1. Using System Fonts

It’s 2015—wake up and smell the typography. System fonts such as Arial, Helvetica, Georgia, and Times were a staple of web typography years ago, before we had high-speed Internet access and before a new wave of typefaces became optimized for screens. While you can continue to use system fonts, web fonts will add sugar and spice to your site. Consider how Typekit, Google Web Fonts, and Fonts.com, among others, can help spruce things up.

2. No Fallbacks

Web fonts are awesome, but have a backup, or backups. If a user’s browser won’t support web fonts or if the service supplying your web fonts slows down or goes down, you want fallback fonts, such as system fonts. Some web font providers will automatically specify good fallback choices for you. Typekit has two good overviews here and here about how fallbacks work. And even if you absolutely have to use generic system fonts for your site, perhaps because of your budget, make sure to specify fallback fonts.

3. Lack of Variety

Too much sameness makes your site dull, and it also reduces usability. Typeface variety should create hierarchy, and hierarchy gives users cues: what’s important, what’s a menu, what’s a headline, and more. But use variety with restraint, and with purpose, otherwise you’ll come off as loud or clumsy. Check out Patrick McNeil’s nice overview of striking web typography for inspiration.

4. Skimping on the Details

News Flash: two hyphens does not make an em dash, a prime is not an apostrophe, and double primes are not quotes. Mind the details, you’re a designer.

The World Wide Web Consortium (W3C) Wiki has a nice listing of alphanumeric and unicode values used in HTML for en dashes, em dashes, quotes, and more. A sample of alphanumeric values are shown above.

5. Tiny Type

Does your site’s typography look awesome on a desktop or laptop, but on a mobile device the type has fallen victim to a shrink ray? Chances are you’re using a pixel size, an absolute size, that’s too tiny for smaller, mobile screens. You can size with ems, which are relative, to fix this problem. JavaScript media queries are also a great way to account for different screen sizes, and HOW’s Natalie Boyd gives a primer on them. But if that’s too complicated for you, consider using the viewport meta tag to scale the site and type size depending on the screen size. Make sure you’re testing across viewport sizes: desktop, laptop, tablet, and phone. Tools and education exist online, including Google’s Web Fundamentals and their overview of legible font sizes. And our own Patrick McNeil has a crash course in responsive web design.

6. Spelling & Grammar Errors

There’s no excuse for this, aside from maybe laziness, sloppiness, and/or ignorance. Have your site proofed by a colleague, your client, or the both of them. And if you’re a lone freelancer, use a word processor such as Microsoft Word or Google Docs, for spelling and grammar reviews and corrections.

7. Rogue Fonts

This one’s a biggie. Don’t pirate fonts. Don’t use pirated fonts. Only use fonts that you own, you’ve paid for, and you’ve been authorized to use. Most web fonts run through a third-party server, requiring you to pay for them in order to use them. Specifying system fonts on your site will call them from the users’ computer, where they have the fonts already. But the technically adept designer will know how to take a font file and host it themselves using the @font-face CSS property that calls a WOFF font file from a server. Sure, you could upload a font file you have to your server or your client’s server to do this. But do you own that font? If not, shame on you. And if you did pay for it, do you know if you are authorized to use it on the web, and place it on a publicly-accessible web server? If you’re even a little bit unsure about what you can and can’t do with your font file, read the end user license agreement (EULA) that came with your font. Or contact the company you purchased it from to confirm your usage rights with them. Get in the know about font rights and wrongs, and read Jim Kidwell’s post about how designers get themselves in trouble with fonts.

- See more at: http://www.howdesign.com/design-creativity/fonts-typography/web-design-tips-7-common-web-typography-mistakes/#sthash.I2vgj6zk.dpuf

Tim Sale was born in Ithaca, New York, on May 1st, 1956, but grew up in Seattle, Washington.

After studying art at the University of Washington for two years, he moved to New York City and attended the John Buscema Workshop and The School of Visual Arts just long enough to realize he didn't want to be in school anymore, whereupon he returned to Seattle and worked a variety of odd jobs from Taco Time to grocery store clerk.

While keeping his hand lazily in the art world by partnering with his sister, Maggie, in GREY ARCHER PRESS, he didn't return to comics until inking Phil Foglio on Warp Graphics MYTH ADVENTURES in 1983. Tim was hired to pencil, ink and letter THIEVES' WORLD for Donning/Starblaze in 1985, then, after hooking up with agent Mike Friedrich and STAR-REACH, began his mainstream comics career by meeting Matt Wagner, Diana Schutz, and Barbara Randall at the San Diego Comic-Con.

Ms. Randall introduced Tim to Jeph Loeb, and the rest has been downhill ever since.

Tim currently lives with his two dogs, Hotspur and Shelby, in southern California.
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Cartoonist Shivram Dattatreya Phadnis was born on July 29, 1925 at Bhoj, Dist. Belgaum, India. He took his formal art education at Sir J. J. School of Arts, Mumbai.

Extremely interested in cartooning, he moved to Pune with the strong active support of noted editor, late Mr. Anant Antarkar of Hans Publications, and started his career as a cartoonist and a humour illustrator. Since then, innumerable books and periodicals have been enlivened by the cartoons of S D Phadnis. He has carved a niche for himself in the field of humourous illustrations. Many of his works have been featured at the International Salon of Cartoons, Montreal, Canada.

His simple, captionless cartoons bring out the humour in everyday life, crossing the boundaries of language, region or class.
Married to Shakuntala, he has two daughters, Leena and Roopa. He has his own studio at Pune. Mrs. Shakuntala Phadnis, who is a writer, manages the Laughing Gallery exhibition and the Chitrahas
show.
His Outstanding work

The Mirandas of Loutolim have lived in the same small area on the north bank of the Zuari River for more than five hundred years. They were the Sardesais or revenue collectors of a small village called Raciem when Goa was ruled by the Bijapur Sultans. They were Hindus and Brahmins by caste. When, in the mid 16th century, the Salcette district was conquered by the Portuguese, the family converted to Roman Catholic Christianity and took on their new name, Miranda.

The house is in Loutolim, in the district of Salcette. Loutolim is small, sleepy and redolent of the flavour of a much older Goa. The center and heart of Loutolim is the church, and within a dog's bark of it, is this house.

It is approached by a lane, pink, because it has been hewn out of the crumbly laterite stone which forms the soil of India's western seaboard. The lane ends up before a wrought-iron gate set in a low wall. And beyond the wall, looms the house foursquare and white, as though sitting for its portrait to be painted or more likely, for tourists' cameras to flash.

Facing the gateway and set to one side of its frontage is a portico embellished with baronial flourishes complete with a heraldic crest engraved on a tablet which is set into its masonry. A couple of steps through the portico lead to a solid wooden door of extravagant dimensions. As you are trying to locate the doorbell you become aware of a tremendous clamour within the house: of several dogs barking furiously and human voices, both male and female, shouting orders.

The door is open and there stands the owner of the house, Mario Miranda.

He is above average height, well set, with skin the colour of weathered teakwood. He has plentiful hair, tousled, dark-brown and flecked with gray. His eyebrows are straight and thick. He has a prominent nose, a firm chin and soft-brown eyes, widely set. He is dressed in an open necked shirt and cotton trousers. His stance, head thrust slightly forward and shoulders hunched, reminds you of a boxer's crouch. His face breaks into a smile as though he is really pleased to see you, even if, as is quite likely, he has been dragged away from his work-table: for he is a busy man and like most artists who work at home, has no fixed working hours.

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