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Explore the numerous type options, type-related features, and type-specific preferences of Adobe InDesign. Using practical, real-world examples, instructor and designer Nigel French dissects the anatomy of a typeface and defines the vocabulary of typography. The course moves from the micro to the macro level, addressing issues such as choosing page size, determining the size of margins, adjusting number columns, and achieving a clean look with baseline grids. This course takes you from laying out a page to delving into the hows and whys of typography.
In an earlier movie I mentioned how there is no universally agreed upon standard for naming typeface classifications, and the same is true of different font styles within a typeface family. There is no universally agreed upon standard. There are common terms, and usage, and these are some of them, but under your font style menu, you are likely to encounter a wide variety of different terminology and naming conventions. In a similar vein, I just wanted to point out that just because a typeface is called Garamond, or Caslon, or Helvetica, doesn't necessarily mean that one Garamond is going to look just like another, one Caslon is going to look just like another, because these typefaces are reinterpretations or revivals of an original, and they can vary quite markedly in that interpretation.
Here I have several different examples of Garamonds, and we can see that the width of them is quite markedly different, as are the letter forms themselves. Here I have a row of As, and there is quite some distinction between them. So in just the same way as a revival of a popular song will vary from one interpreter to another, so different interpretations of common typefaces will also vary.
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