When working with system fonts, you need to stop and ask yourself, is this something I can even work with? I have selected the top three system fonts based on accessibility, history and functional properties. Don’t get me wrong, I am not head over heels for any of these fonts. But based on my limited selection I have chosen Helvetica, Georgia, and Verdana.

 

I have not included any of the new Windows Vista fonts because they have not been made accessible to me. In the words of Adam Gedde, the Great, “Don’t rely on anything from Microsoft to be free, available or to work”. I see some of the new Windows Vista fonts have a contemporary look and functional properties. However, I am not willing to pay $299.00 for system fonts when I would rather be spending my cash money on fonts from Emigre, Hoefler & Frere-Jones, 2Rebels, or Under Ware, just to name a few.

 

 

 

 

My relationship with Helvetica is based purely on respect. I have chosen Helvetica mainly for its functional properties (it is extremely legible), and because of its historical background. Helvetica has a very distinct personality because it came out of the modern movement. This may or may not be a message that you would like to portray. Danny Van Den Dungen talks about the subversive message that modernism sends. “For us, modernism does have a more subversive side. Modernism is primarily concerned with functionalism and utilitarianism. This is something that emerged much later.”

 

People seem to either love or hate Helvetica. Erik Spiekermann expresses his contempt for Helvetica because of its lack of rhythm and contrast. “A real typeface needs rhythm, needs contrast… it comes from handwriting. That is why I can read your handwriting and you can read mine. We can read it because there is a rhythm and a contrast to it. Helvetica does not have any of that.” Others like Rick Poynor see Helvetica as a mark of modern society. “In a way, Helvetica is a club. It is a mark of membership. It is a badge that says we are a part of modern society; we share the same ideas. It is well rounded; it is not going to be damaging or dangerous.”

 

Despite Helvetica’s powerful functional qualities, it lacks accessibility. The problem with Helvetica is that it is only available to Macintosh.

 

 

 

 

Is Helvetica something I can work with?

Absolutely Useless 01 02 03 04 05 06 07 08 09 10 Tolerable

Designed by: Max Miedinger with Eduard Hoffmann in 1957

Classification: Sans-Serif

 

 

 

 

 

 

Georgia and Verdana were designed as a sans serif and serif complementary set by Matthew Carter in 1996. One of the greatest strengths of these fonts is their accessibility across platforms. Carter states, “By agreeing to make these fonts available cross-platform, Microsoft and Apple will support their customers and confirm their respect for the standards of type design.”

 

My respect for Matthew Carter and his work is my primary reason for choosing Georgia and Verdana. The driving force for his work is to solve the problem at hand. His work is not dependent on an aesthetic or method, but solely on creating the best solution. The effects of this driving force can be seen in the versatility of his work from Snell Roundhand, Bell Centennial, Big Caslon, Sophia, and my personal favorite: his work for the Walker.

 

Georgia and Verdana have many functional properties that make them easy to read. Cyrus Highsmith of the Font Bureau describes Matthew Carter’s respect for the reader, “Matthew doesn’t just serve the reader by providing him with a readable typeface. He respects the reader. This comes from his combination of humility and the seriousness and the level of thought he puts into his craft.” The only downfall is that these fonts lack an aesthetic appeal.

 

 

 

Is Georgia something I can work with?

Absolutely Useless 01 02 03 04 05 06 07 08 09 10 Tolerable

Designed by: Matthew Carter in 1996

Classification: Transitional Serif

 

 

 

Is Verdana something I can work with?

Absolutely Useless 01 02 03 04 05 06 07 08 09 10 Tolerable

Designed by: Matthew Carter in 1996

Classification: Humanist Sans-Serif