Stop stealing sheep notes
1. A newspaper gets it look, its personality, from the typefaces used and the ways in which they arranged on the page.
2. In north america something may look unacceptable but would please a french reader.
3. Not every typeface is suited for every language certain faces are popular in certain countries.
4. Newspapers require careful planning and are laid out with complex grids.
5. Design in this case at least has to be invisible typefaces have to look so normal that you don't even notice you're reading them.
6. Every PC user today knows what a font is calls at least some of the, by name Helvetica, Verdana, times what we see on a screen are little unconnected square dots.
7. In ancient rome letters were drawn by brush on stone and then chiseled out.
8. GD and typography are complicated but even simple projects benefit from thinking about the problem forming a mental picture of the solution and carefully planning the steps.
9. Type faces were designed 500 years ago around the time of movable type. These basic shapes and proportions are still valid today. (Bible of 1455).
10. Thousands of variations of the letters have been created. Typefaces from reading are derived from handwriting.
11. As literacy spread people began to care more about expressing their thoughts quickly and less about style and legibility.
12. Quills, pens, pencils, etc. have all changed handwriting but the roman alphabet ΩΩhas survived all of these remarkably intact.
13. Our view of things is still largely shaped by nature-plants, animals, weather, scenery. Most of what we perceive as harmonious and pleasing to the eye follows the rules of proportion that are derived from nature.
14. Our classic type face also conform to those rules if they don't we regard them as strange.
15. Tv, web, phones, etc put to questions our natural rules of perception.
16. The rules of typefaces is bound to change more by 2020 then it has since the 15th century.
17. HEADLINES=have to be big and at the top.
18. NEWSPAPER TYPE- has created some of the very worst typefaces typesetting and page layouts known to mankind.
19. BOOKS TYPE- hasn't changed much over the last 5OO hundred years.
20. "Classic" typefaces: Caslon, Bakerville, Garamond.
21. Am overall impression is created in our minds before we even read the first word (magazine, Newspaper, etc.)
22. Graphic designers typesetters editors, printers, etc. follow the rule the"it is best to follow the rules" but at times they need to be broken.
23. Good designers learn all the rules before they start breaking them.
24. Type has practical uses-it can walk, run, skip, jump, climb and dance. It can express emotions.
25. Personality of type can be light or heavy, round or square, slim or squat.
26. Dark emotions call for a black typeface with sharp edges, pleasant feelings are best evoke by informal & light.
27. The best casual typefaces have always had some spontaneity of handwritten letters into mechanical restrictions.
28. The more characters in a word the more changes there are to find the right letterform to express its meaning.
29. Type and graphic designers often choose typefaces from reasons of "beauty" "ugly" etc.
30. For more scientifically minded people there are measurements for type.
31. (Components, details, proportions) to describe various parts of a letter.
21. Am overall impression is created in our minds before we even read the first word (magazine, Newspaper, etc.)
22. Graphic designers typesetters editors, printers, etc. follow the rule the"it is best to follow the rules" but at times they need to be broken.
23. Good designers learn all the rules before they start breaking them.
24. Type has practical uses-it can walk, run, skip, jump, climb and dance. It can express emotions.
25. Personality of type can be light or heavy, round or square, slim or squat.
26. Dark emotions call for a black typeface with sharp edges, pleasant feelings are best evoke by informal & light.
27. The best casual typefaces have always had some spontaneity of handwritten letters into mechanical restrictions.
28. The more characters in a word the more changes there are to find the right letterform to express its meaning.
29. Type and graphic designers often choose typefaces from reasons of "beauty" "ugly" etc.
30. For more scientifically minded people there are measurements for type.
31. (Components, details, proportions) to describe various parts of a letter.28. The more characters in a word the more changes there are to find.
32. x-height, descenders, cap height, etc.
33. metal letters can be made for any width and height, but digital type has to conform to pixels.
34. On screens 72 pixels = one inch.
35. Typographic variety cannot be suppressed by technological restraints.
36. Picking typefaces for a design job is similar to what to clothes to pack for a trip.
37. Before you pick your font family, you need to look at the task ahead. Get a balance between practical and aesthetics - that is what design is all about.
38. Pick typefaces for reading that are easy to read.
39. “loose fit” is a typesetting term that means letters have a comfortable space between them.
40. Italic style came from many years ago when scribes had to write hundreds of pages every day.
41. We read best what we read most…
42. Most type is used for business communication of one sort of another so it has to conform to rules of the corporate world.
43. Text for business has to look fairly serious ( like a person in a suit and tie).
44. Faces such as; times new roman and helvetica fit this bill perfectly, due to lacking individualism..
45. Technical professions use cooler and more rigid type (universe for architects)
46. traditional trades use more classical type (Bodoni for bankers)
47. HARD WORKING TYPE HAS: 1. a good regular weight 2. at least one bold weight 3. very legible numerals 4. economy should be narrow to fit into small spaces.
48. There are typefaces that only suitable for more occasional occasions...
49. They may be too hip to be used for mainstream communication or simply be too uncomfortable ( like wearing tight jeans rather than admitting that they don't fit us anymore...)
50. FUN FONTS=more entertainment then corporate fonts, fun to work with.
51. When you print on paper your choice of typeface is covered first by the content of the message then audience and then technical constraints.
52. CMYK=cyan, magenta, yellow, black.
53. RGB=red, green, blue (this is the color type used in screens)
54. Humans eyes do not like light coming out of screens while reading.
55. The way books are read hasn't changed much over 500 years, only the economics which means fitting more onto a page.
56. Generic Ad style=headline on top, attention grabbing pictures, subhead, main copy, logo, address, url, phone number. [never more than 8 elements]
57. The computer has given us access to the design language that would have been far too complicated without the aid of sophisticated programs.
58. Gradations of colors, overlaid images, frames, lines, boxes, back/foregrounds all add up to the appearance of the page as one image.
59. The waves may come and go, but G.D will always be about problems solving first and style-making afterward.
60. Corporations have ton of $ so they hire designers and Ad agencies.
61. Some designers set trends and others fallow them. They all get paid to make their clients look different from the competition.
62. Type and Design enhances and helps reinforce a message.
63. No more sheep notes and final day yaaaa.
1. A newspaper gets it look, its personality, from the typefaces used and the ways in which they arranged on the page.
2. In north america something may look unacceptable but would please a french reader.
3. Not every typeface is suited for every language certain faces are popular in certain countries.
4. Newspapers require careful planning and are laid out with complex grids.
5. Design in this case at least has to be invisible typefaces have to look so normal that you don't even notice you're reading them.
6. Every PC user today knows what a font is calls at least some of the, by name Helvetica, Verdana, times what we see on a screen are little unconnected square dots.
7. In ancient rome letters were drawn by brush on stone and then chiseled out.
8. GD and typography are complicated but even simple projects benefit from thinking about the problem forming a mental picture of the solution and carefully planning the steps.
9. Type faces were designed 500 years ago around the time of movable type. These basic shapes and proportions are still valid today. (Bible of 1455).
10. Thousands of variations of the letters have been created. Typefaces from reading are derived from handwriting.
11. As literacy spread people began to care more about expressing their thoughts quickly and less about style and legibility.
12. Quills, pens, pencils, etc. have all changed handwriting but the roman alphabet ΩΩhas survived all of these remarkably intact.
13. Our view of things is still largely shaped by nature-plants, animals, weather, scenery. Most of what we perceive as harmonious and pleasing to the eye follows the rules of proportion that are derived from nature.
14. Our classic type face also conform to those rules if they don't we regard them as strange.
15. Tv, web, phones, etc put to questions our natural rules of perception.
16. The rules of typefaces is bound to change more by 2020 then it has since the 15th century.
17. HEADLINES=have to be big and at the top.
18. NEWSPAPER TYPE- has created some of the very worst typefaces typesetting and page layouts known to mankind.
19. BOOKS TYPE- hasn't changed much over the last 5OO hundred years.
20. "Classic" typefaces: Caslon, Bakerville, Garamond.
21. Am overall impression is created in our minds before we even read the first word (magazine, Newspaper, etc.)
22. Graphic designers typesetters editors, printers, etc. follow the rule the"it is best to follow the rules" but at times they need to be broken.
23. Good designers learn all the rules before they start breaking them.
24. Type has practical uses-it can walk, run, skip, jump, climb and dance. It can express emotions.
25. Personality of type can be light or heavy, round or square, slim or squat.
26. Dark emotions call for a black typeface with sharp edges, pleasant feelings are best evoke by informal & light.
27. The best casual typefaces have always had some spontaneity of handwritten letters into mechanical restrictions.
28. The more characters in a word the more changes there are to find the right letterform to express its meaning.
29. Type and graphic designers often choose typefaces from reasons of "beauty" "ugly" etc.
30. For more scientifically minded people there are measurements for type.
31. (Components, details, proportions) to describe various parts of a letter.
21. Am overall impression is created in our minds before we even read the first word (magazine, Newspaper, etc.)
22. Graphic designers typesetters editors, printers, etc. follow the rule the"it is best to follow the rules" but at times they need to be broken.
23. Good designers learn all the rules before they start breaking them.
24. Type has practical uses-it can walk, run, skip, jump, climb and dance. It can express emotions.
25. Personality of type can be light or heavy, round or square, slim or squat.
26. Dark emotions call for a black typeface with sharp edges, pleasant feelings are best evoke by informal & light.
27. The best casual typefaces have always had some spontaneity of handwritten letters into mechanical restrictions.
28. The more characters in a word the more changes there are to find the right letterform to express its meaning.
29. Type and graphic designers often choose typefaces from reasons of "beauty" "ugly" etc.
30. For more scientifically minded people there are measurements for type.
31. (Components, details, proportions) to describe various parts of a letter.28. The more characters in a word the more changes there are to find.
32. x-height, descenders, cap height, etc.
33. metal letters can be made for any width and height, but digital type has to conform to pixels.
34. On screens 72 pixels = one inch.
35. Typographic variety cannot be suppressed by technological restraints.
36. Picking typefaces for a design job is similar to what to clothes to pack for a trip.
37. Before you pick your font family, you need to look at the task ahead. Get a balance between practical and aesthetics - that is what design is all about.
38. Pick typefaces for reading that are easy to read.
39. “loose fit” is a typesetting term that means letters have a comfortable space between them.
40. Italic style came from many years ago when scribes had to write hundreds of pages every day.
41. We read best what we read most…
42. Most type is used for business communication of one sort of another so it has to conform to rules of the corporate world.
43. Text for business has to look fairly serious ( like a person in a suit and tie).
44. Faces such as; times new roman and helvetica fit this bill perfectly, due to lacking individualism..
45. Technical professions use cooler and more rigid type (universe for architects)
46. traditional trades use more classical type (Bodoni for bankers)
47. HARD WORKING TYPE HAS: 1. a good regular weight 2. at least one bold weight 3. very legible numerals 4. economy should be narrow to fit into small spaces.
48. There are typefaces that only suitable for more occasional occasions...
49. They may be too hip to be used for mainstream communication or simply be too uncomfortable ( like wearing tight jeans rather than admitting that they don't fit us anymore...)
50. FUN FONTS=more entertainment then corporate fonts, fun to work with.
51. When you print on paper your choice of typeface is covered first by the content of the message then audience and then technical constraints.
52. CMYK=cyan, magenta, yellow, black.
53. RGB=red, green, blue (this is the color type used in screens)
54. Humans eyes do not like light coming out of screens while reading.
55. The way books are read hasn't changed much over 500 years, only the economics which means fitting more onto a page.
56. Generic Ad style=headline on top, attention grabbing pictures, subhead, main copy, logo, address, url, phone number. [never more than 8 elements]
57. The computer has given us access to the design language that would have been far too complicated without the aid of sophisticated programs.
58. Gradations of colors, overlaid images, frames, lines, boxes, back/foregrounds all add up to the appearance of the page as one image.
59. The waves may come and go, but G.D will always be about problems solving first and style-making afterward.
60. Corporations have ton of $ so they hire designers and Ad agencies.
61. Some designers set trends and others fallow them. They all get paid to make their clients look different from the competition.
62. Type and Design enhances and helps reinforce a message.
63. No more sheep notes and final day yaaaa.