Type Evaluation

The dominance of Helvetica is best summarised in its documentary, due to it being “timeless”, “universal” and somewhat “unfixable”. Its neutralism was relevant in the sense that a type shouldn’t have a meaning in itself, as that is in the context of the text not the typeface, which is essentially why designers liked it so much. It’s characteristics included horizontal terminals/slicing off, which was praised, as it “seemed to be exactly right”. Much of its timeless qualities are linked to its efficiency and neutrality. Corporate rebranding suddenly looked a lot newer and cleaner. After Helvetica everything was simplified, magazines were reduced to straight to the point depictions, and this sense of modernity came about. When released it was exactly what designers were looking for. Helvetica “seems human”, which is what made it so fitting.  It has been described as ‘transparent, accountable and accessible’

As such I used Helvetica as the typeface for the Colour Swatch book, to keep consistency with Pantone’s logotype, and enable a clean, neutral and easily readable typeface that doesn’t conflict with the imagery. It was also important to keep consistency with the size of body text, headings and sub-headings. This enables the book to keep a thorough identity that serves its keys purpose of being visually pleasing and informative. 

Thus, abiding by certain rules of type is vital for the success of a design. Keeping to one typeface is key to keeping with the mood and tone of the design, just as with colour. However, the need to use two different typefaces when representing different logotypes and not for a body of text, can be necessary. Therefore, not combining within one logotype, but if different brands need to be represented, for instance, on a poster, this is important for distinguishing between the different parties.  

General points:

- Don’t disregard legibility for aesthetic reasons (unless the text is not relevant)

- Have purposeful hierarchy 

- Align the type correctly (grids and positions - e.g. wouldn’t centre an entire body of text, but would more likely for a title)

- Don’t use display fonts for body texts 

- Select type relevant for the purpose and audience

Jessica Hische’s typeface for Moonrise Kingdom set the tone for a sweet movie about youthful innocence. Inspired by director Wes Anderson’s quaint aesthetic and the titles from La Femme Infidéle (1969), Tilda is formally dressed, without hiding its raw, intentional naïveté. Unusual for a script typeface, it comes in two size-specific styles to preserve its delicate qualities for uses big and small, on page or screen.