Softpress Knowledgebase Font Sets -- Get the Most out of Your Fonts -1. We All Know the Best Way to Create a Search Engine Frien

Total Page:16

File Type:pdf, Size:1020Kb

Softpress Knowledgebase Font Sets -- Get the Most out of Your Fonts -1. We All Know the Best Way to Create a Search Engine Frien Softpress KnowledgeBase Font Sets -- Get the most out of your fonts -1. We all know the best way to create a search engine friendly site is to use HTML text wherever possible (if you didn't, then read our SEO article). The trouble is, this means you're limited to only using the fonts available on all platforms, right? Wrong. Introducing font sets Font sets (or font stacks) are simply lists of fonts. Using the font-family CSS attribute they provide the browser with a list of fonts to use - if the first font in the font set isn't available then the second will be used, and then the third and so on. For example, if you wanted a heading in Helvetica then that would be the first font in the list. Since most Windows users won't have Helvetica installed you would need to provide an alternative, such as Arial, as your second choice. There are also Linux users to think about too, most of which won't have Helvetica or Arial installed by default, so "Nimbus Sans L" would become your third choice. Finally, you would end up with sans-serif, which is a generic fall-back font that is defined by the browser. The following CSS statement is equivalent to the details entered into the Edit Font Set dialog in figure 1. font-family: Helvetica, Arial, "Nimbus Sans L", sans-serif Figure 1. The Edit Font Set dialog containing a new font stack To a certain degree, Freeway already manages this for you. When you select some HTML text and open the Font pulldown you will see a list of seven default fonts. These are actually font stacks that we've provided for you, but it's by no means a definitive list. You can have a huge amount of typographical fun in your sites by creating your own. In this post we've mostly listed font stacks defined by Nathan Ford of Unit Interactive, along with some extras that we've thrown in to make sure your font stacks are going to work well across all platforms and browsers. One of the things we love about Nathan's article is that he splits his font stacks into title and paragraph categories. He does this because certain fonts work better at smaller sizes, while others work better at larger sizes. You'll see that the Helvetica body font stack will actually use "Helvetica Neue" since it's a little wider and works better at smaller sizes. A lot of the fall-back fonts will be ordered differently for the same reason. We've also listed some fonts that look great on the Mac, and show you a way to work around the small nuances needed for them to work across all browsers, plus suitable replacements for them on Windows and Linux. We've taken screen-shots of each font stack in Safari on Snow Leopard and IE8 on Windows XP so you can compare them yourselves and decide which ones you want to use in your designs. Where possible, we've also provided a Linux alternative for each font stack too. Adding new font stacks in FreewayTo add font stacks that will be used across all new documents (old documents won't pick these up but you can add them to the document in the same way): Open Freeway by clicking on the Dock icon or double clicking the application icon Go to the Edit 1/7 menu and choose Font Sets... Click New& to open the New Font Set dialog In the Name field type the name of your font stack Select the font you want Freeway to use when you choose the font stack from the Screen font pulldown Type or paste the list of fonts you want to use in the Alternative fonts field. Each font in the list should be separated by a comma, any fonts containing spaces should be quoted. Safari 4.0.4 IE8 Font stack Mac OS X 10.6 Windows XP Name: Arial p/t Screen font: Arial Alternative fonts: Arial, "Helvetica Neue", Helvetica, "Nimbus Sans L", FreeSans, sans-serif Name: Baskerville p Screen font: Baskerville Alternative fonts: Baskerville, "Baskerville Old Face", "Bitstream Charter", "Times New Roman", Times, serif Name: Baskerville t Screen font: Baskerville Alternative fonts: Baskerville, "Baskerville Old Face", "Bitstream Charter", Times, "Times New Roman", serif Name: Bookman Old Style p/t Screen font: Bookman Old Style Alternative fonts: "Bookman Old Style", "URW Bookman L", Georgia, Times, "Times New Roman", serif Name: Century Gothic p/t Screen font: Century Gothic (if you don't have this font available then choose Apple Gothic Alternative fonts: "Century Gothic", AppleGothic, "URW Gothic L", Arial, sans-serif 2/7 Name: Copperplate Light p/t Screen font: Copperplate Light Alternative fonts: Copperplate-Light, "Copperplate Light", Copperplate, "Copperplate Gothic Light", serif; font-weight:300 At the time of writing we were unable to find a Linux alternative for this stack. Safari 4.0.4 IE8 Font stack Mac OS X 10.6 Windows XP Name: Futura p/t Screen font: Futura Alternative fonts: Futura, Futura-Medium, "Futura Medium", "Century Gothic", CenturyGothic, AppleGothic, "URW Gothic L", sans-serif Name: Garamond p Screen font: Garamond Alternative fonts: Garamond, "Hoefler Text", Gentium, Times New Roman, Times, serif Name: Garamond t Screen font: Garamond Alternative fonts: Garamond, "Hoefler Text", Palatino, "Palatino Linotype", Gentium, serif Name: Geneva p Screen font: Geneva Alternative fonts: Geneva, "Lucida Sans", "Lucida Grande", "Lucida Sans Unicode", Verdana, FreeSans, sans-serif Name: Geneva t Screen font: Geneva Alternative fonts: Geneva, Verdana, "Lucida Sans", "Lucida Grande", "Lucida Sans Unicode", FreeSans, sans-serif 3/7 Name: Georgia p Screen font: Georgia Alternative fonts: Georgia, Palatino, "Palatino Linotype", "DejaVu Serif", Times, "Times New Roman", serif Name: Georgia t Screen font: Georgia Alternative fonts: Georgia, "DejaVu Serif", Times, "Times New Roman", serif Name: Gill Sans p Screen font: Gill Sans Alternative fonts: "Gill Sans", GillSans, "Gill Sans MT", Calibri, "Trebuchet MS", "Nimbus Sans L", sans-serif Name: Gill Sans t Screen font: Gill Sans Alternative fonts: "Gill Sans", GillSans, "Gill Sans MT", "Trebuchet MS", Calibri, "Nimbus Sans L", sans-serif Safari 4.0.4 IE8 Font stack Mac OS X 10.6 Windows XP Name: Helvetica p Screen font: Helvetica Alternative fonts: "Helvetica Neue", Arial, Helvetica, "Nimbus Sans L", FreeSans, sans-serif Name: Helvetica t Screen font: Helvetica Alternative fonts: Helvetica, "Helvetica Neue", Arial, "Nimbus Sans L", FreeSans, sans-serif Name: Impact p/t Screen font: Impact Alternative fonts: Impact, Haettenschweiler, "Arial Narrow Bold", sans-serif At the time of writing we were unable to find a Linux alternative for this stack. 4/7 Name: Lucida Sans p/t Screen font: Lucida Alternative fonts: "Lucida Sans", "Lucida Grande", "Lucida Sans Unicode", "DejaVu Sans", sans-serif Name: Lucida Grande p/t Screen font: Lucida Alternative fonts: "Lucida Grande", "Lucida Sans Unicode", "DejaVu Sans", sans-serif Name: Monaco p/t Screen font: Monaco Alternative fonts: Monaco, "Lucida Console", "DejaVu Sans Mono", monospace Safari 4.0.4 IE8 Font stack Mac OS X 10.6 Windows XP Name: Palatino p Screen font: Palatino Alternative fonts: Palatino, "Palatino Linotype", Georgia, Gentium, Times, "Times New Roman", serif Name: Palatino t Screen font: Palatino Alternative fonts: Palatino, "Palatino Linotype", "Hoefler Text", Gentium, Times, "Times New Roman", serif 5/7 Name: Tahoma p Screen font: Tahoma Alternative fonts: Tahoma, Geneva, Verdana, "DejaVu Sans", sans-serif Name: Tahoma t Screen font: Tahoma Alternative fonts: Tahoma, Verdana, Geneva, "DejaVu Sans", sans-serif Name: Times p/t Screen font: Times Alternative fonts: Times, "Times New Roman", Georgia, FreeSerif, serif Name: Trebuchet MS p Screen font: Trebuchet MS Alternative fonts: "Trebuchet MS", "Lucida Sans Unicode", "Lucida Grande"," Lucida Sans", "DejaVu Sans", Arial, sans-serif Name: Trebuchet MS t Screen font: Trebuchet MS Alternative fonts: "Trebuchet MS", Tahoma, "DejaVu Sans", Arial, sans-serif Name: Verdana p Screen font: Verdana Alternative fonts: Verdana, Geneva, Tahoma, "DejaVu Sans", sans-serif Name: Verdana t Screen font: Verdana Alternative fonts: Verdana, Tahoma, Geneva, "DejaVu Sans", sans-serif Stack them upBelow is a list of stacks. To add them to Freeway, follow the steps above. If you are already working on a document then add them while the document is open, just remember to click the Make Default button if you want to use the stacks in new documents. You may notice that some of the font stacks have a font-weight added to the end. We've done this because weight variants of fonts (such as Light or UlraLight) aren't recognized in Firefox. Adding the original version of the font later on in the stack and a specific font-weight after the stack will force Firefox to use the original but with a lighter weight. In addition to this, Opera only recognizes font variants in a certain way which we have also added for you. 6/7 The following font stacks are ones that we think look great but, unfortunately, don't have great Windows or Linux alternatives. The UltraLight stack isn't great as paragraph text since it's a little hard to read at that weight. Notice that we add font-weight again so they work as expected in Firefox on systems with the fonts installed. Safari 4.0.4 IE8 Font stack Mac OS X 10.6 Windows XP Name: Gill Sans Light t Screen font: Gill Sans Light GillSans-Light, "Gill Sans Light", "Gill Sans", GillSans, "Gill Sans MT", "Nimbus Sans L", "Trebuchet MS", Calibri, sans-serif; font-weight:300 Name: Gill Sans Light p Screen font: Gill Sans Light Alternative fonts: GillSans-Light, "Gill Sans Light", "Gill Sans", GillSans, "Nimbus Sans L", Calibri, "Verdana", sans-serif; font-weight:300 Name: Helvetica Neue Light p/t Screen font: Helvetica Neue Light Alternative fonts: HelveticaNeue-Light, "Helvetica Neue Light", "DejaVu Sans Light", "Helvetica Neue", "Helvetica", "Arial", sans-serif; font-weight:300 Name: Helvetica Neue UltraLight p/t Screen font: Helvetica Neue UltraLight Alternative fonts: HelveticaNeue-UltraLight, "Helvetica Neue UltraLight", "DejaVu Sans Light", "Helvetica Neue", "Helvetica", "Arial", sans-serif; font-weight:100 //www.softpress.com/kb/questions/221/ 7/7.
Recommended publications
  • Supreme Court of the State of New York Appellate Division: Second Judicial Department
    Supreme Court of the State of New York Appellate Division: Second Judicial Department A GLOSSARY OF TERMS FOR FORMATTING COMPUTER-GENERATED BRIEFS, WITH EXAMPLES The rules concerning the formatting of briefs are contained in CPLR 5529 and in § 1250.8 of the Practice Rules of the Appellate Division. Those rules cover technical matters and therefore use certain technical terms which may be unfamiliar to attorneys and litigants. The following glossary is offered as an aid to the understanding of the rules. Typeface: A typeface is a complete set of characters of a particular and consistent design for the composition of text, and is also called a font. Typefaces often come in sets which usually include a bold and an italic version in addition to the basic design. Proportionally Spaced Typeface: Proportionally spaced type is designed so that the amount of horizontal space each letter occupies on a line of text is proportional to the design of each letter, the letter i, for example, being narrower than the letter w. More text of the same type size fits on a horizontal line of proportionally spaced type than a horizontal line of the same length of monospaced type. This sentence is set in Times New Roman, which is a proportionally spaced typeface. Monospaced Typeface: In a monospaced typeface, each letter occupies the same amount of space on a horizontal line of text. This sentence is set in Courier, which is a monospaced typeface. Point Size: A point is a unit of measurement used by printers equal to approximately 1/72 of an inch.
    [Show full text]
  • Typographic Specimen Poster
    Typographic Specimen Poster Type specimen posters were historically released by foundries and printers as a means of introducing new typefaces to designers. The design aesthetic of the posters was mostly utilitarian (simple and functional) with the goal of displaying a typeface in different sizes for the designer to visualize how the typeface could be used. As technology progressed from the linotype to the digital press, the emphasis on posters as the primary means of showing off a new typeface diminished, however the type specimen poster grew into their own form of expressive design. While modern type specimen posters are not as common, they are often far more expressive than their historical counterparts. Akzidenz Grotesk, design by Gunter Gerhard Lange in 1898 Homework: Put a Typeface to a Name This is a project that focuses on research and utilizing your knowledge of typography and layout skills learned over the past semester. Using InDesign, the objective of your type poster is to highlight the different qualities or characteristics of your chosen typeface, introduce the typographer, as well as generate a design that compliments the aesthetics of the prominent design movement of the time. Part 1) Research and Sketchbook Exercise: Research online and find at least 5 examples of type specimen sheets that inspire you, even if their design is different from the approach you will be taking. From your assigned century, choose a typographer and typeface they designed. Research the prominent design movement associated with your typographerʼs region and time period (Example: Typographer: Eric Gill, Typeface: Gill Sans, Time Period: 1920s England, Prominent Design Movement: Art Deco).
    [Show full text]
  • Cloud Fonts in Microsoft Office
    APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ
    [Show full text]
  • Typography One Typeface Classification Why Classify?
    Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing.
    [Show full text]
  • 15 the Effect of Font Type on Screen Readability by People with Dyslexia
    The Effect of Font Type on Screen Readability by People with Dyslexia LUZ RELLO and RICARDO BAEZA-YATES, Web Research Group, DTIC, Universitat Pompeu Fabra, Barcelona, Spain Around 10% of the people have dyslexia, a neurological disability that impairs a person’s ability to read and write. There is evidence that the presentation of the text has a significant effect on a text’s accessibility for people with dyslexia. However, to the best of our knowledge, there are no experiments that objectively 15 measure the impact of the typeface (font) on screen reading performance. In this article, we present the first experiment that uses eye-tracking to measure the effect of typeface on reading speed. Using a mixed between-within subject design, 97 subjects (48 with dyslexia) read 12 texts with 12 different fonts. Font types have an impact on readability for people with and without dyslexia. For the tested fonts, sans serif , monospaced, and roman font styles significantly improved the reading performance over serif , proportional, and italic fonts. On the basis of our results, we recommend a set of more accessible fonts for people with and without dyslexia. Categories and Subject Descriptors: H.5.2 [Information Interfaces and Presentation]: User Interfaces— Screen design, style guides; K.4.2 [Computers and Society]: Social Issues—Assistive technologies for per- sons with disabilities General Terms: Design, Experimentation, Human Factors Additional Key Words and Phrases: Dyslexia, learning disability, best practices, web accessibility, typeface, font, readability, legibility, eye-tracking ACM Reference Format: Luz Rello and Ricardo Baeza-Yates. 2016. The effect of font type on screen readability by people with Dyslexia.
    [Show full text]
  • Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles
    Bitstream Fonts in May 2005 at http://www.myfonts.com/fonts/bitstream totaling 350 font families with a total of 1357 font styles The former Bitstream typeface libraries consisted mainly of forgeries of Linotype fonts and of ITC fonts. See the list below on the pages 24–29 about the old Bitstream Typeface Library of 1992. The 2005 Bitstream typeface library contains the same forgeries of Linotype fonts as formerly and also the same ITC fonts, but it also includes a lot of new mediocre „rubbish fonts“ (e.g. „Alphabet Soup“, „Arkeo“, „Big Limbo“), but also a few new quality fonts (e.g. „Drescher Grotesk“, „Prima Serif“ etc.). On the other hand, a few old fonts (e.g. „Caxton“) were removed. See the list below on pages 1–23. The typeface collection of CorelDraw comprises almost the entire former old Bitstream typeface library (see the list below on pages 24–29) with the following exceptions: 1. A few (ca. 3) forgeries of Linotype fonts are missing in the CorelDraw font collections, e.g. the fonts „Baskerville No. 2“ (= Linotype Baskerville No. 2), „Italian Garamond“ (= Linotype Garamond Simoncini), and „Revival 555“ (= Linotype Horley Old Style). 2. A lot (ca. 11) of ITC fonts are not contained in the CorelDraw font collections, e.g. „ITC Berkeley Oldstyle“, „ITC Century“, „ITC Clearface“, „ITC Isbell“, „ITC Italia“, „ITC Modern No. 216“, „ITC Ronda“, „ITC Serif Gothic“, „ITC Tom’s Roman“, „ITC Zapf Book“, and „ITC Zapf International“. Ulrich Stiehl, Heidelberg 3-May 2005 Aachen – 2 styles Ad Lib™ – 1 styles Aerospace Pi – 1 styles Aldine
    [Show full text]
  • Afgbaskerville (The Type Face)
    gfaBaskerville (the type face) xagfi {the type} {the man} abcdefghijklmn opqrstuvwxyz ABCDEFGHI JKLMNOPQR STUVWXYZ Having been an early admirer of the beauty of letters, I vertical stress relatively low contrast “became insensibly desirous of contributing to the perfection Baskerville is a transitional type of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true { old style type modern type proportion. oblique stress vertical stress —John Baskerville, preface to Milton, 1758 relatively low contrast high contrast (Anatomy of a Typeface) ” {looks} use of orthogonal lines use of orthogonal + curvy lines FHTt BDp use of curvy lines use of diagonal lines cOQ vwXZ In order to truely appreciate the quialities of Baskerville, one must understand the The Baskerville type is known for the crisp edges, high contrast and generous process of its creation. Being a printer, John Baskerville paid close attention to the proportions. Baskerville is categorized as a transitional typeface in between classical technology, creating his own intense black ink. He boiled fine linseed oil to a certain typefaces and the high contrast modern faces. density, dissolved rosin, and let it subside for months before using it. He also studied and invested in presses, resulting in the development of high standards for presses altogether. {anatomy} crossbar serif ear head serif ascender counter apex A a x g Q b q O spur x-height descender swash {characteristics} {1}g Q {2} A {3} {4}J {5}C {6}E {7}ea {1} tail on lower case g does not close {2} swash-like tail of Q {4} J well below baseline {3} high crossbar and pointed apex of A {5} top and bottom serifs on C {6} long lower arm of E {7} small counter of italic e compared to italic a {comparison} Bembo Baskerville Bembo Baskerville d The head serif of Baskerville is generally more horizontal than that of Bembo.
    [Show full text]
  • Publication Notes – 3Nt.Xyz
    Publication Notes – 3nt.xyz Pete Matthews Jr – https://3nt.xyz – © June 19, 2021 Some of the material in this document originally appeared on the MIT/DL Bridge Club site, at http://web.mit.edu/mitdlbc/www/contrib.html. This article, at https://3nt.xyz/about/, is now the official home of this material. Look for updates here. Most of the MS Office documents about the game of bridge use the free Cards font. Starting in 2018, this font is also used in writing up deals with Bridge Composer. Many of the Portable Bridge Notation (PBN) files on this site were created or edited with BridgeComposer; some were created with Dealmaster Pro. The PDF files should be complete and need only Acrobat Reader. That is, all necessary font components are embedded in the files. Items are noted (I) when appropriate for Intermediate players, or (A) for Advanced or Advancing players. Titles of mainstream articles are bold, while more esoteric or less important titles are in italics. Media Codes To describe attributes of the intended media, PDF documents are noted with these Media Codes: Media Size Description Portrait orientation, 1-2 columns, US Letter, usually single column, best 8.5"W for printing and viewing on a moderate to large screen. Articles P x 11"H published before July 1, 2018 and most other bridge material is in this format. 11"W x Landscape orientation, 1-2 columns, US Letter. Only used fort the L 8.5"H occasional spreadsheet that is too wide for some other format. Portrait orientation, 1 column, US Junior (Half Letter).
    [Show full text]
  • WWII Book Project Project Based Learning
    World History Semester 11 Causes of WWII Book Project Project Based Learning Overview: The students will create a children’s book or a comic book / graphic novel over one, many, or all of the causes of WWII. The students will use the internet to look up pictures to include in their book as well as conduct research over the causes of WWII. At the culmination of the project, each student will read his or her book to the class. The last page of the book needs to be 1 page explanation of the student’s opinion of what the main cause of WWII was and why they feel that way. 21 Century outcomes: Core Subject: History Learning and Innovation Skills Think Creatively Use Systems of Thinking Communicate Clearly Information, Media and Technology Skills Access and Evaluate Information Use and Manage Information Apply Technology Effectively Life and Career Skills Manage Goals and Time Work Independently Manage Projects Produce Results Social Studies, FHSD curriculum World History Content SS2. Knowledge of principles and processes of governance systems Content SS3b. Knowledge of continuity and change in the history of the world Causes of WWII Project: Causes of WWII Children’s book / comic book / graphic novel Requirements: 1. Front Cover/Introduction 2. at least 5 pages of content (not including the front / back cover, the timeline, or the 1 page answer) 3. Each page of the story must include words AND pictures 4. Timeline of the most important events leading up to WWII 5. The student’s opinion as to what the main cause of WWII was and why.
    [Show full text]
  • CSS Font Stacks by Classification
    CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed.
    [Show full text]
  • Suggested Fonts List
    Suggested Fonts List This is a list of some fonts our designers have available to use when designing your book. This is only a sample of some of the most popular fonts; they have thousands of others to choose from as well. For your convenience, we have marked each font as being appropriate for body text or display text. Body Text fonts are meant for the main body text of your book—paragraphs, lists, etc. These fonts are designed to be easier on the eyes for smoother reading. Display Text fonts are meant for chapter titles, subtitles, etc. They are often “fancier” fonts, such as script or handwriting. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Last updated 6/6/2014 B = Body Text: Fonts meant for the main body text of your book. D = Display Text: Fonts meant for chapter titles, etc. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Font Name Font Styles Font Sample BD Abraham Lincoln Regular The quick brown fox jumps over the lazy dog. 1234567890 Adobe Caslon Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Garamond Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Jenson Pro Light The quick brown fox jumps over the lazy dog.
    [Show full text]
  • Futura Franklin Gothic
    Franklin Gothic Morris Fuller Paul Benton & Renner Futura Futura 1927 Designer Paul Renner created the designed by Renner. Futura has con- typeface Futura in 1927. Futura is a tinued to thrive even to this day with nice geometric sans-serif font, which the help of it’s nice and clean design, unlike typical sans-serif fonts used and is a staple in the typographic in the display world, featured a low world. Young, thriving designers look X-height. Renner wanted to stay to typefaces such as Futura as inspi- away from any decoration when de- ration in the use their own work. signing the font, leaving it with just a crisp and clean typeface. Futura also included some features such as small capitals and old style figures. Renner is a German citizen, so Futura was designed in Germany. Since it’s re- lease, Futura has become one of the most popular fonts, and a common- ly used one for headlines, posters, banners, etc. There have been a few versions that have stemmed off of it’s creation and popularity, including Futura Black, Futura Display, Futu- ra Condensed, and Steile Futura, all Franklin Gothic 1902 Franklin Gothic is a grotesque, over the years. Franklin Gothic is the sans-serif font, designed by Ameri- most popular of the gothic series can designer Morris Fuller Benton in that Benton designed throughout his 1902. Since he was American, nat- career. Due to it’s fame, this typeface urally Franklin Gothic was created is frequently talked about in high in the United States. The typeface is regards in classrooms and schools bolder than a regular font and named where typography history is taught.
    [Show full text]