I asked an AI chat bot to answer these subjective questions about 5 common fonts, and here’s what happened:
If Helvetica were a fruit, what would it be?
Helvetica is a popular font that is known for its clean, modern, and neutral appearance. If Helvetica were a fruit, it might be something like a green apple. Green apples are often seen as a symbol of health and freshness, and they are versatile and can be used in a variety of contexts. Like Helvetica, they are not overly flashy or attention-grabbing, but they are reliable and always a good choice. So, if Helvetica were a fruit, it might be a green apple.
If Papyrus were an animal, what would it be?
Papyrus is a font that is known for its distinctive, ancient-looking appearance. It is often associated with a sense of history and tradition, as well as a touch of novelty or kitsch. If Papyrus were an animal, it might be something like a camel. Camels are animals that are often associated with the desert and ancient cultures, and they have a unique and recognizable appearance. Like Papyrus, they have a somewhat exotic and nostalgic appeal, but they are also sometimes seen as a bit outdated or out of place in modern contexts. So, if Papyrus were an animal, it might be a camel.
If Gotham were a color, what would it be?
Gotham is a font that is known for its bold, modern, and versatile appearance. It is often used in corporate branding and advertising, as well as in editorial design. If Gotham were a color, it might be something like charcoal grey. Charcoal grey is a neutral, sophisticated color that is associated with strength and reliability. It is a versatile color that can be used in a variety of contexts, and it is often seen as a modern and contemporary color. Like Gotham, it is not flashy or attention-grabbing, but it has a strong and confident presence. So, if Gotham were a color, it might be charcoal grey.
If Comic Sans were a food, what would it be?
Comic Sans is a font that is known for its playful, whimsical, and informal appearance. It is often associated with a sense of childhood or nostalgia, and it is often used in educational or instructional materials. If Comic Sans were a food, it might be something like a bowl of colorful fruit loops cereal. Fruit loops are a type of sweet, brightly colored cereal that is often associated with childhood and playfulness. Like Comic Sans, they are not considered a serious or sophisticated food, but they are fun and light-hearted. So, if Comic Sans were a food, it might be a bowl of fruit loops.
If Minion Pro were a famous novel, what would it be?
Minion Pro is a font that is known for its classic, elegant, and readable appearance. It is often used in books and other long-form text, and it is considered a highly legible and versatile font. If Minion Pro were a famous novel, it might be something like “Pride and Prejudice” by Jane Austen. “Pride and Prejudice” is a classic novel that is known for its elegant and refined prose, as well as its timeless and universal themes. Like Minion Pro, it is not flashy or attention-grabbing, but it is highly regarded and widely admired for its quality and lasting appeal. So, if Minion Pro were a famous novel, it might be “Pride and Prejudice” by Jane Austen.
Do you agree with these AI “opinions”? What fonts would you ask a AI about? Comment below! 🙂
In the context of typography, an orphan is a bit of text (usually a word or two) at the end of a paragraph that is very short compared to the rest of the paragraph. There is a visual disconnect that occurs when an orphan is present, and it should be avoided in all professional design work. Pictured below, the highlighted bit of text, “minima.” is the orphan at the end of its paragraph.
Orphans can come up quite frequently when placing body copy, especially if you are working with editorial layouts. Luckily, there is a quick fix when using InDesign.
Strategy 1 | Adjust the tracking
The tracking adjustment can be found under the Character Panel, via the Type menu, or by keying Command + T. In this particular instance, the default tracking is set to 0.
When making a tracking adjustment, the goal is maintain an undetectable difference from the rest of the text. In this case, changing the tracking of the affected paragraph from 0 to -10 is enough to eliminate the orphan.
A good rule of thumb to avoid noticeable tracking is to stay within a range of –20 to 20. If you’re in a real difficult situation, -30 to 30 should be the absolute farthest the tracking should be pushed.
Strategy 2 | Adjust the columns
If the tracking is just not getting you where you need to be, try changing the number of columns you are working with. (This strategy assumes your grid layout and design allows for variation in columns.)
In this case, all it took was a quick click from three columns down to two to immediately remove the orphan. Play around with the number of columns to suit the flow of your copy, and stick with the number that removes the most (or hopefully all) orphans.
You may find that adjusting the number of columns allows for more effective tracking edits without pushing it too far.
Comment below if you found this helpful, or if you have any additional tricks up your sleeve to stealthily remove orphans from your typography in InDesign.