taskONE: two typefaces

Type is subject of design in itself. We are exposed to a million different type messages each day. Everywhere we go, there's type - ads, signs, branding, books and so on. Using the right type makes ALL the difference to a design. Thus understanding type, it's correct usage becomes inevitable for a graphic designer.

For the task I have chosen three typefaces I like.

1. Century Gothic

It is a simple, clean, geometric sans-serif font designed in 1991. It is said to take inspiration from Sol Hess's Twentieth Century and closely similar to Avant Garde. It has excellent legibility, well defined letterforms, and can be used comfortably in a formal as well as an informal design layout. It was designed for the Monotype Imaging although I have not been able to get details about the designer. The typeface is pure geometry with no stroke variations in the letters. It works best in lowercase, although the uppercase is often used in formal communication. A weakness of this particular typeface would be that it doesn't work very well in a large point size for example, 24 and beyond. It looks like it has too much space and no real depth. Whereas when used in publishing, annual reports, etc. this gives a very clean, defined and system look to the project.

2. Eurostile

It is a sans-serif geometric typeface, designed by Aldo Novarese (Italian type designer) in 1962, originally made for the Italian foundry, Nebiolo where he worked. Born in Italy in 1920, he had a background in woodcutting, lithography and copper engraving. He also designed, Eurostile condensed and heavy and Press Gothic.

Eurostile utilizes the shape of the square for it letterforms, which was a reflection of the modern designs gaining popularity at the time, such as television screens. It became a typeface that represented technology. It is linear in nature and is both technical and functional. I like the square shape to the letters as well its functionality of adapting to upper as well as lowercase with the same ease. It has a family of seven fonts and has been used for branding, music, video games and television series (BBC One during 1976-1983). Too much use of this typeface can prove to look monotonous, and too square-like to appeal to the eye. While it works well in large point sizes, not so much in the smaller point sizes. It is a good typeface used in branding, labeling and even in wayfinding and navigation but not in lengthy pieces going over a few lines.

3. Impact

Impact is a sans-serif typeface designed by Geoffrey Lee in 1965 released by the Stephenson Blake foundry. Born in Wimbledon in 1929, he designed the font when working with Pembertons London as Type Director and Head of the Graphic Design unit. Impact is one of Microsoft's core fonts. After retirement he produced Impact wide and italic. Some fonts similar to Impact are - Helvetica Inserat, Hattenschweiler and Press Gothic.

As it's name suggests, the minimal letter space, very thick letters and elongated look are aimed to Impact. It has very short ascenders and descenders and although has limited usage (mostly for headlines) it is a very powerful typeface. It is commonly used in television and has better legibility than Arial and Times New Roman. It is a simple, not very commonly used, but when used correctly, a brilliant font for any designer or publisher. While being a brilliant typeface, its limited used is its biggest drawback. Since it can only be used for headings and branding, small point sizes do not seem to work very well for Impact.