September '22

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G R A P H I C S - P R O. C O M S E P T E M B E R 2 0 2 2 • G R A P H I C S P R O 3 3 G R A P H I C S - P R O. C O M S E P T E M B E R 2 0 2 2 • G R A P H I C S P R O 3 3 noticeable once you grasp what it is you are looking for. Step 3: Start from the right side, and kern to the left. Why would this make any difference? You will find that the more you kern, the easier it becomes, and you will discover it becomes easier to start with the last letter, as where it's sitting is probably correct in relationship to the next word (if there is one). Start by selecting the second to last let- ter that has too much space between it and the letter to its right. Move it closer to the last letter by nudging it closer. By now, you should be realizing you are cre- ating a worse looking logo or design than you started with. at is because you are looking at and focusing on only one tiny part of the logo, rather than observ- ing the entire word or logo and seeing where the uneven spacing is affecting it negatively. Step 4: Flip the word backward, and re-kern it. Once you mirror image it, it becomes blatantly clear where each kern- ing issue exists. Step 5: Document your efforts. Make screenshot files of the before and after so you can show the client – if the client even notices it. In this example, I pulled three random fonts and placed them on the page exactly as they were laid out in my software program. Notice that it all looks rather acceptable when viewed in a group with other text elements that confuse the eye and take the attention off of the obvious. (All images courtesy Matt Charboneau) Let's look at the word "PROPERLY" and see how it ended up on the kern scale. Notice the upper text in yellow – that is exactly how it appeared after typing it. I properly kerned the lower example in white for comparison. Squint your eyes while observing these. What do you notice?

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