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.

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<ul><li> 1. Creative ideasworth spreadingPETE </li> <li> 2. 22012 PETER MAYERMETHODOLOGIES IN CHOOSING FONTS11.14.12Tom FutrellPETE </li> <li> 3. 32012 PETER MAYERLANGUAGE ISARGUABLY THE MOSTSIGNIFICANT HUMANCHARACTERISTIC </li> <li> 4. OVERVIEWTYPE ISTHE VISUALMANIFESTATIONOF LANGUAGE.42012 PETER MAYER </li> <li> 5. 52012 PETER MAYERWHY? </li> <li> 6. OVERVIEWcharacters into WORDSwords into MESSAGES62012 PETER MAYER </li> <li> 7. OVERVIEWTYPE IS THEAUDIBLE VOICE- LINKING THEWRITER WITHTHE READER72012 PETER MAYER </li> <li> 8. OVERVIEWMORE THANMAKINGMESSAGESLEGIBLE82012 PETER MAYER </li> <li> 9. 92012 PETER MAYER </li> <li> 10. 102012 PETER MAYERFUNCTIONALCRITERIA </li> <li> 11. OVERVIEWFORM CANALTER THEINITIAL INTENTOF MESSAGE112012 PETER MAYER </li> <li> 12. FUNCTIONAL CRITERIA122012 PETER MAYEREveryone thinks he knows an A whenhe sees it; but only the few extraordinaryminds can distinguish between a goodone &amp; 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. </li> <li> 13. 132012 PETER MAYEREveryone thinks he knows an A whenhe sees it; but only the few extraordinaryminds can distinguish between a goodone &amp; 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 </li> <li> 14. 142012 PETER MAYEREveryone thinks he knows an A whenhe sees it; but only the few extraordinaryminds can distinguish between a goodone &amp; 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 </li> <li> 15. OVERVIEWFORM=FUNCTION152012 PETER MAYER </li> <li> 16. 162012 PETER MAYERFUNCTIONAL CRITERIA </li> <li> 17. 172012 PETER MAYERFUNCTIONAL CRITERIAHelvetica Condensed RetinaMore compact. More contrast. </li> <li> 18. 182012 PETER MAYERFUNCTIONAL CRITERIA </li> <li> 19. 192012 PETER MAYERFUNCTIONAL CRITERIAClearview Highway+80 ft (+1.2 seconds @ 45 mph)FHWA Highway Gothic </li> <li> 20. 202012 PETER MAYERFUNCTIONAL CRITERIA </li> <li> 21. 212012 PETER MAYERPERSONALITYOF TYPE </li> <li> 22. TOOLS222012 PETER MAYERWHATS IT SAYING?PHYSICAL ATTRIBUTESTHE DESIGNER(S)TIME PERIODCOMMON USEGEOGRAPHIC ORIGIN </li> <li> 23. THE DESIGNER232012 PETER MAYERFRENCH DESIGNER XAVIER DUPE </li> <li> 24. PHYSICAL ATTRIBUTES242012 PETER MAYER </li> <li> 25. GEOGRAPHIC LOCATION252012 PETER MAYERJOHNSTON SANS BY EDWARD JOHNSTON IN 1916 </li> <li> 26. TIME PERIOD262012 PETER MAYERBODONI BY GIAMBATTISTA BODONIIN 1798 </li> <li> 27. COMMON USE272012 PETER MAYER </li> <li> 28. COMMON USE282012 PETER MAYERHELVETICA BY MAX ME=IEDINGER IN 1957 </li> <li> 29. COMMON USE292012 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 NestlCorporate face NixdorfCorporate face PanasonicCorporate face SiemensCorporate face SparkasseCultural ReferencesTypeface SelectionStephen Coles </li> <li> 30. 302012 PETER MAYERCULTURALREFERENCS </li> <li> 31. CULTURAL REFERENCES312012 PETER MAYERBABY TEETH BY MILTON GLASER IN 1968 </li> <li> 32. 322012 PETER MAYERTEMPLATE GOTHIC BY BARRY DECK IN 1990CULTURAL REFERENCES </li> <li> 33. 332012 PETER MAYERTRAJAN BY CAROL TWOMBLY IN 1989CULTURAL REFERENCES </li> <li> 34. 342012 PETER MAYERCULTURAL REFERENCES </li> <li> 35. 352012 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&amp;B?CULTURAL REFERENCES </li> <li> 36. 362012 PETER MAYERCULTURAL REFERENCES </li> <li> 37. 372012 PETER MAYERCULTURALSTEREOTYPES </li> <li> 38. CULTURAL STEREOTYPES382012 PETER MAYER </li> <li> 39. 392012 PETER MAYERCULTURAL STEREOTYPES </li> <li> 40. 402012 PETER MAYERCULTURAL STEREOTYPES </li> <li> 41. 412012 PETER MAYER </li> <li> 42. BEST + WORST422012 PETER MAYERCOMIC SANS BY VINCENT CONNARE IN 1994 </li> <li> 43. 432012 PETER MAYERBEST + WORST </li> <li> 44. 442012 PETER MAYERTHE BEST?WHAT EVER IS THE MOST APPROPRIATEAND COMPLEMENTS THE MESSAGEBEST + WORST </li> <li> 45. 452012 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 </li> <li> 46. 462012 PETER MAYERIN CONCLUSION </li> <li> 47. FORMEQUALSFUNCTION472012 PETER MAYERCHOOSEBASED ONNEEDKNOWYOURAUDIENCE </li> <li> 48. 482012 PETER MAYERRESOURCES </li> <li> 49. RESOURCES492012 PETER MAYERINFORMATION GRAPHIC BY JULIE KATRINE ANDERSEN </li> <li> 50. 502012 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! </li> <li> 51. 512012 PETER MAYERPETETHANK YOU </li> <li> 52. OVERVIEW522012 PETER MAYERCONCEPT SKETCHES BY XAVIER DUPE </li> </ul>