font guidance
· Just say no to some fonts
Times New Roman is a default font on a lot of computers, so if you use it, the instinct for some viewers is that you didn't consciously decide to choose a font. Don't let people assume that you just stuck with the default.
Papyrus has been used and abused by anyone who is trying to look earthy, new age, or artsy. This wouldn't be such an issue if it weren't so recognizable because of the texture it has. In general, textured fonts are harder to make work, so if you're not really confident, let 'em go.
Comic Sans is another frequently abused typeface. It's been exploited for far too many purposes to really be able to signify your style as an artist. When someone's seen a font on countless flyers for everything from PTA meetings to chain e-mails, it doesn't have as much power to represent you and your work. Retire this font from any professional materials you produce.
· Decorative? Painterly? Not for type
If a font mimics anything physical and tangible, you should proceed with extreme caution. Brushstrokes, charcoal, textures, grit, dirt, flowers, anything – your type should be clean and uncluttered by distracting imitations of physical items. No matter how "painterly" a typeface looks, it's still a typeface being printed by a printer or displayed on a screen, not a brushstroke. Don't accept imitations. Your artwork is all the "artistic flair" you need. If the structure of the typeface includes a handcrafted feel but doesn't compromise the integrity of the letters, you might be able to work with it. For example, the type foundry House Industries includes a variety of typefaces that reference handmade media, but the structure of the letters is still crisp, clear, and readable. Check out their "sign painter" series for examples of what I mean. However, even a good typeface with this look should be used as a display face, not for the bulk of your text. If you're thinking about a display face, use it in your logotype, not your resume or statement body text.
· Find a workhorse
For a great deal of your text you'll need a typeface that is versatile enough to work for both titles if necessary and for body text. Well-structured solid typefaces often have different versions of the same base, such as bold, italic, semibold, etc.; that is where the word "font" comes from – it refers to a specific version of a typeface. When you use a typeface like this you get both consistency and variety all in one! It's a great way to apply type to a variety of extensions and have wiggle room for the different needs of each item.
· Don't be afraid to be "basic"
Remember, your art is the star here, not the font. Even simple fonts like the one you're reading this text in can be used for your materials. You don't need fancy script or grungy decorative fonts to get your point across. Your work does that for you! Typefaces like Jenson, Caslon, Futura, and Frutiger all look very basic at first glance, but when compared their little differences add up to a lot. Remember when looking for typefaces that when in doubt, err on the side of simplicity.