InDesign vs Kittl

Carl Shank • January 30, 2023

InDesign vs Kittl

InDesign vs Kittl. Perhaps this is an unfair contest right from the start. Adobe's InDesign is a well-crafted layout program with expert features for type crafting and setting. It is my go-to program for professional layout jobs. Kittl is a graphics program available on the internet for free, though to unlock its many templates and graphic powers, a monthly ($15 for Pro users) or yearly fee ($120 for Pro users) is necessary.


Kittl (www.kittl.com), built by Tobias Saul, allows real time advanced text editing with built in text manipulation features, like shadows and easy to use text slanting, rise, text on a circle or an angle and textual distortion features. Its claim to fame is the multitude of template styles available to the user, especially the fancy vector ornament library, shapes and banners and texture collections built into the program. It is easy to use and  manipulate and change elements and colors and then export your finished product to a JPG or PGN file (or PDF for Pro users) or post your creation on many social platforms. It advances WYSWYG (what-you-see-is-what-you-get) to a whole new level, and for many users — it is FREE!


Adobe InDesign, of course, is part of Adobe's Creative Cloud offerings, and available by subscription to users. The subscription price is substantial per year, but you get a number of professionally designed layout and graphical programs, like InDesign, Illustrator, Photoshop and many others. It is heralded and used by many graphical and video editing professionals worldwide, including myself. The training curve for InDesign and other such programs is also substantial, but well worth the time and effort for professional uses.


I have included a comparison of a poster I did for a client in both InDesign and then an adaptation in the Kittl program. Both look acceptable for use and possible publication, though I did not attempt to publish the Kittl design. I still like the preciseness of InDesign over Kittl, and I noted that my personal type font (CARE Font) looks grainy in the Kittl mock-up contrasted to the InDesign poster. However, for Victorian swirls and ornamentation, Kittl has many advantages over the traditional Adobe Illustrator or Photoshop programming and steps necessary.


Successful Layout & Design

By Carl Shank July 24, 2025
A Cross Inspired Typeface. CARE Typography has been able to craft a typeface of Christian crosses from the history of the Christian Church throughout the world. We named it CrossesTwo to simply distinguish it from other writings. It is a FREE font, available to all who ask. Christian crosses are used widely in churches, on top of church buildings, on bibles, in heraldry, in personal jewelry, on hilltops, and elsewhere as an attestation or other symbol of Christianity. Crosses are a prominent feature of Christian cemeteries , either carved on gravestones or as sculpted stelae . Because of this, planting small crosses is sometimes used in countries of Christian culture to mark the site of fatal accidents. Not far from where we are, there is a huge Christian cross built by a Virginia church marking not merely the site of the church building, but announcing the central message of the Bible there. Christian crosses are powerful symbols that convey theological meaning, cultural identity, and historical legacy. Over centuries, many distinct styles of the cross have developed across Christian traditions, regions, and periods. Some of the most prominent crosses are the traditional Latin Cross (Letter "L" in CrossesTwo typeface), where the vertical beam extends beyond the horizontal cross bar, the Greek Cross , a cross with four arms of equal length (Letter "V" in the typeface), the Orthodox (Eastern) Cross (Letter small "o" in typeface), with three horizontal bars — the top for the inscription (INRI), the middle for the hands, and the slanted bottom bar for the footrest, the Celtic Cross (Letter "1" in the typeface), which is a Latin cross with a circular ring connecting the arms. The traditional Latin cross symbolizes the crucifixion of Jesus, with the empty cross signaling that He rose again from the dead, and is used in Western Christianity, Roman Catholic, Protestant, and many global Christian contexts. The Greek Cross is common in early Christian art and Byzantine Christianity and used in Eastern Orthodox, Byzantine, and early Christian monuments and mosaics. In the Orthodox Eastern Cross the slanted bar represents the two thieves crucified beside Christ — one rose to heaven, the other descended. It is used in Russian, Greek, Serbian, and other Eastern Orthodox Churches. The Celtic Cross had its origins in early medieval Ireland and Britain, associated with Celtic Christianity. It has been used in Irish Christianity, Anglican, some Protestant denominations, and decorative gravestones. The Coptic Cross (Letter "5" in the typeface and note Letter "e" where the Ethiopian Cross is a close match to the new Coptic Cross) is a a variation with intricate, symmetrical designs — sometimes with equal arms or surrounded by circles. It is used by Christians in Ethiopia and Eritrea. The Jerusalem Cross (Letter "j" in the typeface) has a large central cross surrounded by four smaller Greek crosses, used by the Crusades in the eleventh century, is the Heraldic symbol of the Crusader Kingdom of Jerusalem and used by Franciscans and in modern Jerusalem-related contexts. The Russian Orthodox Cross (Letter "o" in the typeface) Features three horizontal bars — top (INRI), middle (hands), and slanted bottom (feet). The Tau Cross (Letters "T" and "t" in the typeface) is shaped like the Greek letter tau and has been adopted by St. Anthony and Franciscans to symbolize Old Testament sacrifices and God's protection (Ezekiel 9:4). St. Andrew's Cross (Saltire) (Letter "s" in the typeface) is an X-shaped cross from the tradition that Andrew the Apostle was crucified on a diagonal cross. It is the symbol of Scotland and the Eastern Orthodox Church. The Papal Cross (Letter "P" in the typeface) is a vertical staff with three horizontal bars, decreasing in length, representing the pope’s triple office: bishop of Rome, patriarch of the West, and successor of Peter. The Cross of Lorraine (Letter "l" in the typeface) is a vertical bar crossed by two horizontal bars — the lower one longer, has been used in Western Europe during the Crusades and was a symbol of French resistance in World War 2. The Patriarchal Cross (Letter "p" in the typeface) is similar to the Cross of Lorraine, but primarily associated with ecclesiastical hierarchy, and used by archbishops and patriarchs in Eastern and Western churches. Each cross reflects regional theological emphases, cultural aesthetics, and historical developments. While the Latin Cross remains the universal Christian emblem, the variety in form reveals Christianity's global and historical richness. Note the CrossesTwo typeface below with the description of these and many other crosses. (Credit for the opening image is given to Matteo Corti - http://en.wikipedia.org/wiki/Image:Muiredach_s_Cross.jpg, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=1393567)
By Carl Shank July 21, 2025
Slab Serifs. Born in Great Britain in the Industrial Revolution of the 1800s, slab fonts, or slab serif fonts, provided a beefy and starkly bold contrast to text fonts that were popular. Found on just about every billboard, poster, pamphlet and advertising vehicle of the day, slabs were designed to stand out from the crowd, a type that shouted, "look at me!" Slab serifs, also called Egyptian, antique, mechanistic or square serif, are characterized by usually thick, block like serifs. Slab serifs possess thick serifs, which are squared-off or slightly rounded, and almost the same weight as the main strokes. From a typographical standpoint, they have low contrast, with minimal difference between thick and thin strokes. Slab serifs can have a geometric or humanist structure, and can range from mechanical-looking to more organic. They are sturdy and legible, designed for impact and readability even at large sizes. Early examples were Antique and Clarendon.
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