1. A newspaper gets its look, its personality, from the typefaces used and the ways in which they are arranged on the page.
2. In North America something may look unacceptable, but would please a French reader.
3. Not every typeface is suited for every language, certain faces are popular in certain countries.
4. Newspapers require careful planning and are laid out with complex grids.
5. Design- in this case at least- has to be invisible. Typefaces have to look so normal that you don't even notice you're reading them.
6. Every PV user today knows what a font is, calls at least some of them by name' Helvetica, Verdana, Times. What we see on a screen are little unconnected square dots.
7. In ancient rome letters were drawn by brush on stone and then chiseled out.
8. GD and typography are complicated but even simple projects benefit from thinking about the problem forming a mental picture of the solution and carefully planning the steps.
9. Typefaces were designed 500 years ago, around the time of movable type. These basic shapes and proportions are still valid today. (Bible of 1455)
10. Thousands of variations of the letters have been created. Typefaces for reading are derived from handwriting.
11. As literacy spread, people began to care more about expressing their thoughts quickly, and less about style and legibility.
12. Quills,pens, pencils, etc. have all changed handwriting but the Roman alphabet has surfaced all of these remarkably intact.
13. Our view of things is still largely shaped by nature-plants, animals, weather, scenery. Most of what we perceive as harmonious and pleasing to the eye follows the rules of proportion that are derived from nature.
14. Our classic typefaces also conform to those rules; if they don't, we regard them as strange.
15. Media questions rules of perception.
16. Rules of typeface are bound to change.
17. Headlines have to be big and at top.
18. Newspaper type has created some of worst typefaces.
19. Book type has not changed over 500 years.
20. Classic typefaces are Caslon, Bakerville, and Garamond.
21. An overall impression is created in our minds before we even read the first word (magazine, newspaper, etc.)
22. Graphic Designers, typesetters, editors, printers, etc. follow the rule that "it is best to follow the rules", but at times they need to be broken.
23. Good designers learn all the rules before they start breaking them.
24. Type has practical uses- it can walk, run, skip, jump, climb and dance. It can express emotions...
25. Personality of type can be- light or heavy, round or square, slim or squat.
26. Dark emotions call for a black typeface with sharp edges, pleasant feelings are best evoke by informal & light.
27. The best casual typefaces have always had some spontaneity of handwritten letters into mechanical restrictions.
28. The more characters in a word, the more chances there are to find the right letterforms to express its meaning.
29. Type and graphic designers often choose typefaces for reasons of "beauty" "ugly" etc.
30. For more scientifically minded people there are measurements for type.
31. (components, details, proportions) to describe various parts of a letter.
32. x-height, descenders, cap height, etc.
33. metal letters can be made for any width and height, but digital type has to conform to pixels.
34. On screens 72 pixels=one inch
35. Typographic variety cannot be suppressed by technological restraints.
36. Picking typefaces for a design job is similar to what to clothes to bring on a trip.
37. Before you pick font family you need to look at task. Get balance between practical and aesthetically pleasing.
38. Pick typefaces for reading that are easy to read.
39. "loose fit" is a typesetting term that means letters have a comfortable space between them.
40. Italic style came from many years ago when scribes had to write hundreds of pages every day.
41. We read best what we read most...
42. Most type is used for business communication of one sort or another so it has to conform to rules of the corporate world.
43. Text for business, has to look fairly serious (like a person in a suit and tie)
44. Faces such as: Times New Roman and Helvetica fit this bill perfectly, due to lacking individualism...
45. Technical professions use cooler more rigid type. (Universe for Architects)
46. Traditional trades use more classical type. (Bodoni for bankers)
47. HARD WORKING TYPE HAS: 1. a good regular weight 2. at least one bold weight 3. very legible numerals 4. economy- should be narrow to fit into small spaces.
51. When you print on paper, your choice of typeface is covered first by the content of the message, then audience and the technical constraints.
52. CMYK= cyan, magenta, yellow, black
53. RGB= red, green, blue (this is the color type used in screens)
54. Human eyes do not like light coming out of screens while reading.
55. The way books are read hasn't changed much over 500 years, only the economics, which means fitting more onto a page.
56. Generic Ad style= headline on top, attention grabbing picture, subhead, main copy, logo, address, url, phone number. (never more than 8 elements.)
57. The computer has given us access to the design language that would have been far too complicated without the aid of sophisticated programs.
58. Gradations of color, overlaid images, frame, lines, boxes, back/foregrounds, all add up to the appearance of the page as one image.
59. The waves may come and go, but G.D. will always be about problem solving first, and style-making afterward.
60. Corporations have tons of $ so they hire designers and Ad agencies.
61. Some designers set trends and others follow them. They all get paid to make their clients look different from the competition.
62. Type and Design enhances and help reinforce a message.
2. In North America something may look unacceptable, but would please a French reader.
3. Not every typeface is suited for every language, certain faces are popular in certain countries.
4. Newspapers require careful planning and are laid out with complex grids.
5. Design- in this case at least- has to be invisible. Typefaces have to look so normal that you don't even notice you're reading them.
6. Every PV user today knows what a font is, calls at least some of them by name' Helvetica, Verdana, Times. What we see on a screen are little unconnected square dots.
7. In ancient rome letters were drawn by brush on stone and then chiseled out.
8. GD and typography are complicated but even simple projects benefit from thinking about the problem forming a mental picture of the solution and carefully planning the steps.
9. Typefaces were designed 500 years ago, around the time of movable type. These basic shapes and proportions are still valid today. (Bible of 1455)
10. Thousands of variations of the letters have been created. Typefaces for reading are derived from handwriting.
11. As literacy spread, people began to care more about expressing their thoughts quickly, and less about style and legibility.
12. Quills,pens, pencils, etc. have all changed handwriting but the Roman alphabet has surfaced all of these remarkably intact.
13. Our view of things is still largely shaped by nature-plants, animals, weather, scenery. Most of what we perceive as harmonious and pleasing to the eye follows the rules of proportion that are derived from nature.
14. Our classic typefaces also conform to those rules; if they don't, we regard them as strange.
15. Media questions rules of perception.
16. Rules of typeface are bound to change.
17. Headlines have to be big and at top.
18. Newspaper type has created some of worst typefaces.
19. Book type has not changed over 500 years.
20. Classic typefaces are Caslon, Bakerville, and Garamond.
21. An overall impression is created in our minds before we even read the first word (magazine, newspaper, etc.)
22. Graphic Designers, typesetters, editors, printers, etc. follow the rule that "it is best to follow the rules", but at times they need to be broken.
23. Good designers learn all the rules before they start breaking them.
24. Type has practical uses- it can walk, run, skip, jump, climb and dance. It can express emotions...
25. Personality of type can be- light or heavy, round or square, slim or squat.
26. Dark emotions call for a black typeface with sharp edges, pleasant feelings are best evoke by informal & light.
27. The best casual typefaces have always had some spontaneity of handwritten letters into mechanical restrictions.
28. The more characters in a word, the more chances there are to find the right letterforms to express its meaning.
29. Type and graphic designers often choose typefaces for reasons of "beauty" "ugly" etc.
30. For more scientifically minded people there are measurements for type.
31. (components, details, proportions) to describe various parts of a letter.
32. x-height, descenders, cap height, etc.
33. metal letters can be made for any width and height, but digital type has to conform to pixels.
34. On screens 72 pixels=one inch
35. Typographic variety cannot be suppressed by technological restraints.
36. Picking typefaces for a design job is similar to what to clothes to bring on a trip.
37. Before you pick font family you need to look at task. Get balance between practical and aesthetically pleasing.
38. Pick typefaces for reading that are easy to read.
39. "loose fit" is a typesetting term that means letters have a comfortable space between them.
40. Italic style came from many years ago when scribes had to write hundreds of pages every day.
41. We read best what we read most...
42. Most type is used for business communication of one sort or another so it has to conform to rules of the corporate world.
43. Text for business, has to look fairly serious (like a person in a suit and tie)
44. Faces such as: Times New Roman and Helvetica fit this bill perfectly, due to lacking individualism...
45. Technical professions use cooler more rigid type. (Universe for Architects)
46. Traditional trades use more classical type. (Bodoni for bankers)
47. HARD WORKING TYPE HAS: 1. a good regular weight 2. at least one bold weight 3. very legible numerals 4. economy- should be narrow to fit into small spaces.
51. When you print on paper, your choice of typeface is covered first by the content of the message, then audience and the technical constraints.
52. CMYK= cyan, magenta, yellow, black
53. RGB= red, green, blue (this is the color type used in screens)
54. Human eyes do not like light coming out of screens while reading.
55. The way books are read hasn't changed much over 500 years, only the economics, which means fitting more onto a page.
56. Generic Ad style= headline on top, attention grabbing picture, subhead, main copy, logo, address, url, phone number. (never more than 8 elements.)
57. The computer has given us access to the design language that would have been far too complicated without the aid of sophisticated programs.
58. Gradations of color, overlaid images, frame, lines, boxes, back/foregrounds, all add up to the appearance of the page as one image.
59. The waves may come and go, but G.D. will always be about problem solving first, and style-making afterward.
60. Corporations have tons of $ so they hire designers and Ad agencies.
61. Some designers set trends and others follow them. They all get paid to make their clients look different from the competition.
62. Type and Design enhances and help reinforce a message.