6 Great Fonts for Graphic Design (plus 2 that just shouldn't exist!)
[1992 - Robert Slimbach & Carol Twombly]
Like most sans serif fonts, Myriad robust, very open, and easily readable; but two of my favorite things about Myriad probably don’t matter to anyone but me. First off, it has its own very nicely designed ligatures (which are certain letter pairs that actually change their shape for better flow and readability... see example to the right.) Myriad is just a nicely kerned font all on its own, and having some well thought of ligatures just make it nicer to work with. Secondly, I have great respect for folks who design their italics in ways that aren’t just “slanty versions” of the standard “roman” upright version. Myriad uses this concept in several of its characters, like the “a” and “e” shown to the right also.
[1957 - Max Miedinger]
Oh Helvetica, you timeless old B*$+@^&! You are easily the most used font EVER!!! Most people assume Arial is the same thing (which it’s not; Arial was loosely based on the letter shapes of a type called Monotype Grotesque, but I digress…) Helvetica really came into its place within the Pantheon of Fonts during the age of letraset type, and easily crossed the bridge to the digital age. It’s now the “go to” font for people who don’t want to think about what font to use.
[1954 - Adrian Frutiger]
Adrian Frutiger, you say? The creator of the typeface actually CALLED Frutiger? Yes, true, although of all Frutiger’s fonts, this is my favorite. After all, with more than 40 variations (actually up to 63 if you consider the slightly retooled Linotype Univers series) it has all of the weights, widths, oblique sets, and positions you could ever need for clean, but bold design. It also has a few characters with some visual appeal that makes it easily distinguished from other sans serif fonts; such as the capital “G” without it’s tail, the capital “Q” whose tail slides along the baseline” or the small “t” with a slight angle along to top.