School of thought split when it comes to choosing typefaces 

I’m kind of a typography snob, which in the real world means that I often make obscure references and embarrass myself by revealing my true, dorkiest self. I can’t help it, I just like the way letters look (Comic Sans and Papyrus excluded). 

I’ve noticed, though, there seems to be two very different schools of thought when it comes to type and design. There are designers who use only one or two typefaces (usually families with many variations) for every project and there are designers who start mostly from scratch, choosing a typeface that seems to match the feel of that specific project.

I can see the argument from both sides. Designers who use only one or two typefaces have a unique challenge, even if they know the typeface they are using is tried and true. Let’s say you only use Helvetica — how do you make it speak differently than the thousands of posters, road signs, billboards we’re barraged with daily? Do you use Helvetica light, and elegantly imply your message, or do you choose extra bold condensed and really SHOUT? Sticking to one family of type might seem restrictive to some, but I would argue that it inspires even more creativity. Every design choice must be made after careful consideration. 

But who can resist the jungle of typefaces unexplored? Maybe it’s that I’m immature, as a designer. I haven’t had enough time to discover my go-to typeface; the one that has a weight for every situation, that will never break down at sizes large or small, that truly speaks to me. I like going through the huge catalog of fonts in Illustrator, wondering what letters best tell my story. I love the simple, small elegance of Garamond, the silly display-font quality of Gill Sans ultra bold. I like finding the font that carries the weight of the specific project I’m on.

Sometimes it’s a quick decision. I, of course, have typefaces that I prefer over others. I also go through phases. When I first started designing it was Gill, followed by a couple months of Myriad, then Georgia, Futura, Century Gothic (for maps, because it has a large x-height). And I still love all of them. Working at The State News has given me time to discover the joys of Gotham and Mercury. What a world it would be if I only used shudder Helvetica in my work. (Not that I don’t like Helvetica, but let’s be serious — it’s everywhere.) 

I love trying out new typefaces. Even if at the end of the day, I go back to my old favorites, it’s just plain rude not to give the other fonts in my book a fair chance. I really enjoy Kabel, but I never would have discovered it if I hadn’t been stumped on a company newsletter one day last summer. I’m young, I’m exploring, and life is too short to tie myself down just yet. 

Maybe after college I’ll be enough of a grownup to make a commitment. For now, though, I’ll be right here waiting, type-designers, for the typeface that I could stick with for life.

Commentary

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Tom

(11/23/09 11:03am)
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http://www.nytimes.com/2009/11/16/arts/16iht-design16.html?sq=madmen typeface&st=cse&adxnnl=1&scp=1&adxnnlx=1258992056-0oCn4tSp QOUiMpMI1Ly8Q

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zzzzz

(11/23/09 6:36pm)
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zzzzzzzzzzzzzzzzzzzzzzzzzzzzzz….gosh sorry must have fallen asleep reading this article. zzzzzzzzzzzzzzzzzzzzzzzzzzzzzz

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Erin O.

(11/24/09 11:31am)
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I think about typeface a lot too, but never really thought it through as a concept until now. I’m a designer as well. I wonder if non-designers thinks about fonts this much??

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GOD

(11/28/09 8:38pm)
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TIMES NEW ROMAN

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Cliff Bennett

(12/03/09 1:22pm)
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Type geeks might enjoy The Elements of Typographic Style by Robert Bringhurst.

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