SELECTING AND USING FONTS

for Print Work and Web Sites

by Joelle Steele

Many years ago I worked as an illustrator for an advertising agency. This was back in the days when cut and paste actually involved the use of scissors and glue! This was also back in the days when using a font meant going through enormous books of fonts and typefaces (some font books were almost 3' x 2'), selecting one that fit the job, carefully tracing the letters you wanted onto a piece of tracing paper spaced exactly as you wanted them to appear, having the font house prepare a velox (your letters on photographic paper), and then pasting that velox into place on the mechanical for the ad or brochure or whatever you were working on at the time. What a lot of work!

That was then and this is now. Things have really changed since the 1970s. Want a font? There are thousands of them that you can purchase and have available at your fingertips, literally. Just a few keystrokes and you've mastered font selection. Well, not really. Being able to select from numerous fonts is great, but selecting the right font is another story entirely. Most people tend to select way too many fonts for their documents, books, brochures, and websites, and all too often at least one of those fonts is almost unreadable. They may additionally select fonts that do not really fit with the style of their business or the products and services they sell.

Let's get a better understanding of what fonts are, and how to select and use them for both print work and Web sites.

FONT VS TYPEFACE

While the words "font" and "typeface" are used interchangeably these days, there is actually a difference. The typeface is the design itself, such as Arial, Times Roman, Galleria, Roboto, Sylvia, Helvetica, Della Robia, Imago, etc. The font is the collection of variations within each typeface design. There are traditionally four such variations for every typeface: bold, italic, bold italic, and normal. But there can be many more. For example, the font collection for the Garamond typeface might include such variations as Garamond Bold, Garamond Narrow, Garamond Light, Garamond Small Caps, Garamond Italic, Garamond Wide, Garamond Extended, Garamond Bold Italic, etc.

SERIF AND SANS SERIF

Fonts are further defined by whether they have small horizontal lines at the tops or bottoms of the vertical lines in a letter. The ones with the lines are called "serif," and the ones without the lines are called "sans-serif" ("sans" is French meaning "without"). Arial and Helvetica are sans-serif, while Times Roman and Garamond are serif typefaces.

FONT MEASUREMENT

Typefaces are measured in "points" starting from the top of the tallest capital letter in a typeface to the bottom point of the longest descending letter in that typeface, such as the end of the "tail" of a "g" or a "y." A font that is 10 pt is smaller than 12 pt, and a 26 pt is smaller than a 56 pt, etc.

This system of point measurement was first standardized around 1737 by French typesetter and engraver Pierre Simon Fournier. He based his point size on the French Royal Inch or "pouce" (a pouce being 2.707 cm or 1.066 inches and different in size from the Imperial Inch, an Anglo Saxon typesetting system.) In Fournier's system, there were 72 points to the pouce. Fournier died in 1768, and twelve years later, his system was further refined and standardized by Frenchman François-Ambroise Didot (a printer from the Didot family of printers, typesetters, and engravers), after which the system became known as the Didot Point System. In Didot's system, 12 points was equal to one "Cicéro" (a type size named after the ancient orator Cicéro and equivalent to 0.1648 in). Ergo, a Didot point was 1/12 of a Cicéro or 0.013733 in.

During the latter part of the 19th century, American printer Nelson C. Hawks proposed the use of his point system which he called the "American System of Interchangeable Bodies." It was based on the "pica" which is also 12 points (4.233 mm), a point being approximately 0.3514 mm or 0.01383486 in. However, Hawk's 12-point pica was slightly smaller than the 12-point Didot, which caused the Didot to be nicknamed the "fat point." In 1892, about five years after its introduction in the United States, Hawk's point system had become the national standard in the United States and Great Britain. It is this system that has since been developed and refined by Adobe Systems into the point system that is most commonly used today in computer fonting. In this system, there are 72 PostScript points to the inch, which makes 1 PostScript point equal to 0.013888888888 inches or 0.352777777777 mm.

However, today there is some talk of changes with regard to using the point measurement system at all. Some countries, notably Japan and Germany, have been abandoning the point system altogether in favor of a metric-based font measurement system. If this metric system is implemented by the United States, Great Britain, and other countries, it would eventually eliminate entirely some of the size discrepancies that occur when using European and American fonts, in which a 10 pt font in one system is much smaller than a 10 pt font in the other, making such a measurement system inconsistent, and therefore unreliable.

FONT NAMES

Fonts were originally named after the people who designed them, and that is often the case with fonts that are designed today. But many of the most commonly used fonts today are named for typesetters of many years ago. For example, the Garamond font is named after 16th century typesetter Claude Garamond; Adobe Jenson is named for 15th century typographer Nicolaus Jenson; Caslon is named for early 18th century British engraver William Caslon; and Bodoni is named for 18th century typographer, Giambattista Bodoni. Some modern designers whose fonts bear their names include Frutiger, Lubalin, Zapf, and Gill.

Other font names are related to the origin of the font style, such as Trajan, which was developed by Adobe and based on the 1st century AD engraving on Trajan's column in the Roman Forum. The ornate fonts with names such as Blackletter, Cloister, and Fraktur are old medievel European fonts that were once everyday typefaces but are now grouped in with "fancy fonts." Sans-serif fonts Helvetica and Swiss are very similar, and rightfully so since Helvetica is just an old name for Switzerland.

FONT SIMILARITIES

You may have noticed that there are fonts that look like each other but have slightly different names. For example, there is Times Roman and Times New Roman or Courier and Courier New. Then there are fonts like Galleria and Gallery. Galleria is a Corel font and Gallery is a Bay Animation font. It is hard to tell many such fonts apart because the differences in appearance may be very subtle, or the differences may only become apparent when you try to apply an attribute to the font, such as boldfacing or italicizing, or when you try to use the small caps function.

FONT ATTRIBUTES

A font attribute is a characteristic of the font that you change or add in order to make your fonts look the way you want them to appear. To do this, you may want to italicize and/or boldface a font, adjust its kerning, put a drop shadow behind it, or give it some color – or some combination of those attributes. You may also want to use a small caps function or underline a word here or there. In most cases, adding these font attributes should not cause you any problems, but with some fonts the changed attributes may not look as good or as readable as you would like them to be. In that case, you may have to change to another similar font and test these attributes on that font to see if the result is improved.

FANCY FONTS

Fancy fonts are so-called because they are ornate or unusual in some way and deviate from standard letter forms with which we are most familiar. In short, they can be extremely beautiful and unique and may make wonderful logos or book cover titles, etc., but they would be extremely difficult to read if they were used for the text in a magazine, book, or on a webpage. As a result, fancy fonts should be used with the greatest discretion, because when you are typesetting anything, your first priority is always to make it readable – no matter what.

With many fancy fonts It is not unusual to have to adjust the kerning – the spacing between the letters. In addition, it may be necessary to make the initial letters much larger in order to make them appear more like upper case (capital) letters. You may even have to adjust a letter here or there down or up a point or two in order to satisfy your personal aesthetic tastes.

FONTS THAT FIT

With so many fonts available, how do you decide which ones to use? Narrow your choices to one fancy font for a logo or headline, and no more than two other plain fonts for contact info and descriptive text. Make sure that the text fonts are easy to read and that all of the fonts you select match the type of products or services you sell or the subject matter of the book you are designing. For example, a lovely script may sell something like antique clothing, but it would look completely out of place in an ad for automotive parts. Also, when you are designing things like business cards, make sure that the fonts you select will look as good on the tiny business card as they will look when enlarged on something bigger like a brochure or even bigger as on a sign for a storefront or a vehicle.

In general, and whenever in doubt, keep it simple to ensure that the fonts you use in your design will be both attractive and easy to read.