Mastering TypographyMastering Typography
Typography is a rather obscure field, which is quite odd because typography is in everything you read. As such, it’s very important for a graphic designer to know everything there is to know about typography and preferably also the history and anatomy of typefaces. Bad typography is usually only consciously noticeable by type geeks (like me), however even someone who knows absolutely nothing about typography will find text with bad typography harder to read. In this article you will learn some basic principles and features to advance your typography.
Before we have a look at the features to improve your typography we have to select the right software. A few features which will be discussed in this article can be used pretty much regardless of the software but for most things you have to use genuine design software, so a program like Microsoft Word won’t suffice. You can achiev
History of Roman typefacesHistory of Roman typefaces
Typefaces are our instruments to construct words and sentences. Of course this very article couldn’t be written without type other than writing by hand and scanning it in, but I wouldn’t know how to save the file or how to access the website to upload it to if I had no access to typefaces. Of course I don’t have to say where type can be found; it’s absolutely everywhere. However, most people don’t consider where typefaces come from. Most of my life and even the first 5 years or so of my design career I was absolutely ignorant of where typefaces came from. I mean, they were just "there" on the computer and I never considered someone actually had to make typefaces for us to use—letter by letter. In this article I will discuss the history of Roman typefaces; how it progressed during the ages, how each style can be recognized and how to select typefaces consciously and logically r
How to design a typeface (Part 1)How to design a typeface (Part 1)
Sans serif — Roman
In this article/tutorial I will show you how to design a typeface. I will cover the basics and show you how to design advanced letters as well. There is so much I can talk about though, so if people like this article I might expand on this with future articles and get more into detail. I will only cover the design though, so you will have to research how to do the spacing and programming and turn your typeface into a usable font—or wait until I might do an article on that as well, but I don’t have such an article planned anytime soon.
What will we design?
I will first show you how to design some basic letters for a geometric sans typeface like Futura, because it utilizes geometric shapes, which is always my starting point for every typeface regardless of style. O
How to design a typeface (Part 2)How to design a typeface (Part 2)
Sans serif — Italics & weights
In the previous article of the typography series I presented some of the basic principles of type design and we started designing a geometric sans typeface such as Futura. In this article we will expand that typeface and add italics and alternate weights. Or rather, I will show you how to design italics and briefly present how you can modify your regular weight typeface to create alternate weights rather than having to re-draw the whole letter.
Before we start
If you haven’t read the last article/tutorial but you want participate in this one, you can download a pack of resou
How to design a typeface (Part 3)How to design a typeface (Part 3)
Serif — Roman
In the last two article of the type design series we made a geometric sans serif and added italics and a bold weight. The geometric sans serif is the easiest style to do, but for me personally things really get interesting with serif typefaces. Of course there is the addition of serifs, but the structure and weight distribution is also much more advanced. In this article I will make an introduction to designing serif typefaces. This article won’t be as detailed as the previous ones because this third article serves as an expansion on the first two. In other words, I won’t get into the basic vector tools or type principles, nor will I show you how to design the letters step by step. I will explain techniques in detail when necessary, but generally I will refer to the techniques described in the first article particularly. So if necessary go back to the pre
Why Helvetica is not greatWhy Helvetica is not great
Type design is a rather obscure profession but even the typefaces themselves don’t get too much attention by the general public. Most people could only name a few typefaces, but among those few are always Times New Roman, Arial and Helvetica. Well-known and popular or not, in this article I will show you why Helvetica is not the great typeface people perceive it to be.
Arial is often frowned upon due to its history, but what most people don’t know is that Helvetica has a very similar history. A bit different, but as far as I’m concerned it’s just as dubious and embarrassing. As most people who are interested in typefaces might know, Max Miedinger is the designer of Helvetica. However, what most people probably don’t know is that Max Miedinger was not a type designer. Miedinger st
The Artist's Toolbox: TypographyFor more info on this week, please refer to The Artists Toolbox - Schedule at projecteducate
In this toolbox you will find helpful tips for digital typography. For those of you new to the topic, let's start with a short explanation
Typography is the art and technique of arranging type in order to make language visible.
Pretty simple, eh? Basically as you are reading this you are "reading typography". What I will refer to in this article is digital artistic typography, though. This is not the everday typography you see on street signs, books or on websites.
It can be anything! Which is amazing and scary at the same time
Here's a little overview of this article:
Read tutorialsGet your hands o