James Felici

James Felici has worked in the publishing industry—in both editorial and production—for more than 30 years. A veteran journalist and former managing editor of Publish magazine, he has set type by hand as well as on systems from IBM, Linotype, Compugraphic, CCI, and Magna. His books include The Complete Manual of Typography (Peachpit Press), The Desktop Style Guide (Bantam/ITC), How to Get Great Type Out of Your Computer (North Light), and contributions to The Macintosh Bible (Peachpit Press). He has written for numerous publications, including PC World, Macworld, and The Seybold Report, and has been a featured speaker at Seybold Seminars, Macworld Expo, and other events worldwide.
  • Features: Written by James Felici on October 5, 2009
    The previous installment of this column opened the can of worms known as type classification. It's the process of assigning names to various kinds of type. The question of whether a face should be called an italic or an oblique is just the tip of the iceberg. For example, what label would you apply to the following face?
  • Features: Written by James Felici on September 21, 2009
    Your basic typeface family consists of four members: roman, italic, bold roman, and bold italic. They may go by other names (I'll hash that out in a future column), but this foursome has become standard. You might wonder why roman type is always followed around by these three secondary faces. Part of the answer is emphasis. The other part is advertising. This column will look at how to use these secondary faces and tricks in setting them.
  • Features: Written by James Felici on September 9, 2009
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  • Features: Written by James Felici on August 24, 2009
    It's the debate that refuses to die: Do you set one word space or two after a period? In all my years of writing about type, it's still the question I hear most often, and a search of the web will find threads galore on the subject. I'm going to try to put an end to the argument here. Origins
  • Features: Written by James Felici on August 10, 2009
    This is a new column on type, which will appear on CreativePro.com approximately every two weeks. In this first installment, I'd like to talk about white space. No yawning! I promise it will be interesting, important, and help explain why setting good type involves so much fiddling around. The topics of spaces and spacing come up frequently when we talk type (and especially when I'm doing the talking). That's because what we call type is actually the marriage of the visible characters and the blank space around them. You can't think of one without considering the other.
  • Features: Written by James Felici on August 27, 2007

    When it comes to distorting type, I take a pretty hard line. Just say "no," say I, to altering character widths to make fake expanded and compressed typefaces. Likewise, it's a no-go for fake obliques. But having drawn that line in the sand, I'm about to merrily hop over it and tell you how to commit a variety of gross typographic abuses to your favorite typefaces. Why? Simply because these effects are sufficiently far-out that they could only be done with creative premeditation and malice aforethought. If anyone gives you a hard time over them, you can plead insanity.

  • Features: Written by James Felici on January 11, 2002
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    Excerpted from "The Macintosh Bible, Eighth Edition" (Peachpit Press).

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