Well, yes, it has gone quiet around here, hasn't it? I am keeping an eye on you, but I'm enjoying my blog break over here in sunny Flanders and it's giving me time to ponder (and, believe me, there's nothing a designer likes to do more than ponder).
But to relieve the monotony of the non-post, here comes Ace Jet 170 galloping to my rescue.
So, take it away Mr Ace Jet (aka Richard):-
Psycho-fontology (or a font ramble)
There's probably been some serious work done somewhere about this but I've been wondering lately if your font choice says something about you. Something deep. If Freud was checking out your Font Book or Suitcase what would he think? We all know horizontal scaling suggests criminal tendencies but what would he make of the habitual setting of Bembo or Bliss?
So I've conducted an indepth scientific study of our studio font preferences and here are the results, just back in from the lab:
We use Frutiger like no body's beeswax, it's like our Helvetica. Not a ground breaking choice perhaps but it's just so right for so many of our clients, hardly a day goes by without us selecting the master's namesake. Adrian's Serifa is a belter too.
If it's something a little more "of the moment" we're after then Neo Sans (or rather Technology Company Sans, as we like to call it) is recruited. And when Neosans won't do, Luc(as) de Groot's lovely Sun comes into play. It's a personal favourite: modernist with a little twist of lemon.
Although we love it, we try very hard to resist the pull of Herb's Lubalin Graph. It's a signature font of another local studio so if we did anything any good with it, they'd probably get the credit.
Now I have a confession: I've horizontally scaled Mrs Eaves Italic. Perhaps it was the devil at work, but to this day, I think it looked better and the job in question won a prize at the Nantwich Cheese Festival, unlikely as that sounds.
Of course we all have our personal favourites but does anyone else squabble over who "owns" a font?
One of my colleagues claims Clarendon is his while the rest of us have to slip it in under his radar when his back's turned.
Another claims Praxis as his own
And another has had it written into there contract that they and only they can use American Typewriter.
Mine is Bureau Grotesque so keep your grubby little mits off it. I also yearn for a bit of Bodoni but rarely get the opportunity to set an elegant bit of modern.
Pet hates? No point even mentioning "that font" but others include Microgramma/Eurostile (leave it in the 70s and move on), better men than me admire the classic Souvenir but I just can't get on with it and for that matter I've never had a good relationship with Gill Sans, which is sacrilege really isn't it?
Well what does all this mean? I haven't the foggiest but if you've got any ideas, please tell me Sigmund.
I like Tahoma and Verdana for documents (as that's all I do, not being a designer) - but the ones you have showcased above are visual heaven.
Give me those anyday above Co**c - well chosen Richard.
Posted by: claire | 10 October 2007 at 04:26 PM