1/1/2024 0 Comments Garamond typeface designer![]() ![]() Geometric sans serif typefaces often appear to be monolinear stokes their letters seem not to have any stroke contrast. However, it is clear that both no contrast and excessive contrast can have adverse effects. There is no definite rule on how much or how little contrast impacts a text face’s legibility. Rather, some typefaces have a degree of contrast-be it too high or too low-that makes them less suitable for use in text. I wouldn’t split good typefaces up into good contrast and bad contrast groups. Five separate “versions” of Cycles are used in the above image each block of text is set in its own optically-sized font.īelow, Avenir Next-also a great text face-is from another style of letter, and has very little contrast. Sumner Stone’s Cycles typeface is an excellent choice for book design as its letter forms combine clarity with a rather high degree of stroke contrast and an almost timeless appearance. The images in this section show different ends of the contrast spectrum: the Cycles types shown above are serifed, with a good deal of contrast. Indeed, many newspapers employ high-contrast fonts the question that must be considered is just how thick the thin strokes in high-contrast typefaces are. Stroke contrast can be a helpful feature in small text sizes, but it is not paramount that a text face appears to be monolinear. Monolinear typefaces are low-contrast typefaces. When it comes to typefaces, the term “monolinear” is used to describe letters that appear to be designed with a consistent stroke thickness. Not every typeface that works well in text will apply all of these factors in the same way, but all good ones will have many of these features in common. But there are additional factors that go into the making of a good text face: the space between the letters, the degree of contrast in the letters’ strokes, as well as the x-height and relative size of the whitespace inside of the letters. With typefaces that are intended for use in body text, it is primarily this rhythm that will make the typeface readable. However, the middle version is still very elegant, and may still be used well in sub-headlines.Įvery typeface has its own inherent rhythm, created by the designer who made the font. This font is much darker, and is a better representation of the original Bembo idea. A newer digitization was published in 2002- Bembo Book, seen at the bottom. The digital version of the typeface- Bembo, seen in the middle, is too light for ideal text in print. At the top of the image is a scan of the original Bembo typeface, printed with letterpress. ![]() There are problems that good fonts themselves cannot solve-whether or not a text sings on the page or screen depends on factors like the width of the column, the amount of space between each line, the contrast between the foreground/background and a number of other factors.Ībove, Bembo over the years: this typeface was a favorite of many book designers throughout the 20th century. It’s important to realize that these aspects of typeface design are different from the text treatment a graphic designer employs while laying out a book page or website-no matter what a typeface’s inherent rhythm and niceties are, setting a text is still something that must be done with great care in respect to readability. The features outlined in this article are those that type designers keep in mind while developing new typefaces. It should be noted that in this article, when “text” is mentioned, it is in discussion of body text, or running text (in other words, text at a similar size to what you are probably reading right now, rather than much larger sized words). Many typefaces are also often fine-tuned for using in certain sizes. Some of today’s most successful typefaces were designed to excel in very specific areas of use: Frutiger grew out of airport signage, Georgia and Verdana were among the first mass-market fonts created for on screen reading, FF Meta was conceived as a telephone book face, and even the Stalwart Times New Roman was tailored for the pages of the London Newspaper The Times. ![]() Balancing Line Length And Font Size In RWD.Whitespace Characters in Unicode & HTML.Tools And Resources For A More Meaningful Web Typography.This article presents a few criteria to help the process along. Familiarity with these helps to select the right fonts for a given project. Nevertheless, there are certain features that most good text faces have in common. What is it that makes a typeface into a text font, instead of a font for larger sizes? The answer differs slightly, depending on whether one aims for print or Web-based environments. ![]()
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