The Extensis Community Blog
Why You Need a Media-Comprehensive Brand Style Guide
Today we introduce a new topic and new guest author to the Extensis blog. We’ve invited Pariah Burke (http://iampariah.com Twitter: @iampariah) to speak about the creation of Branding Style Guides. Pariah is a consultant, trainer, speaker, and the author of numerous books, video courses, and articles covering InDesign, InCopy, Photoshop, Illustrator, Acrobat, typography, asset management, epublishing, and the business of design. He is an Adobe Community Professional, an Evernote Certified Consultant, and an advisor to Adobe and other companies. We’re happy to have him join us, and now on to the good stuff!
Who Should Read This
Creating a Brand Style Guide is a 6-part series of articles that speaks directly to business owners, brand managers, and graphic designers, in-house or external, who create and work with brands, whether their own or clients’. This series is about understanding the importance of various brand communication elements, solidifying the desired uses of those elements and all interactions the brand will have with any entity, and learning strategies to set down clear, concise rules to ensure control and consistency of brand element usage and every visual representation of the brand across all media. For entrepreneurs, freelancers, and brand managers, the utility of such a series is in understanding what makes up the brands they own and manage, and in establishing their control over brand usage for consistent communications and interactions with the brand that are always on-message. Designers, advertising personnel, and intellectual property workers often create brand elements, and define rules for the usage of those elements, on behalf of their clients. For these individuals, the Creating a Brand Style Guide series provides help in building fuller, richer brand style guides, establishing brand asset distribution systems, and strategies—and a template—to fix brand usage rules and guidelines in a clear, easily distributable form.
What Does Brand Actually Mean?
Before we talk about anything else, let’s define the word “brand.”
There are many conflicting laymen’s definitions you’ll find for the word “brand,” many seeking to limit the idea of branding to specific representative elements. Some people define brand as rancher’s do, as the logo seared onto their business card, website, Twitter avatar, and the remainder of their herd of assets. But that’s not your brand; that’s your logo. Even if you are a livestock rancher, the business definition of your brand is far more than merely your logo, whether that logo is on the end of an iron pole or printed on the side of pens you give away at conventions. Your brand is also the iron pole itself, and the arm and cowboy wielding it; it’s the manner, place, and time in which your livestock is seen—on your ranch, where you control the interactions with your brand, and out in the wild, when a rider comes upon a steer bearing your logo when you aren’t around to put that logo or even the cow into context. Your brand is everything about your company, everything visual and visceral. It’s the look and feel of your company to other people.
Let that last sentence sink in. Your brand is “the look and feel of your company to other people.”
How much can you control other people’s perceptions? Successful marketing people will answer, “quite a bit.” They’re right; you can control other people’s perceptions a great deal—never totally, but significantly—if you carefully regulate your persona and consistently present that same persona in every interaction you have with others. Individual people often do create and reveal only specific sides of themselves. Frequent presenters, for example, employ on-stage personas, personalities that are cultivated, slightly better-than-real-life versions of themselves they use during every presentation. Actors, sales people, effective managers, and other successful professionals of any vocation similarly adopt a consistent business persona, leaving out of the office, sales floor, or stage those aspects of their personalities not relevant to the job while focusing on the strengths they bring to the job. They present this polished persona every time they interact with the public, prospects, and partners. Personas adopted by individuals are part of their brands. Steady repetition of those personas during the first and all subsequent interactions is what establishes personal brand identities.
A company’s brand identity is formed by the same simple principal: consistent repetition.
Enable Consistent Repetition of Your Brand
Each time your logo is seen, it must look the same—and logo usage consistency is much more than simply choosing the same colors every time. Every document produced by your company must carry a common design and structure, no matter whether it was authored by Human Resources or by a freelance copywriter. Different mediums present color, imagery, and text dissimilarities, so extra care must be taken to enact media-specific compensations for native variances to create designs and publications that match as closely as possible across presentation forms. Every fragment of your company’s visual identity, its every use in every logical medium, must be defined first, then controlled to accomplish consistent presentation that establishes and then enforces the message—the brand—you want to convey.
The best way to create, communicate, and enforce brand consistency is with a brand style guide. Sometimes called a brand bible, a brand book, or simply a style guide, a brand style guide clearly presents the brand identity in acceptable uses with unambiguous instructions that help others replicate those acceptable uses and to present the persona of your company as you, the brand manager, want it conveyed. A brand style guide is a digital repository of all the rules and guidelines, sometimes even the intent, of presenting, of operating as, of being, the brand. The guide, which is distributed to all personnel who touch the brand, both in-house and external, ensures that everyone is following the same rules and presenting the brand the same way every time. With a well-crafted brand style guide, it won’t matter whether H.R. or Marketing authors a document or if a freelance copywriter or hired design agency produces it; every document composed by anyone will look the same and present the same look, tone, and feel of the brand.
With every presentation of the brand, and thus every interaction of the brand with outside entities, governed by your brand style guide, you can control how the world perceives your brand.
Build Your Brand Style Guide
Your brand is your communication—every communication, in every form, whether it’s an active or passive interaction. Your brand is how your company speaks for itself when a customer, vendor, or the press gives your company a chance to speak for itself as well as what your company says passively while being viewed from a distance. A brand style guide gives your team the direction it needs to control those interactions, to ensure that every interaction between your brand and someone else, communicates what you want to communicate with as little room for inference as possible.
Over the next five installments of Creating a Brand Style Guide we’ll focus on defining, illustrating, and imparting your visual brand identity. Once you know what your brand is and how to tell others to represent it correctly, you’ll learn strategies for disseminating that information, creating a comprehensive guide that communicates your brand style rules to anyone who works with it. We’ll explore the unique challenges your brand visuals face in the most common modern channels of print, Web, social media, ebook EPUB, fixed-layout ebooks, PDF and other digital publications, and video and broadcast. For each of those challenges will be a solution strategy for assuring brand consistency regardless of the medium.
In this first installment we defined what brand means and how important it is to define a framework for the consistent, controlled representation of that brand in all media. As we move through the rest of the series, we’ll look in turn at the different elements comprised by your brand, how to interpret them, and how to define the rules and guidelines for each element’s correct, consistent and even legal use. The final installment of the series culminates in combining all of the elements and rules you’ve crafted into a cohesive brand style guide document, either one you design yourself or by using the slick, professional brand style guide template I’ll provide in Part 6: “Building a Brand Style Guide for All Media.”
In the Next Installment
In the next installment, Part 2: “Defining and Communicating Your Logo Uses,” you’ll learn to think of your logo in terms of an asset that must be protected through strict usage and placement rules. You’ll create different versions, color spaces, and formats to account for its use in any situation and medium, including print, on the Web, in ePUB and fixed-layout ePUB, video, and other media. You’ll learn how to manage and organize your different logo editions for easy access by any teammate, partner, or client, as well as how to communicate logo usage guidelines and proper treatment for each rendition of the logo right within the logo file itself. You’ll learn to document through text and visuals rules required sizes, placements, and spacing around the logo, alignment of the logo relevant to specific surrounding elements, and other common brand style guide requirements for consistent logo application. In addition, you’ll even find a guide to creating CSS code to properly set the logo position, alignment, and spacing within EPUB and Web HTML.
October 26th, 2016 by Michael Crites
Join Extensis font expert Jim Kidwell today at 11am Pacific, 2pm Eastern as he walks through the nuts and bolts of effective font management with Suitcase Fusion.
Register to learn about:
– the basics of single user font management with Suitcase Fusion
– how to get started with Suitcase Fusion
– how to use font management to improve speed and creativity
At the end of the presentation, Jim will be available for a live Q&A. Feel free to register even if you can’t make it to the live event – we’ll email a recording of the webcast to everyone who registers.
Hope you can join us!
Kyle Bean is a London-based artist who creates handcrafted designs, tactile illustrations, and playful, concept-driven imagery and animations for a variety of editorial and commercial projects. His work is usually characterized by a whimsical and meticulous reappropriation of everyday materials and handcrafted techniques. We’re so delighted that Kyle joined us for a special edition of 4 Questions 4 to talk about his typographic work, his design work generally, and more.
1. How did you originally get interested in art and design?
As far as I remember, I have always been interested in creative things. I suppose it stems back to my childhood, when I would spend hours of the day either building something out of Legos—or, indeed, out of cardboard boxes and toilet rolls! I did a lot of drawing as a child, too, and because I often struggled with more academic subjects, this became something my teachers and peers encouraged me to develop outside of school. By the time I finished school I was very determined to pursue some kind of creative career. I just didn’t know what it would be at that point.
2. Which of your projects are you most proud of thus far in your career, and why?
There are a few I could pick out as highlights in my career.
The first was probably in 2011, when I designed and produced a set of window displays for Selfridges on the theme of ’Transformation.’ It was an amazing experience, but also kind of terrifying. I was only a couple of years out of university at this point, and so I was quite inexperienced at navigating such a large-scale project. Luckily the project cametogether fairly smoothly, and was a success. I had a lot of brilliant feedback, and having the windows on display for a whole summer got me a lot of exposure, which led to more exciting projects.
A small personal project of mine which I am very proud of is my chicken and egg sculpture ‘What Came First?’ It was an idea I had for a long time but it wasn’t until I actually started to experiment with eggshells that things came together. I like visual play on words and this piece started a new direction in my work where I started experimenting and integrating materials in a more conceptual way into my work. It led to some very interesting editorial projects and has defined a lot of my work over the last few years.
Finally, recently I worked on a series called ‘In Anxious Anticipation.’ This was a still life series for Kinfolk Magazine that I worked on in collaboration with photographer and friend Aaron Tilley. The series showcases a series of objects and set pieces where there is an underlying tension that something is about to happen. In one image we see a rock about to swing over a set of matches like they are about to be set alight. Our aim was to create a set of images that really create a reaction in the viewer. I’m very proud of the project as it set a slightly more abstract and conceptual direction for my work that seems to have resonated with the design community.
3. Does working with letterforms present any specific challenges or opportunities?
Some of the projects I have worked on have involved making some physical typography. I enjoy working with letterforms and particularly like doing something unexpected with them by making them out of everyday objects or constructing little model worlds with them. Of course, using objects and materials presents its own set of unique challenges. Keeping everything legible and yet with enough character is always a balancing act for me. Times when I have worked with typography have tended to lead on to some interesting projects though. A cover artwork I worked on for the Guardian for example led to some very interesting typographic work for Google. I think for me its important to experiment and with typography every now and then as its often a great way to communicate ideas—but still, for me, in a tactile way.
4. Describe your dream project.
I think my dream project would be something where I can produce work across a series of platforms.I am very lucky in that over the last 6 years I have worked in quite a few creative disciplines, from editorial illustration to window installations and stop-frame animations. My ideal project would be one where I can develop an idea to work across all of these platforms. That diversity appeals to me.
October 20th, 2016 by Extensis
How many emojis do you use on a daily basis? If you’re like us, you generally rely on a small number that you feel best convey your particular attitude, style, or tone. They can be used for punctuation, or for anything that the written word doesn’t quite convey.
By now the new iPhone emoji, which come with iOS 10, are old news. Many publications have reported on the changes to emoji that came with the new iPhone operating system, from more gender equality among the professions to more options for different skin tones, and the controversial replacement of a handgun with a squirt gun (reportedly due to lobbying by the group New Yorkers Against Gun Violence). And the response has not been 100% positive.
Emoji, of course, were originally derived from emoticons. And emoticons were originally designed specifically not to be ambiguous. Rather, they were meant to clarify the tone of written language. If you know something about the history of the Internet, you may know that the computer scientist Scott Fahlman was the first documented person to use typographic symbols to express specific emotions. His original proposal was posted on the computer science general board at Carnegie Mellon back in 1982:
From: Scott E Fahlman <Fahlman at Cmu-20c>
I propose that the following character sequence for joke markers: : – )
Read it sideways.
Actually, it is probably more economical to mark things that are NOT jokes, given current trends. For this, use : – (
Within a few months, those smile and frown emoticons had spread to the ARPANET and Usenet. Variations quickly followed. It was useful for people who were communicating primarily through text, rather than speech, to have a way to convey tone, in addition to simple information.
The first real emoji were created by Shigetaka Kurita, a developer on the team that created the mobile internet platform NTT Docomo. Kurita and his team’s 176 pixelated symbols include faces that not only expressed happiness and anger or frustration, but also worry, surprise, goofiness (winking with a tongue out), a music note, an umbrella, a penguin, phases of the moon, astrological symbols, and more.
By bringing in symbols that do more than convey the tone of a written statement, Kurita created a new role for images to play in written communication. As linguist and cognitive scientist Neil Cohn says, Kurita’s emoji filled “a very effective role for communication that’s natural,” but separate, from the role of language itself. “Because of that, they aren’t really going to be a (passing) fad.”
This may help to explain why the general reaction to iOS’s new predictive emoji is less than enthusiastic. The vast majority of people who text don’t actually use emoji to replace specific nouns and verbs, as the new iOS would have us do. Said another way, we’re not replacing words so much as adding an extra layer to our communications.
Zoe Mendelson of Slate is of the opinion that the new, bigger, shinier, simpler, predictive emojis of iOS 10 have ruined emojis altogether. The way the images have been simplified, she points out, makes them less flexible. Take the grin-grimace emoji, for example, which used to convey a “slightly-guilty-slightly-pleased-slightly-embarrassed-but-still-excited expression.” In the new operating system, it has become a much simpler smile. For Mendelson, the ambiguity of the original “made it a favorite, I suspect, because we often experience this dynamic maelstrom of feelings in real life.”
She also argues that the new predictive functionality ruins all the original fun of finding a funny image that added new meaning to one’s written communication, rather than just illustrating it. “More cultural fetish than a tool,” she writes, the emojis of iOS 9 were great because they were so random and decontextualized. “They were extremely unlikely everyday vocal candidates. Floppy disk. Fishcake. Space invader. Old-school mailboxes. Barely recognizable houseplant cactus. It was deliciously random.” For an English-speaker, because “emoji effectively did not have fixed meanings,” they invited testers to play with ambiguity, and with the element of interpretative surprise.
Like them or hate them, it seems that the new emoji are here to stay. But it seems to us that most people don’t have quite the passionate response that Mendelson and others have. According to a Twitter poll we posted this month, the response of the vast majority of folks to the new predictive emojis is… ¯\_(ツ)_/¯.
Top Three Ways to Build Your Team’s Font Collection
Earlier this year, I wrote an article titled “Top Places to Build Out Your Font Collection.” The article is relevant for graphic designers, as well as IT professionals, creative directors, and others in various organizations who want secure ways to build a font collection. Some fonts are marketed as “free fonts” or “open source fonts.” Do you know if these fonts are OK to use within your organization? Is purchasing fonts from a type foundry the only secure path to take? Find out in this way-back, blog reprise. Enjoy!
Typography experts estimate that there are more than 300,000 fonts in existence, and more emerging from designer’s workshops every day.
We explored MyFonts to get one example and a bit of a perspective on this number. The results blew us away. On that one site alone, you can find:
31,000 font families
4,000 individual type designers
2,000 professional font foundries*
*Numbers procured from this page.
…that’s quite a bit more than a drop down menu can hold. How many fonts are in your organization’s font collection? Is your team getting the most out of your library?
As the number of free fonts and type options ever-inflates, so does the time invested in curating your team’s collection. “Every good designer doesn’t use more than a few typefaces.” Have you heard this conviction from celebrated designer Massimo Vignelli? So, we suggest that before you skim through our list of hunting grounds for new, fun fonts, get a hold of your unruly tangle of fonts by exploring the Top Three Ways to Manage Your Team’s Font Collection including managing free fonts.
1. Free Fonts: Behance, Creative Market, Dribble & Google Fonts (Free Fonts? Wha?)
Some organizations might be apprehensive to use free fronts. However, these are some great places to see what creative people are experimenting with. You probably won’t find full-fledged font families, but you will find some fun display type. These free font sites could give your organization some new, fun, creative ideas and your designer a creative boost.
There is an extensive list of curated free font collections on Behance, each with juicy creations, new and old. With discoverable gems from an array of designers of all levels and geography, it’s an excellent place to find new ideas in type. Creative Market features over 7,000 fonts from independent creators and handpicks fonts for you based on your tastes. That’s a win-win. Also, if free is more of your price point, check out this Curated Collection of the 30 Best Google Fonts.
2. Type Libraries
One way to build your collection quickly is to license an entire library. There are many to choose from: Adobe, Ascender, Linotype.com, Bitstream, Monotype ITC, and many more offer up the option to license full libraries.
While it might not be a readily known fact, Monotype has steadily been purchasing many of the historical font libraries from around the globe. Monotype now owns Fonts.com, FontShop.com, Linotype.com, Monotype.com, MyFonts.com and more.
3. Independent Foundries
Independent type foundries, often operated by the type designers themselves, offer some real typographic gems. Typewolf brushed together a list of his 24 favorite independent type foundries after the Monotype-FontShop merger. It’s still highly relevant.
Some of the highlights include:
• The Midwesterner Mark Simonson that gifted the type world with Proxima Nova
• exljbris Font Foundry that bequeathed upon us the highly appealing, highly practical Museo Slab.
• Grilli Type, the Swiss foundry whose GT Walsheim booms at us with impressive authority
• Dalton Maag, the foundry from the early 90s whose international savviness easily translates to sleek versatility
• Renound type designer Tobias Frere-Jones is also now selling fonts directly as well.
Skim though the image below for more shoutouts to greats like Lineto, Type Together, Type Trust, Hoefler & Co. and more.
Admit it: after simply scrolling through this list, you’re ready to download a wave of new fonts to onto your computer. Before doing so, read our free Font Management Best Practices Guide. You’ll learn effective ways to manage your organization’s font collection, avoid font copyright lawsuits, and enable your team’s creativity.
Where are your favorite places to build and maintain your font collection? Tell us on Twitter @extensis.
Dan Rhatigan works with Adobe Typekit in New York as the Senior Manager of Adobe Type. He has over 25 years of eclectic experience in various industries as a typesetter, graphic designer, typeface designer, and teacher, including several years in London and New York serving as Type Director for Monotype. He has a BFA in graphic design from Boston University, and MA in typeface design from the University of Reading in the UK, and a very tattered passport. We’re so glad that Dan joined us for this edition of out mini-interview series, 4 Questions 4.
1. How did you originally get interested in typography and design?
Although I thought I wanted to draw comic books when I was growing up, my time helping with my high school newspaper really exposed a much greater love for design and playing with type. I went on to study graphic design, but the typography aspect of that was always the most engaging to me. It took quite a while to realize that it might be time to really focus that interest in typography and start designing typefaces themselves.
2. What typography trends are you loving most these days?
I am really, really interested in the prospect of generating type dynamically so it can better adapt to different environments or layouts. Interpolating font outlines is such a core part of designing typefaces, and I think once people who use type adapt to the idea that font outlines don’t need to be fixed items, they become as inventive with that idea as typeface designers have been.
3. Which of your projects are you most proud of thus far in your career, and why?
I’m torn about this question, as my career has been pretty varied. As a type designer, I’m most proud of Sodachrome, an experimental multi-color design I worked on with my friend Ian Moore. As a graphic designer and typographer, my best efforts have gone into Pink Mince, a zine I publish that actually lets my play around with type and illustration instead of just designing something for other people to use.
4. Describe your dream project.
Honestly, my dream project would just be to finish Gina, the first typeface I ever designed, and my thesis project from my MA the University of Reading. It’s been so hard to find time to devote to it over the years, and my thinking about type is so much more sophisticated than when I first drew it.
What do Jennifer Aniston, Thomas Edison, Cher, Andy Warhol, Steve Jobs, Steven Spielberg, Pablo Picasso, and Ozzy Osbourne have in common?
They were all diagnosed with dyslexia.
(Albert Einstein, Alexander Graham Bell, Galileo Galilei, and Leonardo da Vinci were also believed to be dyslexic but were never officially diagnosed.)
Dyslexia is a disorder that affects the ability to read, write, and interpret letters and symbols despite normal (or often above normal) intelligence. Researchers estimate that 3-10% of the population is dyslexic while up to 20% may suffer from some degree of symptoms.
The National Institute of Health identified many neurological and cognitive differences that contribute to dyslexia and the vast majority appear to be caused by genetics rather than environmental trauma. Dyslexia was first identified in 1881 but didn’t become widely known until 1980. For years, dyslexics have been dismissed as “stupid” or “lazy.”
A dyslexic’s brain is perfectly healthy but the frustration associated with dyslexia can cause emotional and psychological problems that last a lifetime. A dyslexic preschooler is typically unaffected but then pressure begins to mount in subsequent years as the student fails to meet reading standards and teacher/parent expectations. Dyslexic children frequently have problems with social situations, leading to poor self-image and less peer acceptance. Dyslexia can hinder oral language development, too: Affected kids might stammer, stutter, or have trouble finding the right words.
Dutch designer Christian Boer suffered from dyslexia as a young man and decided to invent a typeface to help others like him. His Dyslexie fonts emphasize key differences in characters so that few of them are similar and/or easily confused with each other.
Here’s some of the design features that make Dyslexie easier for dyslexics to read:
Boer isn’t the only designer who believed that the presentation of text has a significant impact on its accessibility to dyslexics. In the past thirty years, many studies have been done about which fonts/typefaces increased/decreased readability.
A study by Luz Rello and Ricardo Baeza-Yates suggests that Helvetica, Courier, Arial, Verdana test high for reading performance. Sans Serif, monospaced, and Roman fonts were also favorable. Italic fonts were most difficult for dyslexics.
Other fonts believed to have “strong legibility” include Garamond, Myriad, and Computer Modern Unicode.
Herman Bouma and C.P. Legein did a study in 1977 that suggested crowding between characters limits recognition in dyslexic readers. “Difficulty recognizing letters occurs in the parafovea of the retina of the eye when visual objects are too close together in relation to their distance from the center of vision.” Based on Bouma and Legien’s findings, many type designers have tried greater spacing between letters as a way to reduce crowding and make it more readable to dyslexics.
In addition to Dyslexie, there are currently several other options available that were created specifically to aid dyslexics.
Read Regular is “designed with an individual approach for each of the individual characters.” For example, the ‘b’ character doesn’t simply mirror the ‘d’ character—each character is unique. Unnecessary details (like serifs) have been removed to create striking outlines. Ascending and descending lines are long and clean. Space inside of letters like ‘o’ or ‘g’ is open and free of clutter.
Most typefaces are tested for legibility after they’re designed. Rob Hillier refined and modified his Sylexiad (get it?) typeface based on feedback from dyslexic readers during a series of tests. He compared early versions of his font to Arial and Times New Roman. This manner of progressive testing raised questions over whether or not dyslexics read words as shapes, a core principle of type design.
OpenDyslexic is an open source typeface that includes regular, bold, italic and bold-italic styles. It’s updated constantly based on feedback from the dyslexic community and is free for commercial and personal usage. According to their site, OpenDyslexic is “inspired by Andika, Apple Casual, Lexia Readable, Sassoon, and Comic Sans.”
According to the Mayo Clinic, there’s no “cure” for dyslexia—it’s a condition that’s hard-wired into the brain caused by inherited traits—but most children with dyslexia are capable of succeeding in school with tutoring or focused educational assistance. Thanks to awareness, research, and technological advances, plenty of options are now available to help kids previously referred to as “stupid” or “lazy” achieve great things and be the next Albert Einstein. Or Steven Spielberg. Or Ozzy Osbourne.
You might or might not remember typewriters, but their use is responsible for many of the type crimes committed today.
Typewriters had a very limited keyboard, and did not accommodate many of the typographically correct characters we use in professional typesetting. Quotation marks and apostrophes are one example of this: although different from inch and foot marks, they are all represented by the same keys on a typewriter.
But when setting type in the professional arena (as opposed to just “typing”), they are separate and different glyphs.
Quotations marks, also referred to as smart quotes, typographer’s quotes, and sometimes curly quotes (although they don’t have to have the curly design), are design-sensitive, that is, are designed to match the typeface they belong to.
Each typeface has different versions for the left and right (or open and closed) quotes. Apostrophes, which are use to indicate possession and omission, are actually the same, exact glyph used for the single, closed quote, and therefore are also design-sensitive.
Inch and foot marks, also called primes, are different from quotation marks in that they more neutral in appearance (as opposed to matching each typeface), and are either straight or slightly angled, and usually tapered. The glyphs used to set primes are most often the typewriter quotes (also referred to as straight or dumb quotes) available in most fonts, which are vertical strokes.
Note that true primes are slightly angled, but since they are not available in most fonts, the vertical typewriter quotes are the accepted glyphs for measurements in typesetting.
How to Avoid the Wrong Symbol
If the differences between smart and dumb quotes are so obvious, why do we see so many incorrect appearances of these characters in both print and digital media? Part of the fault lies with writers who were taught to type using old-fashioned typewriter conventions, and are not aware of the differences between these characters in proper typesetting.
Either that or they know the differences but don’t know how to access the right character in word processing software. In other cases, copy is lifted from the web, a PDF document, or from an email – all of which can result in quotes and primes being improperly designated.
Even if the copy does contain smart quotes, there are some instances that might still be wrong.
All text should be reviewed for the accurate use of primes in measurements, which might have automatically – and incorrectly – been converted to smart quotes. In addition, be sure to check that abbreviations, contractions and omissions, or all words that should begin with an apostrophe, in fact, do, rather than an open single quote.
But no matter how copy appears, it is up to the designer, production artist, and webmaster/programmer to make it right. Here are some tips to help get it right:
- Begin with typographically correct copy. The default setting of most design software is to automatically use Typographer’s Quotes when typing, but this is not true for all word-processing programs. Therefore, set these preferences to convert to smart quotes. Another way to correct these errors is to use a utility such as Tex-Edit Plus that can clean up a document in seconds.
- Import text properly, using the Place command available in most design software. When using InDesign, select Show Import Options where you can choose the Option to Use Typographer’s Quotes.
- Review imported text and make sure all measurement are set with primes, not smart quotes.
- Check for apostrophes (and not open single quotes) in contractions.
- Always proof the final text carefully.
Smart Punctuation in Digital Media
The same rules and standards for printed matter apply to digital media as well, but the process of applying them might be different. If the copy is formatted correctly, smart quotes might appear automatically when inserted in digital media such as web sites, but in other cases, they will need to be replaced with HTML codes to appear correctly.
When using content management systems (CMS) such as WordPress or Drupal, the ability to set these special characters (as they are often called) is often controlled by preferences in the back end. But even when set to display smart quotes, you might loose the ability to change them back to primes or apostrophes. Additionally, not all email clients (such as Constant Contact) support “smart” punctuation.
Setting type like a pro requires close attention to these – and many other details. No matter what role one plays in the process, it is important that all involved know the proper usage of quotes and primes, and review for their correct appearance.
September 30th, 2016 by Extensis
Richard Starkings and John Roshell founded Comicraft in 1992. Since then, the company has provided lettering for many comic books, and its collection of more than 250 font families has become a mainstay of the comic book lettering industry.
Founder Richard Starkings is the Eisner and Eagle award-winning creator and writer of HIP FLASK (with Ladrönn) and ELEPHANTMEN (with Moritat, Boo Cook, and Axel Medellin), now in development as a major motion picture. He has also written comic strips for DOCTOR WHO MAGAZINE, THE REAL GHOSTBUSTERS, and TRANSFORMERS. He lives in Long Beach.
John Roshell has lettered thousands of comic pages for Marvel, DC, and other top publishers; created hundreds of logos and fonts for the likes of AVENGERS, DAREDEVIL and ANGRY BIRDS; designed book collections and websites; and, with writer Starshine Roshell, co-created two boys who have no interest in comic books whatsoever.
We talked with Rich and John about font design, that elusive concept “the comic book font,” and more.
So if you wouldn’t mind, for those readers who may not be comic book geeks, could you give us a brief history of comic books and the practical and aesthetic evolution of their lettering?
Rich: Brief?! Ha! I think it’s true to say that comic book lettering evolved out of necessity. It was cheaper and easier for comic strips in newspapers to be lettered with a pen than for them to be typeset by someone not directly involved in the creative process.
The bold, UPPER CASE style that slowly became the norm was necessary so that letters could be easily read and didn’t fill in due to the inevitable dot gain of ink on cheap newsprint.
Exclamation marks at the end of sentences became the norm, in order to ensure that readers saw the period at the end of each sentence, which might otherwise disappear due to poor reproduction of the art in print.
John: It’s kind of funny that those limitations still define the look of comic lettering, even though they no longer apply! Digital tools have expanded the options, but the principal goal is still to tell the story as effectively as possible.
Sometimes that means grabbing the reader’s attention, and sometimes it means being invisible. Navigating that push and pull to keep the reader engaged is what the best letterers do, no matter their tools.
In his video for Vox, Phil Edwards raises the question: Is the so-called “comic book font” a font at all? When you’ve got multiple letterers out there with multiple different styles, how would you guys define the phrase “comic book font”?
Rich: For casual comic book readers there’s no real conscious awareness of different styles of comic book lettering.
Recently a comic book commentator who has what I’d consider an expert eye waxed lyrical about my pen lettering on a page of artwork he’d bought; in fact, it was lettered by another well known lettering artist—who I’d consider to have quite a markedly different style.
I think “comic book font” generally refers to an upper case style of lettering that is clearly made with ink using a pen nib or technical drawing pen.
They only occasionally include lower case lettering, and sit in white-filled balloons on pages of comic book art. I’m sure that if you showed comic book-style lettering out of context, some people would be hard-pressed to identify it as a comic book font.
John: It’s funny how the closer you look at anything, the more infinite variations you will discover!
Pen letterers’ styles change with the types of pens used, the way their hands naturally form each letter, and who taught or influenced them. When I create a font from someone’s lettering, I choose from dozens of slightly different As, Rs, and Ss.
Every decision I make in the assembly, cleanup, and fine-tuning affects the final font. I’ve created two families based on Richard’s pen lettering (Hedge Backwards and Richard Starkings) that ended up having a completely different look! So I feel like there’s still an infinite number of “comic book fonts” left to be made.
John: Well, I’m sure it has a lot to do with the fact they lettered the majority of the comics I grew up reading!
When I look at their work now, I see a relaxed confidence in their pen strokes that just says, “I know what I’m doing, I’m getting the job done, and I’m having fun doing it.” And that still inspires me.
Rich: Artie Simek and Sam Rosen are two of my favorite letterers, also. They had such iconic styles; between them, they created the look of Marvel Comics lettering in the sixties.
They were the masters of creating atmosphere with soft rounded or ragged titles and sound effects… and they rarely used rulers, because the deadlines they were working too probably didn’t allow that kind of finesse!
Later, letterers like Tom Orzechowski, Steve Craddock, Bill Nutall and Tom Frame created more precise looks in their lettering that brought comic book pages alive in whole different ways.
But, generally, I think they had a little more time to get their work done.
Tell us about Comicraft. What was the inspiration behind starting your company, and how did it become what it is today?
Rich: I was working primarily as a pen and ink lettering artist over here in the States, and I realized that it was almost impossible for me to get projects that allowed me the kind of time I needed to make a healthy living and feel proud of my work.
I’d worked at Marvel UK in London as an editor and designer, and was comfortable with the idea of working with a team to get stuff done. I’d also been made aware that top Marvel artist John Byrne had developed a comic book font to letter his own work on his book NAMOR. I thought this was the writing on the wall for pen lettering, and was lucky enough to find a couple of friends who helped me create a font using a program called Fontographer.
These friends helped input scripts, so that I could speed up the process of digital lettering. But it wasn’t until I looked for someone more permanent that I came across John, who had just graduated from UCLA with a degree in graphic design. We were working out of the back of my Santa Monica apartment at the time, and John asked me what he should say when he answered the phone.
A friend of mine had a carpentry business he called ProudCraft; I quickly came up with Comicraft, and the name stuck.
What considerations come into play for you when you design a new comic book-style font?
Rich: Originally it was necessity. We had a dialogue font, but no title fonts. Then we needed fonts for particular logos, then we were asked for a specific font for a book called ASTRO CITY.
BATMAN artist Tim Sale wanted one based on his pen-lettering style. Then we made fonts that evoked the lettering of Rosen and Simek… and then John decided we should make twelve fonts a year. Perhaps he can explain that particular rod he made for his own back…!
John: I decided pretty early on, working for Comicraft, that I really wanted to make a living making fonts. And that meant expanding our catalog. So I set a goal of twelve a year, and sold subscriptions in advance, so that I knew I would have to meet it! We’ve achieved that goal every year.
The past two years have also been spent “remastering” another twelve—that is, going back into the catalog and improving and expanding on our early releases.
Requests from customers and clients usually dictate what’s on my front burner, so often I’m filling an immediate need, which is great. When nothing’s pressing, I have folders full of partially completed fonts and letter files and graphics to dig through. Sometimes it’s, “Okay, what’s nearly done that I can wrap up?”
And sometimes I find a file or graphic with only four or five letters that sparks an idea. I’ll get going on it, and the hours just roll by. Those are my favorite kinds of days.
Rich: Enthusiastically! I feel that the names of our fonts should make you think of comic books, whether you use them for fonts or not!
There are also a LOT of fonts out there, so it has become increasingly difficult to come up with unique names. But it’s still a lot of fun to try!
John: We spend a RIDICULOUS amount of time jockeying back and forth on font names, and names for each of the weights. But it’s part of the fun. I feel great when we finally find a name that both totally captures the spirit of the font and sounds like it belongs in our catalog.
How are your fonts used? Put another way, which of your fonts tend to be used in which contexts?
Rich: We see a lot of our fonts on candy and cereal packaging—and toilet paper rolls! I think our customers are looking for bouncy, fun styles. They gravitate to our catalog because we have so many loose-looking character sets that have that pen-drawn feel to them. And, obviously, we are the number one resource for comic book letterers all over the world!
John: I love seeing designers use our fonts in ways I never would have imagined. And I like applying the principles of comic lettering—make it readable and fun!—to creating fonts in other realms, like apps and video games.
The fonts I designed for ANGRY BIRDS have probably been seen by far more people than all the ones I’ve done for comic books. But they came to us because of our comics work, so it all relates.
Of all your designs, do you have a favorite?
John: Whichever one I’m working on at the moment! I love ’em all. Even the ones that don’t sell. ESPECIALLY the ones that don’t sell. Every one of them has an idea behind it that I thought was cool and worth making.
Rich: I’d have to go with ZOINKS because it’s based on the natural way I draw display lettering. I’d add in MONSTER MASH, too, which John created to look very much like sixties comic book title lettering.
What do you think is people’s biggest misconception about you, Comicraft, and/or the work you do?
Rich: I think a lot of people think we letter EVERY comic out there—which is fine, LOL! I also think that people generally think that selling fonts requires little or no work, which is not true at all.
There’s a lot of hard work and thought that goes into it. Anyone who runs an online business knows that there are all kinds of hidden costs involved. Some customers think fonts are expensive, but I always like to remind them that back in the day graphic designers had to buy sheets of dry-transfer lettering from companies like LETRASET at twenty bucks a pop.
When you’d used them up, you had to order more—and more, and more. Pen letterers had to buy ink and nibs and new technical pens and vellum and drawing boards and all that stuff. When you buy a font, it never runs out of letters! Plus, you get a license to keep using it until you die!
John: For a long time, most of my friends thought I drew the comics. But I think people’s daily interactions with computers and screens has created a growing understanding and appreciation for fonts.
Everyone’s aware of them now, even if it’s just “oh, you mean like Comic Sans?” To which I reply with a descending “NOOOOOOoooooo….”
September 27th, 2016 by Chris Meyer
Because software upgrades can be disruptive to a Production environment I’m frequently asked which best practices a company should employ when upgrading Universal Type Server.
Here are ten basic ideas to help guide you through the upgrade process. Please feel free to share your own tips with us or any others I may have forgotten to mention.
- Forward with a Backup – starting your upgrade out with a way to quickly restore your environment in the event of unforeseen problems is always the best way to lower your stress level. Backup first, always.
- Keeping up with the Joneses – Often customers jump into the latest operating systems or other application updates before ensuring their software and plugins are compatible. Compatibility information is generally available on the Extensis website so be sure to look before taking the update plunge.
- Testing, is this thing on? – Whenever possible, we recommend you review upgrades in a “testing” environment before upgrading your Production environment. This helps you identify and deal with unexpected issues without bringing your business to a halt.
Did you know? The Extensis software agreement enables you to use your licenses on a separate testing environment at no additional cost. So setup a test environment to ensure everything works as expected.
- Keeping up with the times – We realize that it’s very challenging to stay on top of the latest versions of all your software. But just like the rest of the technology world, critical changes occur every day so if you don’t stick to a regular upgrade schedule you’ll fall behind.
If you want to be certain Universal Type Server upgrades go smoothly, we recommend you lag no more than one full version behind.
For example, Universal Type Server is currently at version 6.x so if you are running Universal Type Server 4 or older it’s time to get updated. When it comes to databases, upgrading from two (or more) versions back to the current version may not be directly compatible. Upgrading may require extra steps to to ensure you’re current. Staying updated will save you time and energy in the long run.
- One step at a time – Remember it’s much easier to ensure a successful upgrade when you use a stepped approach. Complete one installation at a time then validate its results.
For example, if you need to upgrade systems to Mac OS X, Adobe Creative Cloud and Universal Type Client all at the same time take it slow and implement one change at a time. If you don’t, how will you know where a problem lies when things don’t go as expected? I can assert you will not know and neither will our technical support team.
- Server upgrades first – In the Universal Type Server world, client versions are often optimized for their intended servers. Therefore, it’s best practice to upgrade your Server before the clients. This ensures any new database schema updates get handled before connecting new client versions.
- In-Place upgrades (over a restore) – Universal Type Server offers two upgrade options. We recommend performing an in-place upgrade over a backup restoration (whenever possible).
In-place upgrades ensure your current server data is updated quickly and users have the least disruptive experience. Remember as a safety net, run best practice step #1 before doing an in-place upgrade.
- Stagger client upgrades – It’s often recommended larger organizations upgrade their client versions in smaller chunks. Doing so minimizes the first-time work Universal Type Server is required to perform when syncing newly connected clients. Many of our customers will schedule client updates by office location, floor, department, or publication so their users have advance notice. Also if an unexpected issue occurs, the number of affected users is manageable.
- Contact us, really – Many customers don’t think to reach out to us before they upgrade until something goes haywire. Next time, email or call us first. You’d be surprised how much useful information we can share before you begin.
- Finally, do not contaminate the crime scene – In the rare event you encounter an issue, requiring support assistance, please do not make additional changes until we can gather the information needed. Often times we are unable to resolve the issue quickly because important application files, databases and logs are no longer available.
I hope this article was helpful for you. On behalf of the Universal Type Server Team, thanks for being our customer and good luck with your next upgrade.
Feel free to reach out and let me know which other topics you’d like for us to write about.