Kindle plugin for adobe indesign cc how to#

When I worked for the New York Times in the ’80s, they still had these ex-Linotype operators doing pasteup, which was a little humiliating for them, but they actually knew what type was. Roger: Well in that era also, there was somebody in the middle, a typesetter or a compositor who actually, in the old days, knew something. Then I was like, No, but typography and layout, now we think of it as two things, but we used to always think of it as one. I first thought of this because I was invited to speak at a typography conference and I kind of felt a little bit like, But what do I know about typography? I know about it as a person who sets type as a designer, but I’m no expert on typography. But if you think back to setting metal type, or you think especially back to the era when the Linotype machine dominated and type came from this crazy contraption where there’s this giant keyboard and molten lead being squirted into these pieces of machinery that were moving and clacking and making all this noise, and on the other end would come out this line of type, this literal metal line of type… Layout, the actual layout, and the typography, were completely connected, they were the same thing. Jen: Yeah, well we were just chatting a little bit before we started recording, about typography and layout, and I was thinking again this morning about how I think we-like, the web industry in the last couple years, we’ve really worked on typography and thought a lot about typography in maybe the last five years, figuring out how do you pick good fonts, how do you pair them together, how do you decide what size to make everything, and how do you set up a rhythm or make it look beautiful.īut in all of those conversations-on the web especially, but even sometimes if you’re thinking about InDesign-talking about typography or reading typography books, it’s all about the typefaces and the details of the type. Do you want to maybe kick things off with that? Jeffrey: Jen, you had a thought about layout and typography and their inseparability, or lack thereof. My name is Jeffrey Zeldman, and we’re here to talk typography and layout on the web. I am here with Jen Simmons and Roger Black. Jeffrey Zeldman: Hello, welcome to A List Apart Events. Co-founder, A Book Apart and An Event Apart. What they are, and their potential to deliver more typographic power with less bandwidth.ĭesigner.

Typographic challenges in Chinese, Japanese, Korean, Bengali, Tamil, and other languages.

Getting past the pervasive idea that 1950s Swiss layout was the final word in good design.

Fonts that can work in three languages simultaneously, just by flicking a switch.

Experimental, responsive variable fonts.

Why it’s okay to try new layout ideas (why users won’t become confused).

The new wave of user customization, and how it impacts our designs.

Helping the reader feel like a collaborator.

Kindle plugin for adobe indesign cc how to#

Layouts that break the mold (and how to encourage them).Moving away from frameworks bringing creativity back into layout. The history of layout on the web, and what multi-device reading and orbital publishing means to the practice of publication design.How to avoid being overwhelmed by all the tools and typefaces that are available today to today’s designers.How layout and typography were connected in the age of metal type, and why they will be again.What can the era of mechanical typesetting teach us about layout and typography for today’s (and tomorrow’s) screens? What comes after the page-view business model? Can typography encourage long-form reading-not just scanning? What are the most exciting areas of cutting edge experimentation in typographic technology and digital layout, and what new skills will we need to design tomorrow’s web content? What we talk about