How to choose the typeface(s) best for a project
No need to fear, help is here. Just take a deep breath, it’ll be ok. Ready? Ok!
Typefaces can be divided and subdivided into dozens of categories. The main four categories are serif, sans-serif, script, and decorative. Serifs can be further dissected into subcategories like Old Style, Transitional, Neoclassical and Didone, Slab, Clarendon, and glyphic. Subcategories for sans-serif are Grotesque, square, Humanistic, and geometric. Scripts subcategories are formal, casual, calligraphic, and blackletter and Lombardic. Decorative typefaces are subdivided into three groups; grunge, psychedelic, and graffiti. This is the largest category and also the most diverse. Rarely used for lengthy blocks of text, decorative typefaces are popular for signage, headlines and similar situations were a strong typographic statement is desired. Each typeface, regardless their category will have their own personalities.
After doing your research, you’ll have a better understanding of typefaces, how to appropriately use them, and narrow down your choices. Next, your intended audience will be a major determining factor in your appropriate typeface choice. Know who your intended audience is, including their age range and particular interests. Be clear on the goals of the piece. Whether you are selling a product or service or providing information or entertainment, your typographic objective is to engage the audience. Some audiences would read shorter copies of text better than others. Some audiences typeface styles and sizes are more legible for others.
3. What is the intended use of your project?
Is your design for web, print, or display? Your response will be a crucial part of deciding which typeface is suitable for your project. Some typefaces do not read well on screen, some do not print well, and some work better for larger formats like for billboards or posters. If just print, then your font search will be simpler. But if it is needed for the Web (Web fonts), ebooks, smartphones, or other uses, you will need a typeface that is available and appropriate for all usages and performs well in all required environments.
These factors will 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. Combining two different typefaces can also create their own moods separately and together.
Experimenting with different typefaces, sizes, colors, and type families will lead you to some exciting results. 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. 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.
Don’t be afraid to ask for help. Have your friends, preferably some with typography knowledge or graphic design instructors, critique your work to get yourself out of your own way. After working hours on end staring at a screen, having a second set of eyes to review your work to make sure you don’t send the wrong message.
There’s no need to dread this step of your project. Once you pick the best typeface(s), the rest of the work should be a breeze. Having your background knowledge of type will be a giant help. Be sure to play and seek trusting advice from your peers when needed. For more information on type check out https://www.fonts.com.
