{"id":2209,"date":"2011-10-31T13:18:51","date_gmt":"2011-10-31T11:18:51","guid":{"rendered":"http:\/\/www.centigrade.de\/de\/blog\/?p=2209"},"modified":"2020-02-17T10:59:03","modified_gmt":"2020-02-17T09:59:03","slug":"how-to-choose-the-right-font-an-introduction","status":"publish","type":"blog","link":"https:\/\/www.centigrade.de\/en\/blog\/how-to-choose-the-right-font-an-introduction\/","title":{"rendered":"How to Choose the Right Font \u2013 An Introduction"},"content":{"rendered":"

Texts are important parts of most user interfaces, be it, e.g., as form field labels or longer help texts. This article is aimed at providing a common introduction to the topic \u201echoosing the right font\u201d. It contains some hints an pointers that simplify the search for the right typeface.<\/p>\n

When creating an interface, every designer will be confronted with the question of the right typeface. At a first glance, this task can be solved with the help of simple decision rules:<\/p>\n

\u201cWhich font will I use?\u201d and \u201eHow large will the font be?\u201c.<\/p>\n

In reality, you will be surprised by the complexity of trying to answer just the first question \u2013 the number of typefaces seems to be unlimited.<\/p>\n

Simple, complex, playful, straight-line, two- as well as three-dimensional fonts\u2026 there are obviously no limits to the typesetter\u2019s phantasy. Furthermore, parameters like font weight, the use of small caps and so on must also be dealt with.<\/p>\n

After finding the right typeface, you will probably shift your attention to the right font size. But this is also about more than just a single number. Apart from the letter\u2019s height, line distance, paragraph height, spacing between letters and many more factors must be considered.<\/p>\n

But how can you find the<\/strong> font suitable to your interface?<\/p>\n

Unfortunately, there is no formula for success, which delivers the perfect typeface for your special interface. But if you follow some basic rules of typography, you will be able to reduce the list of qualified fonts to a small number.<\/p>\n

How do fonts differ from each other? The normative aspect<\/h3>\n

If you leave out fun-typefaces like Hypmotizin,<\/em> the field of fonts suitable for interface design can be split into two parts: fonts with or without serifs.<\/p>\n

Serifs are the small lines, running across the end of the strokes of a letter.<\/p>\n

\"\"<\/p>\n

A finer grained classification of fonts is proposed in the German DIN norm 16518 (\u201cTypefaces\u201d). This norm categorizes typefaces into eleven groups, e.g. group II: french rennaisance-antiqua, group IV: classic antiqua or group XI: foreign typefaces. These groups differ from each other in their time of origin, the kind of painting strokes, whether or not they have serifs, special axes, the axis and form of possibly existing serifs and many other characteristics. Additionally, there are some special font groups like group VIII: cursive handwritings, which is specified only by the connection of the characters and the look of a contemporary handwriting.<\/p>\n

Legibility and Readability \u2013 the theoretical aspect<\/h3>\n

At first glance, legibility and readability seem to be the same thing, but in fact, they are not.<\/p>\n

The legibility of a typeface refers to the design of one single letter, affected by e.g. stroke thickness, serifs and other form factors. Legibility refers only to the form factors. Color, Contrast etc. are part of the readability. As an example, decorative fonts have got a low legibility, because they are optimized for looking good and not for being read with ease. Typefaces designed for newspapers or letterpress printing have the distinction of being highly legible.<\/p>\n

To maximize legibility, you should consider the following points:<\/p>\n