Many of us associate certain typefaces with specific situations or ideas—Times New Roman is generally used for anything academic or professional, Courier is reminiscent of old typewriters, and Blackletter or Gothic script makes us think of newspapers.
With the rise of global warming, natural disasters are becoming more and more common. As a new student to publishing, and as someone that wants to continue in this field, I’m left to wonder how this multi-billion dollar business can help. After the recent hurricanes that have devastated Puerto Rico, the publishing industry is taking a stand to help. #PubforPR (Publishing for Puerto Rico) was an auction held in the wake of hurricane María. Auctioning off everything from signed books to custom artwork, the auction received over 4,500 bids with all donations going toward Unidos por Puerto Rico and ConPRmetidos. This willingness to come together and help led me to wonder what else the publishing industry has done to help with relief efforts.
It was the ’80s, and desktop publishing was just starting to take off. Bringhurst felt the sudden availability of digital fonts would overwhelm any inclination toward rational design and cause typographical chaos. He did what any perfectionist would do: write a book.
One of the most important aspects of design is knowing if it will be presented digitally or in print. Knowing how a design will be presented affects several design elements, so it is crucial to be aware of your options. In today’s digital world, a lot of designs are created to be displayed on a screen. Those who like to create digital art and manipulate images for online use tend to be more familiar with things such as aspect ratios, RGB (Red, Green, Blue), and pixels. These are concepts that are useful in the computer world, but they have different counterparts in the printed world. When designing for printed projects, designers need to be familiar with bleeds, CMYK (Cyan, Magenta, Yellow, and Black), and trim size. While it is possible to create a design without deciding whether it will be used online or in print, it will save a lot of time and energy if this decision is made before beginning a design project.
The old adage “Never judge a book by its cover” is used in a myriad of circumstances, but what about when you get past the cover? One is led to believe, then, that you can judge a book by its interior, and this is absolutely true. The interior design of a book improves (or ruins) the readability of the work.
In recent years, multiple graphic designers—a few having dyslexia themselves—have created various new fonts designed to be easily read by individualizing each letter to create a smoother reading experience. This is done by creating larger openings in letters like c and e, as well as varying the thickness to make each letter distinct.