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July 04 2013

07:22

Astonishing Helvetica Typographic Poster Design

Choosing the right fonts for your design can take ages because of a humongous number of fonts available today. Right selection of fonts can make or break the whole impression designer wants to create. By using typography appropriately, you can impart a sense of visual balance consequently giving the whole design life, attraction and stability.

For this session, we have put together some absolutely astonishing Helvetica typography posters for your inspiration. Using Helvetica font, you can demonstrate culture, motivation and trend as well. This is the reason that Helvetica font inspires many designers. Here, we are presenting some beautiful poster designs that demonstrate the use of Helvetica font. You can use Helvetica font for almost every type of design such as logo design, print design, web design just to name a few. We hope that you will like this collection and share your opinion with us via comment section below. Enjoy!

Helvetica Architectural Type Design

Only Use Helvetica

Helvetica Space

Helvetica Winter Typography

Helvetica Love

Helvetica Winter Typography

Helvetica Typographic Poster

Love Helvetica

Helvetica Typography Poster

Helvetica

No Longer Friends

Helvetica

Helvetica

Helvetica Poster on Yay!

Helvetica Winter Typography

Helvetica Depressed

“Helvetica Live!” poster

Helvetica

Helvetica Poster

Helvetica

Helvetica Winter Typography

Helvetica, Clinic of Design

Helvetica

Helvetica – Typographic Poster

Hell-vetica

Simply Helvetica

Helvetica

Helvetica Poster

Helvetica Art Posters Typography

Helvetica with Love

Dusty Helvetica

Font-Bots

What’s your Type? – Helvetica

Helvetica is the new Comic Sans!

Helvetica

Helvetica Since 1957

Welcome To Helvetica Typography Poster

Helvetica Typography Poster

img

March 02 2012

10:00

A Beginner’s Guide to Combining Multiple Fonts

Using multiple fonts in the same design can get tricky if you don’t have knowledge of basic theories and good practices. In my opinion pairing fonts is one of the most difficult parts of the design process. If you have no idea where to begin, then this article will guide you through the knowledge you need for now. Browsing the internet for tips about pairing fonts can get confusing, because there are many practices designers use. Therefore I researched a lot in the past couple of weeks and I will present you what is, in my opinion, the right way of doing this.

The question I get asked the most is “how many fonts should I use?” I always tell people this depends a lot on their aim and general design patterns, but usually I do not recommend more than two. In my opinion two is what you should go for, not more. This is because all fonts, like people, have a personality and an overall effect. If you use two fonts with total opposite effects, they will clash and this will kill your design. Too many strong personalities together can create an awkward atmosphere, it is the same with fonts.

However, even if I usually say two, there are no rules that say how many different fonts you can use. You just go for as many as you think it’s appropriate for your design. The biggest challenge is creating harmony between different typefaces, so the less fonts you use, the easier is going to be to achieve this harmony and create a powerful effect. You can always go for fonts with multiple weights and variants, but they also need to compliment each other at the same time.

Another question is “to buy or not to buy?”. It depends on the project. There is a reason why some fonts are free and some cost $100 for 10-12 variants. Quality is the main advantage of a premium font. Maybe some will not notice the differences, but experts will definitely appreciate a premium font more than a freebie. Now don’t get me wrong, I am not saying free fonts are bad, but there is a difference in quality. The difference is in the small details such as thickness, forms, white space and kerning.

Kerning may not be perfect in free fonts, because font developers do not put as much work into it – and why would they, as long as it’s for free and they don’t get anything out of it? There might be some tools out there, such as kern.js, which might help improve the kerning, but it is not very practical to do this for large bodies of text.

Although a limited number is recommended, if you can create harmony, use as many fonts as you wish.

Image by stitchindye.

Another advantage of using a premium font is the originality. If you pay for your fonts, there is a higher chance not many have and use that one, while using Arial or Verdana is something most beginner designers go for. Another thing worth mentioning is that by paying for fonts you also encourage the community and keep it going. Font designers will only continue their work if they can get something out of it and you are one of the ones who can pay.

If you ask me, I think you should buy fonts instead of using free ones. Quality has always been important to me – and I suppose it is to you too – therefore such a financial investment would make sense.

You should also think about what fonts you want to use before you go and buy them. If you use a typeface for headings on your home page, don’t use another one for headings on another page. Think of the main reason you choose a font for. Is it mainly body text or headings? Is it maybe a magazine for young people? All these details should be spottable in your font choice.

How to achieve it

Achieving proper font pairing relies on concord or contrast, but not on conflict. The fonts need to work well together thanks to some shared qualities or need to be different between some boundaries. Conflicts between them can be created if the typefaces are too similar and look just like one or are way too different.

To achieve contrast you will have to look for style (Blackletter, Monospace, Slab Serif, Script and so on), size, weight, form (proportions of a typeface are equally important – the length of the descenders, the curvature of the shoulders, the movement and its direction etc.) and color.

As in the example above, two fonts of different variants work really well together. Lucida std and Lucida Sans, developed by the same designer, work really well when combined. This is simply a classic one. A decorative font for the heading and a legible and simple one for the body – no way to fail here.

Let’s see some other good combinations.

Georgia and Arial, again.

Rotis Serif and SansSerif, typefaces by the same designer, work really well together as well.

You can see above examples where hierarchy is shown through size, but there are also other ways of doing it. Just look at the examples below.

Here the hierarchy is shown through weight, while both fonts have a 35pt size.

Both fonts have a size of 35pt and the same weight, but the color is different.

Impact and Calibri show a clear difference and create a visible hierarchy.

Now enough with the contrast. Let’s see what concord is about. Two elements with concordance suggest that a trait is spottable in both typefaces. It can be the kerning, proportions, cap height and so on. The easiest way to create concordance is to use fonts from the same family. You can see an example above with Helvetica used in both heading and body. A great typeface with concordance between variants is the Droid family.

It is quite easy to play around with the same typeface. Fonts from the same family create harmony together and this is also where I advice you to start playing and experimenting.

Not let’s see what the conflict is. Its name says it all; as said earlier, it is something you should avoid doing – pairing conflicted fonts will kill your design. The example below illustrates this concept perfectly.

Although they create contrast, as they should, this contrast is way too big. This is because the heading typeface is a Blackletter, while Helvetica is a neo-grotesque typeface. When combining fonts, they should always be from the same classification. I’ve seen some examples ignoring this rule which worked just fine, but let’s face it, it doesn’t happen too often. The proportions, weight and size are different. The curvature doesn’t look the same at all and the axes are off. Something quite easy to notice is the direction of the letters. While Blackletter fonts have a diagonal direction, the more modern ones are built vertically. There are just too many elements not working well with each other, the fonts are just not congruent enough, so in conclusion they do not work well together.

Bottom line

This article should be enough for becoming accustomed to the rules. It is only beginner course presenting you the three most important concepts in font pairing. Always keep in mind that us, designers, have to be creative and going over borders now and then does not do any harm, but don’t overdo it. Try being creative, but if you see it is not working, reverse back to something more simple and effective.

Font pairing is not easy. It required many of us years to master and some other ones even more than that. But it is from these three concepts we all started. Make sure you know them and are able to apply them in the field and learning to combine multiple fonts for the desired effect will be a piece of cake for you.

Until next time… what do you think about using multiple fonts in a design? Is it something you do often, or you prefer to stay out of it for now? How many fonts have you combined mostly in a design?

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04:52

November 04 2010

14:40

Best Practices of Combining Typefaces

Smashing-magazine-advertisement in Best Practices of Combining TypefacesSpacer in Best Practices of Combining Typefaces
 in Best Practices of Combining Typefaces  in Best Practices of Combining Typefaces  in Best Practices of Combining Typefaces

Creating great typeface combinations is an art, not a science. Indeed, the beauty of typography has no borders. While there are no absolute rules to follow, it is crucial that you understand and apply some best practices when combining fonts in a design. When used with diligence and attention, these principles will always yield suitable results. Today we will take a close look at some the best practices for combining typefaces — as well as some blunders to avoid.

Combine a Sans Serif with a Serif

By far the most popular principle for creating typeface combinations is to pair a sans serif header typeface with a serif body typeface. This is a classic combination, and it’s almost impossible to get wrong.

In the example below — a typical article layout — we have Trade Gothic Bold No.2 paired with Bell Gothic on the left side. They are both sans serif typefaces. However, they have very different personalities. A good rule of thumb, when it comes to header and body copy design problems, is not to create undue attention to the personality of each font. Trade Gothic is arguably a no-nonsense typeface. Bell Gothic, on the other hand, is much more dynamic and outspoken.

Combine-serif-with-sans-serif in Best Practices of Combining Typefaces

Putting these two together creates an unwanted conflict in the design. Trade Gothic wants to get to the facts, but Bell Gothic wants to have some fun. This kind of tension is likely not part of the design goal, and should be avoided.

Now let’s look at the example on the right. We’ve replaced Bell Gothic with the stately Sabon. Sabon works very well with Trade Gothic which is a serif typeface. They are both focused on bold clarity with highly-readable glyphs due to their tall x-height. Both typefaces, in this context, are on the same mission, and that makes for a great combination.

Avoid Similar Classifications

Typefaces of the same classification, but from different typeface families, can easily create discord when combined. Their distinct personalities don’t play well off of each other and create a kind of typographic mud if careful attention is not paid.

In the first example on the left side we have a heading set in Clarendon Bold, which is a slab serif. The body copy on the left is Officina Serif which is also a slab serif. Slab serif typefaces are known for their distinct personality, and they like to dominate any area in a design they are used in. Putting two slab serifs together can create a needless and unsightly tension.

Avoid-similar-categories in Best Practices of Combining Typefaces

Now notice the example on the right side. The Clarendon Bold header is paired with the much-more neutral New Baskerville. New Baskerville is a versatile transitional serif typeface with wide glyphs that goes nicely with the heavy-set Clarendon. At the same time, it backs down and lets Clarendon have all the personality it wants. This combination works quite nicely as a result.

Choosing typefaces from different classifications at the start avoids needless tension in your design and typography later.

Assign Distinct Roles

One very easy way to combine multiple fonts from several typefaces is to design a role-based scheme for each font or typeface, and stick to it. In the next example, we have used Akzidenz Grotesk Bold in all-caps in an author slug on the top. We then use Rockwell Bold for the article heading. Our body copy intro and body copy typeface is Bembo at different sizes. Finally, the second level heading is Akzidenz Grotesk Medium.

Assign-distinct-roles in Best Practices of Combining Typefaces

We saved the highly-distinct Rockwell for attention-getting headlines, and fallen back to a conservative sans serif heading and serif body copy combination we discussed earlier. But even in that choice, we have a great variation of size, weight and function among the fonts used.

All in all, there are 4 fonts from 3 typefaces being used here, and they all pull together into a cohesive design, because each roll assigned to a font is fixed and is very clearly defined in the typographic hierarchy. When in doubt, define!

Contrast Font Weights

A sure-fire way to muddy your typographic hierarchy is to fail to distinguish elements in the hierarchy from one another. In addition to variations in size, make sure you are creating clear differences in font weights to help guide the reader’s eye around your design.

In the example on the left, we have a decent size contrast, but not enough font weight contrast. The Myriad Light, when set above a Minion Bold, tends to fade back and lose visual authority. However, we want the reader’s eye to go to the heading, not the body copy, at least initially.

Contrast-font-weights in Best Practices of Combining Typefaces

On the right, we’ve set a Myriad Black above Minion, normal weight. It might be a bit heavy-handed but there is no confusion as to what the reader is supposed to look at first.

Create a Variety of Typographic Colors

Typographic color is the combined effect of the variations of font weight, size, stroke width, leading, kerning, and several other factors. One easy way to see typographic colors is to squint at a layout until you can’t read it anymore, but can still see the text in terms of its overall tonal value.

If you squint at the examples below, you’ll notice that layout on the left bleeds into one undistinguished blob of text, ever so slightly more dense at the bottom. However, the layout on the right retains its visual hierarchy, even if you can’t read it. No matter how far away you are from this page, there is no confusion regarding where the title is, and where your eye should go next.

Create-different-typographic-colors in Best Practices of Combining Typefaces

Clever use of typographic color reinforces the visual hierarchy of a page, which is always directly tied to the meaning of the copy and the desired intention of the message.

Don’t Mix Moods

One often-overlooked typographic mistake is not recognizing the inherent mood of a typeface. Typefaces have personality. They change to some degree based on context, but not greatly. It’s one problem to misidentify the personality of typeface for a particular job, but it’s a double-problem to add another poorly chosen typeface to the mix!

On the left of this example, we have Franklin Gothic Bold paired with Souvenir. The basic feel of Franklin Gothic is stoic, sturdy, strong, but with a refined sense of elegance and mission. It’s not a cuddly, but functional. On the other hand, Souvenir is playful, casual, a little aloof, and very pretty. These two typefaces together come across like a Buckingham Palace guard who is dutifully ignoring a playful little girl at his feet trying to get him to smile. This kind of mixed-mood just doesn’t work very well. Mixing the mood of typefaces can draw attention to the typography instead of the message, which results in a poor design.

Dont-mix-moods in Best Practices of Combining Typefaces

On the right, we’ve given Souvenir a more willing playmate. Futura Bold has many personalities, but it’s more than willing to accommodate Souvenir for several reasons. First, both typefaces have high x-heights. Both typefaces have wide glyphs and very circular letter shapes. Both typefaces have a subtle but not overly-prominent quirkiness. Neither dominates the other. They both work, in this example, to create a fun and upbeat mood. There is no sense of undue tension.

Contrast Distinct with Neutral

A clean, readable typographic design requires careful attention to intended and unintended tension. One place to look for unintended tension is with personality clashes among your type choices. If one of your main typefaces has a lot of personality, you might need a secondary typeface to take on a neutral role.

In our example, the left column pairs Dax Bold with Bernhard Modern. This is a poor choice for at least two obvious reasons we’ll examine.

Contrast-distinct-with-neutral in Best Practices of Combining Typefaces

First, Dax has narrow glyphs and a big x-height while Bernhard Modern has some very wide glyphs and one of the lowest x-heights among popular classic typefaces. Second, Dax is an informal, modern, and bright typeface. It’s a great fit for a techie, savvy, modern message. Bernhard Modern on the other hand is classy, quiet, sophisticated, and even a touch intimate. Combine the lack of chemistry among those attributes together with the very different personalities of each typeface and you have a poorly functioning bit of typography.

Let’s look at a better choice. The right column pairs Dax Bold with Caslon. Caslon is an old style typeface, but it’s been modernized and sanitized to play nicely with other typefaces. It works satisfactorily with Dax in this context. Notice how you can see the personality of Dax in the headline, but Caslon steps aside and delivers the reader to the message? In this context, Caslon functions quite well as a neutral choice to support the more flamboyant Dax.

Avoid Combinations That are Too Disparate

When too much contrast is created in certain settings by selecting typefaces that are too much unalike, it can create a visual imbalance which works against the overall design.

On the left, we have Antique Olive Nord — an extremely heavy font — paired with Garamond Narrow. The over-zealous contrast and its effects are apparent. In most cases, this extreme contrast goes beyond attention-getting and goes right to awkward. It doesn’t serve the message of the copy well.

Avoid-disparate-font-combinations in Best Practices of Combining Typefaces

On the right, the Antique Olive Nord has been replaced by a more subdued Antique Olive Bold. Garamond Narrow could have been replaced with a book weight Garamond, but a better choice — after some deliberation — was Chaparral. Chaparral has a higher x-height than Garamond, and overall is a more modern and subsequently more neutral choice to set against the idiosyncratic presence of Antique Olive Bold.

Keep It Simple — Try Just Two Typefaces

In all the effort to sort through large typeface libraries looking for “just the right combination”, it’s often easy to overlook the sometimes obvious and much easier choice: stick to two typefaces using a classic sans serif and sans combination.

In the example below, we’ve created a clear visual hierarchy, got a high degree of variety, created a strong sense of interesting typographic color, all-the-while increasing readability. But it was all done with just two typefaces. However, we are using a total of five fonts: three Helvetica Neues and two Garamonds.

Use-two-typefaces in Best Practices of Combining Typefaces

Why does this work so effortlessly? Several factors are at play here. First, when using different fonts from the same typeface, you are likely going to have a high degree of visual compatibility without even working for it. Second, we’ve chosen the tried-and-true combinations of using a classic neutral heading typeface and a classic neutral body typeface.

Both Helvetica Neue and Garamond have distinct yet neutral personalities, and they can weave complex layouts together and around each other because we’ve maintained a strict visual hierarchy. Planning rules and following them, with the right typefaces, can yield great results with a minimum of effort.

Use Different Point Sizes

We saved one of the simplest principles for last: use different point sizes to create contrast and distinction.

In the example on the left, the heading and body copy bleed together into an unsightly blob of text. Use the squint method mentioned above and look at the left example. While still squinting, look at the right and notice the dramatic difference even though it’s blurry!

Use-different-point-sizes in Best Practices of Combining Typefaces

On the right, we have the same two fonts, but in different sizes. Thesis Sans Italic has been bumped up significantly, while New Century Schoolbook has been decreased to a legible, yet more complimentary size.

Using different point sizes helps distinguish the typographic hierarchy and increase the variety of typographic color.

In Conclusion

The fact that there are no hard and fast rules about combining typefaces can make the process of making good choices time-consuming and maybe even a little exhausting. But it’s also nice to have a handy set of principles, as well as an understanding of certain typographic situations to avoid, to guide the process as quickly as possible to a pleasant typographic result.

Further Resources

You may be interested in the following related articles and resources:

Related Posts

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© Douglas Bonneville for Smashing Magazine, 2010. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
Post tags: baskerville, bell gothic, caslon, chaparral, clarendon, dax, Fonts, garamond, helvetica, sabon, sans, serif, trade gothic, typeface, typography

October 07 2010

03:49

1, 2, Inspiration – Films by Gary Hustwit

1, 2, Inspiration
One defining typeface that has shaped how we live and breathe as a society. Helvetica. Gary Hustwit understood the gravity of the typeface and created a film entitled Helvetica. Helvetica is a feature-length independent film about typography, graphic design and global visual culture.
Helvetica is delivered by an upbeat set of interviews including masters like: Massimo Vignelli, Johnathon Hoefler, Erik Spiekermann & David Carson has a brilliant delivery with enough history and factual information to keep you wanting more from the movie. Then at the end leaving you so inspired you want to redecorate your house, delete all your design work and re-create a new brand identity for yourself.
Two movies are better than one especially when they pick up where the left off. Objectified is a feature-length documentary about our complex relationships with manufactured objects and, by extension, the people that design them. Every object has been designed we use everyday. It’s been slaved over and gone through countless revisions to come up with a sleek interface, a commanding presence or painfully simple delivery. Objectified captures the uniqueness of how these objects impact our lives. It also asks some very hard questions about who we are, what we want to be and what kind of things to we like to surround ourselves. With great interviews from the likes of: Chris Bangle (BMW Group), Johnathon Ive (Apple), David Kelly (IDEO), Marc Newson, Dieter Rams and countless other iconic names in the industry.
Urbanized comes hot off the heels of Helvetica & Objectified and is currently TBA for when its ready for your consumption. The first two broke down the design of a typeface and our design/relationships to objects, Urbanized will focus on the design of cities. It will compare and contrast the ideas behind urban design. Urbanized is currently in production and will premiere in 2011.
Inspiration is the key to all of Gary Hustwit’s Movies. They drive you to see what the real, harsh realities are within his subject matter and inspire you to create, digest & consume these in another way than you thought the first time you watched it. His delivery, with great insight from business professionals but, keeping enough content and history to keep you engaged and actively learning and inspired is an amazing. Urbanized will finally complete the inspiration trilogy in many creative workspaces around the globe.

One defining typeface that has shaped how we live and breathe as a society. Helvetica. Gary Hustwit understood the gravity of the typeface and created a film entitled Helvetica. Helvetica is a feature-length independent film about typography, graphic design and global visual culture.

Helvetica

Helvetica is delivered by an upbeat set of interviews including masters like: Massimo Vignelli, Johnathon Hoefler, Erik Spiekermann & David Carson has a brilliant delivery with enough history and factual information to keep you wanting more from the movie. Then at the end leaving you so inspired you want to redecorate your house, delete all your design work and re-create a new brand identity for yourself.

objectified

Two movies are better than one especially when they pick up where they left off. Objectified is a feature-length documentary about our complex relationships with manufactured objects and, by extension, the people that design them. Every object has been designed we use everyday. It’s been slaved over and gone through countless revisions to come up with a sleek interface, a commanding presence or painfully simple delivery. Objectified captures the uniqueness of how these objects impact our lives. It also asks some very hard questions about who we are, what we want to be and what kind of things to we like to surround ourselves. With great interviews from the likes of: Chris Bangle (BMW Group), Johnathon Ive (Apple), David Kelly (IDEO), Marc Newson, Karim Rashid, Dieter Rams and countless other iconic names in the industry.

Urbanized

Urbanized comes hot off the heels of Helvetica & Objectified. The first two broke down the design of a typeface and our design/relationships to objects. Urbanized will focus on the design of cities. It will compare and contrast the ideas behind urban design. Urbanized is currently in production and will premiere in 2011.

Five years ago I began work on my first documentary, Helvetica, which looked at the worlds of typography and graphic design, and their impact on our visual environment. After Helvetica was released in 2007, I had the idea for a second film, Objectified, which focused on industrial design and product design, and our relationship with the manufactured objects that surround us. While working on Objectified, I realized I wanted to make a third film that would also examine how design affects our lives, and began thinking of the films as a “design trilogy” of sorts.

garyhighres

Inspiration is the key to all of Gary Hustwit’s Movies. They drive you to see what the real, harsh realities are within his subject matter and inspire you to create, digest & consume in another way than you thought possible. His delivery, with great insight from business professionals but, keeping enough content and history/engaging facts to keep you enthralled and actively learning (without even noticing) makes for an inspiring documentary. If you’re feeling a bit low, grab a Hustwit doc and be ready to be inspired and subsequently create.

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1, 2, Inspiration – Films by Gary Hustwit

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