Which Font Do You Use?

Just curious. I find I’m being distracted these days by funny-looking typographical combinations, like when an italicized interrogation mark meets a non-italicized closing quotation mark (or should this closer be italicized, too?)…I’m using Garamond, but Georgia, Bookman, and Times New Roman also make for this, and other, odd-looking typography…

Thanks. :neutral_face:

Be careful:

https://forum.literatureandlatte.com/t/what-fonts-do-you-use/24348/38

You can find yourself buying Olive Green wotsits.

I always stick to Courier (new), 12 point, as that is what’s required for most submissions. I know you can change it when you are ready to submit, if needed, but one of the first thing I do if using Word, or something like that, is set my font and paragraph spacing up correctly.

Try Courier Prime, here:
[quoteunquoteapps.com/courierprime/]
(http://quoteunquoteapps.com/courierprime/)

How we got here
Novels were once written by hand. So were plays and poems and speeches. As readers, we don’t see the original scrawl because they’ve been typeset along the way, transformed into something easier to read.
Screenwriting began in the era of typewriters, and it’s always been served raw. What the screenwriter pulls out of the typewriter isn’t a manuscript to be sent to the publisher — it’s the final product.
Over the years, the tools have changed, with the advent of computers and printers and PDFs. But we still expect scripts to look like they came out of a typewriter.
Specifically, we want screenplays to be twelve-point Courier.
The Courier typeface was designed in 1955 by Howard “Bud” Kettler for IBM. It’s classified as a monospaced slab serif, with each character taking up the same space and constructed with even stroke widths. IBM deliberately chose not to seek any copyright, trademark, or design patent protection on Courier, which is why it’s royalty free. It was the standard typeface on IBM’s best-selling Selectric II typewriter, and soon became the default typeface in Hollywood.
By standardizing around one typeface set at a specific size, we can take advantage of some rules-of-thumb.
For example, one page of screenplay (roughly, sometimes) equals one minute of screen time. More importantly, producers can be assured that a 119-page draft really is shorter than a 140-page draft. Unlike college freshmen, screenwriters can’t fiddle with the font to change the page count.
The biggest problem with Courier is that it often reveals its low-res heritage. Designed for an era of steel hitting ribbon, Courier can look blobby, particularly at higher resolutions.
But it doesn’t have to.
It’s Courier, just better.
In July 2012, I asked type designer Alan Dague-Greene to come up with a new typeface that matched the metrics of Courier — thus protecting line breaks and page counts — while addressing some of its weak spots.
I wanted a font that could be substituted letter-for-letter with Courier Final Draft, but look better, both on-screen and printed. I wanted a bolder bold and real italics, not just slanted glyphs.
Alan rose to the challenge, creating a typeface that is unmistakably Courier, but subtly improved in ways you wouldn’t necessarily notice at first.

I second the motion for Courier Prime.

I also do Courier New. I like the typewriter-esque look, and I like not having to install additional fonts on systems.

For years I’ve used Adobe Garamond Pro, a licensed version of which I received with the now deceased Pagemaker, and have used it ever since as an excellent, professional font for almost everything. For documents I had to exchange with colleagues, who were almost entirely Chinese and Windows-users who thought there was nothing other than Word, which they used like a typewriter, I sent everything in TNR as the lowest common denominator — I find it boring and rather ugly; Times on the Mac is better, but …

I still use Garamond Pro for most purposes, but I’m currently writing something which I’ll pass on to my nieces and nephew, who are all iPad users, so I’ll send it to them either as an ePub or iBook, probably the latter, and so I’m working in Athelas, which is supported on the iPad. It’s so close to Garamond Pro — it could be a Garamond Pro Medium, but with Old Style numbers — that it wouldn’t surprise me if it had been designed as a more on-screen friendly version suitable for use on tablets.

Mr X

Apple introduced a few lovely serif typefaces recently, the highlight for me being Athelas:

type-together.com/Athelas

Lots of opentype features, and greek and cyrillic are well covered, works well across sizes in screen and print.

My all-time favourite though, which I got for free for private use many moons ago by asking nicely is the wonderfully eclectic serif, Dolly:

underware.nl/fonts/dolly/preface

I can’t write in monospaced fonts (programming is different), and especially with retina displays, a good serif is now a wonderful way to display and work with text onscreen.

Oh, and speaking of Garamonds, this ongoing labour of love is also wonderful in print and works OK on retina displays:

georgduffner.at/ebgaramond/

What are you using the fonts for?

Both for on screen display of editor text in Scrivener and final print to PDF.