What are some good font symbols
Good, legible fonts for posters
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Posters are a classic advertising medium that is intended to attract the attention of passers-by. Usually a fraction of a second decides whether the message is perceived, viewed more intensively and read. But which fonts are suitable for the design of posters and billboards?
Eye-catching, area allocation, weighting of the content, length of the slogan and, last but not least, a suitable font are particularly relevant for this advertising medium (the purely artistic and decorative posters left out as a special case).
Skip text and go straight to the font tips for posters
Basic design rules for billboards and posters
As with all graphic products, there are some basic rules regarding the use of font:
- No more than two to a maximum of three fonts should be used.
- The fonts should harmonize with each other (see chapter Mixing fonts) and be optically matched in size.
- The content elements should be weighted according to their relevance:
- The slogan should be the first thing to catch the eye and encourage people to step closer.
- If the viewer has come closer, the relevant information should come into view.
- And finally, it is sufficient to be able to read the additional information when you stand directly in front of the poster and the viewer's attention has been won.
- Content-related relationships should be clarified through the use of fonts. For example, in an event poster, one font can be used for the headline and the "what" of the poster and a second for the "where" and "when", i.e. for the structural information.
The poster format
A crucial characteristic of posters is the format. Posters start from a size of Din A3 - common formats are A2, A1 and 50x70 indoors and outdoors up to large-format advertising spaces such as billboards or city light posters. This medium has to be convincing at a distance.
For a poster it is set. Not every font that can be used excellently in continuous text will convince with this size. The normal settings for optical kerning are optimized for running texts. With large font sizes, it is often necessary to manually rework individual pairs of letters in order to achieve a pleasant typeface without optical gaps or tightness.
It should also be borne in mind that fonts on posters often have to stand out in high contrast from background motifs.
Easy to read Fonts with clear shapes and imprinted line widths are therefore particularly suitable. Grotesque fonts such as Futura, Helvetica or Franklin Gothic prove their worth here.
Font tips for designing posters
The Futura. The font, inspired by the approach of the Bauhaus artists and the new objectivity, is a popular, geometrically constructed linear antiqua and a timeless classic.
Its clear forms, reduced to the essentials, have character despite their simplicity and have made the Futura one of the most popular sans serif fonts and ideal for large-format use since its development.
The Helvetica. The somewhat newer Helvetica, derived from the tradition of the Renaissance Antiqua, is rightly one of the most popular fonts. Like the Futura, it is designed according to the ideal of the new objectivity.
The narrow spacing makes it possible to accommodate a lot of content in a small space (a criterion not to be underestimated for longer headlines). However, the Helvetica is omnipresent due to frequent use and is not recommended if you want to stand out through originality.
The Franklin Gothic. Franklin Gothic is the American variant of modern sans serif fonts with clear shapes - it looks heavier and has more pronounced line widths than Helvetica or Futura and thus achieves a greater effect from a distance.
Content and target audience
Another important characteristic is the content and the target group to be reached. Often times, certain epochs, themes or emotions are associated with fonts and font styles. This should not only be taken into account in order to avoid unwanted effects, but.
For the eye-catching effect, it can also make sense to choose a very playful, broken, distinctive font that not very legible, but noticeable and clearly related to the topic. Such a font should only be used for a short headline and a harmonious, legible font should be used for the other elements of the poster. Art Deco or Art Nouveau fonts and the striking Egyptienne (better known as Western fonts) such as Clarendon or Aachen are known from the early days of advertising posters.
The Clarendon. The Clarendon was conceived from the beginning as a markup font and has the line weights and serifs that are very pronounced for Egyptienne fonts.
It gets its own character from the approach to traditional antiqua typefaces in the form of its slightly grooved serifs. It has a nostalgic, transfiguring character due to its association with the western age.
The Aachen. Aachen is a classic Egyptienne with a pronounced line width, strong short serifs set at right angles and straight geometric shapes. In contrast to the Clarendon, it has a more technical character.
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