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Hey guys,

I'm working on a series of biographies (3 series of 5 books) One is on literature, one on music and one on politics. In each I'm using the same fonts (so far I have Frutiger I'm sure about) but in literature I use the serif in italic, in music the normal serif and in politics the small caps serif.

I'm hesitating between Minion MM or Bembo as a serif. What are your opinions? Any other sans come to mind other than Frutiger to complement one or the other?




What's acceptable and unacceptable in column usage? I read somewhere to avoid too narrow columns as it compromises readability, understandably so. But are newspapers and magazines exempted from this rule? Is it not acceptable to apply the same narrow columns in a text book?

Case in point..
- 9pt ITC Stone Serif, 14pt leading
- 2-column layout
- each column 2.375 x 6.5 in
- 0.25 column gutter
- 0.5pt rule in between columns

Would appreciate any thoughts.. Also wondering if this type layout is reasonably accessible to both high and low level readers.

Thanks so much, anything helps!

PS. I've searched the forums best I can for this topic, I apologise in advance if it's been covered before.

hi all. looking for some "pairs".

1st mrs eaves: looking for a sans to pair with mrs eaves. subhead and logo mrs eaves,
need a sans for the copy text.

2nd copperplate (light and medium): looking for a sans to pair copperplate with.
a sans that somehow "reduces" that elegant copperplate feeling (subhead and logo are
set in copperplate, looking for a sans to set copy text and all other texts).

thanks: lars

I am working on an exhibition about Samurai for an American art museum and am looking for designers that I might consult in choosing an appropriate Japanese typeface.

Japanese will only be used for select wall graphics and headings, and not for lengths of text. We have a curator on staff that is available to write, edit, and proof any text, but I am very much out of my league when it comes to understanding the design connotations of Japanese fonts. I am not so terrified of pairing Garamond with the Japanese version of Hobo (an obvious clash), as I am with pairing the Latin and Japanese equivalents of Bodoni and Tisa in a single headline.

At the moment, I do not know which Latin typeface I will go with, though it will likely be a conservative serif because the show's objects date from the 13th–19th centuries.

Thanks for any leads!

I'm trying desperately to find a font for a mockup I'm doing. The thing is, the font doesn't exist so I'm looking for alternatives...

I'm looking along the lines of the work of Stapelberg and Fritz from a few years ago. For example:

This is almost exactly what I'm looking for –

Thanks for any help in advance!

Hello to all members.
My first post here. Discovered this forum just a week ago and I'm already hooked to it.

I've been asked to design a magazine for a local newspaper. The content of this special issue will be about companies that have succeeded in business through the added value of design in their products. (Mainly industrial design, but also graphic, packaging, etc)
My intention is to show also that the use of good typography can improve a lot the readability and the user experience.
I need a good combination of fonts for body text and headlines. Till now I've been using Rotis Semiserif for headlines and Univers Condensed for body text (I know is a bit weird but they give me always a LOT of text to fit in every page, and is the only way to deal with that)
I don't want to do like other "design" magazines that put unreadable microtext in futuristic fonts. I want to use some modern looking fonts but they must be readable... and affordable for a small studio too :-) so please don't say the one that I'd love to try but I cannot afford.
If I find a nice combination that reflects this, it's even possible that we can write an article explaining that to illustrate the whole process.

Thanks in advance for your kind answers,

Hello, I manage my fonts through a css file :

WindowedApplication {
fontFamily: "儷黑 Pro";
fontWeight: normal;

@font-face {
src: url("taiwaneseFont.swf");
fontWeight: normal;
font-family: "儷黑 Pro";

@font-face {
src: url("taiwaneseFont.swf");
fontWeight: bold;
font-family: "儷黑 Pro";

But the bold characters aren't handle, or it is so slicely that we can barely see the difference. Is it possible to use another font for bold ? if yes, how ? Or maybe it exists font that handle the bold directly ?Thanks for any answer !


i did search, but couldnt find any thread about this subject. im looking for a list of font families with at least a few serif and sans cuts - the more, the better.

do you know of such a list already existing, and if not, why not start it here..

i know a few (fago, meta, stone, thesis, etc..) but i think there are more out there.

thank you!

... you know, those sans-serif typefaces that have rouded edges and have a quirkly feel to it. I feel PRAXIS is overused sometimes, so I'm looking for a similar typeface to use for my own studio logo.

Thanks in advance!! :)

I have found this book:

User Interface Design and Evaluation (Morgan Kaufmann Series in Interactive Technologies) by Debbie Stone

Have anyone seen or heard about it?? It’s new realease and doesn’t have reviews. It is expensive and I really need some advice…


| Attachment | Size | | --- | --- | | userinterfacedesign.jpg | 7.6 KB |

I've just had an inquiry about dollar sign. The client wants a New Zealand Dollar Sign, meaning a single strike rather than a double. Is there such a thing? I have never heard of this, and always assumed that it was irrelevant either way.


Ok, here it is. Any quick replies would be greatly appreciated:

The title of a poem/article normally appears in quotation marks, not italicized like a book title, and words in a foreign language within an English text are set in italics.

I have an English text which mentions a poem with a French title. Should it be both italicized and in quotes, or do I leave off the italics?

It seems simple (I think it should be in both italics and quotes), but I am unsure all of a sudden.



Strange question maybe but has been bugging me for a while: Does anyone ever make different optical sizes of logos – not necessarily the type, but the mark itself? And if not, why not?

Background: I'm currently working on a logo (and I don't think I can post it at the moment, so I'd appreciate a discussion on the "theoretical" level) that needs some detail that makes it vivid at large sizes (think company car decal) but gets lost at business-card sizes (at least on my printer).

So do you think there are any cogent reasons against making a "HD" and a "lo-fi" version of the same mark, one finer, the other more sturdy?


This is Minion Pro Bold Small Caps.
What is your opinion on kerning between letters R A P?
Should it be kerned or not?


p.s. couldn't find topic with this kind of subject. If it exists, sorry for reposting!

| Attachment | Size | | --- | --- | | kern.jpg | 11.02 KB |

I am trying to find a way of achieving the same colour, evenness and strength that Jenson conveyed, for instance, here:

I appreciate that there have been many digital typefaces inspired or informed by Jenson and I’ve tried some of them – Adobe Jenson, Arno, Legacy Serif, Centaur – but somehow all of them create a very different feel on the page.

I have been trying to put my finger on just what it is the 15th-century Jenson has that the modern typefaces don’t and just what it is that I find so attractive about the 1475 sample.

It isn't the archaic features I'm missing, the long ‘s’ for instance. And it isn't the individual letter forms particularly; it’s the look of the whole that’s so special, once one gets a certain distance away from it.

I wonder perhaps if it’s related to the lack, to some extent, of sharp edges in the 1475 sample. Compare a page of Arno (beautiful in its own way) and this sample and the Arno looks much more intricate and clean cut: the serifs are sharper. But it doesn't, to my mind, have quite the same unaffected power that the Jenson does.

Anyway, I wondered if anyone could help with these questions:

(1) What is it that gives the Jenson its special beauty?

(2) Is there any digital typeface which might achieve the same strength and colour?

I am simply looking for a workhorse typeface for everyday use; this isn’t for a specific project. And I am not a type professional, so please excuse any glaring examples of ignorance in what I've written.

Thank you,


I have almost no experience with Illustrator at all, but I understand many typeface desginers use it for drawing outlines, so I wonder what its advantages over, say, FontLab -- merely as a tool for drawing outlines -- are.

Can it do things FontLab can't? Does it offer better algorithms for transforming outlines than FontLab does? Is it just simpler to use? Please share your thoughts!


I have a line that ends with a phrase in an em dash; to prevent a nasty widow below I have to break the phrase. Do I break with the dash at the end of the line or break with the dash at the beginning of the next line?

could anybody please tell me if i use the quotation marks correctly in this example? the text is farsi (persian), font linotype nazanin.

huda smitshuijzen abifares writes: "in well designed arabic fonts they have the shape of a double miniature parenthesis that has relatively flat curves. they are positioned above the baseline with their top lining with the top of the letter aleph." (smitshuijzen abifares, huda: "arabic typography, a comprehensive sourcebook", saqi books 2001, london)

so are the shown quotation marks not well designed (because they do not align with the top of the aleph, do i use them in a flawed way, or is it just fine?

| Attachment | Size | | --- | --- | | farsiquotations.gif | 2.43 KB |

I am looking for a very very condensed font, to use for numbers (prices) on store shelf tags.

I've searched and searched but have not found anything quite skinny enough. The prices have to fit in a very small width space but are required to be a certain height (by law).

In the past I've adapted a font by further condensing it, but I'd prefer to buy a very very condensed font for this new round.

I'll need a heavy or black as well as a light or book face. Even better if $ and ¢ are smaller than the numerals.

The font should be sans serif, and should play well with avenir which will probably be used for the rest of the type of the signs.

Any suggestions are appreciated!


Hey guys,

About six months ago, I spent several months redesigning a broadsheet newspaper, and we purchased Coranto 2 and LFT Etica as the pairing for it. I'm extremely happy with it.

We use Coranto 2 Headline for headlines (and sometimes LFT Etica for smaller story headlines and for all headlines in supplements that come with the paper), Coranto 2 for body text, and LFT Etica for things like writer bylines, sub-heads, drop quotes, and the like.

However... I can't help but feel that LFT Etica is a bit boring. I would like to spice things up a bit with a third choice, perhaps for using in things like block heads and under photo captions. I don't know why, but I'm envisioning something a bit more square and a bit less neutral than LFT Etica – having flair – but something that looks like it complements Coranto 2 and LFT Etica rather than being something different entirely. I would then use this font more liberally in the supplements and perhaps in one of the magazines that comes with the paper, but only sparsely in the main broadsheet.

Firstly: is this the done thing? Should I just try and come up with a better pairing that Coranto 2/LFT Etica, or is adding in a third choice a good move, especially if it complements the other two?


A current project involves a geometric, fairly black poster face. When printing waterfall specimens, it seems that the overshoot becomes increasingly inadequate at larger sizes. When I get it too look right at 1-2 inch height, it then looks over-overshot at .33 -.75 sizes. Is this just a nature of typefaces intended for larger sizes? Does weight play a factor I hadn't anticipated? I'm curious to hear what others have observed. If anyone here has developed different optical sizes, did they overshoot them each uniquely? How?

Oddly, the overshoot, or lack of, seems to matter least, at .25 inch and smaller. This only seems to be true on paper, so it may be a printing artifact. Due to the geometric nature, I expected this to be truer at larger sizes, not the reverse.

I want to learn about good type design, elegant type layout and a small amount of history. What books would you recommend? I live in London, England so have a wide access to various design bookshops.

Please... I need inspiration!


I am updating a line of wine labels that use Copperplate gothic as the logo. I don't want to change the logo. Any ideas of some good fonts that go well with Copperplate.

I'm looking for bitmap versions of Lucida and Stone for display on a cell phone. Does anyone know where I can find them?

I used to think that the present world of design is dictated by Swiss and Germans. The postwar era, in my opinion, shaped almost all aspects of the present modern design, organized by grids, driven by scientific psycho-biology researches and aiming for the maximum efficiency and responsibility. They seem to be totally fine for me, but I am more curious, after working for a letterpress artist & typographer, about whether there are alternative choices to Helvetica (and all other postwar rational movements it epitomizes)?

The design program I attend has filled its list with many Helveticas, starting from Josef Muller-Brockmann to Tschichold’s Die Neue Typographie (except for Bringhurst). I wonder if there are other design books that do not necessarily follow this trend.