This may not be easy. There are an endless amount of choices to make and might render you confused. But don’t be perplexed or despair. Although there are no hard-and-fast rules for choosing text fonts, there are numerous tried-and-true concepts you can rapidly learn and implement.
You’ll find a solid font choice if you go through the choices below methodically. Let’s begin.
What Do You Hope to Achieve?
Choosing typefaces begins with creating a strong visual image of how you want the reader to feel. This is your aim and will lead you. This perception may come from you, your client, or your audience. What’s more, the font you choose must be suitable for both the message and the audience. Each of these traits needs a separate evaluation. It’s easy to become overwhelmed if you approach things the wrong way. This issue may worsen as a design develops.
LEGIBILITY
Legibility and readability seem to be synonymous, but they are not. Legibility relates to the typeface’s design, such as stroke width, serifs, and other new type design features. In a readable font, letterforms are easily distinguished. For example, ornamental fonts are challenging to read because they are intended to be seen rather than read. Typefaces designed for books or newspapers are very legible. The overall legibility of the text must be designed.
READABILITY
Readability is determined by the way your font is set and its fundamental legibility. Readability is the dynamic interplay of typestyle, tracking, size, leading, color, and other characteristics. They add up to a typographic style with measurable readability. For example, you might employ a message-driven style with poor readability. It’s possible to concentrate on readability since your content is complex, and you don’t want the type style to restrict the audience’s perception. In most situations, readability comes before style.
DESIGN INTENTION
Consider the typeface’s design purpose. It’s unacceptable not to know anything about the font you’ve chosen. A font intended for signs, like Cooper Black, generally won’t function well in a book’s body text. That’s an apparent example, but don’t overlook your own decisions. If you want to learn more about typography, it simply takes a few seconds to do a quick Google search or open a good typography book.
AESTHETICS
Your font should match the aesthetics of the target audience. Using Souvenir for a bank’s logo or the wording for a marketing campaign, for example, could be a bit too light-hearted and free-spirited – characteristics that one would not want to identify with those who handle one’s financial resources. In this case, the stately and steady Bembo may be preferable. The more you match the typeface’s essence to your subject, the simpler it will succeed.
FEW TECHNICAL THOUGHTS
Don’t miss the obvious. For example, when designing with numbers, you’ll want to select a font that contains the numbers you wish to utilize.
Because they don’t require lowercase descenders and are more even when used in big quantities, you may believe that vast spreadsheets of numbers for technical work can be read more easily with line-style numbers. If your design uses many close-ups with large numbers, the Old Style numerals may be preferable.
