open-source font I've found is via fontsquirrel and is called M+ 1m.


8

As KMSTR says, you don't. Impact does not have an italic variant, nor a bold, for that matter. Many consumer-based software like Microsoft Office allow so-called faux bold and italic for all fonts installed: if a separate font file for these alternate styles is not installed, the software simply slants the characters (for faux italic) or makes them thicker ...


7

The benefit of having your full name in a logo is that, well, your name is the logo. Nike has the benefit of spending hundreds of millions of dollars to train the public to know that a "swoosh" = Nike, but you don't have that luxury. Not yet, anyways! While using initials or symbols in logos can sometimes lead to more creative solutions or more distinctive ...


7

Edit: btw Paul Rand was working with what is called swiss-style design. The way I see it; the grid get way too much attention. The examples you give are not really purely typographic style as such. The ability, training and possibilities of play is underrated. Creating a visual language like Rand did, is part of his - almost - cult status among designers ...


7

This is what's known as the "numero sign" or "numero symbol". It actually has its own unicode character: №. As such, it's considered a single character, not two. From Wikipedia: The numero sign or numero symbol, №, is a typographic abbreviation of the word number(s) indicating ordinal numeration, especially in names and titles. For example, with the ...


7

There are different ways to classify typefaces. user568458 covers one way in their answer - big umbrellas like sans-serif and serif, and physical characteristics. This is a great start for someone, particularly if you're not all that interested in the nerdy details. But if you are interested in matching fonts, it helps to know some of the subgenres so you ...


7

It's unfortunate that Khaled hasn't had a chance to respond here, but I'll give you my typographer response. As a general principle, I would strongly recommend sticking with the typographic conventions of each culture. Distorting letterforms (or choosing unusual typefaces that don't convey the same sense of formality as small caps do in English) is ...


7

As a general recomendation I would suggest to add a bit more of negative space. You can get this by reducing your font size up to 10 or even 9 pt (don't be scared, it would be readable enough). At the same time I would reuse some of the space we've gained increasing line height; everything will look lighter and cleaner. You can also reduce a bit your name ...


7

No, usually not. This is a legacy of hardbound binding; these extra pages were glued to the cover and the inner pages, and do not count as "inner" pages. For a paperback, you don't need to explicitly add them. The page with the half-title is sort of a connector between the cover itself and the inner pages. Its use is (historically) to protect the real title ...


7

Really nice design! I think you definitely got the vibe right. Couple of things to consider: The email at the bottom, because the text is in the same font, it makes it a little difficult to read. If you made the first word bold, for example, that would separate it a little more. I find the alignment of the date and the word Lauantai a little confusing. ...


6

The font was designed to fit most cases so in most cases, your L would be preceded by another letter and so on. Good designers definitely pay attention to these small details, it really makes your design look more professional even if it is very subtle. If you are in InDesign, you won't be able to kern the first letter of a line so what you can do is simply ...


6

Some notes on possible improvements: The page uses eight different typefaces, and variation in font size and different content color and background color combinations. That makes a rather messy impression. Using two or three typefaces should normally be enough. Legibility is suboptimal. White text on dark background is less legile, and white text on light ...


6

Simple answer.. posed as a question... If the logo were not text, would you clip part of it when considering spacing? Don't let the fact that the logo happens to be a type glyph alter what you would do if it were not a glyph. Factor in the serifs as well.



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