U&lc Issue: 40.1.2

The nature of the type world keeps changing. And any online publication is, by definition, about change. U&lc Online began life as an online companion to U&lc, ITC’s award-winning magazine; from here on in, it will begin a new life, in a new format, as ITC’s online voice. Expect the unexpected. U&lc Online is ITC’s international journal of graphic design and digital media. U&lc Online needs no subscription; it’s part of the ITC web site, itcfonts.com. To read U&lc Online, just bookmark this page and check it out every month.

OpenType Numerals in InDesign and Quark Today’s OpenType fonts come equipped with a virtual buffet of numeral styles, but all those choices can be a bit much for your design application to swallow. Here’s a practical guide to help you find your way through the maze of oldstyle, lining, proportional, and tabular, in both InDesign and Quark.

Glyph Palettes Sometimes a simple idea can make a big difference in your work. One recent improvement to major design applications is the addition of glyph palettes. This handy feature will help you find and use the exact character you’re looking for – even if your font has thousands to choose from!

Tab Leaders Does designing a table of contents drive you dotty? Next time, remember to say “take me to your tab leader.” Learning how to use your application’s automated tab leader function is a great way to save time and keep your layouts looking professional, down to the last detail.

Distressed Typefaces Graphic designers love the convenience of today’s computer-created type designs, but too much perfection can get boring. When your eye gets tired of all those flawless, digitally-precise letters, it’s time to explore distressed typefaces. They’re weather-beaten, inconsistent, and utterly, irresistibly human.

Positioning Punctuation Are your characters depressed? When punctuation marks are positioned next to ALL CAPS, it can leave them looking a little low. Even making small adjustments in a character’s position will create greater visual balance and give your layout a “lift,” especially in display sizes.

How to Build a Type Library When it’s time to add typefaces to your library, are you paralyzed by indecision? Or do you succumb to random, impulsive shopping sprees? This month, learn how to selectively build the type library that best suits your needs and budget.

Super Families Faster than a speeding bullet, more versatile than an ordinary typeface – it’s the typographic super family! These comprehensive and innovative groupings of related designs offer a great way to combine typefaces without risking an over-designed look.

What makes a good display typeface? In Part 2 of a two-part series, Ilene Strizver takes on the question: what makes a typeface a good choice for display settings? Once you’ve made your choice, a few simple adjustments will get your display copy the attention it deserves.

Type Trading Card: ITC Clearface/ITC Resavska Sans Readability is the common theme between Olivera Stojadinovic’s ITC Resavska Sans and Victor Caruso’s ITC Clearface. The pair share center stage as part of the latest type trading card.

What Makes a Good Text Typeface No amount of design effort and imagination will save you if you’re working with shoddily designed typefaces as your “raw material.” But with tens of thousands of faces to choose from, how can you tell what’s good? In Part I of II, we’ll discuss how to develop an eye for quality in a text face.