The power of type

For many years, yours truly was a graphic designer creating annual reports and corporate collateral with emphasis on clean design and the proper use of appropriate fonts as type conveys many meanings due to how a specific typeface is developed. Years ago, I took a course with Ed Bengeat, a true giant of typeface design whereby we learned about color, spacing and the notion of intuition in designing fonts that work, a task requiring skill, talent and perseverance, something Ed had to the nth degree. With this being said, Sean Abrams has created a masterwork detailing the history of type with emphasis given to the 5 classics, along with significant others, every designer of note should know about without question.

Typefaces create pictures of words. Like images, each typeface communicates an idea, emotion, and point of view. Helvetica might speak to neutrality and information; Garamond can read as literary and classic; Bodoni feels sophisticated, urbane, and crisp. The choice of typeface communicates a subtle message to the viewer. The typeface choice, like a moving and powerful photograph, is the difference between a good idea expressed adequately and a good idea expressed persuasively.

There are as many approaches to typeface choice as there are design processes. Some designers, such as Massimo Vignelli, work with a small handful of typefaces for their entire career. Other designers may be more promiscuous with type, switching typefaces on every project. Neither of these is wrong. Vignelli adhered to strict modernist principles of simplicity and reduction. Herb Lubalin designed his own typefaces, preferring variety, flourish, and drama. These examples are extremes; many designers operate closer to the center of the spectrum.

A more modern application of Caslon, from 2017, uses the 18th century typeface to brand a barbershop in Copenhagen called 1937. Design by Bold Scandinavia. [Image: courtesy Abrams]

William Caslon designed Caslon c. 1725, basing the typeface on 17th-century Dutch type drawings. Caslon is a further evolution of Bembo, with letterforms aligned less with handmade calligraphic forms. The strokes have even contrast between the thick and thin weights and simpler curves.

Throughout the 18th century, Caslon was the dominant typeface for text and book publishing. The first printed version of the United States Declaration of Independence was typeset in Caslon. The typeface fell out of favor during the 19th century but became the “go-to” typeface for much of the 20th century. A maxim from mid-century art directors expresses its popularity: “You can’t go wrong with Caslon.”

In this much older application of Baskerville, from 1896, Ethel Reed used a hand-drawn application to promote the book “In Childhood’s Country.” [Image: courtesy of The Metropolitan Museum of Art, New York, Leonard A. Lauder Collection of American Posters, Gift of Leonard A. Lauder, 1984, and Abrams]

Sean Abrams' The Designers Dictionary of Type is a must-have for designers of all stripes. :)