{"id":3648,"date":"2009-09-20T00:23:35","date_gmt":"2009-09-20T07:23:35","guid":{"rendered":"http:\/\/mehallo.com\/blog\/?p=3648"},"modified":"2009-09-20T00:48:06","modified_gmt":"2009-09-20T07:48:06","slug":"making-a-type-sample","status":"publish","type":"post","link":"http:\/\/mehallo.com\/blog\/archives\/3648","title":{"rendered":"Making a type sample"},"content":{"rendered":"

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\nThe Making of a Type Sample<\/a> from FontShop<\/a> on Vimeo<\/a><\/em><\/p>\n

Once a font is completed, showing the letters and glyphs in their best light is a tricky exercise. FontShop does it right and in this video shows some of the decisions made<\/a> when creating a good type sample – in this case, the sample for Matthew Carter’s beautiful Miller typefaces, which I used for The Sacramento Union Magazine.<\/a><\/em><\/p>\n

In the 1800s, type foundries used to set their samples in Latin \u2013\u00a0following the belief that our alphabet looks best in its original language. Marcus Tullius Cicero’s first speech against Lucius Sergius Catilina<\/a> (below) was popular for samples. <\/p>\n

Today, graphic designers use Lorem Ipsum<\/a> for placeholder text.<\/p>\n


\nRobert Thorne’s Fat-Face type sample, 1821<\/em><\/p>\n\r\n\t

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