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85

They do. The thing is, you probably don't realise, because upper case numbers have been all you've been using or seeing. There is a distinction between 'default' numbers and 'oldstyle' numbers. The default numbers we all know are the actual capitals, with the 'oldstyle' numbers (sometimes incorrectly called 'proportional numbers') are lowercase. Fonts tend ...


29

Just some extra pointers to try to break from bad habits, since I think the previous answers are pretty thorough. Position the Paper Comfortably Pay attention to the position of the paper and modify it until you find the most comfortable position for you. Keeping the paper straight in front of you will force your wrist to strain and contort in order to be ...


25

While upper case numbers do exist, as is shown in vincents answer. They did not originally exist at all. Remember our numbers are copied from the muslim scientists, who wrote in Arabic. Arabic is unicase, that is all letters are same case. So the notion of big and small numbers is a later development. Since the original system had no case so did the adopted ...


22

The older convention was that the style of punctuation matched the immediately preceding context: That's the Chicago Manual of Style (3rd edition, 1911), but the same convention can be seen in a French equivalent: Désiré Greffier, Les règles de la composition typographique (Paris: A. Muller, 1897), pp. 54-55. And it's not only an older convention, as the ...


22

Very rarely. Any time you claim to be a professional X, you're staking your reputation on a claim to have specific, comprehensive expertise in that profession. With typography, some graphic designers can justify such a claim, but most can't stretch that far. "Typographer" implies professional expert. Most good designers are adept at typography, and many ...


21

My advice as a parent Kids of that age don't read books, they look at books and enjoy the images, colors and stuff. Other people read those book to kids under the following conditions: Bad light (because it's bed time) The head of the kid in between the book and the reader A never steady book, because the kids like to help holding it As a result, use a ...


20

While I agree with a lot of what has been said, I disagree with one of the fundamental ideas everyone else seems to have--there are certain characteristics and treatments that makes something feel luxury and wealthy. I'm not sure I know them all, in fact I'm sure I don't, but here's what I've been able to identify since posting this question and really ...


17

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.


16

Capital letters exist as our written and printed language has decided they should. The rules for usage of capital letters typically is for starting sentences and proper nouns. The rules simply don't apply to numerals. Hence, no need for there to be 'upper case' numbers. Your example of using ALL CAPS TO SHOW EMPHASIS is actually not an ideal way to show ...


14

A glyph is an individual character. It might be a letter, an accented letter, a ligature, a punctuation mark, a dingbat, etc. A font is a digital file which is used to display a typeface, which contains the entire upper- and lowercase alphabet as well as punctuation, numbers, and other special characters.


13

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, ...


13

It can be confusing because often times you find out that people use the term "font" openly to refer to many things in typography. Here's a lively discussion on fonts and typefaces. Traditionally, font is a term used when discussing a set of characters of a certain typeface and in the same family. A font has also been used to describe a software used to ...


13

I think it's great that you're being so detailed. The smallest of details are noticed by the reader, even if it's just subconsciously. I'm sure there are a lot of different opinions, and I'm sure that in the end it comes down to personal preference, but I would say you only include formatting on elements that are part of the nested statement. This isn’t ...


13

Typography for children's books is much more complicated that only font size, you must consider the font, kerning, leading etc. Here's a very nice post that goes into detail regarding the basics that should help a lot! They recommend 14-18pt with 16 to 22pt leading and I agree, but read the entire post!


11

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 ...


11

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 ...


11

Claude Garamond started designing typefaces in the 1500s, a time when both type design and technology was very different from today. Letters had to be cut into metal by hand, and so they were much more prone to imperfections and unevenness than today's digital type. Italics, in particular, were based on a different kind of writing, cursive, which was more ...


10

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 ...


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

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.


9

Semantically, the typeface of the punctuation should be determined by its degree of association with the preceding word. In the example given for the Chicago Manual of Style, the exclamation mark after Banzai! belongs to the word itself, rather than marking the end of the enclosing sentence, so it should clearly be italicized, but that doesn't mean that all ...


9

Now there's always going to be circumstances where any classification of font can suit a luxury brand. But some font characteristics that I've noticed are: Serifs High/med contrast fonts; Modern typefaces (see Hugo Boss) Small caps Heavy tracking (see Marc Jacobs) Script fonts Ligatures Hand-drawn signature-esque writing (see Agnes B. Voyage) Very bold or ...


9

What is case? The discussion both in this question and in the one it inspired on ELU seems to conflate two distinct meanings of ‘uppercase’ and ‘lowercase’: Based purely on shape and size, originating in whether a glyph was originally usually stored in the typographer’s upper or lower case (= drawer). Based on functionality, describing what upper- and ...


8

This is the second time I see a Stack Exchange question on the usage of special quotation marks in philosophical literature, the first time being this question about p- and d-shaped quotation marks in a work by Carnap. During my research for this question I found another philosophical work, which uses ⌜-, ⌝-, m-, M-shaped quotation marks itself and ...


8

Some background on me, so you can estimate how much or little authority I have: My native language (German) uses diacritics (ÄÖÜäöü) as well as non-diacritical special characters (ß) and is in the process of introducing or rejecting a new special character (ẞ, the capital eszett) right now. I did some research on the diacritical characters myself for the ...


8

Here are a few things that have worked for me. Be comfortable Pick a pen you're comfortable with. A tool you enjoy. Ballpoint pen, pencil, fountain pen, whatever. This is important. Having fun boosts learning. Imitate Look at other people's handwriting, and pick a style you like. Try to copy that style a bit, but don't worry too much about not being ...


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

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

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

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. ...



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