RE: Good font combination story

Subject: RE: Good font combination story
From: "McLauchlan, Kevin" <Kevin -dot- McLauchlan -at- safenet-inc -dot- com>
To: Ed <hamonwry12 -at- hotmail -dot- com>, "techwr-l -at- lists -dot- techwr-l -dot- com" <techwr-l -at- lists -dot- techwr-l -dot- com>
Date: Wed, 19 May 2010 09:58:22 -0400

Ed sed:

> Since this has come up recently:
> Four techniques for combining fonts

Hmm. Doesn't a "technique" presuppose the ability to
actually discern one from another?

I don't have it.

Reading the descriptions after each example, I was
reminded of the pretentious claptrap (much parodied)
that used to pass for wine reviews in many places.
"Insouciant at the start, with a droll finish..."

I could sorta see "solid" as an attribute of a
given font family. Perhaps "light"... perhaps even
"crisp"... but .... "Lyrical" ... come ON!
"Debonair"? Get real! A font?

Perhaps somebody who does nothing else all day for
years must develop a sensitivity that allows them
to pick out the attributes. Probably that person
also needs the same in-built sensibility that makes
for a good graphic designer.

As not either one of those, I can't reliably tell
Helvetica from Arial from Verdana... in bright light...
with the wind at my back... down-hill...

I'm curious, though, how many people actually
can spot a given font in a crowd. Especially a
crowd of what the unwashed would regard as similar

Of course, in the spirit of "I might not know much
about art, but I know what I like", good typography
seems to just hang together in a pleasing way. It's
the 'what' of that pleasingness that escapes me in
individual situations. Yes, of course you could
point to an example and explain it to me... and
there's a chance that you would not sound entirely
like Charlie Brown's teacher while doing so. :-)

Am I alone?

- K

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Good font combination story: From: Ed

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