BonFX

Typography & Graphic Design Blog

Top 10 fonts for graphic designers

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There are approximately 73 billion typefaces out there in the wild the last time I counted. 99.5% of them are either copies of classic fonts, totally useless in regards to real typography, or copies of classic fonts rendered totally useless for real typography because of poor construction of the font files like missing characters and incorrect kerning tables.

Where does that leave the budding young graphic designer looking for the right starting set of best fonts on which to base a career? Well, lets look at painting for a moment and find an analogy.

When you go to the art supply store, you can find a bewildering array of oil or acrylic paints to choose from. What exactly is Cadmium Red Light (Hue) and Phthalocyanine green? If you are an experienced painter, you know what those are. But if you are a new painter and have a good book or instructor, you were instructed to avoid those tubes and go for a classic “starter set”. You have a wise instructor. Put down the Dioxazine Purple, and pick up the 6 tube starter set like you were instructed.

Many painters use a limited palette. A limited palette is a set of colors from which many new colors can be mixed. For instance, my favorite watercolor artist Ray Campbell Smith only uses about 6 colors on many works. The core set of colors that make up the 6 color set is even smaller – only 3. Those three colors, a type of red, a type of blue, and a type of yellow, are combined to give a huge variety of hues. Adding the minimal use of a darker color (like a Payne’s Gray) further extends the hues created with the 3 primary colors, and same goes for the other one or two colors that might be used in limited circumstances. Where am I going with this?

To draw from this analogy, you only really need a very small sub-set of the most popular fonts to create a huge variety of work. Some people collect fonts and use them all over the place. Some designers have worked with a half-dozen fonts their entire careers and are quite well-off. They put the time they could have used looking for “that special font” into a solid grid-based layout, thought about content and white space, and became better designers for it.

So what are the top 10 fonts a graphic designer should have? This list by no means is definitive. However, if you find 20 other articles on the web suggesting an approach similar to this, you will find by and large the same typefaces showing up over and over. In fact, if you search for the top fonts of all time, or top favorite fonts, you will probably see about 20 fonts, out of the 73 billion available, showing up over and over. Not that you can’t grab something off the wall once in a while, but by and large the problem of good typography has been solved over and over, so there is no need to reinvent the wheel or look too hard in strange places for great fonts for regular daily work.

Here is my list of top 10 fonts for graphic designers, in no alphabetical order:

Top 10 Fonts for Graphic Designers

  • Akzidenz Grotesk
  • Bodoni
  • Frutiger
  • Futura
  • Garamond
  • Gill Sans
  • Helvetica / Helvetica Neue
  • Minion
  • Trade Gothic
  • Univers

This list reflects what I actually use on routine basis. I actually use a few more, but I wanted to keep this list to 10. I would gather that other limited-font-user designers like me have 5 or 6 overlapping choices here, or use similar substitutes. For instance, Trade Gothic (which I love) is different but comes close to functioning the same way Avenir does. I own more faces (weights) of Trade Gothic, so I usually end up going with that when the need arises and the other sans serif fonts aren’t quite right. However, if I did own more faces of Avenir, I’d probably use it over Trade Gothic in most cases.

As a freelance graphic designer you might not have lot’s of cash to buy all the great fonts and faces you see and like, but the reality is you only need a thorough set of basics to get you quite far indeed. Remember, some of the greats only ever used a half-dozen fonts with any frequency!

If you focus on using a core set of fonts, like a core set of primary colors, you will be able to create an endless variety of styles, moods, layouts, etc., and not feel in the least bit slighted or hindered in your effort. Focus your work on getting a great layout, white space, grid, visual rhythm, and content, and you’ll be creating graphic design masterpieces in no time at all.

More Top Fonts resources:

Process color and small type on print jobs

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Ever had a print job come back only to see blurry small type but nice and crisp images?

When you are designing for 4-color process (CMYK), you have to obey a few rules or you’ll end up with poor results off the press. One mistake that very common to new designers is the flippant applying of CMYK colors on small type. Let’s review the fundamentals of printing in process color and see how they conspire to make small type with process color a no-no in general. As a freelance graphic designer, you can’t afford costly print re-runs and missed deadlines for the clients you worked so hard to get. Don’t blow it at the 95% completion mark of your wonderful new print piece!

When the prepress department at your favorite print shop outputs the plates of your process color print job, the plates come out as a series of dots. One plate for each color of the CMYK spectrum is created. If you are creating a dark blue box in your design, you will see dots that makes your box on both the Cyan and Black plates. Perhaps there is a touch of Magenta in your Cyan to give you a more royal blue. In that case, you’d see very faint dots on the Magenta plate. The pressman lines up the paper and the plates so that in each pass of the paper under each plate and it’s color, the dots from all CMYK plates line up. The pressman uses the CYMK calibration marks you see on the paper to adjust everything. If all goes well, the colors come out great.

I can still hear the collective sighs of many a prepress tech when getting jobs from freelance and other graphic designers. They open the job and go “uggh…” when they see CMYK hairline borders and tiny fonts with complex CMYK colors.

Things don’t always go well on a press. Technically, no print job is ever perfect, especially CMYK. What happens is the plates are lined up to the eye as good as can be, but the closer you get, say with a magnifying glass, you’d see things really aren’t perfectly lined up. But most jobs are lined up perfect enough. This means that your eye can’t see the discrepancies. For all intents and purposes, close enough rules the day in printing. It takes time and money to be “extra perfect”. Sorry to burst the illusion of perfection in printing, if you had one! The best pressman is the one who can best hide the inherent imperfections of a print job on the press he or she knows all too well.

So what does this have to do with small type and the CMYK printing process?

Well, since printing is as much art as it is science, the calibration of said press and said paper drifts a little here and there. The pressmen keeps things in a certain tolerance based on the capabilities of the press combined with the type of paper, density of ink, and all kinds of factors. But it’s impossible to keep these things entirely under perfect control. If you see a high-speed 4-color press in full speed action, you will wonder in amazement how it stays under any control at all. Ok, so what happens when there is a drift or if the press is just acting up a bit? What happens is that color plates don’t line up perfect any more while the paper is whizzing by and the layer of ink are being laid down by the drum. Now, let’s say you have a flower made of Magenta, Yellow, and Black. Since the flower is all random and fuzzy-edged, you probably couldn’t notice a mild drift if there was one. It’s hidden by the image itself. But let’s say you have a thin line, the same color as the flower, right next to the flower. You’d all of a sudden see the line look a little fuzzy. What happened? The Yellow went one way, the Magenta went another. Instead of your colored line, you see kind of a blurry thing with a yellow haze on one side and a magenta haze on the other, a little grey thing in the middle, but you don’t see your reddish line anymore. Same goes for your small type done with process color.

How small is 8pt type? How small are the lines that make up the serifs on 8pt Garamond? If you said “very very small” you are correct. Think of having letters made from a complex blue color you made up that had some percentage of C, M, Y and K. Now imagine the press drifting just a tad, just for a few seconds while the pressman wipes sweat from his hardworking forehead. All of a sudden, your masterfully positioned footnote in the wonderful blue you created now looks like mush. And now instead of a subtle footnote you weren’t meant to focus on, your blurry footnote is now drawing undue attention to itself. How awful! And now with no time left to reprint the job, you have to hand the results to your client. That was the last freelance graphic design job you’ll do for them, I assure you.

Another topic for another post is the LPI or lines per inch that the plates for your print job are generated at. This drift problem is compounded even further when you print at 133 LPI on soft stock, and is less pronounced at say 150 or 175 LPI. LPI is the press equivalent of dots per inch, DPI, in your source Photoshop files.

Back to our fuzzy type problem though. How do we fix it? There are several solutions I offer in bullet point form, for you to ponder and ask questions about:

  • Don’t use complex colors for small type. Use Black or White or at most 2 colors. Create simple colors as the type gets smaller. Nobody will notice.
  • Use a 5th spot color for small type. Yes, very expensive, but if the print job already includes a 5th color, why not use it if you can on small type and lines?
  • Don’t use delicate fonts for small type. Use a heavier-bodied sans serif if you can. This will get rid of a lot of potential problems.
  • If you simply have to have small type all over your print job and you have full creative control, add a spot color, or do the whole job in 1, 2, or 3 spot colors and avoid creating colors by the CYMK process
  • Print at the highest LPI your budget can afford. The higher LPI jobs go on better presses. You get a lot more quality than just increased LPI when you go from 133 to 150 or 175 LPI. You get a better press and usually the more experienced pressman.

When in doubt, talk about your files with the prepress department before you send the files over. Ask them about the press they are using for the job. Some presses and paper combinations have little difficulty with some aspects of a some jobs, but other combinations might not be good news. There is no way you can know for, so your best bet is communication. Your freelance graphic design business depends on two things: successful communication and successful results in the end product.

Hourly rate or by-the-project pros and cons for graphic design fees

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This is a great topic we’ll revisit in one way or another many times. For now, I’m going to list out some pros and cons in the form of bullets for each type of payment. There is no right or wrong answer here, but rather we have pros and cons based on situations.

Pros for hourly rate:

  • You get paid for the time you work
  • It’s 100% quantifiable
  • It’s your bread and butter with established clients
  • You and your client feel good and have a great level of trust to be at this point
  • You like when this work comes in

Cons for hourly rates:

  • Clients distrust hourly fees when you have not worked with them long enough or built a relationship over time
  • Hard to know what rate to set with each client, unless you just have a simple flat fee or simple two-tier system in place
  • You have to wobble things around to know what to charge for
  • You have to have a pretty good system for tracking hours
  • You have to decide how you track time: in quarter-hour increment, half-hour increment, or hourly or daily.

Pros for by-the-project or fixed bid graphic design fees:

  • If you do really well and hit the ball out of the park in several  key phases of the project, your profit can go way up which makes your internal hourly rate take a nice leap forward
  • It settles the client down to know that the bill will not change and makes them happy
  • For the right job, it makes perfect sense. For instance, the logo design process can be fixed up front to a certain exact work scope and fixed number of hours. Other technical jobs, like custom programming or web site creation where the content and navigation are changing as the client sees the site coming together are not a good mix for fixed bid fees. Estimated fees for these kinds of projects are the only way the designer can be fairly compensated while trying to hit a moving target.

Cons for by-the-project or fixed bid graphic design fees:

  • If you underbid, you are stuck with the responsibility to deliver for your client, no matter what.
  • You will have to work on a more detailed scope.
  • You will have to say “no” to the client when they request something outside the budget, or at that point work on an additional fee or hourly rate to accomplish the extra task
  • Fixed bid projects are larger so you take more risk on the back end of the project for getting paid on time, or getting paid at all (in these trying times…)
  • Overall, fixed bid costs to you are time in the planning and documenting department

This is by no means an exhaustive list, but is rather a quick brain dump of the main highs and lows of each billing method.I think one method that is not used enough, not because it doesn’t work, but because some designers afraid of losing a job might not want to try it. The estimate method is very strong:

Pros for the estimate method:

  • Gives client a general range of cost, but nails down an expected cost based on a scope you have worked out
  • Allows you some flexibility in deciding what to charge and not charge for.
  • Allows for some scope creep (inevitable) but at the same time doesn’t create a situation that makes you have to go write more documentation and cost fixing for additional work. Under the estimate model, you can simply verbally or by email tell a client “We can do that, no problem. That will take 5 more  hours…”

I have found that the estimate method works great for new and existing clients. The trust-based hourly rate clients all seem to naturally fall into this mode. I’m hourly but bigger projects get an estimate. If I’m way off, I just eat the overages because I value the long-term value of the client. No need to worry over 2-3 hours here and there if over the long run you are able to get consistent work and you are both happy. In that case it all comes out in the wash.

The least workable model for larger projects (typical freelance graphic design projects, especially web design) I think is the fixed bid. It can create unrealistic expectations by default for some reason because it requires copious documentation as well as copious understanding of said documentation on the part of the client to understand what is in and out of scope. In other words, though it’s in writing (and took a long time to write) sometimes it’s not clear to the client what they can and can’t request. Nothing is less fun than saying “that’s not covered in the agreement” to a client. It creates a more rigid eye-for-an-eye type of relationship that is easy to create a sense of resentment in for both yourself and client. The client can’t understand why you just can “tweak the layout a bit here” and you can’t understand why they don’t understand “that’s not in scope”.

Of course, any of these methods can indeed work wonderfully. I have had clients that used me in both fixed and hourly scenarios. For instance, repeat work that involves updating web content or formatting new content into an existing print piece are all hourly. But the same client would also have me working on knocking out basics for new customers at a fixed cost since the scope was always 100% the same. So it makes it easy to just go in and get it done.

Fixed bid graphic design fees – a final good word:

One last thing, to say something good for fixed bid systems: they do in fact work great when you know for a fact the scope will not change. Simple print design falls in this category. There is only so much work a post card could possibly take given the source photo and logo the client sent you, for instance. You could just say 5 hours or 8 hours and it’s no big deal if they decide to swap the photo. In reality, changes to small fixed bid projects, especially print design projects, are easier to just knock out in 10 minutes than to take another 20 minutes for billing and emailing and stress. As I mentioned above, the logo design process can also fit this process very well too.

Summary: Mix up your graphic design fee methods!

There is no one size fits all graphic design fee structure or system that works for all clients and projects. Try and get to hourly by building trust, but be open to fixed bid fees on smaller simpler projects, and try to use the estimate model which doesn’t require copious documentation and onerous detailing of changes in scope as a larger project rolls along. As trust with your clients builds over time, you will likely not have any billing issues, as you both grow in understanding and appreciation for the mutual value and benefit you bring to one another.