THE NON-DESIGNER'S TYPE BOOK
And when you run out of things to do, gather your kids, a couple of picture
and pi fonts, and create a rebus story. Although the stories are generally
pretty silly, I guarantee the process will make you laugh, and that's a valu¬
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J Ш Typeface is Hansel, which includes
ЧИ^ /¿e letters and the pictures.
When you print picture and pi fonts, make sure the button "Use Symbol font
for special characters" is not checked or you will print the wrong symbols!
It's in your Print dialog box somewhere.
Don t ve a Wim
ype has just recently become a household item. The media
tells us that people are reading less and less, yet type is becoming more and
more important. How many typefaces could you name ten years ago? How
many do you now have on your computer? How many billboards, book
covers, t-shirts, and ice cream containers do you now look at and wonder
what the typeface is?
As a result of this increased awareness of typography is increased power
and strength of printed words. Everyone is more conscious of the words—
not just what they say, but how they are presented. Type is art, but art with
a clear purpose. The next chapter talks about evocative typography, and
about choosing typefaces that reinforce your message. But in this short
chapter I simply want to exhort you to take full advantage of this new
typographic consciousness. It is so easy to make your pages alive, exciting,
provocative—but never forget that your purpose is to communicate.
Don't be afraid to go to extremes. Find ways to use type extremely large or
extremely small, at least in proportion to the piece. I recently received a
letter with the name and address of the sender in some really funky type at
least two inches tall. It had an incredible impact—full of chutzpah and
creativity. In phone book advertising, newspaper ads, brochures, flyers, in
many, many places, try using extraordinarily large type. A good contrast
would be to have the body of the piece in a decently small size, say io
point. Don't think that because the heading is so large that the rest of the
type has to be larger than average also—no no! It is specifically that strong
contrast between the large and the small that makes the piece so effective.