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148 The Principles of Beautiful Web Design ■ Letterhead Fonts, at http://letterheadfonts.com. This little foundry has over 200 high-quality unique fonts from which to choose. ■ Blue Vinyl Fonts by Jess Latham, at http://bvfonts.com/. Like many font designers, Jess started designing fonts as a hobby. His freeware and paid fonts have a unique style and are very well done. ■ Fountain Type by Peter Bruhn, at http://fountaintype.com/. Fountain features some of the best fonts from about 20-odd designers around the world. The site also provides attractive freeware fonts. ■ Typodermic Fonts by Ray Larabie, at http://typodermicfonts.com/. Ray is a rock star in the realm of free fonts. His work is known for having large character sets that are top quality. ■ Misprinted Type by Eduardo Recife, at http://misprintedtype.com/. Eduardo is the man when it comes to weathered, worn, and eclectic font faces. His work is unmistakably unique, if a little twisted. ■ Pizzadude by Jakob Fischer, at http://pizzadude.dk/. Jakob has an admittedly goofy and laidback style, but has cranked out over 500 handmade fonts since 1998. Choosing the Right Fonts Even if you understand all the technical aspects of letterforms and typeface categories, and have access to all the fonts in the world, you can still have difficulty choosing the right ones. That’s because font selection is based just as heavily on artistic license and emotional association as it is on technical issues. So, where do we begin? In order to start your quest for the perfect font, you should first define the feelings you’re trying to evoke in your target audience. Are you trying to show that the company the website represents is hip and young, or would you rather portray an aura of steadfast wisdom? Do you want to create a site based on a certain theme, like a Hawaiian luau or a Mexican fiesta, or are you trying to convey a more formal identity? By asking yourself these kinds of questions, and thinking about fonts on an emotional level, you should be able to decide reasonably easily whether a given font is appropriate for your application. If you’re unable to answer those questions about a particular font, make up your own questions. Take a look at the screenshot from G'nosh 27 in Figure 4.29. What questions do you think the designers of that site asked themselves as they were choosing the fonts for it? Obviously they were going for a handwritten feel, but why? I’m guessing they wanted to establish a brand that was as casual and approachable as possible. 27 http://www.gnosh.co.uk/
Typography 149 Figure 4.29. The casual and approachable G'nosh's website Think about it, you’ve seen billions of letters and millions of words in your lifetime; so, whether you know it or not, you already have some emotional connections on which you can base your font choices. Think back to the logos, the album covers, the textbooks, and the signage you’ve seen. How have those typographic elements affected your perception of the entities they represent? Now, let’s take that idea and work backwards, using a generic entity like Joe’s Restaurant. The font that you choose for this design will play a crucial role in the way potential diners perceive the attitude and identity of the restaurant. Take a look at Figure 4.30, and try to choose some fonts that make you think of a casual Italian bistro. Okay, now pick fonts that suggest a metropolitan restaurant serving five-star cuisine. How about a tacky dockside bar? There’s no right answer for any of these scenarios, but there are definitely some fonts that will outright fail to work in each case. First, try to narrow the field down to a few good candidates, and then try to refine your choices again, until you find one that works well.
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Summary of Contents Preface . . . .
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iv The Principles of Beautiful Web
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Table of Contents Preface . . . . .
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ix Color Scheme Designer 3 . . . .
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xi Creative Image Treatments . . .
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xiv bathroom with the work that we
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xvi Tips, Notes, and Warnings Hey,
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2 The Principles of Beautiful Web D
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10 The Principles of Beautiful Web
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2 Chapter Color Whether you’re de
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Color 51 reason, it’s often used
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Color 53 Figure 2.5. Calming stones
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Color 55 Figure 2.7. These wind tur
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Color 57 Chromatic Value The measur
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Color 59 Figure 2.12. The tradition
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Color 61 thick that you’re unable
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Color 63 Another example of saturat
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Color 65 An Analogous Color Scheme
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Color 67 Figure 2.22. Blinksale’s
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Color 69 put off by the stark contr
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Color 71 Figure 2.27. Cross Cross C
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Color 73 Figure 2.30. The Bulls+Arr
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Color 75 Figure 2.34. The adventuro
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Color 77 Table 2.1. Counting from 1
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Color 79 Scheme Designer 3 works. U
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Color 81 Figure 2.39. Pictaculous C
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Color 83 Figure 2.41. A mood board
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3 Chapter Texture There are many we
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Texture 87 Figure 3.2. The A-Team b
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Texture 89 Figure 3.5. Geometric an
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Texture 91 Rounded Corners So we’
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Texture 93 Figure 3.10. Ithaca Even
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Texture 95 Figure 3.12. Speed Kids
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