John D. Berry

John D. Berry's picture
John D. Berry (www.johndberry.com) is an editor/typographer who works both sides of the design/content divide. He has been writing about type for the past fifteen years, and he is the former editor and publisher of U&lc (Upper and lowercase) and U&lc Online.
  • Features: Written by John D. Berry on August 18, 2014
    Take a look behind the scenes at a London-based type-design studio crafting typographic systems for major clients using several different languages and writing systems.
  • Features: Written by John D. Berry on March 21, 2007
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    The table of contents is one of those essential pieces of any publication that gets short shrift.

  • Features: Written by John D. Berry on February 9, 2007
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    The biggest headache for anyone producing a book or any other text-based publication is dealing with imported text.

  • Features: Written by John D. Berry on December 13, 2006
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    Sometimes the humblest and most inconspicuous elements of design turn out to be essential.

  • 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 September 13, 2006
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    Italic was originally a separate style of writing -- not a complement to roman type, but a different and completely equal style of writing that ori

  • 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 December 12, 2005
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    Hermann Zapf designed his most famous typeface,

  • 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.

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