Why do they pick those fonts?

Step Inside Design, May/Jun 2004

HOW DO THEY DO IT? HOW DO THE BEST GRAPHIC DESIGNERS CHOOSE THE TYPEFACES THEY USE? DO THEY HAVE FAVORITE STANDBYS THEY RELY ON all THE TIME? OR DO THEY MAKE FRESH CHOICES FOR EACH PROJECT? DO THEY HAVE A SINGLE GUIDELINE THAT WORKS IN ALL INSTANCES?

TO ANSWER THESE QUESTIONS, WE TALKED WITH THREE VERY GOOD-AND VERY DIVERSE-GRAPHIC DESIGNERS WHO USE TYPE ESPECIALLY WELL: ROBYNNE RAYE OF MODERN DOG DESIGN COMPANY IN SEATTLE, BRYAN PETERSON OF PETERSON & COMPANY IN DALLAS, AND VINCE FROST OF FROST DESIGN IN LONDON.

FAVORITE FONTS

Both Frost and Peterson have favorite typefaces. Frost likes the heavyweight sans Akzidenz Grotesk Super , which is the face used on his website. "It's strong, simple, and elegant," says Frost. "Its roots date back to the igth century, and it's still modern today." Peterson, on the other hand, favors three serif designs: Minion, Octavian, and Requiem. "Of the three," he says, "my newest turn-on is Requiem from Jonathan I Ioefler. Check out the capital T. It just doesn't get any better than that. This typeface has a grace and legibility that is unsurpassed." Raye, however, doesn't have a typeface she turns to regularly. "I don't have particular favorites. Although, whenever possible, I choose hand-made type for its human quality."

Choosing and using your favorite typeface is one thing, but how about when you have to venture outside of the familiar? When asked how he would go about choosing a text typeface, Peterson's answer was first about practicality and then about personality. "I would go for readability first. Then I would match the font with the concept, idea, or personality of the content of the text. I believe a good typeface is like good direction in a movie; it's invisible to the viewer, but highly critical to the communication of the message."

Raye uses "relevance" as her guide. "All our projects rely on typefaces that are appropriate to the design and goals of the project. Our typography may be edgy, but it is always relevant."

DISPLAY DECISIONS

Choosing display type can demand a somewhat different set of criteria. According to Peterson, "Some typefaces are great at large sizes, but not so succesful as text fonts. Sometimes the subtle touches of the type designer are better appreciated when the type is set large. Sometimes, however, design traits will make copy look uneven when the same typeface is used for text. Every typeface has a personality. I choose display designs based on the desired feel. For example, if I am trying to communicate something that is loud, then it demands big, heavy, and simple typography. Communicating something elegant requires thin, often more complicated, finessed type."

Frost exercises his well-honed intuition when choosing a display design: "I use whatever looks and feels right." For Raye, it is all about appropriateness. "Display typefaces must look like they belong in the piece. I have a pet peeve: When I see a designer trying to emulate the 'oos psychedelic era using a computer font, it just looks out of place and, well, fake."

Each designer has a simple rule that guides much of their font decision-making process. Peterson advises, "When in doubt, go classic: Bodoni, Goudy, Trajan, Univers, and so on. Avoid trendy or experimental fonts except when the concept supports them and then use them sparingly. In text, look for even and smooth readability. Match the mood with the type."

Raye advises, "Typefaces have to fit the project." Frost's advice is equally simple. "Don't be afraid."

How do they do it? By choosing typefaces that are readable, timeless, appropriate to the project-and, from time to time, by taking a chance.

ROBYNNE RAYE | MODERN DOG DESIGN COMPANY | www.moderndog.com

BRYAN PETERSON I PETERSON & COMPANY | www.peterson.com

VINCE FROST | FROST DESIGN | www.frostdesign.co.uk