![]() ![]() Nowadays, there’s little doubt about these two typeface families as you can easily identify iconic styles such as “Times New Roman” and clearly differentiate them from sans serif families like “Arial.” In the graphic below, you can appreciate the glyphs that distinctively give the serif typefaces their style. It is quite the process that led to what we now know as sans serif typefaces, and such a road was paved for the sake of legibility and style. This is the very first sans serif typeface ever recorded, and its continuity in style or alterations saw a massive process during the 20th century. The evolution of this typeface style came in 1816, with William Caslon’s “ Caslon Egyptian” style, or the two-lines style. In case you wonder if you ever saw this style, remember the large bold letters that newspapers used for headings. This is what we now know as the Didone typeface family.ġ9th century introduced the slab serifs, also known as Egyptian, which changed communication media as large-scale advertisement quickly adopted this style. Their work altered the appearance of standard serif typefaces to make the metal engraving process a high-quality process. The end of the 18th century saw the inception of modern serif typefaces, which came from the hand of designers Firmin Didot and Giambattista Bodoni. By 1757, John Baskerville introduced what we now know as Transitional typefaces, intended as a refinement to increase legibility. These concepts were revised by the 18th century when a pursuit for aesthetics gave birth to newer, slim versions of the serif script. This is where the first pure serif types started to emerge, but readability remained a problem especially when Renaissance’s calligraphy style didn’t offer an alternative. There was a problem, though, and it arose as such typefaces required lengthy space to produce a book, increasing printing costs. In 1465, with the development of the type printing press by Johannes Gutenberg, the Gothic’s overly-ornamented Blackletter style – used mostly for ecclesiastical purposes – was the go-to typeface to use as it mimicked the formal handwriting style. Back in the old days, when writings were made in stone, engravers added extra glyphs at the end of each letter, as a consequence of the chisel mark. Up to this point, you may ask yourself: what is the whole point of the serif? Well, there’s a little bit of story behind it. Putting it into simpler terms, a font is part of a typeface, and typefaces are set to classes depending on their graphical elements. How so? Well, a font is part of a typeface family and can list variations, i.e., light, regular, bold, heavy, etc. The misconception comes as the typeface is the set of rules that form a family in style, and the font is the implementation of those rules in practical elements. Most people are familiar with the term font, but what if we tell you it is wrongly used and you intend to say another word? Let’s start by defining each term.Ī typeface is a compendium of design elements that set the style of any lettering medium. ![]() Recommended Font Pairing tools & other resourcesįont vs.Considerations before presenting or printing a slide regarding typefaces.10 Best PowerPoint Fonts combinations for presentations.6 Elements you should consider when picking a typeface for presentation design.At the end, you will have a better idea of which are the best fonts to use for presentations. In this article, we shall discuss what makes a quality typeface to use in presentation slides, the difference between fonts and typefaces (two terms mistakenly used interchangeably), and several other notions pertinent to graphic design in an easy-to-approach format for non-designers. There are common sins that we should avoid at all costs, but mostly, there are tactics we can learn to feel confident about designing presentation slides for success. What makes or kills a first impression during any presentation is your usage of typefaces in the slide design.
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