![]() ![]() It’s easy to create outlines of any typeface in Illustrator to see whether it’s a prize or a dud. If you need a display font, make sure the vectors are clean and elegant, with no signs of lazy auto-tracing. If it isn’t, consider looking for a different one. ![]() They might have taken scans of printed letterforms, auto-traced them in Illustrator, and put them into FontLab or a similar program without bothering to clean them up or correct any errors created by the software.ĭisplay fonts are meant to be shown at large sizes, and when you have one that’s poorly drawn, it’s going to be that much more obvious when it’s blown up to the necessary size.Ī good typeface should be just as elegant and readable at size ten as it is at size 84. Check For Telltale Signs of Auto-Tracing or Lumpy Vectorsīack before digital took over the print world, type was created by actual foundries, which offered sets of metal letterforms to be loaded into a printing press.Ī common problem with a lot of modern digital fonts (even the ones you have to pay for) is that the ‘foundry’ that designed the typeface cut corners to produce it. It’s all about making sure the changes are seamless and look like they were always part of the letterform. Many of the newer fonts out there were created from classic ones anyway. Type can be altered, tweaked, spliced, and shaped to fit a variety of needs. If you learn the fundamentals of type, you can get a lot more versatility out of even a single typeface than many type novices think is possible. However, that doesn’t mean it isn’t good advice to stick to a particular ‘palette’ of fonts for the most part. It can become a bit monotonous, though, and, if done incorrectly, can make your work look awkwardly limited. This has the effect of giving your design work a very distinctive look only using five fonts for everything will clue people in faster as to who the designer is. When I was in school, my type teachers would stress that graphic designers really only need around 5 or 6 ‘default’ typefaces that they can use to handle 99% of all possible scenarios. You Don’t Need as Many Typefaces as You Think You Do Today, we’re going to look at five key rules for selecting an ideal typeface for any project, and how to determine if that font you think is amazing may not be so great after all. This results in an overabundance of typographical solutions to problems that aren’t really so complicated. ![]() We have access to thousands upon thousands of different fonts, many of which are free to download and use. ![]()
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