Fonts and feel
To take it one step further, try putting yourself in
the reader’s shoes. “I think of it as a physical object,”
says Michael McPherson, partner and creative
director at Corey McPherson Nash, regarding a text-heavy project.
“How do you want it to hit the table?” He notes
that once you decide whether you want a piece
to feel intimate, intimidating, or somewhere in
between, you can move on to choosing a size for
the piece, as well as a typeface.
A tradition-oriented client, for example, might
call for a serif typeface. But beyond personality,
McPherson recommends taking a look at the weights
available within a particular font, deciding whether
you like them, and determining if there are enough
available for your needs. “If you’re going to be a
graphic designer, you need to like type and learn to
work with it,” he says. “You need to identify type by
texture. You need to look at type critically and think
about readers.”
Corey McPherson
Nash: Tuck brochure
This brochure for
the Tuck School of
Business, designed by
Michael McPherson,
needed to fit in with
the capital campaign
materials it was to
be mailed with. For
the cover, McPherson
picked up a bar concept
from the capital
campaign and used
an oversized arrow to
subtly imply strategy.
The two-color piece
uses standard Tuck
identity colors.
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Indented text allows
subheads to hang out
in the margins, making
them extra visible to
readers and helping
break up body copy.
The piece uses Tuck’s
standard typefaces—
Frutiger for display
copy paired with
Sabon for body copy.
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