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Creative ideasworth spreadingPETE
2©2012 PETER MAYERMETHODOLOGIES IN CHOOSING FONTS11.14.12Tom FutrellPETE
3©2012 PETER MAYERLANGUAGE ISARGUABLY THE MOSTSIGNIFICANT HUMANCHARACTERISTIC
OVERVIEWTYPE ISTHE VISUALMANIFESTATIONOF LANGUAGE.4©2012 PETER MAYER
5©2012 PETER MAYERWHY?
OVERVIEWcharacters into WORDSwords into MESSAGES6©2012 PETER MAYER
OVERVIEWTYPE IS THEAUDIBLE VOICE- LINKING THEWRITER WITHTHE READER7©2012 PETER MAYER
OVERVIEWMORE THANMAKINGMESSAGESLEGIBLE8©2012 PETER MAYER
9©2012 PETER MAYER
10©2012 PETER MAYERFUNCTIONALCRITERIA
OVERVIEWFORM CANALTER THEINITIAL INTENTOF MESSAGE11©2012 PETER MAYER
FUNCTIONAL CRITERIA12©2012 PETER MAYEREveryone thinks he knows an ‘A’ whenhe sees it; but only the few extraordinaryminds ...
13©2012 PETER MAYEREveryone thinks he knows an ‘A’ whenhe sees it; but only the few extraordinaryminds can distinguish bet...
14©2012 PETER MAYEREveryone thinks he knows an ‘A’ whenhe sees it; but only the few extraordinaryminds can distinguish bet...
OVERVIEWFORM=FUNCTION15©2012 PETER MAYER
16©2012 PETER MAYERFUNCTIONAL CRITERIA
17©2012 PETER MAYERFUNCTIONAL CRITERIAHelvetica Condensed RetinaMore compact. More contrast.
18©2012 PETER MAYERFUNCTIONAL CRITERIA
19©2012 PETER MAYERFUNCTIONAL CRITERIAClearview Highway+80 ft (+1.2 seconds @ 45 mph)FHWA Highway Gothic
20©2012 PETER MAYERFUNCTIONAL CRITERIA
21©2012 PETER MAYERPERSONALITYOF TYPE
TOOLS22©2012 PETER MAYERWHATS IT SAYING?PHYSICAL ATTRIBUTESTHE DESIGNER(S)TIME PERIODCOMMON USEGEOGRAPHIC ORIGIN
THE DESIGNER23©2012 PETER MAYERFRENCH DESIGNER XAVIER DUPŔE
PHYSICAL ATTRIBUTES24©2012 PETER MAYER
GEOGRAPHIC LOCATION25©2012 PETER MAYERJOHNSTON SANS BY EDWARD JOHNSTON IN 1916
TIME PERIOD26©2012 PETER MAYERBODONI BY GIAMBATTISTA BODONIIN 1798
COMMON USE27©2012 PETER MAYER
COMMON USE28©2012 PETER MAYERHELVETICA BY MAX ME=IEDINGER IN 1957
COMMON USE29©2012 PETER MAYERCorporate face 3MCorporate face AEGCorporate face Agfa GevaertCorporate face American Airline...
30©2012 PETER MAYERCULTURALREFERENCS
CULTURAL REFERENCES31©2012 PETER MAYERBABY TEETH BY MILTON GLASER IN 1968
32©2012 PETER MAYERTEMPLATE GOTHIC BY BARRY DECK IN 1990CULTURAL REFERENCES
33©2012 PETER MAYERTRAJAN BY CAROL TWOMBLY IN 1989CULTURAL REFERENCES
34©2012 PETER MAYERCULTURAL REFERENCES
35©2012 PETER MAYERBLACK LETTERHOW IS IT POSSIBLE THAT THE BLACKLETTER WHICHIS COMMONLY ASSOCIATED WITH FASCISM ANDTHE RIG...
36©2012 PETER MAYERCULTURAL REFERENCES
37©2012 PETER MAYERCULTURALSTEREOTYPES
CULTURAL STEREOTYPES38©2012 PETER MAYER
39©2012 PETER MAYERCULTURAL STEREOTYPES
40©2012 PETER MAYERCULTURAL STEREOTYPES
41©2012 PETER MAYER
BEST + WORST42©2012 PETER MAYERCOMIC SANS BY VINCENT CONNARE IN 1994
43©2012 PETER MAYERBEST + WORST
44©2012 PETER MAYERTHE BEST?WHAT EVER IS THE MOST APPROPRIATEAND COMPLEMENTS THE MESSAGEBEST + WORST
45©2012 PETER MAYERHOWEVERBEST + WORST1. Helvetica - 19572. Garamond - 15303. Frutiger - 19774. Bodoni - 17905. Futura - 1...
46©2012 PETER MAYERIN CONCLUSION
FORMEQUALSFUNCTION47©2012 PETER MAYERCHOOSEBASED ONNEEDKNOWYOURAUDIENCE
48©2012 PETER MAYERRESOURCES
RESOURCES49©2012 PETER MAYERINFORMATION GRAPHIC BY JULIE KATRINE ANDERSEN
50©2012 PETER MAYERSee: Fontstructhttp://fontstruct.comListen: TypeRadiowww.typeradio.orgRead: Designing Type by Karen Che...
51©2012 PETER MAYERPETETHANK YOU
OVERVIEW52©2012 PETER MAYERCONCEPT SKETCHES BY XAVIER DUPŔE
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Methodologies in Choosing Fonts

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Part of the PETE, Creative Ideas Worth Spreading series. This presentation by Tom Futrell explains the value in choosing the right font for your audience and the functional criteria to consider.

Published in: Technology, Art & Photos
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Transcript of "Methodologies in Choosing Fonts"

  1. 1. Creative ideasworth spreadingPETE
  2. 2. 2©2012 PETER MAYERMETHODOLOGIES IN CHOOSING FONTS11.14.12Tom FutrellPETE
  3. 3. 3©2012 PETER MAYERLANGUAGE ISARGUABLY THE MOSTSIGNIFICANT HUMANCHARACTERISTIC
  4. 4. OVERVIEWTYPE ISTHE VISUALMANIFESTATIONOF LANGUAGE.4©2012 PETER MAYER
  5. 5. 5©2012 PETER MAYERWHY?
  6. 6. OVERVIEWcharacters into WORDSwords into MESSAGES6©2012 PETER MAYER
  7. 7. OVERVIEWTYPE IS THEAUDIBLE VOICE- LINKING THEWRITER WITHTHE READER7©2012 PETER MAYER
  8. 8. OVERVIEWMORE THANMAKINGMESSAGESLEGIBLE8©2012 PETER MAYER
  9. 9. 9©2012 PETER MAYER
  10. 10. 10©2012 PETER MAYERFUNCTIONALCRITERIA
  11. 11. OVERVIEWFORM CANALTER THEINITIAL INTENTOF MESSAGE11©2012 PETER MAYER
  12. 12. FUNCTIONAL CRITERIA12©2012 PETER MAYEREveryone thinks he knows an ‘A’ whenhe sees it; but only the few extraordinaryminds can distinguish between a goodone & a bad one, or can demonstrateprecisely what constitutes ‘A-ness.’ Whenis an A not an A? Or when is an R notan R? It is clear that for any letter there issome sort of norm.To discover this normis obviously the first thing to be done.
  13. 13. 13©2012 PETER MAYEREveryone thinks he knows an ‘A’ whenhe sees it; but only the few extraordinaryminds can distinguish between a goodone & a bad one, or can demonstrateprecisely what constitutes ‘A-ness.’ Whenis an A not an A? Or when is an R notan R? It is clear that for any letter there issome sort of norm. To discover this normis obviously the first thing to be done.FUNCTIONAL CRITERIA
  14. 14. 14©2012 PETER MAYEREveryone thinks he knows an ‘A’ whenhe sees it; but only the few extraordinaryminds can distinguish between a goodone & a bad one, or can demonstrateprecisely what constitutes ‘A-ness.’ Whenis an A not an A? Or when is an R notan R? It is clear that for any letter there issome sort of norm. To discover this normis obviously the first thing to be done.FUNCTIONAL CRITERIA
  15. 15. OVERVIEWFORM=FUNCTION15©2012 PETER MAYER
  16. 16. 16©2012 PETER MAYERFUNCTIONAL CRITERIA
  17. 17. 17©2012 PETER MAYERFUNCTIONAL CRITERIAHelvetica Condensed RetinaMore compact. More contrast.
  18. 18. 18©2012 PETER MAYERFUNCTIONAL CRITERIA
  19. 19. 19©2012 PETER MAYERFUNCTIONAL CRITERIAClearview Highway+80 ft (+1.2 seconds @ 45 mph)FHWA Highway Gothic
  20. 20. 20©2012 PETER MAYERFUNCTIONAL CRITERIA
  21. 21. 21©2012 PETER MAYERPERSONALITYOF TYPE
  22. 22. TOOLS22©2012 PETER MAYERWHATS IT SAYING?PHYSICAL ATTRIBUTESTHE DESIGNER(S)TIME PERIODCOMMON USEGEOGRAPHIC ORIGIN
  23. 23. THE DESIGNER23©2012 PETER MAYERFRENCH DESIGNER XAVIER DUPŔE
  24. 24. PHYSICAL ATTRIBUTES24©2012 PETER MAYER
  25. 25. GEOGRAPHIC LOCATION25©2012 PETER MAYERJOHNSTON SANS BY EDWARD JOHNSTON IN 1916
  26. 26. TIME PERIOD26©2012 PETER MAYERBODONI BY GIAMBATTISTA BODONIIN 1798
  27. 27. COMMON USE27©2012 PETER MAYER
  28. 28. COMMON USE28©2012 PETER MAYERHELVETICA BY MAX ME=IEDINGER IN 1957
  29. 29. COMMON USE29©2012 PETER MAYERCorporate face 3MCorporate face AEGCorporate face Agfa GevaertCorporate face American AirlinesCorporate face BASFCorporate face BayerCorporate face BMWCorporate face BundespostCorporate face Daimler BenzCorporate face JeepCorporate face LufthansaCorporate face NestléCorporate face NixdorfCorporate face PanasonicCorporate face SiemensCorporate face SparkasseCultural ReferencesTypeface SelectionStephen Coles
  30. 30. 30©2012 PETER MAYERCULTURALREFERENCS
  31. 31. CULTURAL REFERENCES31©2012 PETER MAYERBABY TEETH BY MILTON GLASER IN 1968
  32. 32. 32©2012 PETER MAYERTEMPLATE GOTHIC BY BARRY DECK IN 1990CULTURAL REFERENCES
  33. 33. 33©2012 PETER MAYERTRAJAN BY CAROL TWOMBLY IN 1989CULTURAL REFERENCES
  34. 34. 34©2012 PETER MAYERCULTURAL REFERENCES
  35. 35. 35©2012 PETER MAYERBLACK LETTERHOW IS IT POSSIBLE THAT THE BLACKLETTER WHICHIS COMMONLY ASSOCIATED WITH FASCISM ANDTHE RIGHT WING MOVEMENTS WAS ADOPTED BYCOMMERCIAL BLACK MUSIC GENRE R&B?CULTURAL REFERENCES
  36. 36. 36©2012 PETER MAYERCULTURAL REFERENCES
  37. 37. 37©2012 PETER MAYERCULTURALSTEREOTYPES
  38. 38. CULTURAL STEREOTYPES38©2012 PETER MAYER
  39. 39. 39©2012 PETER MAYERCULTURAL STEREOTYPES
  40. 40. 40©2012 PETER MAYERCULTURAL STEREOTYPES
  41. 41. 41©2012 PETER MAYER
  42. 42. BEST + WORST42©2012 PETER MAYERCOMIC SANS BY VINCENT CONNARE IN 1994
  43. 43. 43©2012 PETER MAYERBEST + WORST
  44. 44. 44©2012 PETER MAYERTHE BEST?WHAT EVER IS THE MOST APPROPRIATEAND COMPLEMENTS THE MESSAGEBEST + WORST
  45. 45. 45©2012 PETER MAYERHOWEVERBEST + WORST1. Helvetica - 19572. Garamond - 15303. Frutiger - 19774. Bodoni - 17905. Futura - 19276. Times - 19317. Akzidenz Grotesk -19668. Officina - 19909. Gill Sans - 193010. Univers - 195411. Optima - 195412. Franklin Gothic - 190313. Bembo - 149614. Interstate - 199315. Thesis - 199416. Rockwell - 193417. Walbaum - 180018.Meta - 199119. Trinit - 198220. Din - 1926100BESTTYPEFACES.COM
  46. 46. 46©2012 PETER MAYERIN CONCLUSION
  47. 47. FORMEQUALSFUNCTION47©2012 PETER MAYERCHOOSEBASED ONNEEDKNOWYOURAUDIENCE
  48. 48. 48©2012 PETER MAYERRESOURCES
  49. 49. RESOURCES49©2012 PETER MAYERINFORMATION GRAPHIC BY JULIE KATRINE ANDERSEN
  50. 50. 50©2012 PETER MAYERSee: Fontstructhttp://fontstruct.comListen: TypeRadiowww.typeradio.orgRead: Designing Type by Karen Chenghttp://www.amazon.com/Designing-Type-Karen-Cheng/dp/0300111509Read: Typophilehttp://typophile.comRead: Fonts in Usehttp://fontsinuse.comtypography.comtypotheque.comunderware.nltypofonderie.comRESOURCESMORE!MORE!MORE!MORE!MORE!
  51. 51. 51©2012 PETER MAYERPETETHANK YOU
  52. 52. OVERVIEW52©2012 PETER MAYERCONCEPT SKETCHES BY XAVIER DUPŔE
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