John D. Berry
- Features: Written by John D. Berry on November 15, 2006
One of the most common typographic tasks is to produce flyers, brochures, and short booklets. It's something that thousands of people, both graphic designers and non-designers, do almost every day, and many of them pick whatever fonts they have on hand. While convenient, that approach may not yield the best results. Here's how to make good choices about typefaces for projects that are a few pages long or less.
Put on a Good Face
Choose a typeface that you're comfortable reading, not one that looks pretty or funny or that catches your eye.
- Features: Written by John D. Berry on October 23, 2006
Extra typographic characters, the elements that make fine typography possible in digital typesetting, used to be unavailable in a standard font. If they existed for an individual typeface, they were packed into a second, supplementary font known as an "expert set." The expert set was a separate font, and you had to pay for it separately, but it was typically a fraction of the cost of the primary font.
- Features: Written by John D. Berry on January 23, 2006
Type is one of the most powerful tools for communication that we have. Although most people don't consciously notice type, they nonetheless respond to it; the way it's used does make a difference. Typography, the art and craft of using type, is a large subject that concerns itself with small details. Think of this column as a sort of ten-step training plan for font fitness.
1. Start with a good font
- Features: Written by John D. Berry on October 24, 2005
Photos by Idan Gil
Hebrew letters that melt, extrude spiky appendages, and crawl around on three-dimensional surfaces -- those are the disturbing and inventive forms that Oded Ezer creates when he wants to get away from everyday typography.