At the core of most, if not all, graphic design is typography. Graphic design, for the most part, is a combination of words and art, creating a visual image for the consumer to interpret. The way a designer chooses to work with a given text has a major impact on a promotional piece!
A quick search on typography at wikipedia.com (If you are not familiar with this site, check it out. It is an online user-contributed encyclopedia.), gives the following definition for Typography:
Typography is the art and technique of type design, modifying type glyphs, and arranging type. Type glyphs (characters) are created and modified using a variety of illustration techniques. The arrangement of type is the selection of typefaces, point size, line length, leading (line spacing) and letter spacing.
Typography is performed by typesetters, compositors, typographers, graphic artists, art directors, and clerical workers. Until the Digital Age typography was a specialized occupation. Digitization opened up typography to new generations of visual designers and lay users.
Whether you are a seasoned designer or just at home making birthday cards, you’ve certainly played with text on your computer to make it look “just right.” So, if you consider yourself a pro when it comes to arranging type (and you ought to be if you’re a graphic designer!), then go right ahead and add “Typography Specialist” to your resume!
Font selection is integral to graphic design, and often designers fall into a bit of a “font rut”—a few fonts become the mainstay and are applied to a wide variety of clients. While there is nothing wrong with developing a certain look for your work, breaking out of your comfortable font routine could give your work a fresh new image.
Keep your work trendy and up-to-date by scouring printed media and taking note of font trends. Got a new client? Check out your client’s competition and take note of serif, sans-serif, and script fonts. Changing the font so your client stands out from the crowd is sometimes the solution, but your client may prefer to follow suit in order to create a professional image and show that they are part of the industry.
Check font sites often to see the newest and nicest fonts out there. Many fonts are available for free download, or for a small fee (which is usually negligible if you are charging a market value for your services). My favourite font site is www.fontfreak.com. If you’re working on a logo or a special heading, try converting your selected font to outlines in Illustrator and play with it a bit to make it unique.
One thing that designers often forget is that at the end of the day the point of their work is to convey a message. That’s why typography—and specifically, readability—is so important. Check your work thoroughly for legibility in leading (the space between each line), kerning (the space between each letter) and general consistency in typography. For example, if your subtitles are Bold 14pt., make sure all your subtitles are Bold 14pt! These seemingly small things can be the difference between sloppy work and a professional image.
On the subject of legibility, there have been countless studies to determine which type of font—serif or sans serift—is easier to read. (“Serifs” are the small finishing strokes on the end of a character. “Sans serif” fonts do not have these small finishing strokes. Think Times New Roman (serif) vs. Arial (sans serif)) The original mentality behind serif fonts was that the small lines of the serifs aid the reader in determining where one letter ends and the next begins. However, most readability studies have proved inconclusive. It is generally a matter of taste.
Typography is just one more thing that we all encounter every day; yet, like many everyday things, we rarely give it a thought. I have always believed that in order to fully offer a great service to clients, we must be true professionals in the field—and that means having a firm understanding of typography. The information is at your fingertips, so next time you have a few free minutes, hop online and bring yourself up to speed—and tap into typography!
Jasmine Brooks, Project Coordinator
MPR Communication
jbrooks@mprcommunication.com
