Helvetica 45 Light. Knowing the designers I work with, the copy will probably end up like that anyway.
Times New Roman – otherwise known as ‘Sans Comic’.
I like Gill Sans and I don’t know why. Were Ladybird books set in Gill Sans? The Famous Five? It’s tidy and uncluttered. Not like me at all.
Writing and designing with Myriad Pro as we speak. It’s clean, sharp, professional but with a hint of style. Also blows up well.
Arial 12pt. I can see it better – simple as that.
I use Georgia for client work because it’s an elegant, serif font that looks good on paper and screen and is ubiquitous without being over-exposed. I also have a weakness for Calibri, but really don’t know why. (Because it sounds like an ice cream?)
Arial. Because it’s simple and unfussy. Boring too. But that’s the point. I don’t want the typeface to distract from the words. I’d rather give clients a face they’re familiar with – one they’re probably using themselves. And since this is the sort of thing 26-ers like to know, mine’s 12/18.
I change typeface according to what I’m writing, how I feel, what the weather’s doing, what day of the week it is and how much coffee I’ve consumed. I’ll also change the typeface when I switch from drafting to editing. It’s remarkable how a different face can show up glitches and suggest new meanings and thoughts. Writing is visual before it’s literal – we all make judgments on a piece before we start to draw meaning from the words themselves – so for me it’s important to test drafts in different forms of presentation. One thing that’s consistent; I always use a fairly large point size. I often work at 200% zoom and I have a whopping great screen. I want my words to be really big, so I can interrogate what each letter and space is contributing. I hate seeing drafts circulated in 8pt or 9pt, with tight spacing. It looks like a chore to read and there’s no air around the words to let them breathe. It feels as if the writer is trying to hide away, like a little mouse. I try to imagine my words up on a huge illuminated billboard, being read by hundreds of spectators. Having said all that, the modernist in me is tutting away and holding up a sign saying ‘Akzidenz Grotesk, 11pt’.
Currently Tahoma or Verdana – they’re modern, designed for the screen, generous yet firm (Verdana more ‘open’ than Tahoma) and easy to read.
I’m an Arial, 12pt, 1.5 line spacing kinda guy. Seems clear – unlike my copy. I once flirted with Georgia but it was just a moment of madness.
I use Arial, just because it’s such a standard. Don’t like it much, but I like it more than Times Roman. Corporately, I use Avenir, and I’d use it all the time if I could. It’s beautiful.
I write in Garamond ‘for best’ because I think it’s quite elegant and I like sans serif faces for readability in longer copy. But I also use Verdana as a sans serif face as it seems to fit better with certain kinds of writing (packaging, for example). But I generally don’t use Verdana above 11pt as it gets uglier as it gets bigger.
I boringly use Arial, Microsoft’s soulless reinvention of Helvetica – purely because I know all clients have it, so my document won’t be rendered in some strange default font. It’s also about as neutral as you can get, as I wouldn’t want any choice of typeface to influence (or annoy) the designer who will later work with the text. The Pentagram ‘What type are you’ test had me down as Baskerville Italic, which I actually quite like. http://www.pentagram.com/what-type-are-you/
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