What’s a font? A typeface? And is there a difference?

I’ve lost count the number of times I’ve heard the question: “what font is that?” The stickler in me would love to respond: “Shouldn’t you technically be asking ‘what typeface is that?’”

Nowadays, the two terms are used interchangeably. However, in the past, these were two very distinct terms.

Origins of type

To really understand the difference between the two, you need to know a little bit of history behind creating type.

Way back before the advent of computers, typefaces were created using little pieces of metal. These pieces had to then be individually placed on a tray to create your layout and printed on a printing press. So, when you were referring to “fonts” you were talking about that piece of metal with one style and one size of font. So fonts were of a particular face, size and style. Back then, if you were talking about Arial 14 point or Arial 24 point, you were in fact talking about 2 completely different fonts.

Through the years, there have been hand-set fonts, machine-set fonts, phototype fonts, and now digital fonts (includes Postscript, True Type, and OpenType. They are either bitmap fonts or vector fonts.)

One thing has not changed throughout type history: creating type has always been a two-part process. A type foundry creates the fonts and we as designers use the typefaces in our documents.

Within a particular typeface there are various fonts from which to choose: different styles (bold, italic, etc…) and sizes (14, 24, 36, etc.).

And then everything changed…

With the advent of computers, “fonts” and “typefaces” became synonymous. So interchangeable the two terms have become that most computer programs have a “font” menu. They also have “font styles” where you can click and bold or italicize your letters.

However, when you are dealing with printers or service bureaus, you quickly see the difference between the two. To them, the terms cannot be interchangeable.

We frequently think that by clicking bold or italics, then our file will print correctly. Printers prefer when you send the actual bold font of your typeface (ex: Helvetica Bold) NOT when you simply bold a typeface. In this case, you have to send the printer font to them to ensure the file prints correctly.

Etymology:

• “Font” derives from a French word meaning “casting” or “molding”.
• “Type” comes from the Greek “typos” which translates loosely as “letterform”.

How do they come up with those typeface names?

1. By designer: Baskerville, Bodoni, Frutiger
2. By type foundry: ITC, Linotype
3. By geography: by country (Caledonia, Helvetica) or by city (Chicago, Paris, New York)
4. By era: Century, Modern N.20
5. Historical figure: Leonardo, Renoir
6. How it’s used / function: oldstyle, handwriting, titling, etc…
7. By type: by incorporating sans, serif, script in the name
8. By look or mood: grunge, jazz
9. It’s a compound of 2 ways: Zapf Renaissance (designer / era)
10. Sometimes, it’s just a name: Futura, Times New Roman

To recap:

A font is supposed to be a physical thing. It is what is needed to display the typefaces. Whether it is the computer code, photographic film, or metal plates.

A Typeface is the shape of each character in a group of characters. It’s the letters, numbers, symbols, punctuation, etc…

A family is a group of typefaces designed to work together. It’s basically all the possible variations of a single typeface. Each is a separate file.

Technorati Tags: Design Theory, Typography

Getting new business from old clients

Monday’s Promotion Idea for Graphic Design Success

Weird story that turned into a really wonderful marketing lesson.

I happened to come across an old client’s blog posting. OK, I admit, I was checking up on what she’d been up to and I found a really interesting post. So, I commented on her post — not expecting anything in return. Just a courteous, short note that I enjoyed reading her post and keep up the great work.

Well, she called me to thank me and to say that I had impeccable timing. She just so happened to have a design job to do and would love to work with me again as we’d had fun the last time.

So what can I (and you) learn from this little lesson:

1. The job is finished, not the relationship. Once a job is finished, it doesn’t mean that the relationship with your client should end. You should always keep in contact with old clients because then, if they ever need a design job done, you’ll be the one they call.
2. It’s easier promoting your services to clients who’ve already worked with you. It’s harder to get new business with new clients. It’s much easier to sell your services to previous clients who’ve enjoyed working with you in the past.
3. Old clients will refer you to new clients. Word of mouth is key and if you don’t maintain a relationship with them, they won’t recommend your services (makes sense, doesn’t it?)

Developing a system for staying in touch:

Don’t wait until business is down to then go out and solicit new business. Take the proactive approach by following these steps:

1. Make a list of your clients: List all the clients and their contact information that you’ve worked with
2. Rate your clients: No use in keeping the terrible or “problem” clients who gave you nothing but trouble. Separate the list into dream clients and problem ones.
3. Decide how you will stay in touch with them: Will you do it informally? For instance, send them an e-mail or call them once in a while? Or do you prefer something more formal and regular? For example, subscribe them in a continuity program like a newsletter or weekly tip?
4. Plan it out: If you’ve chosen the occasional e-mail or phone call, then you need to decide what you will say when you call them. If you are planning on publishing your own newsletter or weekly tip, then you must plan out the tips well in advance and make sure you are consistent in sending them. Always be professional.

T A K E A W A Y S :

It’s unnecessary to try and always get new clients. They say it’s double the work to get a new client than it is to market yourself to an old one.

With an old client, you’ve got the advantage because they liked working with you and were satisfied with your work.

Keeping folders under control

Thursday’s Management Idea for Graphic Designers

Files are one of those things that can quickly get out of control.

It seems like yesterday that TB drives, heck even GB, didn’t exist. Now, our drives are getting bigger and bigger and …

Files have a way of replicating and spreading like wildfire.

Here’s how I try and keep it simple.

Essential folders I have on my computer:

1. Current: I’ll store all my clients projects that I’m currently working on
2. Clients: Stores all my past clients, by name (last name first)
3. Promo: Stores all my business documents and backup
4. Future: Projects / ideas I plan on completing or implementing sometime in the future

For your promo folder:

I’ll have folders for all my various marketing elements. Here are a few to get you started:

1. Blogs: Within these I’ll have all my blogs templates (in their own folders), source documents, and backups
2. Newsletters: All issues have their own folders (see below on what folders to include in each)
3. Podcasts: All original recordings are found here
4. Postcards: Different variations are in their own folders (see below on what folders to include in each)
5. Portfolio: My best showcase pieces are in here
6. Stationery: Business cards, envelopes, and letterheads
7. Websites: Backups of all my sites, source documents, and images

For client or design folders:

Within each client folder, create a folder for each job to be done for the client, and name it something descriptive. Then create at a minimum these folders:

1. Fonts: Fonts used in the document
2. Images / Visuals: Any images, illustrations, and logos that are used in the project
3. Original documents: All files sent by the client
4. Source documents: Original Photoshop or Illustrator files for all graphics used

T A K E A W A Y S :

By taking the time and setting up your folders correctly, you’ll save time in the long run.

You won’t have to go looking for documents, images, and fonts because everything is stored together. And everything is kept under control

Are free graphic design softwares a good solution?

Wednesday’s Production Idea for Graphic Designers

I was once a member of a subscription site aimed at designers. Specifically, freelance graphic designers.

One of the recommendations of the site owner was to use free, usually open-source, software. For example, using Gimp instead of Photoshop, or Scribus instead of InDesign.

Don’t get me wrong, it’s a great alternative in theory, if you don’t have much money to spend on software (and yes, it can get very expensive), and especially if you are just starting out. But, it’s just not a good idea.

Why using free open-source software may end up costing you in the end:

1. Printers won’t accept your files
2. It makes you look extremely unprofessional
3. Clients may want the actual files for the job to keep (and perhaps reuse down the road)
4. Incompatible file formats
5. No support for the software
6. You don’t know if they will be available for a long time (say a year or 2 from now)

T A K E A W A Y S :

Why take a chance with software that is not readily recognized as an industry standard?

It’s okay if you are designing strictly for yourself. Or, if you are not planning on providing native files ever to your clients. Or, if you will never have anything professionally printed. Or if you will only give out PDFs.

But honestly, if you plan on being a professional then you need to act like one. Bite the bullet and get the professionals’ tools!

The making of a good graphic designer: getting beyond the software

Tuesday’s Design Idea for Graphic Designers

This is probably going to sound a bit like rant, but it is an important concept.

How much do you really need to know about Photoshop or Illustrator or InDesign to be able to be a good designer.

Is a designer simply about the tools we are using or are we valuable for the ideas that we are producing?

If you are an expert in Photoshop, does that really make you a good graphic designer?

What makes a good graphic designer:

1. One size doesn’t fit all: Their designs don’t all look the same. They are tailored for each job.
2. Graphic design rules: Good graphic design foundation and uses timeless principles in the design
3. Typography: Solid typography foundation (rules and typeface use)
4. Color know-how: both using global colors and how to use colors
5. Software: Knows enough of the software to accomplish what’s in their mind. Doesn’t overuse filters and effects simply because it is there.

What makes a good graphic designer who makes money:

1. Comes up with solutions that are appropriate for the client and their audience (not simply what they like)
2. Listens to the customers needs, wants, and expectations for the design
3. Checks out what has been done in the past and if there is a branding in place and tries to incorporate those elements in the present job.
4. Accepts criticism of their work, doesn’t take it personally or as a rejection, and works to change the design to please the customer
5. Chooses the best fonts for the job from an arsenal of fonts
6. Chooses the appropriate colors for the job based on the target audience.
7. Good communicator
8. Gets the job done when they say they’ll have the job done.

T A K E A W A Y S :

Being a good designer doesn’t necessarily guarantee you’ll make money.

In fact, if you are too “devoted” to your craft, miss deadlines or are arrogant about accepting criticisms, then chances are you won’t get repeat business.

Next Page »