26 TYPOGRAPHY be enough reason to rely on them. Correcting typographic widows, orphans is also just about making things look right; as is the idea of not cluttering the right edge of a column with a bunch of hyphens. Keeping word-spacing tight and even is simply to create an inviting block of copy that doesn’t have visually disrupting white-space gaps that also slow down the reading process. Common sense and what looks good even applies to the basic issue of choosing the correct typeface. Some typefaces are better in one size than another. One may be bad for lengthy text in a book or brochure but good for short blocks of promotional copy. The best typeface for a particular occasion can depend upon its size, weight or its position on the page. The best typefaces, however, are always those that are appropriate for the time, the reader and the situation. All one has to do to make the correct choice is look at the design and think about how it will be used. If it looks right If you think about it, the craft of typography is little more than the – it probably is. combination of three very simple things: attention to detail, common Look at the headline sense and visual acuity. after it has been set. Does it space well? WORDS: ALLAN HALEY Is it easy to read? Does it lead naturally into the text copy that follows? If it is more than two lines of copy, does the line spacing look even? Is the IF YOU THINK ABOUT IT THE CRAFT OF message enhanced by the typeface? Is the text typography is little more than the combination copy inviting? Is it an even texture? If columns of three very simple things: attention to detail, are set rag-right, do all the lines end in about common sense and visual acuity. Sure, there are the same place? If they are set justified, is the typographic rules and guidelines, but they are, copy-block free from ribbons of white running for the most part, just based on what is sensible through it? Are the lines short enough and is and pleasing to the eye. Learning to identify the there enough line spacing so that the reader parts of a character may increase a designer’s won’t read the same line twice? All are simple business vocabulary, and knowing the lineage questions to answer – if the designer looks at the of Garamond designs may aid in the choosing type, uses a little common sense and sweats the of a good modern revival of the face, but the details. real key to typographic success is basically just OK, an appreciation and understanding of the “sweating the details” and a simple coordination basis of good typography is a strong foundation of mind and eye. to build on. But all the typographic education Take, for instance, the typographic rule in the world is of little value, if designers do not of avoiding all cap copy. The tenet about not use a little common sense – and look at the setting all capitals is really based on little more work they produce. The job is not done when the than simple logic. Capital letters take up more headline is dropped into the layout or the text space than lowercase letters – up to 30% more copy poured into a column. It is only complete space. Headlines, subheads and pull-quotes are when the designer has looked at the finished about setting brief blocks of copy in a relatively product – really looked at it – and made sure that small space. It’s only common sense to use the the type looks correct, is handled consistently most space-efficient letters: lowercase. Sure, and makes visual sense. That is what typography there’s all that stuff about how “word shapes” is all about. d (made from ascending, descending and x-height lowercase letters) might help us read faster and that all capitals only create rectangles as visual identifiers, but just the fact that the little letters can pack more information into a given piece of design real estate than capitals, ought to
the fuck is typography
october 2013 / www.desktopmag.com.au
28 FREE FONTS
Tomahawk - Tommy Dia
Dense - Charles Daoud
Chrome - Artem Sukhinin
Woodshop - Nick Slater
Woodwarrior - Anton Bohlin
Excellens - Federico Landini
Baron - Frank Hemmekam
Sequi - Jo達o Andrade
Metropolis - Josip Kelava
Excellens, is the first font totally created using Microsoft EXCEL 97. The glyphs design was done using a standard EXCEL 97 sheet, adding some borders and diagonal color to draw the letters shape. The final result is something that reminds one to the “Cholo Graffiti Calligraphy” used by Mexican gangs in Los Angeles, but in a new digital and elegant way. Sequi, is experimental, it is a personal project in which João Andrade had the opportunity to explore different forms and versions of existing typefaces. The name comes from the Latin, and it includes a total of 360 awesome glyphs. Baron, created by graphic design student Frank Hemmekam, this is one of many free fonts designed for display, and Hemmekam describes it as ”a free uppercase display typeface inspired by the classic sans serif font families. This typeface is, because of its many We’ve scoured the web to present you with a fine and varied selection of alternative options free fonts. Including scripts, serifs, and a range of ligatures, these fonts will and weights, perfect give you greater flexibility in your designs, and add to your arsenal of design for usage in posters, tools. logotypes and headlines.” Baron is WORDS: JENS MARCO GRANMORKEN free for both personal and commerical use, just download it for free on behance at any time.
funky fresh fonts 4 everyone
Dense, one of our favourite free fonts to recently surface, is a versatile, elegant, geometric and compact sans-serif typeface. Three weights have been created thus far: thin, regular and bold. Created by Canadian artist Charles Daoud, Regular is currently the only weight available, but Daoud has said that he’ll update his Behance page with news on how to get the other weights in the near future. Chrome, created by London-based graphic designer Artem Sukhinin, Chrome light is available in two variations, Chrome and Chrome Black, with a full set of letters, numbers and four punctuation marks. This is one of those free fonts that can be used for any type of graphic design - print, web, packaging and more. Woodwarrior, is a typeface inspired by the north, and the contrast between modern man made structures and untouched nature shaped by wind and ice alone. Created by designer Anton Bohlin, Woodwarrior is one of those free fonts that’s perfect for experimental headlines and eye-catching straps. Woodshop, created by Pennsylvania´n graphic designer Nick Slater is a free to download font. The slab font comes complete with a full set of upper and lowercase letters.
october 2013 / www.desktopmag.com.au
Metropolis, It’s no wonder this font is so popular, thanks to its modern twist on a vintage style. Designed by Australian graphic designer Josip Kelava, Metropolis is influenced by the industrial movement of the 1920s. Kelava wanted to create his own Art Deco font without being too much of a copycat. The result was this bold and daring typeface, perfect for catching your user’s eye. It only comes as capital letters, so it won’t be relevant for set body text. It does however, look amazing on a poster or homepage! Tomahawk, created by Norwegian graphic designer Tommy Larsen. Tommy Larsen often experiments with a variety of styles, his outputs are always intriguing. Tomahawk is inspired by one of his previous fonts Dia - which is also availbale as a free download! Being from Norway, the Tomahawk font also includes the Norwegian characters - Æ, Ø and Å. It’s one for headline and larger uses, as it only comes in upper case lettering. So if you would like to download any of these amazing font all you have to do is hop on to you´re computerized devices and access Behance.com on the world wide interweb.. d Behance.com/example
30 POR QUE
to explain why typography matters What do you do? ”I’m a typographer.” Oh, you’re a topographer. So does that mean you have a geology background, or you mostly work with maps? ”Erm, not exactly. I’m a typographer, I work with fonts.” Funds? Like an investment banker? WORDS: THOMAS PHINNEY
IF YOU ARE A DESIGNER WHO CARES about typography, odds are that you regularly try to explain to somebody–whether a client or someone at a party–why anybody should care about typography. Web designers are beginning to face these same questions that have long plagued graphic designers, thanks to new Web technologies such as @font-face and CSS3 typography features. In the past decade, awareness of fonts and typography has become a bigger part of mainstream culture than it once was, thanks to such things as Gary Hustwit’s documentary film Helvetica, frequent news coverage of people who hate Comic Sans and type designer Matthew Carter winning a MacArthur “genius” grant. But all too often one is met with a blank look and/or confusion as to why anyone would bother about such things. Having encountered this regularly in my professional career as a typographer, I thought I’d share some of the ideas, arguments and information I’ve marshaled over the years: explaining branding, analogies about film, fashion and furniture. Why care about typography and fonts at all? The branding argument is an easy one to make. The brand is the unique personality that identifies a product, service, person or place. Design gives us the visual instantiation of a brand. The selection of typefaces and the
arrangement of them can be as important as the use of color, images or abstract graphics in creating a brand, and this is usually easy to explain. But wait, your client says, “I already have a logo. Why worry about fonts and typography everywhere else?”New York-based designer James Puckett had a great explanation when we discussed the issue on Typophile.com:
want to look different or evoke a particular feeling or fit with a particular “look,” and there are trends and styles. While true innovation is rare, people consistently come up with variations on existing themes, or combine existing elements in new ways, whether in type design, clothing or furniture. The kinds of clothing designs we see on Paris runways are usually the fashion equivalent of display typography, usable only in narrow situations, creating “I always tell people that the difference between a memorable style that good typography and [bad typography] is the difference between work that looks professional and communicates quite strongly. Everyday clothing styles are a work that looks like someone threw it together in different matter, communicating MS Word. more subtly, like body text choices in typography. One reason Apple’s stores look so good is I like to use fashion and furniture analogies for the careful and consistent application of [the another reason: Typefaces, too, are artifacts that typeface] Myriad. But Kmart’s careless mashup can be aesthetically pleasing and functional at of Helvetica, Gill Sans, News Gothic and Gotham the same time. A great chair is not only visually looks like, well, Kmart.” attractive, but comfortable to sit in; a great OK, so being consistent is good, bu t why not typeface can be pleasing to the eye, and perform just be consistent with Times or Courier? Why other functions as well, such as being legible for do people keep designing new fonts anyway, printing a newspaper, or on screen at body text don’t we have enough already? Hasn’t everything sizes. Like furniture and clothing design, type already been invented by now? design is a craft, blending art and science. d Typography is like fashion, or furniture. With rare functional exceptions, the world doesn’t “need” new clothing or furniture designs, but people
october 2013 / www.desktopmag.com.au