Brush Script • Giddyup • Montserrat • Zapfino • Open Sans

Total Page:16

File Type:pdf, Size:1020Kb

Brush Script • Giddyup • Montserrat • Zapfino • Open Sans 2 Who is this handsome fella?! AARON PUMFERY Chief Creative Officer @ Edge Partnerships 18 years as a graphic designer, art director, and creative director Contributed to hundreds of campaigns, brand identities, websites and presentations SHOW DON’T TELL 3 What makes a good presentation? ASK 100 PEOPLE, GET 100 ANSWERS. EXAMPLES • noteandpoint.com • slideshare.net/popular • prezi.com/explore • pinterest.com SHOW DON’T TELL 4 SHOW DON’T TELL 5 SHOW DON’T TELL 6 SHOW DON’T TELL 7 SHOW DON’T TELL 8 Tools of the Trade SHOW DON’T TELL 9 File Setup Projector • 16:9 or 4:3 Screen Resolution • 1024x768 (standard) • 1280x720 (step up/new standard) • 1980x1020 (TVs) Audience • Computer/Webinar/Conference call • Classroom • Conference SHOW DON’T TELL THEME DEVELOPMENT SHOW DON’T TELL 11 Picking color A powerful tool • Set the tone • Accent/emphasis • Differentiate subject matter • Bring life to a presentation SHOW DON’T TELL 12 Color Palette 4 to 5 base colors SHOW DON’T TELL 13 Color Palette Set the tone Bold and emotional Professional and information driven Modern and muted Bright and cheery SHOW DON’T TELL 14 SHOW DON’T TELL 15 SHOW DON’T TELL 16 SHOW DON’T TELL 17 Brand Guidelines • There for a reason • Working within the palette • Makes your job easier SHOW DON’T TELL 18 Color Palette Use an accent color to create emphasis, differentiate content and bring life to a presentation. SHOW DON’T TELL 19 Imagery Make it a memorable story • DO NOT use clipart • Paid vs Free Stock • Guidelines • Optimize SHOW DON’T TELL 20 Clipart vs Image SHOW DON’T TELL 21 SHOW DON’T TELL 22 Clipart vs Image SHOW DON’T TELL 23 SHOW DON’T TELL 24 Cutouts SHOW DON’T TELL 25 Cutouts SHOW DON’T TELL 26 Paid Stock SHOW DON’T TELL 27 Free Stock SHOW DON’T TELL 28 Focal Points Blend of the right image with the right type Draw the eye where it needs be SHOW DON’T TELL SHOW DON’T TELL SHOW DON’T TELL SHOW DON’T TELL Image Guidelines Tells a story Fits your tone Compliments text • White/negative space No cutouts! Google images • Best to stay away Use images wisely • Don’t over do it SHOW DON’T TELL 33 Typography Rules for fonts • Keep it simple • Keep it readable • Have a hierarchy • Compliment the tone • Don’t over do it SHOW DON’T TELL 34 FONTS Pick3 Title Body Accent Big and bold Use for the meat Limited use and potatoes Looks good normal Draws Attention or all caps Readable when bulleted, with data, etc. Draws attention SHOW DON’T TELL 35 FONTS Pick3 TITLE FONT Body copy font Accent font SHOW DON’T TELL 36 Font Choices The Good The Bad The Ugly • Arial • Comic Sans • Hobo • Times • Bauhaus • Grunge • Helvetica • Papyrus • Curlz • Gotham • Chalkboard • Jokerman • Lato • Brush Script • Giddyup • Montserrat • Zapfino • Open Sans SHOW DON’T TELL SHOW DON’T TELL 38 Type rules Do not center multiple lines of text. It’s not very readable and can even annoy your audience. Also try and keep it to under four lines. The more text, the harder it is to read. Trust me. SHOW DON’T TELL 39 Type rules Use a minimum of 30pt font Here’s 14pt Here’s 24pt Here’s 30pt I’d even say 36pt to be safe SHOW DON’T TELL Type rules Use proper contrast. Light colors on dark backgrounds. Dark color on light backgrounds. SHOW DON’T TELL 41 Visual Data Tell the story with data • Let data lead the design • Keep it clear and simple • Use infographics SHOW DON’T TELL 42 Data leads design What makes the Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec information look best? More than just pie charts and bar graphs 75 80 90 45 % % % % SHOW DON’T TELL 43 90% 80% Data leads design 85% 45% 40% What makes the information look best? More than just pie charts and bar graphs 5 4.5 Keep it clean and simple 4 3.5 3 2.5 2 Series 3 1.5 Don’t let text or images Series 2 1 0.5 Series 1 0 interfere Category 1 Category 2 Category 3 Category 4 SHOW DON’T TELL 44 Animations & Transitions • There’s a time and a place • Don’t overdo it SHOW DON’T TELL 45 My favorites Transitions: Fade Animations: Float SHOW DON’T TELL Questions Aaron Pumfery Chief Creative Officer Edge Partnerships 517.853.6787 [email protected].
Recommended publications
  • 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]
  • Mathematics Clinic Handbook
    Mathematics Clinic Mathematics Clinic Handbook 2019 Copyright © 2019 Department of Mathematics, Harvey Mudd College. This material is provided for the sole use of participants in Harvey Mudd College’s Mathematics Clinic program. Any other usage requires prior permission from the Department. 2019 Edition; Revision 1.0. (April 30, 2019) Calendar Note that dates and deadlines are subject to change. Date Description Page September 4 (Tue) Student Orientation Day (4:15 p.m.–5:30 p.m.; 5 Sprague 3) September 4 (Tue) Project Managers Meeting (5:30 p.m.–6:30 p.m. in Sprague 3) September 6–18 Marathon Push (Including Preparation of Your 8 Statement of Work) September 6 (Thu) Clinic/Sponsor Orientation Day (11:00 a.m.– 6 1:00 p.m.; Sprague 3 workrooms) Be prepared to ask your liaisons questions. September 7 (Fri) All Forms Due by 4:00 p.m. to Molly Reeves 5 (SCTL 2404) September Site Visits with Sponsor (Arranged by Teams and 9 Sponsors) September 11 (Tue) Professional Development: Teleconference and 10 Site Visit Etiquette (11:00–12:15 p.m.; Galileo McAlister; Combined with CS) September 18 (Tue) Statement of Work Peer Review (11:00–12:15 p.m.; 8 Sprague 3) Bring Advisor-Previewed Draft. September 18 (Tue) Project Managers Meeting (11:00–12:15 p.m.; Sprague 3) September 20 (Thu) Engineering Career Fair September 21 (Fri) Peer Reviews of Statement of Work Due to Team 8 September 24 (Mon) Advisor-Previewed Project Budget Due to Clinic 53 Director September 25 (Tue) Review Statement of Work According to Slides 10 on Project Management & Planning Sent
    [Show full text]
  • System Profile
    Steve Sample’s Power Mac G5 6/16/08 9:13 AM Hardware: Hardware Overview: Model Name: Power Mac G5 Model Identifier: PowerMac11,2 Processor Name: PowerPC G5 (1.1) Processor Speed: 2.3 GHz Number Of CPUs: 2 L2 Cache (per CPU): 1 MB Memory: 12 GB Bus Speed: 1.15 GHz Boot ROM Version: 5.2.7f1 Serial Number: G86032WBUUZ Network: Built-in Ethernet 1: Type: Ethernet Hardware: Ethernet BSD Device Name: en0 IPv4 Addresses: 192.168.1.3 IPv4: Addresses: 192.168.1.3 Configuration Method: DHCP Interface Name: en0 NetworkSignature: IPv4.Router=192.168.1.1;IPv4.RouterHardwareAddress=00:0f:b5:5b:8d:a4 Router: 192.168.1.1 Subnet Masks: 255.255.255.0 IPv6: Configuration Method: Automatic DNS: Server Addresses: 192.168.1.1 DHCP Server Responses: Domain Name Servers: 192.168.1.1 Lease Duration (seconds): 0 DHCP Message Type: 0x05 Routers: 192.168.1.1 Server Identifier: 192.168.1.1 Subnet Mask: 255.255.255.0 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: Yes Auto Discovery Enabled: No Ethernet: MAC Address: 00:14:51:67:fa:04 Media Options: Full Duplex, flow-control Media Subtype: 100baseTX Built-in Ethernet 2: Type: Ethernet Hardware: Ethernet BSD Device Name: en1 IPv4 Addresses: 169.254.39.164 IPv4: Addresses: 169.254.39.164 Configuration Method: DHCP Interface Name: en1 Subnet Masks: 255.255.0.0 IPv6: Configuration Method: Automatic AppleTalk: Configuration Method: Node Default Zone: * Interface Name: en1 Network ID: 65460 Node ID: 139 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode:
    [Show full text]
  • The Use of Technology in Teaching and Learning
    FEEDBACK Feedback regarding the editorial content of this book or any of its essays should be directed toward the individual authors or the book’s editors. They (authors and editors) are solely responsible for the substance of the text. Feedback regarding technical matters of formatting or accessibility of this text via the online environment of the Internet should be directed to the Internet Editor. If you have any complaints or difficulties in accessing these materials, be sure to provide as detailed a description of your problem(s) as you can; you should include information about the browser you are using and the type of computer you are using. COPYRIGHT AND OTHER LEGAL NOTICES The individual essays and chapters contained within this collection are Copyright © 2018 by their respective authors. This collection of essays and chapters as a compendium is Copyright © 2018 Society for the Teaching of Psychology. You may print multiple copies of these materials for your own personal use, including use in your classes and/or sharing with individual colleagues as long as the author’s name and institution, and a notice that the materials were obtained from the website of the Society for the Teaching of Psychology (STP) appear on the copied document. For research and archival purposes, public libraries and libraries at schools, colleges, universities and similar educational institutions may print and store in their research or lending collections multiple copies of this compendium as a whole without seeking further permission of STP (the editors would appreciate receiving a pro forma notice of any such library use).
    [Show full text]
  • 13A04806 LINUX PROGRAMMING and SCRIPTING UNIT 4 TCL/ TK SCRIPTING:Tcl Fundamentals, String and Pattern Matching, Tcl Data Struct
    13A04806 LINUX PROGRAMMING AND SCRIPTING UNIT 4 TCL/ TK SCRIPTING:Tcl Fundamentals, String and Pattern Matching, Tcl Data Structures ,Control Flow Commands, Procedures and Scope , Evel, Working With UNIX, Reflection and Debugging, Script Libraries, Tk Fundamentals ,Tk by Examples, The Pack Geometry Manager, Binding Commands to X Events, Buttons and Menus, Simple Tk Widgets, Entry and Listbox Widgets Focus, Grabs and Dialogs 13A04806 LINUX PROGRAMMING AND SCRIPTING Tcl - Overview Tcl is shortened form of Tool Command Language. John Ousterhout of the University of California, Berkeley, designed it. It is a combination of a scripting language and its own interpreter that gets embedded to the application, we develop with it. Tcl was developed initially for Unix. It was then ported to Windows, DOS, OS/2, and Mac OSX. Tcl is much similar to other unix shell languages like Bourne Shell (Sh), the C Shell (csh), the Korn Shell (sh), and Perl. It aims at providing ability for programs to interact with other programs and also for acting as an embeddable interpreter. Even though, the original aim was to enable programs to interact, you can find full-fledged applications written in Tcl/Tk. Features of Tcl The features of Tcl are as follows − ∑ Reduced development time. ∑ Powerful and simple user interface kit with integration of TK. ∑ Write once, run anywhere. It runs on Windows, Mac OS X, and almost on every Unix platform. ∑ Quite easy to get started for experienced programmers; since, the language is so simple that they can learn Tcl in a few hours or days. ∑ You can easily extend existing applications with Tcl.
    [Show full text]
  • Standard Fonts List Used for Poster Creation
    Standard Fonts List used for Poster Creation Please use any of the fonts listed below when designing your poster. These are the standard fonts. Failure to comply with using a standard font, will result in your poster not printing correctly. 13 Misa Arial Rounded MT Bold Bodoni MT 2 Tech Arial Unicode MS Bodoni MT Black 39 Smooth Arno Pro Bodoni MT Condensed 4 My Lover Arno Pro Caption Bodoni Poster MT Poster Compressed Abadi Condensed Light Arno Pro Display Book Antiqua ABCTech Bodoni Cactus Arno Pro Light Display Bookman Old Style ABSOLOM Arno Pro Smdb Bookshelf Symbol 7 Adobe Calson Pro Arno Pro Smdb Caption Bradley Hand ITC Adobe Calson Pro Bold Arno Pro Smdb Display Britannic Bold Adobe Fangsong Std R Arno Pro Smdb SmText Broadway Adobe Garamond Pro Arno Pro Smdb Subhead Brush Script MT Adobe Garamond Pro Bold Arno Pro SmTest Brush Script Std Adobe Heiti Std R Arno Pro Subhead Calibri Adobe Kaiti Std R Baskerville Old Face Californian FB Adobe Ming Std L Bauhous 93 Calisto MT Adobe Myungjo Std M Bell Gothic Std Black Cambria Adobe Song Std L Bell Gothic Std Light Cambria Math Agency FB Bell MT Candara Albertus Extra Bold Berlin Sans FB Castellar Albertus Medium Berlin Sans FB Demi Centaur Algerian Bernard MT Condensed Century AlphabetTrain Bickham Script Pro Regular Century Gothic Antique Olive Bickham Script Pro Semibold Century Schoolbook Arial Birch Std CG Omega Arial Black Blackadder ITC CG Times Arial Narrow Blackoak Std 1 Standard Fonts List used for Poster Creation Please use any of the fonts listed below when designing your poster.
    [Show full text]
  • Assessing Students' Needs for Assistive Technology (ASNAT)
    Assessing Students’ Needs for Assistive Technology (ASNAT) A Resource Manual for School District Teams 5th Edition June 2009 Jill Gierach, Editor Wisconsin Assistive Technology Initiative CESA #2 448 East High Street Milton, WI 53563 www.wati.org Acknowledgments The Wisconsin Assistive Technology Initiative (WATI) has been around for the past 16 years. Throughout those years it has been through the support and tireless efforts of many WATI consultants that we have been able to create, pilot, implement, and revise the Assessing Students Needs for Assistive Technology (ASNAT) resource manual. This family of assistive technology consultants grows and grows. It includes people from around the state who selflessly donated time and talent to write, edit, or make suggestions for inclusions within this manual. Each person contributed to the overall product that is in your hands. A big thank you to the current WATI staff and Milwaukee Public School representatives which includes : Laura Comer, Judi Cumley, Patti Drescher, Cindy Nankee, Marcia Obukowicz, Diane Rozanski, Lillian Rider, Karen Stindt, Kim Swenson, Shelly Weingarten, and Mary Beth Werner. This is an amazing, talented group of professionals. Additional input and review was provided by Jaroslaw Wiazowski, Stacy Heckendorf, Sue Loesl, Kay Glodowski, Stacy Grandt, Chris Hudson, Lori Lindsly, and Sheryl Thormann. We also thank Paula Walser for her work on previous versions. We appreciate everyone’s willingness to share their expertise. There are so many others that we remember and to whom we owe a debt of gratitude; they have inspired us throughout the years. They include Gayle Bowser, Linda Burkhart, Joanne Cafiero, Diana Carl, Karen Kangas, Patti King‐DeBaun, Denise DeCoste, Dave Edyburn, Karen Erickson, Kelly Fonner, Don Johnson, Jane Korsten, Scott Marfilius, Carolyn Musselwhite, Lisa Rotelli, Judith Sweeney, Richard Wanderman, Joy Zabala, and so many more.
    [Show full text]
  • Identity Standards Identity
    Identity Standards Identity PRIMARY SIGNATURE The GPS LifePlan primary signature is custom-gen- erated artwork. Therefore, please reproduce it using only the approved electronic fi les. Any substitution will dilute its impact. The signature may be applied in this format when referencing the overall GPS LifePlan. SECONDARY SYMBOL In conjuction with the primary signature, the symbol can be used to show the colors associated with the GPS LifePlan. Use of this symbol should be used sparingly and only as a supporting element. Specifi c examples include: On t-shirt back, with primary signature on front. Used on pins or buttons during an overall marketing effort, handed out with other branded materials that use the primary signature. Used on the back of a business card, closely cropped to create an abstract pattern. Identity SUB-PLAN SIGNATURES When referencing a specifi c plan, these corresponding signatures should be used at all times. Some good examples as to where these would be used would be a poster or fl yer where only one plan is referenced, or for class/workshop materials for a specifi c sub-plan. On the occasion where you will be talking about multiple subplans, see the following page. THE GPS FORMULA This graphic was created to tell the story behind the GPS LifePlan brand, and can be used wherever an introduction needs to be made. Identity SUB-PLAN LABELS When referencing multiple sub-plans or when space is limited, the following sub-plan labels should be used. This is to avoid becoming too redundant with the primary signature as well provide the sub-plans the ability to be more legible in smaller sized areas.
    [Show full text]
  • Fonts in Mac OS X Find, Install, and Manage All the Fonts You Need
    Fonts in Mac OS X Find, install, and manage all the fonts you need. Features Mac OS X version 10.3 “Panther” delivers unmatched capabilities for beautifully rendering, quickly finding, and easily managing the fonts you need for your creative Font Book projects. Fonts are an important element of any document. Whether you’re working • Simple font preview and installation on an advertisement, a newsletter, a book layout, or an invitation, the right font can •Easy organization of fonts using the familiar collections interface of applications such as enhance any professional or personal communication. iTunes and Safari To help you manage your projects, Apple provides tools for specifying the exact fonts •Dynamic activation of individual fonts or for your jobs. Mac OS X makes fonts much more readable on the screen and prints collections of fonts them in the best resolution your printing device offers. And to help you gain complete •Ability to search for fonts in Font Book and control over the look of your fonts, advanced utilities allow you to specify the exact the Font panel style and layout. Panther delivers everything you need to make fonts an integral part •Easy font removal and duplicates resolution of your projects, including the following key features: Extensive font and character library • High-quality rendering. Using advanced techniques, Mac OS X optimizes the readabil- • Support for all standard font formats, ity of text through resolution-independent vector rendering and subpixel anti-aliasing. including OpenType, TrueType, and Adobe Type 1 PostScript fonts • Easy to manage. You can create font collections with Font Book, a powerful tool for •More than one hundred included fonts finding, collecting, and enabling the fonts you need.
    [Show full text]
  • An Electronic Chalkboard for Classroom and Distance Teaching
    An Electronic Chalkboard for Classroom and Distance Teaching Dissertation zur Erlangung des akademischen Grades eines Doktors der Naturwissenschaften im Fachbereich Mathematik und Informatik der Freien Universit¨at Berlin vorgelegt von Lars Knipping aus Itzehoe 14. Februar 2005 ii Gutachter: Prof. Dr. Ra´ulRojas Prof. Dr. Ruedi Seiler Preface Quis leget haec? Persius, Satires, 1:2 Many people have contributed to the development of the system being de- scribed in this thesis. The project was conceived by Prof. Dr. Ra´ulRojas, who accompanied its development and provided many ideas. The first prototype of the board software was written by Wolf-Ulrich Raffel. The entire audio part is authored by Gerald Friedland, on the basis of the WWR system by Gerald Friedland and Tobias Lasser and its successor WWR2 by Gerald Friedland and Bernhard Fr¨otschl. Gerald Friedland also designed the multimedia editor called Exymen and the video part of the E-Chalk system. Kristian Jantz assisted in the video software development. He implemented the SID plug-in for Exymen, the Maple connection for the board, and a number of tools: one for converting lecture recordings to AVI and QuickTime movies, another for generating board snapshots, one for updating the audio format, and a tool for restoring damaged recordings. Ernesto Tapia developed the mathematical handwriting recognition inte- grated in the board component. Mary Ann Brennan wrote the first version of the PDF generator and the JMF audio plug-in for Exymen. Stephan Lehmann implemented the program to convert E-Chalk recordings to Windows ASF files. Dr. Peter R¨ußman added capabilities for function definition and function plot- ting for the small built-in computer algebra system.
    [Show full text]
  • Enlarge Bracket
    MARCH 6 & 7 MARCH 13 MARCH 20 MARCH 22 MARCH 27 MARCH 29 MARCH 27 MARCH 22 MARCH 20 MARCH 15 MARCH 8 & 9 1 Comic Sans Brush Script 1 Comic Sans Palace Script MT 16 Eras Demi ITC Palace Script MT 16 Comic Sans Willona 8 Tahoma Bradley Hand ITC 8 Lithos Pro Willona 9 Lithos Pro Font 9 Willona Comic Sans Chalkboard 5 Arial Mistral 5 Franklin Gothic Mistral 12 Franklin Gothic MADNESS Amatic SC 12 Trebuchet MS Chalkboard 4 Trebuchet MS Chalkboard 4 Trebuchet MS Chalkboard 13 Geneva Apple Chancery 13 Comic Sans Kristen ITC 6 Myriad Pro Sans-Serif Region Handwriting Region Segoe Script 6 Chicago Vivaldi Italic 11 Chicago Vivaldi Italic 11 Chicago Vivaldi Italic 3 Verdana Rage Italic 3 Verdana Rage Italic 14 Helvetica Freestyle Script 14 Chicago Goudy Stout Kristen ITC 7 Bank Gothic Kristen ITC 7 Bank Gothic Kristen ITC 10 Impact Noteworthy 10 Bank Gothic Kristen ITC 2 Calibri Lucida Calligraphy 2 Raleway Lucida Calligraphy 15 Raleway Vladimir Script 15 1 Times New Roman Waker 1 Papyrus Didot THE WORST FONT EVER Papyrus 16 Didot Rosewood 16 Souvenir Giddy Up 8 Georgia 8 Souvenir Giddy Up 9 Souvenir Giddy Up 9 Informal Roman Waker Waker 5 Courier Waker 5 Cooper Black Waker 12 Cooper Black Tempus Sans ITC 12 Informal Roman Waker 4 Informal Roman Curlz MT 4 Informal Roman Ravie 13 Archer Ravie 13 Goudy Stout Waker 6 Wide Latin Serif Region Decorative Region 6 Wide Latin Bleeding Cowboys Bleeding Cowboys 11 Garamond Hobo 11 Wide Latin Jokerman 3 Copperplate Gothic Jokerman 3 Copperplate Gothic Jokerman 14 Modern No.
    [Show full text]
  • AMERICAN TYPEWRITER Family
    AMERICAN TYPEWRITER Condensed Light The breve of lc |ă| is not centered along the vertical axis of the letter. The comma-accent of lc |ț| | is not centered along the vertical axis of the letter. How it should be: AMERICAN TYPEWRITER Condensed The breves are way too wide, non-symmetrical (they should be for this typeface), and are not centered along the vertical axis of the letter. The comma-accent of lc |ț| | is not centered along the vertical axis of the letter. How it should be: AMERICAN TYPEWRITER Light The breves are not centered along the vertical axis of the letter. The comma-accent of lc |ț| | is not centered along the vertical axis of the letter. How it should be: AMERICAN TYPEWRITER CondensedRegular Light The breve of lc |ă| is not centered along the vertical axis of the letter. The comma-accent of lc |ț| | is not centered along the vertical axis of the letter. How it should be: AMERICAN TYPEWRITER Bold The breves are not centered along the vertical axis of the letter. The comma-accents of the lowercases could have a shorter tail, and be a bit smaller. The comma-accent of lc |ț| | is not centered along the vertical axis of the letter. How it should be: APPLE CASUAL Regular Some circum exes don’t match the line thickness of this monoline font — whoever did it just squashed an angle quatation mark, I guess. Something like this… ARIAL Regular The breves are thinner than the circum!exes; Comma-below is indeed smaller than the sentence comma, but its dot-part shouldn’t be thicker/wider than uc |T|’s stem; Also, the comma-below of lc |ș| is di"erent from the comma of lc |ț|—it’s squashed horizontally.
    [Show full text]