reprinted from "How to Choose a Typeface" by Douglas Bonneville March 24th, 2011 / Smashing Magazine (1)
Choosing a typeface can be tricky. The beauty and
complexity of type, combined with an inexhaustible supply of options to
evaluate, can make your head spin. But don’t be baffled — and don’t
despair. While there are no easy-to-follow rules on how best to choose a typeface, there are many tried-and-true principles you can quickly learn and apply to make an appropriate
typeface choice. If you work systematically through the options below,
you’ll have a winning typeface choice in no time. Let’s get started.
What Is Your Goal?
The first thing you have to do in order to choose a typeface is form a
strong impression in your mind about how you want your audience to
react to the text. This is your goal, and it will guide the process.
You might provide this impression, or it might be dictated to you by
your client, or it may be determined by your audience. Whatever the
case, your choice of typeface needs to strike a good combination of both
legibility and readability, while remaining appropriate for the
audience and the message. Each of these characteristics requires some
degree of independent consideration. As you may already know from
experience, it’s easy to go about this the wrong way and get
overwhelmed. This problem can be compounded as a design evolves.
Perhaps the hardest part of breaking down the typeface selection process is understanding which parts are more
subjective and which parts are more
objective.
After reading and digesting your client’s text, it is easier to start
with the objective aspects of typeface selection because they — by
default — make subjective decisions for us. There are no fixed
positions on the spectrum from subjective to objective. However, we know
that legibility is more easily quantifiable than a mood. Let’s start
with the two most objective attributes —
legibility and
readability.
Legibility
It may seem at first glance that legibility and readability are the
same thing, but they are not. Legibility refers to the design of the
typeface, as in the width of the strokes, whether or not it has serifs,
the presence of novel type design elements etc. It is easy to tell one
letterform from another in a legible typeface. For instance, decorative
typefaces have low legibility because they are primarily meant to be
seen at a glance, rather than read at length. Conversely, typefaces
designed for novels or newspapers have very high legibility.
You need to design a specific, overall legibility based on the function of the text.
Consider this example where the left block of text is set in Tobin
Tax, a decorative serif typeface. Compare it to the same text set in
Sabon, a classic and highly-legible serif typeface. Where does your
typeface choice fall between these two extremes?
Quick tips for great legibility:
- Choose typefaces with conventional letterforms.
Letterforms
composed of unique shapes, artistic deformations, excessive
ornamentation or other novel design elements cause the reader to have to
process what they are looking at first, instead of just taking in the
message. Novelty always comes at the cost of immediate comprehension.
- Choose typefaces with generous spacing.
Tight
tracking causes the eye to fill in visual gaps between the various
shapes that make up different letterforms, thus slowing down the time it
takes to both recognize letterforms and word and sentence structures.
Generous spacing allows the eyes to proceed as fast as the cognitive
skills of the reader will permit.
- Choose typefaces with a tall x-height.
A “short”
x-height decreases legibility of certain letters. The apertures, or
openings, of similar lowercase letters like “c” and “e” are
distinguished with greater ease if the x-height is generous.
Please notice: The x-height shouldn’t be “high”. The font
size, weight and width must just be chosen according to the x-height of
the font. Sure, at first glance one typeface with a larger x-height
might look more legible than another, but the the latter is just set too
small (or too bold or too condended). In addition, a large x-height
only helps a few letters like e, s, a (with double-storey shape). Other
characters (with descenders, diacritical marks) suffer from a larger
x-height. (Thanks to Ralf Herrmann for clarification!)
Readability
How your typeface is set, combined with the basic legibility of the
typeface, yields a certain level of readability. Readability is the
dynamic interaction of the type style, size, tracking, leading, color
and other properties all combined into one overall impression. They add
up to a certain typographic style which has a quantifiable degree of
readability. For instance, you could use a style that has an
intentionally low readability that is part of the message. Or you could
focus on designing a high readability because your message is
complicated, and you don’t want your type style to hinder the audiences’
understanding in any way. In most cases,
communication comes before style, so resolve readability first.
Let’s take our previous example of Sabon and alter the readability.
On the left, we have taken the text and decreased the font size, altered
the tracking and leading, lightened the color, and set the block to
full justification. It’s now a mess with unattractive text rivers. On
the right, we’ve left the unaltered for an obvious comparison. Changing
several independent factors, as you can see, can add up to quite a
difference.
Quick tips for great readability:
- Choose typefaces that were designed for the purpose you are using them for (display fonts for headlines, body copy typefaces for body copy, etc.).
Choosing
a font designed for display purposes, like headlines or posters, means
that it will not function very well as a body text typeface where larger
quantities of text will be read. Conversely, a typeface designed for
extended reading loses its impact in relation to how large it is blown
up.
- Align text to “right ragged” for comfortable word spacing online to avoid “rivers”.
“Force-justified”
text, or hyphenless justification, always creates ugly rivers and
awkward spacing which causes the reader to lose the natural flow of the
text as the eye has to make various leaps and jumps to complete words
and sentences. Currently, there is no proper native support for
hyphenation in CSS, but you could use Hyphenator.js for a proper client-side hyphenation online.
- Make sure your line height is greater than the point size of your typeface for multi-line texts.
It’s
difficult for the eye to track across a line of text and stay “on
track” if the lines above and below it are too close to it. Our eyes are
easily confused especially when wrapping from the end of one line of
text to another. How many times have you read the same line of text
twice on generously-spaced lines of text? Probably once — of course if
the content is easy to understand as well. Don’t make your readers work
harder than they have to.
With the two most subjective factors out of the way, let’s move on to
appropriateness.
Aspects of Appropriateness
Some typefaces are more suitable for a design task than others.
Appropriateness
is something you can learn by both experience with a typeface, and by
other attributes of the typeface, including its history and original
purpose. Here are four attributes of a typeface you can consider.
Design Intent
It’s very helpful to consider the design intent of the typeface. Many
popular typefaces have detailed write-ups and reviews, so it’s really
inexcusable to not know at least
something about your choice.
If a typeface was designed for signage, like Cooper Black, it probably
isn’t going to work well set as the body copy of a book. That might be
an obvious example, but don’t miss the subtleties in your own choices.
Again, it only takes a few seconds to look something up, or flip open a
decent typography book to get some basic facts, and you’ll be wiser for
it.
Aesthetics
Your typeface should conform to the aesthetics expected by the
audience for which the design is intended. For instance, if you are
designing a piece for a bank, setting their logo or the text for an ad
campaign in Souvenir might be a little too light hearted and
free-spirited — not qualities one would want to associate with people
who manage your money. However, the stately and stable-minded Bembo
might be a better choice for this situation. The more you match the gist
of the typeface to the gist of your topic, the easier success will
come.
In this example, we’ve created two combinations of typefaces. The
first one, Lithos and Souvenir, create an aesthetic more suited to a
children’s museum than a bank. The second combination is composed of
Clarendon and Bembo, which fits the topic like a well-tailored banker’s
suit.
Quick tip for judging aesthetics:
- Look at a typeface and write down several words the typeface “says” to you about itself,
and then compare that to what your design objective for the typeface
is. Do they correlate? Be convinced, after this analysis, that you have
the right typeface choice. If you are not sure, it would be best to not
proceed.
Mood
As you read through these factors, you’ll realize that they overlap a
little. Mood, for instance is a dynamic synthesis of what you get when
you consider the aesthetics of a typeface together with the readability
you’ve designed into your piece, along with, of course, the perceived
meaning of the text itself. For instance, with one typeface and one text
you can evoke a mood of excitement or panic. The typeface itself first
evokes a strong reaction, but the readability of the design and the text
itself can take communication to another level.
On the example below, notice how the implied meaning of the phrase
“kick back and relax” is dramatically changed by altering the typeface
and readability. Mood is very powerful, and it’s a good idea to have a
second set of eyes reviewing your work to make sure you don’t send the
wrong message. This demonstrates that matching the basic personality of
the typeface, and its readability, to the intended emotional response of
the message is a sure-fire recipe for success.
Quick tip for pinpointing mood:
- Think of the exact opposite of the mood you want to create
and look at your work on a given design thus far. If you can’t come up
with an opposite mood, it might mean you have not created a strong
impression of the right mood. Remember, the opposite of neutral is
neutral.
Personal Choice
Many times, a typeface just strikes you for some reason as
appropriate. Your right brain knows it but your left brain can’t
understand why. If you can make it work based on that alone, go for it.
You would of course do well to get informed about the typefaces in your
arsenal, especially if you keep using them over and over. You may
discover that your use of a typeface has nothing to do with its original
intent, but it can still look great.
For instance, you might like OCR-A on the cover an album design,
though OCR-A was designed specifically for optical scanners so that
computers can recognize the words through software. So what if computers
are supposed to read it? If it fits the design intent of your project
and you can pull it off, do it. Just
do it well or choose another typeface.
Quick tip about personal choice
- Trust your gut but make sure you can quantify, in
typographic terms, aspects of your choice so that you can defend your
design decisions armed with intelligent answers. You may also find that a
defense of even your most subjective choice goes a long way if it’s
clear you did think it out and have a reasonable rationale.
- Come up with your type selection quality scale.
You
might want to consider creating your personal checklist with type
selection details which you can then consider and apply in your
typographic choices. This would help quantify your decisions and make
them comparable.
A Few Technical Considerations
Don’t overlook the obvious. For instance, if your design job is going
to include work using a lot of numbers, you’ll want to make sure you
choose a typeface that has the kinds of numbers you want to use. Some
typefaces use
Old Style, or lowercase numbers. Other typefaces use
Lining, or uppercase numbers.
You might be persuaded that large spreadsheets of numbers for
technical work are easier to read with lining style numbers because they
don’t use the lowercase descenders and are more even on the eye when
used in large quantities. But if your design features a lot of
up-and-close with over-sized numbers, the Old Style numbers might be
infinitely more pleasant. Again, the mood you want to convey plays a
role in this choice: Old Style numbers look…
old. That could be good in the right context but not so good in the wrong one.
To add to this list, you might consider if a typeface has a full set of
ligatures and if it contains
true small cap characters.
Missing ligatures can look unattractive at large sizes. Fake small caps
usually look odd because stroke widths aren’t compensated for. In
short, it’s best to choose a typeface that is as complete as possible.
And if you choose a free typeface, you’ll find that it is often these
critical “extras” that are missing. Make sure that the free typefaces
have exactly the features you need for your design and that they are
licenced for the work you are doing.
Tips for Choosing a Typeface
Let’s pull it all together with some pragmatic ways to get your
typeface choice made. You might want to try these tips, which many
designers use to their advantage in one way or another. Be the
beneficiary of their wisdom and experience.
1. Plan Your Hierarchy
First, make sure you have a good grasp of the content and typographic
hierarchy your design job will dictate. You may realize, after a
thorough analysis, you need five fonts (not typefaces) to cover your
various heading, sub-headings and call-outs. Can your typeface provide
enough variation with bolds, italics and small caps? Or do you need two
typefaces to create more distinction in the hierarchy? Three? Use a
mind-mapping tool or make a traditional outline to see as much as you
can before you start choosing typefaces. Consider this example of a bad
and a good hierarchy using the same text. Notice the role white space
plays in the hierarchy, too. Use as many levels as you need as long as
there is distinction and clear purpose in your choices.
2. Consider What Others Have Done Already
You’ll find that the designers before you have already figured out
ways to use the typefaces you are considering, so you don’t need to
reinvent the wheel. Look around, and carefully consider what others have
done already. The site
Fonts In Use (http://fontsinuse.com/),
for example, features typographic choices made by professional
designers in various industries. And don’t dismiss familiarity when you
come across it in other designers’ work. Often times “boring” and
“familiar” are your best friends when it comes to choosing type. There
are good reasons some typefaces get used a lot for certain purposes —
they just work, and work really well.
3. Experiment the Easy Way
Here are some tips to help you experiment quickly and thoughtfully with your typeface choices:
- Set up style sheets whether you are designing for
the Web or print, which speeds up the flow of ideas because they are
easy to swap out. You could also use Web Font Specimen for this purpose.
- Play with the hierarchy by changing the size of different elements to create and release tension.
- Judge the results and change something, but only change one thing at a time.
- Get a second or third opinion. You might have missed the obvious.
4. Avoid Anachronisms
For instance, if you don’t know the particular history of typeface,
you could end up using it in a way that makes you look a little silly.
What if you picked Trajan to illustrate the title graphics of an article
about ancient Greece? That would be an unintended anachronism since
Greece pre-dates Rome, and Trajan was a Roman emperor. The typeface
Trajan is taken from “Trajan’s Column”, which is a monument to a
military victory around the year 100 A.D. Just having to answer “Trajan”
to the question “What font did you set the cover of this book about
Ancient Greece in?” will make you squirm just a little. It pays to
double check. And sometimes it pays to be neutral by choosing something
safe for an academic topic, like Arno.
5. Avoid Trite Correlations
If you apply this rule rigorously, you are
unequivocally guaranteed
to retire from your design career as Typographer Emeritus. Let’s just
examine this principle by example and let the lessons teach themselves:
- Don’t use Papyrus just because your topic is “ancient” in some way, especially if it’s about Ancient Egypt. (Better yet, don’t use Papyrus at all)
- Don’t use Comic Sans just because your topic is humorous. (Better yet, don’t use Comic Sans at all)
- Don’t use Lithos just because your topic is about Greek restaurants.
- Don’t use Futura just because your topic deals with “the future”.
Does this leave room for typefaces with built-in “effects”? Yes, indeed. Just
don’t do something so blatantly obvious
it took you less than one second to think of it. The tell tale sign you
are making a trite correlation is that you have a collection of
decorative fonts you
frequently peruse in your font manager
while pining away for a topic to shoehorn them into. If you have not
avoided these kinds of trite correlations in the past, it’s OK. Don’t
live in the past, but don’t do it again.
6. Consider an Extended Type Family
If your project is ongoing and diverse, it would be wise to consider
investing in a quality extended type family upfront. Why not kill all
the birds you can find with one stone? When you choose an extended type
family, you get the benefits of having had the type designer do more
use-case scenarios than you will likely ever be faced with. Extended
type families usually have serif and sans serif versions, along with
multiple weights, full sets of special characters and ligatures etc.,
which ensure that you’ll be able to find the right solution for just
about every typographic challenge you could imagine. An extended type
family will also give you
a very uniform, orderly mood and aesthetic, which may or may not be what you want.
7. Stick With the Classic Combinations
When you are stuck, go with the tried and true, especially if your
deadline is tight. If you choose a neutral serif and sans serif
combination, you might lose a little “edge”, but at least
the integrity of your design and message won’t suffer.
When is the last time you called on Caslon or Univers and regretted it?
Face it: you’ll never get ITC Avant Garde Gothic and Trebuchet MS to
cooperate. Instead, consult well respected typography-related resources.
See what professional designers agree on. It’s likely you already have
some of the classics you’ll find referenced. Perhaps those same fonts
are complete and are of high quality, which makes choosing them in a
pinch that much easier. You will fail them before they fail you.
8. Use a Limited Palette
You’ll find many opinions on this, but it’s also not a bad idea to
consider a limited palette of typefaces you like best from lists of the
most popular type of all time. They are the most popular for a reason.
Some designers have gone a whole career using less than twenty typefaces
most of the time. For instance, you could use the
FontShop’s 100 Best Typefaces (http://www.100besteschriften.de/)
(in German, also available as a PDF) as a reference. To that list, you
should try to add a few newer, and not just classic, typefaces. While
you are at it, consider adding one or two
unique but highly-versatile modern typefaces from independent foundries, and not just the larger established ones that might be more familiar.
In this example, we’ve combined Bembo with various fonts from Haptic
Pro, a typeface family originally designed 2008 by Henning Hartmut
Skibbe. Something old and something new, and you can go a long way with a
style all your own:
Final Tip: Break The Rules
Break the rules but only
after you can name some of them. Knowing the basics described in this article will help you make intelligent choices about
what rules to break and
how
to break them. You might have to go through ninety-nine bad ideas to
get to that one great idea, but the process is fun. Remember: knowledge
of type gives you the power to express yourself more creatively with it.
To “push the envelope”, as the cliché goes, you first need to know what
and where the edges are.
