Yet there is one typeface - perhaps my typographic Moby Dick - that has taunted me for a long time, unwilling to submit to my will, teasing me with the possibility of greatness: Copperplate Gothic.Ĭorrect. Eaves, Serifa, Avance, Akzidenz Grotesk, Matrix Script… I have given all of these, and more, a go with mixed, but always fulfilling, results. Through it all, I have always made time to explore typefaces and see if I can tame them. But just as well, there are typefaces that I will never be able to make look good, or even convincing: There is Abadi, an odd sans serif that I have had to use that is impossible to equalize as a pleasant viewing experience at any size unlike thousands, I can’t get a grasp on Helvetica, I set it too tight, too loose, too big, too small, too blah and something like Bodoni or Didot, proves too fragile for my sometimes blunt approach. with tracking at +10, mamma mia, you could read the whole Bible in one seating or something quirky like my favored Cooper Black, that somehow manages to look great under any typographic circumstance. for long stretches of text Caslon, on the other hand, at 9 over 12pts.
Some are inherently easy to use: Gotham looks great in uppercase, generously letterspaced and slightly big, and then I avoid using it at 9pt. Over the years I have learned to master a few typefaces, knowing at what size, with which letterspacing and with how much leading they will look its best.
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