Designers can, and often do, use a single variation of one typeface (for example, Proxima Nova Regular) for entire projects. This is a common exercise in Typography 101 classes because it helps students understand typesetting options and limitations, and it's a popular aesthetic among professionals who are in a hurry, trying to be plain, or trying to be careful. Even sticking with a single typeface (for example, the complete Proxima Nova family) provides a multitude of possibilities, particularly if that face offers many weights, widths and styles.
The act of bringing different typefaces together to convey a message is challenging, inspiring and fun. And it gets the job done—finding good type combinations can give form to our emotional goals and serve the practical needs of our compositions in ways that sticking with a single typeface cannot. Plus, learning to combine typefaces is one of the best investments a designer can make: it teaches you how to be selective, patient and reasonable about design decisions.
But combining typefaces is also hard work. It takes practice, and it takes the wisdom that comes with practice. It takes knowledge about type, context and culture. Successful combinations are partly a matter of good taste, which comes with experience but is tough to develop. And finding typefaces that work well together often takes more time than we (or our managers, or our spouses!) think it should.
It can be quite frustrating, but that’s a good thing. Hard work is good for the soul, and striving for a palette of typefaces that is appropriate for a given project is a rewarding exercise. By trying, we grow knowledgeable; and by having tried, we grow wise.
Заголовок: Combining Typefaces
Автор: Tim Brown
Издательство: Five Simple Steps
Размер: 10.12 Mb
Количество страниц: 63