Usually, these are faces that have a number of weights (Light, Regular, Bold, etc) and/or cuts (Italic, Condensed, etc). It’s not that I like these better than my cherished flares, exactly… I just seem to wind up wearing them most of the time.Įvery designer has a few workhorse typefaces that are like comfortable jeans: they go with everything, they seem to adapt to their surroundings and become more relaxed or more formal as the occasion calls for, and they just seem to come out of the closet day after day. More often, I find myself putting on the same old pair of Levis morning after morning. ![]() Every designer has a few favorite fonts like this - expressive personal favorites that we hold onto and wait for the perfect festive occasion to use. My “favorite” piece of clothing is probably an outlandish pair of 70s flare bellbottoms that I bought at a thrift store, but the reality is that these don’t make it out of my closet very often outside of Halloween. While appropriateness isn’t a sexy concept, it’s the acid test that should guide our choice of font. Just as with clothing, there’s a distinction between typefaces that are expressive and stylish versus those that are useful and appropriate to many situations, and our job is to try to find the right balance for the occasion. Used under Creative Commons license.)įor better or for worse, picking a typeface is more like getting dressed in the morning. The most appropriate analogy for picking type. This approach is problematic, because it places too much importance on individuality. Many of my beginning students go about picking a font as though they were searching for new music to listen to: they assess the personality of each face and look for something unique and distinctive that expresses their particular aesthetic taste, perspective and personal history. Here are five guidelines for picking and using fonts that I’ve developed in the course of using and teaching typography. Selecting the right typeface is a mixture of firm rules and loose intuition, and takes years of experience to develop a feeling for. There seem to be endless choices - from normal, conventional-looking fonts to novelty candy cane fonts and bunny fonts - with no way of understanding the options, only never-ending lists of categories and recommendations. In the end, you will learn how to pick the right typeface and what it requires.įor many beginners, the task of picking fonts is a mystifying process. They provide the best in font tuning and licensing services for high-volume production printers.The article will cover 5 main principles which will provide you with the practical guidance how to select, apply and mix different fonts. That’s where the COPI Font Team comes in. To stand out in today's world, modern text needs to have an appropriate, fresh look and feel. One of the reasons for the explosion in the number of fonts is that marketers find that avoiding hackneyed clichés is a must.ĭirect mail campaigns often miss the opportunity to make a distinctive first impression because of forgettable typography and fonts. There's a lot more to the art, craft, and science of typography, but those are the primary genres. Typographers also use it as a more creative, general-purpose alternative to Helvetica. Advertisers use Futura extensively for copy and logos for companies like IKEA and Volkswagen. It's intended to make us think of science and human progress. The characters are all drawn from the primary geometric shapes the circle, the square, and the triangle.Īs its name implies, designers turn to Futura when they want to convey a futuristic feel. From the three fonts available in the first version of PostScript, we've reached a point where we have roughly 250,000 fonts online from which to choose.įutura takes the geometric school to its logical conclusion. Nobody won that debate, and today's fonts still reflect both schools of thought.Īs we mentioned last time, the number of fonts available to today's marketers and graphic designers has exploded. We also considered the debate between those who sought to preserve the flourishes of calligraphy versus those who strove for a more modern, geometric look. We covered the tension between form and function, i.e., the practical need for legibility and the aesthetic desire for elegance. In our last article, we covered the history of typography and the many typefaces and fonts the artform has generated. Helping them make sense of them can boost your customers' satisfaction and retain clients. Brand owners are aware of the myriad font choices available today. ![]() Today's successful printer delivers a full range of services, including graphic design that takes the latest styles and trends into account.
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