We all have different methods of choosing type for a project. Myself, I go by “feel”—unscientific I know. But when I’m choosing body copy, I make some educated guesses as to choice, then run out some paragraphs in different faces to check it out, see how it feels. I always start with what I already own, but I really run into problems when I can’t get the right feel and I need to start looking at buying something. I just can’t tell anything (OK, very little) from the character set or a line of type.
For headlines and logos it’s much easier, but for text, there have been many times I’ve bought something only to discover it still wasn’t right. Thankfully, I have a friend, Brian, who helps me out. His suggestions are usually right on. I also often run my final choices by him because I worry that my intuitive type sense will lead me astray. I have always imagined a host of designers picking up the final piece and gasping in incredulity at my choice of type. “What?? Who designed this?!” followed by rolled eyes and a dismissive toss. OK! So I’m insecure! These days I don’t even bother with the imaginary host, I just imagine Mark Kingsley.
The number of weights required, whether the italics are properly associated (if I can’t hit Command-I and get italic I’m not going to use it for something where I need a lot of italic in the text), how it tracks, what it will be printed on, whether it will be reversed, comparitive axes and weights of paired faces … so many things to think about!
So how do you choose type? Do you, like me, start with what you have, or do you look to buy exactly the right face? Do you go by historical or regional origin? Would you eschew a big-city face like Gotham for a small-town paper? If it’s a French cookbook, must you use a French face?
And here’s a hard one, how do you know which Garamond, Baskerville or Bodoni to use? Is your Bodoni good enough, or should you buy the 6, 12, and 72 set of ITC Bodoni?
And then there’s the less rational reasons. Have you ever been swayed by the name of the typeface? Used Perpetua for a memorium? Used Shaker for a book about the prairies or Sauna for a spa?
Have you ever chosen type for reasons of revenge?
Have you ever used something because you just bought it and you wanted to use it (fess up)? Like maybe that typeface you bought for something else and it didn’t work out. Doesn’t it kindof nag at you … “I’ve got to get some use out of this damned typeface!”
How about exclusivity? Do you avoid system fonts? Do you seek out the smaller, lesser known foundries … do you spring the big bucks for Enschedé faces, because really, at that price how many other people will have it?
And finally do you lust after certain typefaces, and if so why? What makes you want to own something you don’t yet need? Does it really look useful, or does it just happen to be Emigre’s latest face and you want to get to it before anyone else?
C’mon now, be honest. Next week none of us will really remember your true type confessions. Promise.
I use what I've got for the most part. I have a lot to learn (I feel) and the best way to learn type is to work with a few faces on a regular basis. Having a limited selection also cuts down on indecision.
But, like you, if I feel a project demands a style of typeface I don't have I look for it and buy it for the project.
I'll fess up to seeking a lot of help from The Elements of Typographic Style and Dean Allen's Twenty Faces on Textism.
And I do compare printed samples to make my decisions on body copy.
On Aug.18.2004 at 11:34 AM