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Should you need it, Baskerville Original’s language support is impressively broad. It almost goes without saying that Baskerville didn’t design a companion sans to any of his works, (nor did he name any of his types ‘Baskerville’), but Storm’s piece of historical fiction takes a few lessons from the sturdy seriffed type, and stands on its own as a humanist sans.
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Those of you who know a little about the Baskervilles will recognize that John Sans is a casual play on the neoclassicist type founder and paper man’s name. The sans comes in eight weights across two widths, normal and condensed. Baskerville Original comes in two optical sizes, marked 10 and 120 pt. Together the two create a nice comfortable marriage, each part encouraging the other’s best qualities to show through. E-readers and webpages utterly fail at present to render well-justified text.Īnother ‘ made for each other’ pairing is Frantisek Storm’s Baskerville Original and John Sans. Lastly, know your limits and the limits of the technology. Copyfitting may sound dangerous, and it certainly can be, so take care if rewording a client’s phrasing and seek approval of any alterations if you’ve not been expressly authorized to make them. In addition to knowing the language you typeset so you can double check its hyphenation, since the first printed books, typographers and some writers have also altered the content to fit the layout. I’ll go into more depth on this next week as well. Also, make sure you’re hyphenating from a dictionary of the same language. (It’s less than ideal because it’s so over-hyphenated.) Sometimes that’s the trade-off one must make, but I say avoid it when possible.īe careful with this one though, since too much hyphenation is an easy pitfall. Below, Nicole Dotin’s Elena in a narrow column with default justification to the left, and with better but still less than ideal justification on the right. They’re prone to rivers of whitespace, and odder-than-normal breaks in hyphenated words. Narrow justified columns are more trouble than they’re worth. Below is set in Frank Hinman Pierpont’s (after Robert Granjon’s) Plantin. When possible, reading the text you’re setting is my best advice to knowing how it should be presented. So there’s one good reason right off – if your brief calls for something to look dated to, say, 1930 or before, justify your body.
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Up until near the turn of the 20th century, setting body text flush left was very uncommon. Justifying text eliminates the need to tidy ragged edges, but introduces its own problems as well. This is done most commonly by adjusting the word spacing of each line to push or pull the line’s contents to fit its container. Justified text is the alignment of the body text to both sides of its containing column or text frame. This will be mostly theoretical, with a more practice-based piece with InDesign justify settings to follow. Often it doesn’t make sense to justify, but when it does, these general guidelines will help you get the process working for you. Justified text can be an important stylistic choice, a functional part of your layout, and potentially a time-saver within your overall workflow.