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Seeking feedback on an article I wrote about a word illustration challenge: how to express the meaning of EDIT? Some questions addressed in the article are: How to superimpose two letters while maintaining the legibility of both? What parts of a letter can be concealed while retaining the letter's visual identity? There are 57+ illustrations of my steps toward a solution to the challenge.
Here's the link: http://rudiseitz.com/2012/12/16/wrestling-words/
I'm very interested in 1) comments on what you found interesting or provocative so I can concentrate on those points in future work,
Hello everyone. I am a novice in type design aiming on making a serif (and if possible, a sans-serif companion) type system aimed at newspaper use. I am still in development, and I am looking at some other fonts that look great on print.
I think i can post again and thanks a lot to Kent.
While going through some articles, I realized contrast in typeface is very important but i can not find factors of design which affect the contrast. What are the factors that affect contrast? Is it x height, thickness of stroke or anything else?
Also to improve legibility, some people are designing fonts with tapered edges( called flaring and expansion of edges in a specimen). Does this really affect the legibility? and if it does any other points that can affect legibility.
Given that research on road sign legibility supports the use of mixed case over uppercase, would it be worth examining the case of license number plates as well?
I'm really bad at remembering car plates, and I think it's partly attributable to the block shape issue. So I wondered whether they might be easier to read and remember if, at the least, the letters were set in lowercase (probably large x-height).
Does anyone have any thoughts on this? Is it worth investigating, or is it a non-issue?
By the way, I'm nowhere near as well-versed in type research, theory, and practice as many of you are, so please be gentle if I seem uninformed.
EDIT: because there is not a lot of information about how to create a flipper font, below is a step-to-step guide for FontLab. I hope people with no background knowledge, and with the same questions as me can find some answers. My original message and questions about a flipper font are shown below.
A flipper font is a font that has multiple variations of every character. These variations are alternately called upon to bring more variations inside the font. Example:
this is the default behaviour, on the keyboard the ‘n’ is ticked, and the same 'n' is used again and again.
The context of this question is one of my experiments
to create a good legible font (NOT such a comic font) that is very readable on little formats.
To simulate a sense of handwriting, it has to be a flipper font.
I want to look if it is possible to combine, and how far it is possible to go with.
I thought I was smart enough to figure out how it had to be done in FontLab
but thanks to my limited knowledge of the English language, I'm not.
Also I have only a limited knowledge of FontLab, my previous fonts were without programming Python.
(I actually know FontLab only one year now, and on school the specialization Typography is in its childhood,
not a lot of people know FontLab in detail)
Is Oberon Serif Book considered a legible type for large amounts of text? This is for a brochure targeted to a broad range of ages, including elderly. http://www.fonts.com/findfonts/detail.htm?productid=396628
Hey wow, first post! This looks like the place I might find an answer to a burning question. Firstly a little background. The company I work for has put me in charge of producing our "Year Of 2010" garments, with the names of graduating students printed on the back. We do this on behalf of universities and educational institutions all over the place. The maximum total print size for the artwork is A3, so obviously there's an upper limit to the number of names we can fit on, currently around 1600. Sometimes we have a graduating class of between 1600 and 1750, which requires the production of two pieces of artwork, and this is a real pain for pretty much every stage of the ordering, production and administration process.
I was wondering if i may have some assistance in a logo i am creating at the moment. I have licensed metroscript and would like to increase the contrast so the logo is scaleable and legible in small sizes.
So far i have filled the "O"'s counter, as well as the "A"'s to increase legibility, however I am still struggling to add contrast to the logo.
Are there any tips you might have?
In my WinXP, for fixed width fonts, Mirosoft has provides only very light weight fonts and my old eyes need much higher contrast. I would appreciate help in finding such a font. It would have to be one that would fit the Microsoft program. Where should I look? Where can I see what it looks like and how to be sure that it is fixed width?
What question should I be asking that i havn't?
I'm tired of Titillium and TitilliumText22L! It's not legible in small sizes or in 11, 13, 14px in the sites or blogs! Titillium isn't like Arial, Helvetica and Verdana. Titillium is totally legible only in Word 2007 with optimized ClearType, Paint, Photoshop, Illustrator, Inkscape and Gimp.
I need a free and ORIGINAL font which...
— totally legible in small sizes (10 to 14px)
Thanx u all!
Does anybody know about are there any test about legibility of rake columns of text? (like in example, I mean the smallest text). Does it strongly affects legibility in longer texts?
Thanks for any answer.
An Ars Technica article on text legibility issues with the new Mass Effect 2 game. The discussion is interesting in regards to how much flexibility developers should give to the players over how the text is rendered and such impact on the game design. As we move beyond existing standards, I believe these types of problems will become much more commonplace.
About a year ago in a Typophile thread, in response to Hrant's advocacy for a science-based, theoretically-driven approach to legibility, I argued that legibility was a practical matter really, and that any typeface could be turned into a text type, without benefit of science or theory. He suggested I try my own Eunoia.
Sorry for the delay. It hasn't taken that long to do, just finding the time and motivation has delayed it.
Here is a pdf comparing Eunoia Text with Eunoia, Helvetica Medium Condensed, Univers 57, and ITC Franklin Gothic Book Condensed.