This site contains the opinions of advanced level graphic design students in the Department of Art at Northern Kentucky University. These students are reading essays monthly from: Texts on Type; Critical Writings on Typography, by Heller and Meggs. This is an open forum for these students and they are encouraged to be honest and opinionated. Your comments are welcome. -Tobias Brauer, Professor.
After I read the article, I opened up Suitcase on my Powerbook… 2,041 fonts. I have over two thousand fonts on my computer. Now, for most projects, about 2,020 of those fonts are completely useless. But I strongly feel that at some point, if the font suited the project, any of those 2,041 fonts could prove to be extremely useful. Lately I have been filing all of those fonts into categories (sans-serif, serif, dings, dirty…) and I have over 100 stressed/dirty fonts. I have found myself using more and more of these types of fonts lately. I plan on using some of those fonts in my senior project (motocross apparel company). I have even found a way to sneak some stressed/dirty fonts into a package design for Old Spice (and it is in the final round, along w/ 2 other designs). Am I using them because they are trendy? Sure, maybe a little bit. But mostly I am I using them because they fit.
Downcome, a typeface by Misprinted Type, is a modification of a typeface called Alternate Gothic designed by Morris Fuller Benton. So, they question I raise is should Downcome even be considered as a separate typeface, or should it be in the Alternate Gothic family?
And sure there are thousands upon thousands of shitty fonts out there. But like Oliver said, who cares? It doesn’t bother me. There are people out there who think they are type designers because the computer has enabled them to crank out a type in a few hours. There are also people who think they are graphic designers because they made a logo using a pirated version of Photoshop. Who cares? Bad design only makes my work look better.
And Oliver, I agree… what ever happened to the “fine” in fine art?