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Monotype has announced the Monotype Baseline™ platform, a cloud-based developer platform that offers access to tens of thousands of fonts. The solution is designed to help OEMs, independent software vendors and developers build software products and connected devices that deliver the best user experiences.
I'm cant find a solution to this little problem:
If you look closely, will see that at 14 and 16pts there seems to be grayscale pixels under the /n serifs. How can I remove it, so it looks like the ones at 15, 17 and 18pts? (Firefox/Mac)
The blue lines are already in place, like this:
However, the problem remains.
I spend all day experimenting, hinting, un-hinting, tweaking blue values, looking at pixels, etc... and wasn't able to find a solution. Nothing seems to make any difference.
The greyscale pixels below the /o are OK, but not the ones below the /n, /i, /l, etc...
I'm hoping I've posted this in the right section. (If not please move my topic! I would greatly appreciate!) I was talking a designer and that has never used the feature to lock the paragraph(in InDesign) to the baseline grid. I got to thinking because looking at the baseline grid right after you click the lock feature it ruins the leading set up. I know that you need to change the baseline grid first to adjust to the leading of the body copy text, but then I had this project where I made so many lines for the baseline grid in order to accommodate the text to fit the layout and not have the leading have wide gaps which would have given a lot of space between each line.
Hi, I have a font that I'm using over and over again for a long running job I'm doing. It's a stylised, letterpress type font, and the baseline is uneven throughout. I'm having to adjust the baseline on each letter every time which is eating my time.
I'm looking for somebody who can quickly edit the font so each letter sits on the same baseline (0), export it and send it back to me ready to use.
I'm willing to pay if the price is very reasonable!
Hello, everyone! I'm on my first book layout project and I'm having trouble setting the baseline rhythm. The manuscript has a lot of blockquotes and footnotes.
Body type is set in 11 pt Minion Pro.
Blockquotes, footnotes and endnotes are also in Minion Pro, though at 9.5 pt. (I've made all three equal in size...is this sort of visual hierarchy advisable?)
These are what I hope to achieve:
Can anyone shed some light on the tendency to set the dollar sign smaller and above the baseline? It's a widespread enough practice that I wonder how it all got started. I think it can look fairly decent on signage/ads if the proportions are handled well but I could see how this might be a typographic sin to others. Would you do the same in certain situations?
Hello font lovers :)
I've got an annoying problem (but then again, aren't all problems annoying?). Well here goes:
I've pursued an old idea of splitting a font in half — one font (half) containing the first set of fragments of each glyph, the second font (half) containing the rest of the fragments. I'm calling the font Unify 1 and Unify 2.
The idea is then to write something with a readable font, then duplicate the text you've just written and add Unify 1 to the first copy and Unify 2 to the second copy. To be able to read the whole thing, you need to put the two copies on top of each other and voila! It's complete.
That was the concept. Now to the problem, which I've explained in this short video:
I am writing a css framework and could use a minute of the typophile members time
It was with much pleasure that I discovered this website and the wonderful enthusiastic discussions that typographers have here!
As a designer in her first year of professional work, I've encountered a question that has gone unanswered for some time.
Having read books by great designers (Vignelli, Bringhurst etc.) as well as this forum I became enthusiastic about the use of baseline grids in my work. This technique had not been taught at university and once I began to practice using the baseline grid in my personal work I found that I could hardly do without it.