On
one hand, using multiple fonts in a print layout can open you to a world of creativity.
On the other hand, if you use too many fonts (or if the fonts you choose don’t
work well together), you don’t end up with creativity. You end up with a mess.
Type
often obeys the law of engineering “form follows function.” That is, a typeface
should be appropriate to what the typesetter designed it to do. At the same
time, that form needs to be aesthetically pleasing. The basis of good
typographic design is balancing the two.
For
example . . .
Bell Gothic
was designed in 1938 to improve the legibility of phone directories, as well as
provide economy of space.
Frutiger
was designed to make airport signage easy to read from a distance.
Courier inspires a
sense of nostalgia.
When
choosing a font, choose a font appropriate to the task at hand. Think of fonts
like clothing. What we wear should be appropriate to the weather as well as to
the context (formal versus casual), but also be attractive. Likewise, some
fonts look dated and scream “1970s,” the typographic equivalent of a plaid
leisure suit.
Like
everything else, typefaces go in and out of fashion. While it’s tempting to
think that no one really pays close attention to fonts, there is often a subconscious
visceral reaction to bad type, not unlike the subconscious reactions that we
have to poor color combinations or out-of-date clothing.
Understanding how
font choices affect the perception and reception of documents is one of the crucial
elements to good design. You should not treat it lightly. If you need help, just
ask. You can use one of our in-house designers or we can recommend a good
designer to assist you. Please give us a call at 440-946-0606
Or visit our website here for more information.
Share on LinkedIn
