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— Although there have been most font posts, most of them outline fonts used by the ‘not-so-well-trained’ designer. In this post I want to outline the fonts that are often used by the more ‘professional’ of designers.
This article is the third article of four in this series. The Four Part Series. Top 7 Most Used Fonts Used By Professionals In Graphic Design 1.
Helvetica Without a doubt, Helvetica is the font by professionals (and also by the not so professional) in graphic design. Although some the font, many believe that it is. And as Vivien pleas in her, “Understand that you can’t always rely on Helvetica to illustrate and deliver your.
Helvetica is not perfect for everyone and every occasion.” 2. Trajan Trajan finds its way into many and anything remotely to do with religion, law, marriage, class or the past. You can check out the for more uses of Trajan. A bit of history on the font Trajan Trajan is an old style typeface designed in 1989 by for Adobe. The design is based on Roman square capitals, as used for the inscription at the base of from which the typeface takes its name. Garamond Although there are, the most used version today is the version (as seen above) released in 1989. Garamond is a great font for magazines, textbooks, websites and long bodies of text and was recently named the second best font (after Helvetica) by a.
Futura is a font that comes up often in large displays, logos, corporate typefaces and in books where small text is needed. It is based on geometric shapes (near-perfect circles, triangles and squares) which became representative of the Bauhaus design style of 19191933. Futura has an appearance of efficiency and forwardness. The font though. Bodoni Bodoni is a great font for headlines, decorative text and logos. Bodoni has a narrow underlying structure with flat, unbracketed serifs.
The face has extreme contrast between thick and thin strokes, and an overall geometric construction which makes it a very aesthetic looking font. Bickham Script Pro Used mainly for formal occasions, Bickham Script Pro is a font which does the job well Cameron Moll even recommended it in his article “.” The ‘not-so-trained’ designer usually vouches for instead which is. Another great alternative would be Sloop. Frutiger The Frutiger font family is neither strictly geometric nor humanistic in construction; its forms are designed so that each individual character is quickly and easily recognised. Such distinctness makes it good for signage and display work and it is often used in Web 2.0 Logos.
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The full family has a warmth and subtlety that have, in recent years, made it popular for the smaller scale of body text in magazines and booklets. Close Contenders Here are some other fonts many ‘professional’ designers use quite often; Gills Sans, FF DIN, Franklin Gothic, Bembo, Rockwell, Avenir, Avant Garde, MrsEaves, Gotham, Sabon, Warnock Pro. Notice that none of these are fonts are downloadable for free?
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What other fonts would you add to the list? Ugh, much hate for Trajan.
Just because it’s used a lot (yes, I know you didn’t say “overused”) doesn’t mean it’s a good choice. Small caps are nice, but this font is a little wide (and therefore less legible) for my tastes. To me, it’s “the dramatic font” because of how much it’s used in movie posters to add that feeling. It seems to be finding its way into every piece my coworker is designing atm too. Do you really think Bickham is used a lot? Maybe I just haven’t noticed. It has some really nice ornaments.
Personally I prefer a lovely italic face to script for formal occasions (at least for the body copy); it’s usually easier to read. (did you remove the Subscribe to Comments plugin? I don’t see the checkbox) LaurenMarie – Creative Curio’s last blog post. I must add a font that in our company keeps getting used again and again: Interstate. It is based on the font on traffic signs I think. Blue Highway is a free interpretation, but the difference is easy to see. I must agree with the idea that fonts that REALLY look good are not available for free.
There is a craftmanship to fonts that lots of people (i.e. Non-professionals) will miss when using whatever looks good (i.e. Thanks for another great post! Ruud van Wijngaarden’s last blog post. Good post man.
I don’t have anything against helvetica, I use it pretty often. But man it really gets my goat when I see people using it for everything.
A lot of people in my class seem to think its the one size fits all typeface. Another thing, I was going to print these articles out to put them in my design journal for TAFE. But I was just wondering if you were going to publish them as a whole at any point? Just since there’s a series of them, it’d be cool if they were published similar to your type classification book, which I also use quite a lot by the way. I guess the question is: Why? Why do we, as designers, keep these fonts on the top shelves of our toolbox? Why do we use them to the point that just looking at them makes us feel queasy?
I agree with Kat that there is a certain comfort with these fonts. These are the ones that have been used so many times before and appeared in numerous instances that we could probably draw them freehand or kern them properly while pinning fifty items on our mood-boards. But isn’t it ironic that we, as designers, still use them even though we know of the bad reputation they’re slowly pilling under their characters? Are we getting too comfortable with our craft that we find it almost unnecessary to browse through the catalogues of foundries to find the hot new thing? Not necessarily. How many designers do go online for each and every project they have just to get the right typeface?
Maybe a few, but certainly not all. While some of us do have the budget and the time to peruse through the nifty websites of foundries to find custom fonts, most of us work with projects that have tight budgets and clients that own tight wallets.
And most of us (well, those of us who actually have a long list of projects in the pipe anyway) just don’t have the time to hunt down the perfect typeface for the job. So what do we do? Being the practical people that we are, we use what we have. This is where these “genericized” typefaces come in. These are the ones that each designer has in their arsenal because in one point of their careers, they’ll be forced to use them. And it isn’t just about being practical.
We can hate them, we can call them bad names, we can even create documentaries that taunt them. But admit it, most of these typefaces are good at what they do. Nothing beats simplicity like a simple poster with screaming Helvetica or a carefully laid-out report in Garamond. And Frutiger! I’d marry Frutiger if it’s legal here in Manila.
Some may ask, “So how do we solve this?” Solve what? There’s no problem. These typefaces are here because we need. They’re the lifesavers in our work–the names we can trust. Still, as designers, we shouldn’t be lazy. It’s forgivable to come up with a design with these fonts should you be constrained by budget or time–like that pro-bono programme you made with Myriad that was needed the next morning.
But if you have a three-digit budget for a set of brochures scheduled to be finished in three months, don’t even think about showing up with something in Caslon and Univers. That’s just not acceptable. Then again, we could all just be better designers and find ways to be creative with our limited budgets and time by spending our free time looking at the fantastic and free typefaces made by other great designers. But who wants to be that guy who actually does that? Justin, I am a design student, first year, and I wanted to let you know about a typography movie we watched in class. I think you might be interested in this film. The movie is called “Helvetica.” You may have already seen it but it you haven’t, add it to your netflix list and get it.
I don’t think you will be disappointed. The film is about how the helvetica typeface became so popular. Great articles, I follow them closely. Your article on how to get work while your still in school has helped me land my first project. Interesting list. Helvetica is tough since it does have a tendency to come in and out of vogue.
It’s the context and the handling that makes it either conventional or fresh. The iPhone’s interface uses Helvetica effectively. Trajan is very nice, though it seems mandated by Hollywood law to be used for all horror-thriller movie one-sheets under penalty of death for non-compliance. Trajan was used extensively in credits for ‘The West Wing’ (makes sense) and then in Aaron Sorkin’s follow-up ‘Studio 60′ (makes less sense).
Futura is used in J.J.Abrams’ drama ‘Lost’ and also as the animated title card for the new ‘Fringe’ TV series. These typefaces seem to follow certain producers around, lending a kind of subconscious branding. Don’t know about you all, but I’ve seen a surge of Gotham and Avenir as of late.
Interstate is popular, but I think it’s already peaked and beginning to wane a little. Because Minion Pro and Myriad Pro are included in new versions of Adobe’s creative suite, I’m surprised they’re not used more often as they are very complete with four weights and corresponding italics and condensed alternates for tons of flexibility. And they’re very clean alternatives to the old Helvetica and Times stand-by’s. There are lots of interesting comments here, but I’d like to point out that this list is “faces frequently used by trained designers” While I don’t believe there’s anything wrong with learning design concepts on your own or switching industries, there is a specific understanding that comes from typography classes taught by professional typographers. This understanding of history and use is the reason that many “trained” designers use the same hand full of type faces. In fact I remember one of my typography classes where we were only allowed to Use Gill Sans, Bodoni, Garamond, or Frutiger. Of course being budding creatives we all complained about this restraint, but the response really surprised me.
The instructor said “If you can learn to convey an idea through the weights, variants and spacing available in a tried and tested type face, you’ll be able to wield any face in the future.” Strangely using only those 4 fonts wasn’t as hard as we all expected. In fact it taught us to actually work with type instead of just taking the easy way out by finding a free font that didn’t really help our project.
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I find that even today, years later I still use the tried and true type families because of their many weights, variants and ligatures. In fact it drives me insane when someone asks me to use a free font that isn’t well proportioned or only has a few weights. Many of the faces we call “over used” today were created long before computers or Microsoft by typographers who understood the variety of ways type can be used to communicate. All to often we accuse design of not adhering to our specific aesthetic (I don’t like that type face because I see it everywhere) when instead we should ask if the idea is communicated effectively. Next time you see Helvetica remember that you were able to read the message.
Nice post, although you should include Gill Sans and Univers. I’d also question including Trajan—really? I’ve never used it and rarely see it used. It comes across as rather specialized and gimmicky. I consider the fonts you listed (and a few others) classic. Fonts you can’t go wrong with.
They’re a great starting point to get a good understanding of typography. Once you have that understanding go ahead and play with new fonts, but keep in mind that not every font you can buy or download online is well designed. Good typography is an essential part of design and unfortunately some designers seem to put it second to using a fun new font. Jeff, Do you ever use Trajan though?
I always see Bickham Pro in formal publications, I put it in this list so as to include a script font also. Tim, I also used Trajan on one of my lastest logo designs. James, Trajan not Trojan, easy mistake!
Ah cool about being Novocastrian. I live both in Newcastle and Sydney. Where bouts in Sydney are you from? Jay, When I asked on Twitter, most of the responses were straight away Helvetica, but that was expected.
Kerri, A very valid reason for their use. Dainis, I haven’t really noticed, suppose it is where you are subscribed though. Vivien, You’re welcome!
Ciera, AvantGarde was a close contender as well and is used a lot here in Australia too. Nathan, I think the font choices above are quite safe choices however it depends on the job of course. I would be interested in your usual font choices. Kat, Well some people stick with just 1 to 3 fonts their whole career. I think it was someone from Pentagram that does that. I also think that spending so much on a font is not a wise choice, especially for freelancers. The day will come when we can use any font we wish on the web.
Sander, Frutiger was actually designed originally for an airport I believe. Minion Pro is a great font too, love the ligatures in that font. Lauren, Yeah I agree with the dramatic nature of Trajan, like the Hollywood video says it used to mean EPIC MOVIE now it just means movie.
I added Bickham as a script typeface as to differentiate the mix but I do see it quite a lot. Arian, I don’t think many, if not, any professional designer would make the choice of Papyrus in their work due to the overused nature of it.
It is mainly overused because it comes shipped with computers in my opinion. Ruud, Ah yeah, interstate I see quite a bit also, I like that font quite a bit actually though can’t recall ever using it. Steve, Thank you for the pass on and yeah, some typofiles out there get quite attached to some fonts. David, Yeah as a student myself, I also see Helvetica being used for everything. I think I will post the other articles in one post but probably not this post as it is not an ‘overused’ post. Katie, Roe, You’re welcome. I am a budding freelance graphic designer.
I would just want to ask about the system about font copyrights. Suppose I have the font Frutiger, and a client asks me to do a logo. Then I decide to use that font.
Do I let the client pay for the font (aka, buy that font from the foundry/font’s weabsite)? Or am I just free to use any font in my hard drive and let them use as the client logo’s typeface? I really know nothing about font licensing. Thank you very much! Great article btw. This is my first visit to your website, and I am definitely adding you to my reader. Hi Jocob, Wow, this is very well written post.
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Beatles poster using Distractor Creating the distractor font I’m still on a long learning curve but I’m definitely getting better. Learning on the job so to speak. Like I said I wanted to make it look like a hand-printed font—but how?
I started off my creating textures using a print roller and ink. This would give me enough design grunge to make it look hand-printed. The textures looked amazing so good in fact, I decided to sell them. All that texture goodness was cleaned up in photoshop and then vectorized in illustrator. So much detail in the texture might cause me a few problems. The devil is in the detail I’ve learned that you can only fit so much detail into a typeface before Fontographer throws a wobbly and either crashes or just plain refuses to work. At this point I have to say Fontographer is just crap.
It’s the worst bit of software I’ve used in a long time. I’m hoping someone will jump into this arena one day and make a better piece of software. Keep it simple stupid So I had to simplify everything. What you are seeing in the screenshots is only about 30% of the detail of my original Photoshop creations, really annoying.
Mind you, I don’t actually know how many vector points you can fit in a glyph, I can’t seem to find that info anywhere. What is included?
Well, this time round I’ve done lowercase, uppercase and numbers, but only a few other characters like a period, comma, dash and an equal glyph. You can view some samples of how Distractor Slab serif looks below. Update I’ve updated it to include western and central european characters, and added a few more punctuation marks—around 280 glyphs now. Buy Distractor commercial font for £5 The full commercial version of distractor now with around 280 glyphs.
Pcsx2 file could not be created. Get the limited free version below Free for non-commercial use, it has a limited character set, but enough to take it for a spin. Please note: Although this font is free, it can not be distributed by individuals, bulletin board systems, FTP sites, WWW sites, etc., without prior permission. I LOVE LOVE LOVE this typeface Simon!
Not only due to the fact that I love Bevan but because you took this typeface to another level – youve infused it with the nostalgia of the Old West reminiscent of the old Wanted Posters, and it also has that grunge look to it as well. I simply had to purchase this one as well ( but I definitely had to tweet it also!
) LOVE your work! Thank You so much once again Simon – you keep creating awesome Typefaces, I will continue purchasing them ? June 13, 2013 at 9:31 am.
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