from The American Heritage® Dictionary of the English Language, 4th Edition
- n. The surface of a block of type that makes the impression.
- n. The impression made by this surface.
- n. Printing The size or style of the letter or character on a block of type.
- n. Printing The full range of type of the same design.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- n. The particular design of some type. A font, or a font family.
- n. The surface of type which inked, or the impression it makes.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. a specific size and style of type within a type family
(Typographically speaking, the term typeface refers to a stylistic rendition of each letter in an alphabet, whereas the font refers to the a specific rendering of these letters).
You do, of course, realize that your new title’s typeface is the same as the title typeface on that old never-published zine cover drawing of mine that you have at Chez Ennead… :D
That is until I get the final few comments and see it in typeface layout, at which point I'll have hysterics and try to make it better all over again.
Aside from a change in typeface in the logo in 1961 onwards to a condensed version of Times New Roman, the sequence stayed the same until 1964 when the shot of Archie Street from the front was replaced by an opening clip of rows of terraced houses.
If a certain typeface or a certain motif is considered inappropriate because it looks unprofessional, no professional artist/designer would use them.
The bold typeface is a brilliant orchid color, the model facing full-on in a way not seen in US covers very often, the sense of wild times.
A revolution in typeface design has led to everything from more-legible newspapers and cell-phone displays to extra-tacky wedding invitations.
I think in Verdana, I speak in Verdana & of course, my typeface is Verdana.
Right now "Helvetica," a documentary about the so-uncool-it's-cool-again typeface that can be found all over public signage (the New York City subways) and corporate brands (Nestle, American Apparel), is selling out artsy movie houses.
The trick with designing a swash typeface is that the additions to the letters can explode quickly from a few decorative touches to a thicket of colliding arches and curlicues that makes entire words seem illegible.