The best way to make your type setting shine is to give attention to the details.
Small details might go unnoticed to the average eye, so when something looks
out of place to the untrained eye they might not be able to pinpoint what’s
bothering them visually. Those visual mistakes are sometimes the typographical
errors in type setting, which a designer would try to correct. What are some
common typographical errors? How can one adjust their copy to look more polished?

A Diamond In The Rough

This quote has been typeset for a magazine article. The magazine body copy
is set in a serif typeface. There are problems with this setting, however. First,
the typeface chosen is too bland. A matching serif face would be more appropriate.
Second, there is a conflict between the weights of the quote and the by line.
Those weights need to visually contrast more.

There are strengths in the setting of the quote. The hanging quote is a nice
touch. A good detail that is not necessary. An em dash has been used before
the author; a hyphen in this case would look unprofessional. The color choice
is also appropriate given the rest of the magazine article has a consistent
color scheme.

Now the typeface has been changed, in this case to Fenice Light and Bold. Small
changes provide grater visual appeal. At this point, the designer’s trained
eye would still notice a couple details that need adjustment. Can you find them?

The first thing to change is the apostrophe in the word “I’ll”.
The way it is now, the apostrophe is a foot mark. Not a glaring error, but one
that looks much improved when corrected. Also some of the letter pairs could
use some kerning. This would be more of an issue if the type were set at a larger
point size.

In this example the quote is polished, and when surrounded by polished body copy in the
magazine article it would add much interest to the design. So be sure to give
attention to the details of your typography. With time, giving attention to
these smaller details will become part of your design process and they will
strengthen the overall design.

The long anticipated last addition to the Typeface Basics series is here. In this article we will discuss Decorative typefaces.

Decorative fonts can be friend or foe. The problem is, there are loads of “free” fonts out on various font download sites. Not all are worthy of using them on your next great design project. Some are quite good, and can add a touch of personality to an otherwise bland project. As noted in the previous articles, your typographic techniques can either make or brake a design, especially in an identity projects.

Legibility Factor

Can you read the words, or do they just seem to form a geometrical blob? In typography, legibility is always important. I just don’t see the need of having letters and words if you can’t decipher them. Most decorative type is designed to be used at large point settings, especially the intricate that seem to collide at small point sizes. In addition, like script type, decorative fonts should be used only for a word or phrase. I would even stay away from decorative fonts for more than two words, but that’s just me. When you do have your type set, do try to have an objective view, and don’t rationalize that the typesetting is good or excellent just because of the cool factor. Remember the legibility factor too.

Theme This

Decorative type works best when used to reinforce your design’s theme. If you go techno, find a nice decorative techno font. Sixty’s strikes back? You can find a decorative typeface for that too. The intricate details that a designer looks to will polish the piece. Also, it acts as an adhesive that really identifies the message, and transmits it clearly without conflicting connotations.

Watch Out For The Cheepies

Many of the free decorative fonts don’t include all of the standard characters, like quotation marks, asterisk, and others. If you find that a typeface is missing characters, especially essential ones, choose another type. I personally like retro fonts, but I don’t find myself doing any projects that would employ them. If I was I would use something from Font Diner. Font Diner also has free fonts for mac and pc (see example above, “Tiki Bar Sale”; set in Fontdinerdotcom). Their best work is in the paid packages. I love diners.

I know that I’m not the only one that has a good source for decorative typefaces; post a comment and drop a link to you favorite decorative font, free or otherwise not.

Howdy! and welcome to 2004. Today we are going to take a look at Script fonts.

What’s A Script?

Script refers to hand lettering, on other words writing with pen and ink. in
the digital age, script fonts still find their place, and enjoy accompanying
the other typefaces found in previous articles. i’m sure you have seen
and used them.

How To

How should Script type be used? Well, first off, they should not be used for
paragraphs, or even multiple sentences, of text. Body copy is usually set at
10-12 point. At that size, script fonts are difficult to read. So that makes
them suitable for large point size applications, such as headings, headlined,
and all things that need extra accenting.

The Face

Although i am not a connoisseur of script fonts, i do find that i use them
more than i anticipate. They come in handy when trying to increase the elegant
feel of a piece. Have a look at a couple of these fonts.

A
strong black script font, would describe Banco well. The typeface’s bold
and chiseled strokes, lend it a heavy feel without being very ornate. in fact,
i think Banco is one of the most undecorated Script fonts that can be found.
i enjoy using it when it fits the project.

Next
up is Spring. Out of all of the Script fonts i have used, Spring has been the
most versatile. it has two weights, which is really the most you will ever have
for any Script typeface family out there. Spring’s free flowing strokes,
provide the face with a semi-casual feel.

Zapfino
is one of the more ornate Script typefaces. With its long ascenders and decenders,
Zapfino can be a difficult script font to incorporate. i would only use it
in the most elegant placement. if you haven’t noticed, the typefaces presented
here progress form a black, heavy weight, Script to a light Script face.

Next up, Decorative typefaces.

San Serif typefaces are relatively new forms. Starting to appear in the late
19th century, San Serif type was not widely used until the early part of the
20th century. Alas the day of digital publishing. All of the first "screen
fonts" were San Serif for ease of legibility; keep in mind most people
were starring at a green screen. San Serif type varies like skin color. There
are no defined categories, however. So, to examine San Serif as a category were
going to look a some popular and not so popular typeface families.

Geometry

By
their nature, San Serif typefaces have strong geometrical form. That aspect
of this category can make it more tiring for a person to read large blocks of
text set in a San Serif face. With careful techniques this can be avoided. Adjust
leading and use the right weights that are designed for reading paragraphs,
usually referred to as roman or normal weight. San Serif fonts are versatile
and multitudes of weights and widths make them flexible.

The Good & Not So

There
are many nice nuances in typefaces, and that remains true for San Serif type.
Have a close look at industria to the right. The family that is industria includes
only two versions of the type, regular and inline, which is a type of stroked
font that should only be used in large point sizes. With the limitations of
only two weights, industria would not be appropriate for body copy, or paragraphs.
That doesn’t mean that industria has no use. The unique form that industria
has makes it useful in logos, banner text or headlines. it is a font that shouldn’t
be over used, but is enjoyable to see when used effectively.

Now
for a type face that i will not, and have never used. Optima is one of those
variable width stroke San Serif font. i call it a tween font, because it wants
to remove it’s feet without having lost its calligraphic quality, variable stroke
widths. in the example, notice the Serif Type qualities. That makes this face
a nightmare to pair with another font. Try to avoid these situations at all
costs. i’m sure it’s installed in your fonts folder; just be aware of Optima
type and others like it.

The Abused

Ariel and Helvetica are also San Serif typeface designs. They were created
for multiple uses, but now they have there application on the web as screen
fonts. The reason? Just about every single computer running in this world has
one, or more likely both, installed. This is great for web designers because
they know that Ariel and/or Helvetica can be counted on. But on the same note,
everyone and their brother are using them to create their garage sale flyers,
and professional designers need not be confused for desktop publishers using
text edit. Helvetica Nue is a take off of the original Helvetica and it has
it’s differences, as well as more weight and fitting types in the family; use
them.

The Gala

i have posted a few more examples, just to show off a couple of my favorites.


Let me know what your’s are. Got a blog? Let me know that too.

Until Script, Speak Graphically.

The problem?

it really is just the typography. True, it is easy to screw up, especially
with little to no experience; however, many seem to be overwhelmed with all
the choices. This on slot of choices that happen throughout the design process,
such as layout, color and more, seems to take a toll on a young designers creativity.
The result? Lackluster or arbitrary font choices.

What To Do

What will you do when this happens to you? i suggest reflecting on the purpose
of the piece, whatever it may be. Then examine your audience. The style of the
design can, and should, be emphasized in typeface (aka font) selection. Also,
reduce your choices. The big mistake that is easily made is when the designer
goes scouring the web looking for the perfect typeface. Let’s face it, all of
them are going to start looking alike and the process will take a while. i simply
try a couple, even one, from each family of typefaces. One will definitely look
"right"; it feels at home. Today, we can examine the first of four
Families of typeface categories, Serif Type. To be preceded by San serif, Script,
and Decorative Type.

Serif = ?

Ok, so i wasn’t the only one asleep when the instructor said, "Serif is
French for feet. The feet on a type face…" blah blah. Oh and then, "Can
you tell me what San serif means?", she said. Well we’ll get into that
later, but all of this can help us do what? Well without going too in depth
in typography (if you want to go in depth checkout Typographica) review, or
learn for the first time, the categories of serif fonts. Yes, there are categories
within categories, this is for all you web/multimedia designers.

Old Style

Old
style fonts have a hand crafted look, and are the least linear of the three
categories. Roman/latin script based fonts are the basis for old style fonts.
Although most serif fonts italic face has a calligraphic or script quality,
old style faces can have a smooth flowing italic setting. Out of all of the
old style fonts, i enjoy Garamond and Stone. i suggest trying out these and
others.

Modern

This
category can be more difficult to identify. Sometimes i see a font an think
it’s a Modern Typeface when it is actually an Old Style Typeface, or vica versa.
in fact i actually did that when preparing the examples to the right. So what
makes a Modern Typeface modern? it has to do with the serifs, belive it or not.
if you look closely at the example the feet have a horizontal, rather than diagonal,
serif. This is evident in the ascenders on the L in Garamond, and D in Warnock.
Not really a huge difference, but, belive me, there are other subtle differences
between the styles that are only known by type designers. i rarely use Modern
Typefaces, but plan on incorporating them more into my work. i just got Warnock
and like the style allot. There is also Bodini, which i haven’t seen since that
typography final.

Slab Serif

i
think my typography book called this category Egyptine. The instructor, however,
used Slab Serif to describe this category; i think that’s more appropriate in
our modern day, so i use Slab Serif. it is quite easy to remember and identify,
usually. The boxy serifs and straight verticals give these typefaces a more
mechanical feel. They tend to look more masculine, and the italic version doesn’t
have a strong calligraphic quality. Rockwell (example on right) has a strong
slab serif. Where as New Century Schoolbook can be hard to identify as a slab
serif font, but it is.

So, if you had no idea what typography was about, i’m sure you must be getting
some kind of idea now. Remember to check back for the next additions in the
typography basics series. i plan on doing more series like this one on basic
to intermediate design skills. The best way to learn and refine skills is to
practice, and i like to recommend doing that as often as possible. Hey, i’ll
practice on a client too. if doctors and lawyers can, why not me.

Well, ’till San serif, Speak Graphically.