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Designing for the Web ~ Typography

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10. Stylised Stylised type designs are one large classification for all those weird and sometimes wonderful typefaces that have become available since the advent of cheap computers and programs which allow anyone with a bit of skill and an idea to create and distribute a typeface.

Mido

Fontin Sans

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The first time I saw Template Gothic in use, (rather than only being displayed in Emigré), was in the mid—nineties in Raygun magazine. Raygun was the music magazine piloted by every designer’s hero of the time, David Carson. If David Carson thought this typeface was cool, then of course, we did too. Every designer across the globe began to set headlines in Template Gothic. Then, the fashion spread from editorial design to advertising and finally, packaging. It was at this point, as had happened to Helvetica Light/Thin in the early nineties, every designer stopped using it—except the bad ones, of course. Template Gothic was then shunned by most designers, as it was used in the most inappropriate places—a real shame.

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Template Gothic

Iconic typefaces At certain times, typefaces can come to represent a specific era. It takes a collection of designers or typographers to suddenly start using a particular typeface in influential publications for the snowball to slowly start gathering momentum. Before you know it, the most unlikely of fashionable typefaces crop up in unfashionable places.

Poor Template Gothic As a young designer in the 1990’s, I was reading all the publications everyone else was: Emigré, Raygun, Eye, The Face, etc. During this time, Emigré was very popular amongst my industry peers. They produced and commissioned typefaces as well. One proved to be so popular in the 1990’s it was a victim of its own success and was overused. As a result, I don’t think I’ve seen it used by graphic designers in the last ten years. The typeface was Template Gothic, designed by Barry Deck.

What makes a classic? A classic typeface is like a classic suit: durable. It can be used to convey multiple messages on varying media over decades— sometimes centuries. It survives fads, it’s versatile, and it’s so well designed that designers from different eras or with different tastes respect it.

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Five simple steps designing for the web  

Designing for the web

Five simple steps designing for the web  

Designing for the web

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