By John Roshell | Friday, August 7, 2015
When people find out I’ve created hundreds of fonts for the comic book and video game industries over the last 20 years, one of the first things they ask is, “Can you make a font of my handwriting?”
The answer is “of course!” But even better, you can create a font out of your handwriting!
It’s actually not too hard to get a basic font up and running using your smartphone camera, Adobe Illustrator, and Glyphs Mini, a low-cost but remarkably powerful little font editing app. You can buy a license for Glyphs mini from the Apple App Store or the Glyphs site for $49, or try it free for 30 days.
Trust me: Typing out words in a font you’ve created is a thrill. So let me show you how to make a handwriting font.
By David Blatner | Wednesday, May 27, 2015
What font should you use today? With the hundreds of choices in InDesign, you might have to try two or three (or 50!) before you find exactly the right one for your layout.
But InDesign CC has a few cool features that allow you to test fonts quickly and in a more fun and interactive way.
I’ll show you how in this week’s InDesign Secrets.
By Scott Fegette | Sunday, June 29, 2014
Fonts used to be limited in number and flexibility for web designers. Those days are over. Although web typography still isn’t perfect, support for rich browser-based typography is comprehensive enough to stop waiting. It’s time to make your site’s text as beautiful as its layout and design by learning how to use web fonts in your designs.
By Garrick Chow | Monday, June 23, 2014
Most people have dozens if not hundreds of fonts installed on their computers in the form of serif, sans-serif, mono-spaced, and script fonts. But an often overlooked font type is the dingbat font.
On the computer you’re using right now, especially if you have a version of Microsoft Office installed, you probably have at least a handful of dingbat fonts available, such Webdings, Wingdings, or Zapf Dingbats.
Unlike other types of fonts, which are collections of letters, special characters, and punctuation marks, dingbat fonts are collections of unique non-letter ornaments, symbols, or shapes. You’ve most likely checked out the dingbat fonts while trying to format a document, only to quickly dismiss them when you found there were no letters in those fonts.
By Anne-Marie Concepción | Thursday, May 29, 2014
Designers collect fonts like magpies. True font enthusiasts may have thousands of typefaces loaded on their computer at any one time. So how do you find the one you need? Anne-Marie Concepción spills the secrets to sorting and filtering fonts in InDesign CC. Earlier versions of InDesign offer a few of these tricks, but as Anne-Marie reveals in this week’s movie, the search field in CC make it easier than ever to find the font you need: Arial to Zapfino, light, bold, or condensed.
By Anne-Marie Concepción | Thursday, May 1, 2014
Some typefaces don’t offer a bold or italic font, but that shouldn’t stop you from adding emphasis to text. Sometimes you have to cheat to get what you want. And InDesign is the ace up your sleeve.
InDesign allows you to bend the rules and fake bold and italic text with typefaces like Andale Mono and Dingbats. In this week’s episode of InDesign Secrets, Anne-Marie Concepción shows you how to use the Skew and Shear options to angle text and add an additional stroke to create bold type. Watch this week’s free episode of InDesign Secrets to learn more.
By Mike Rankin | Sunday, April 20, 2014
In this article, I’ll review some of the basic information about fonts and how to manage them for best results, with information from my course Font Management Essential Training.
Many of us think of fonts as simply the text-styling tools in our font menu—things like Helvetica Light, Cooper Black, Arial Narrow, and Zapf Dingbats. But fonts are much more than choices in a menu.
Ellen Lupton said, “Typography is what language looks like.” If this is true, then fonts are the tools we use to make language visible and enhance its meaning in type. And what amazing tools they are!
By Kristin Ellison | Thursday, August 1, 2013
Type has two primary goals. The first is to convey information (what the actual words say), and the second is to add further context to the information. A typeface helps form that critical first impression about your message; before the viewer even reads what the words say, the typeface offers important clues. This is why it is so important to choose the right one. As you can see above, typefaces are so much more than just stylized alphabets; they have personalities that come across immediately and inform the viewer.
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