There's a lot I didn't cover last time,

and I think you all will be better fulfilled

as human beings if you knew it.

So, I'm making part two.

I could probably make up to part a hundred,

but let's just see how this one goes first.

Wait, you haven't seen part one yet?

Well then, just click on my face.

Okay, okay, we're all good.

We've seen part one.

Well then, let's go do some learning.

My God, I'm such a nerd.

(bass music)

I went through it kind of quickly last time,

so let's talk more about typeface classifications.

Basically, you've got your serifs and your san-serifs,

which literally means, "without serifs".

Within the serifs, you've got Oldstyles, such as Garamond,

which were designed to imitate the handwriting

of Renaissance Italian scholars.

Designed a bit later are the Transitional typefaces,

such as Baskerville.

There's a greater contrast between the thin

and the thick strokes, and the serifs are thin and flat.

Then there are the modern typefaces, like Bodoni,

in which the thin and the thick strokes have

a much, much greater contrast.

And finally, Slab Serifs, such a Rockwell

are characterized by their thick, blocky serifs.

So now, let's move on to display type.

You've got your Script, which is pretty self-explanatory.

The best Script typefaces have multiple versions

of each character, so that it's not quite

so obvious that it's a font.

Blackletter is a style of writing that has a long, rich

history that I'm not going to get into here,

but these days, it's mostly just used for display type.

And most of the other decorative typefaces

just kind of get grouped together.

These should really only be used in large sizes

for things like headlines and titles.

Okay, now that we've got that, let's talk about the

difference between Free Fonts and Complete Font Families.

There's a really good article that I linked below,

so check that out.

But I'll summarize it here.

Basically Free Fonts just aren't as well drawn

as the ones made my professionals.

And if you're designing something with a lot of copy,

you will be able to tell.

Plus, Free Fonts usually only include

the basic character set and only one or two weights.

If there's no italic and bold styles included,

you become forced to use faux italic and bold,

which just doesn't look nearly as good

as when they're drawn by an actual person.

Plus, if you're designing something like a magazine,

using different weights of the same family

looks way more cohesive than just picking a whole bunch

of random, different fonts.

Still with me?

Let's keep on going.

We've been talking a lot about letters, but what about

those pesky little buggers called numbers?

You have two types: Oldstyle figures and lining figures.

Oldstyle figures have ascenders and descenders,

and you use them in large blocks of text so that

the numbers don't stick out awkwardly.

Lining figures are probably what you're more used to seeing,

and they work better in spreadsheets, where everything

needs to line up evenly.

Now you've got your smallcaps.

These are capital letters that are the same height

and weight as lowercase letters.

They're used in blocks of text, so in all caps,

where it doesn't stick out awkwardly

or used when an additional typestyle is needed.

You don't want to fake smallcaps by just lowering

the point size, because the thinner weight that

you'll end up with will seem off balance

from the rest of the letters.

Okay, now it's time to learn about widows and orphans.

No, not Harry Potter.

An orphan is a word that ends up lonely and by itself

at the end of a paragraph,

while a widow is a word that ends up lonely

and by itself at the top of a column.

They're just really awkward to look at,

so just don't have them.

And finally, this is probably really obvious to

a lot of you, but you'd be surprised at

how many people don't know it.

The best way to make your layouts look more professional

is to make a grid and to stick to it.

As soon as things begin to line up and have a rhythm

and consistency, it's just so much nicer of a design.

Honestly, though, even if you watch this 10 times,

and you memorize every word I've said,

the best way to learn it is to put on your Nike shoes,

and just do it.

That was a joke.

I don't actually care what kind of shoes you wear.

The great thing about taking a class is that you

get specific projects and critiques so that you learn

what works and what doesn't work.

Though hopefully not the type of critiques

I talked about in my last video.

You just have to keep experimenting and practicing,

and eventually you'll develop an eye for

what is successful and what isn't.

Or if you're just not interested at all,

leave it to the professionals.

And just help us spread our Anti-Comic Sans

and Anti-Papyrus gospel.

All right, whataboutadam, want to send us off?

- Stay awesome, and my typography tip is

Don't overuse your favorite fonts.

Helvetica may be pretty, but it's starting to

get a little bit overrated.

- Until you watch the Helvetica movie, 'cause it's awesome.