Desktop Publishing Type Dos & Don’Ts

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Desktop Publishing Type dos & don’ts If you are... Do... Don’t... not sure about italics... use them sparingly to provide emphasis, as in the case use them for long copy blocks. Because people are of captions. not used to reading long passages of italics, it tends to slow down the reading process. using small type... use typefaces that are regular in weight and simple in design. use typefaces that are too light or ornate. They cannot be distinguished easily from the background. A typeface that is too bold sacrifices the counterform (space enclosed by the letter), which is essential to good legibility. considering the use of remember that black type on white reads 40% faster than use typefaces with thin strokes or light weight against a background colors... type reversed from black or overprinted on gray. tinted or colored background. Also, avoid type with strong contrast between strokes when printed on tints or reversed. stuck with a narrow set your type flush left, rag Because the reader won’t be justify type within a be inserted to flush column... right, instead of justified. forced to move their eye to narrow column, since type on both sides. Also, use typefaces that have the next line as often, excessive Also, avoid typefaces a small x-height, which readability is enhanced. letterspacing and with a large x-height allows more words per line. wordspacing must and large type sizes. setting type in wide use typefaces with smaller x-heights and increase leading use typefaces with extremely thick and columns... thin strokes. Also, avoid the simultaneous use for greater readability. Simply stated, type is easier to read of tight leading and type with large x-heights. if kept to a short line length. using a frame around a text specify at least an 8 point text inset to give the type use QuarkXPress’ default of 1 point text inset. It is too tight box... some “breathing” room. and hinders readability. Beginning Quark users often fail to catch this because it is a default..

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Introducing Opentype Ab
UBS AG ab Postfach CH-8098 Zürich Tel. +41-44-234 11 11 Brand Management Visual Identity Stephanie Teige FG09 G5R4-Z8S Tel. +41-1-234 59 09 Introducing OpenType Fax +41-1-234 36 41 [email protected] July 2005 www.ubs.com OpenType is a new font format developed collaboratively by Adobe and Microsoft. OpenType enhances the TrueType and PostScript technologies and extends their capabilities. Most fonts today are released in the OpenType format, now considered the industry standard. The resulting new generation of UBSHeadline and Frutiger fonts offers improved typographic and layout features. 1. What is OpenType? Frutiger is not always Frutiger Due to the wide variety of Frutiger styles available world- A single font format wide, be sure to install and use only the client-specific UBS OpenType provides a single universally acceptable font licensed version of this font. Do not use any other versions format that can be used on any major operating system of Frutiger to create UBS media. and in any application. Using the client-specific UBS Frutiger guarantees access to Macintosh Windows UBS-relevant cuts. It also prevents changes to kerning and line-break in comparison to random Frutiger styles. UBSHeadline, Frutiger UBSHeadline, Frutiger (PostScript) (TrueType) Linotype Frutiger UBS Frutiger Frutiger LT 45 Light Frutiger 45 Light Macintosh and Frutiger LT 46 Light Italic Frutiger 45 Light Italic Windows Frutiger LT 55 Roman Frutiger 55 Roman Frutiger LT 56 Italic Frutiger 55 Roman Italic UBSHeadline, Frutiger Frutiger LT 65 Bold Frutiger 45 Light Bold (OpenType) Frutiger LT 75 Black Frutiger 55 Roman Bold Frutiger LT 47 Light Condensed Frutiger 47 Light CN Unicode OpenType supports Unicode, which allows much larger Comparison of common Linotype Frutiger versus UBS client- character sets – more than 65,000 glyphs per font in many specific Frutiger.
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Basics of Desktop Publishing. Teacher Edition. INSTITUTION Mid-America Vocational Curriculum Consortium, Stillwatar, Okla
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