Type collecting: moving beyond resident fonts
Article Abstract:
A collection or 'library' of typefaces for desktop publishing on laser printers should be sufficient for current and prospective applications, offering a variety of choices for any particular project plus 'companion faces for different effects.' The typefaces should be pleasing in style and in their output form from the printer. Acquiring typefaces for desktop publishing may be confusing because of the many available versions of and multiple names for any particular typeface. A core of library typefaces should be the laser printer's resident fonts. Unfortunately, many of these bundled font collections have little relationship to each other and may not provide a broad range of special effects. Consequently, the user should select fonts that are compatible to, or that contrast with the resident fonts. The appearance of several typefaces is discussed.
Publication Name: Publish
Subject: Publishing industry
ISSN: 0897-6007
Year: 1990
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Serifs: different strokes
Article Abstract:
Serifs should be considered when choosing a typeface because they contribute largely to a face's legibility and looks. A wedgelike shape and a sharp angle of departure from the main stroke are characteristic of old style serifs, which are seen in typefaces such as Caslon. Old style serifs make faces very legible and less formal than others. More formal transitional faces, such as Baskerville, are distinguished by serifs with smoother brackets and a distinct contrast between thick and thin strokes. Serifs for modern faces like the Bodoni type show an abrupt contrast between thick and thin strokes and use thin horizontal lines. Square serifs are seen mostly in typewriter faces, which use simple shapes. Contemporary faces, such as Palatino, use heavy, dramatic serifs that maintain delicate brackets and angles.
Publication Name: Publish
Subject: Publishing industry
ISSN: 0897-6007
Year: 1989
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Making faces: inside a digital typography studio
Article Abstract:
Judith Sutcliffe is a typeface designer who has designed fonts for Altsys and Casady and Greene. She approaches her work in terms of outlines, relying on her eye, intuition, and feelings in designing new fonts. Sutcliffe believes it is possible to lose the spirit of a typeface if there is too much concern for pure accuracy. She works directly on her computer screen instead of tracing scanned templates. The results are printed on a laser printer. She began designing type using Fontastic, an early program for creating bit-mapped fonts for the Apple ImageWriter. She is currently exploring the limits of letterforms and technology by studying prehistoric rock writing.
Publication Name: Publish
Subject: Publishing industry
ISSN: 0897-6007
Year: 1990
User Contributions:
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