Comic Sans

Everyone loves to hate Comic Sans. The child-like handwriting font is so infamous, there is a movement to try to ban it. Mention its name to the common layman (aside from a preschool teacher), and you will likely get a chuckle, mention it to a trained designer, and you’ll get a look of disgust. In my free design course, I teach you how to battle font anxiety, but I can tell you right now Comic Sans is usually not a good choice. What exactly makes Comic Sans so horrible?

To illustrate the poor fundamentals of Comic Sans, I will compare it to Helvetica, which is such a beloved font, that there’s a movie – about typography – named Helvetica. First of all, I should acknowledge that comparing these fonts is a bit apples to oranges (which are both fruits, mind you), in that they both convey completely different moods: Helvetica looks strong and serious, and Comic Sans is usually used in situations where one wants to look playful and casual.

The Comic Sans “e” appears more dark than the other letters because its overall visual weight is mismanaged. When compared to Garamond and Helvetica, we can get some idea of why. Garamond’s “e” features a very large aperture, and small eye, but its stroke modulation keeps it balanced. The extreme heaviness of the stroke towards the bottom left of the “e” is balanced out by the large aperture, and the tiny eye is balanced out by the very thin bar that closes out the eye. Helvetica maintains balance by compensating for its absence of stroke modulation by having a larger eye and a smaller aperture. Comic Sans, however, by virtue of its handwriting-based style, has a tilted – incidentally “Venetian” – eye to its “e” giving it both a small eye, and a large aperture. Since there is no stroke modulation to Comic Sans, it can’t compensate for this lack of balance and thus utterly fails.

But poor management of visual weight within the letterforms themselves isn’t the only characteristic that makes Comic Sans uneven in body text. The “letterfit” – or consideration given to the letterforms to allow them to be set together in an even manner – of Comic Sans is very poor. The letterfit of Helvetica allows for it to inherently have decent kerning tables. Kerning is the distance between two letters, and good fonts have parameters set for just about every letter combination (or “kerning tables”) in which the font may eventually be set; but if the letters themselves aren’t designed with consideration given to how the letters will relate to one another, then producing good kerning tables is impossible.

So, the story of Comic Sans is not that of a really terrible font, but rather of a mediocre font, used incorrectly on a massive scale. Windows 95 was the first operating system to really hit it big. Just as computers were starting to pop up in nearly every home in America, Windows 95 was finding itself installed on all of those computers, and with it, the font Comic Sans. So now, nearly every man, woman, child, and bake sale organizer find themselves armed with publishing power unlike civilization had ever seen; and few of them really had any design sense.

It used to be that if you lost your kitten, and wanted to make a poster, probably the most efficient way to make a flyer would be to draw one up with magic marker, cut out a picture of the cat, and go down to the nearest supermarket to make copies of it at 15 cents apiece. Then, you would post them up in your neighborhood; and – like a caveman – you would pick up a phone, call the newspaper, and place an ad to help find your kitten. But now that you had Windows 95, a personal computer, and a printer, you could use Word to make your lost kitten poster, and print it out at home. And, wow! You could use any font you wanted. What’s that? You don’t know anything about fonts? Of course not, because you’ve never had this power before. So, guess what font makes you think about your lost kitten? This is a monumental moment in history – right up there with the invention of printing – for common people to suddenly have the power to typeset and print documents. No big deal for awhile: some people got to enjoy making their own Christmas cards, birthday party invitations, etc. for awhile, and the small audiences of their families and coworkers suddenly had to put up with some ugly, clip art riddled Christmas cards. But then, gradually, over the next 10 years or so, the internet got more and more popular. Now, that publishing power got even stronger: instead of flyers posted in break rooms, Comic Sans was showing up on websites, and even as the default font for many people’s emails. Now, any one person could write a message that could potentially be read by millions, in Comic Sans. This actually happened when Cleveland Caveliers owner, Dan Gilbert wrote a letter regarding the dramatic departure of LeBron James, in Comic Sans – resulting in a media storm over the poor font choice.

But where did all of this hatred come from? Well, while grandmas around the world were printing birthday invitations in Comic Sans, the field of Commercial Art (now known as “Graphic Design”) was enjoying the revolutionary typesetting power that the Macintosh provided. No longer did they have to blindly “spec” out type, not knowing what the final result would look like until their work got back from the typesetter. This made the production of high quality print design much cheaper, and much more viable for businesses to spend money on. So, with the increased demand for Graphic Design services, Design schools started churning out graduates at an unprecedented pace. Who doesn’t want to just sit and draw stuff for a living, right? At this point – the late 90’s – all of these young people are suddenly seeing the world through new eyes. Having been through it myself, words cannot describe the jarring experience of Pandora’s box being opened up to reveal that 95% of every designed thing you see is ugly. Terrible font choices, poor kerning, haphazard color choices, and stupid concepts suddenly assault your eyes once you learn about design principles, color theory, typography, and concept development. A large portion of conversations between myself and other self-righteous design students were – and still are – about how terribly designed everything is: campus wayfinding signage, the t-shirt for the latest toga party, and yes, lost kitten posters. But most of these design students were – and still are – blind to what a monumental, mammoth, incredible, revolutionary, huge thing was occurring. Their grandmother could typeset and print out as many lost kitten posters as she wanted. She can even make a website about her kitten, and someone in Tanzania can read about it (this is probably only remarkable to you if you don’t live in Tanzania). This makes Gutenberg’s 42-line Bible look like the non-self-inflating Whoopie cushion!

Eventually, regular people got more familiar with this publishing power, desktop publishing applications – like Microsoft Publisher – became more widely available, and more people started to get the hang of publishing on their own. This really started to encroach on the territory of these fresh design graduates, many of whom were finding being a Graphic Designer to really suck: a client may have her nephew design a brochure, and hire you to clean it up, or worse yet – take a stab at it herself. Meanwhile – this is the last decade or so – the same invention that made Graphic Design easier was making it way harder: print was dying, and the web was growing. Now, clients are trying to direct designers themselves, and the designers need to learn how to code web pages just to stay relevant. This doesn’t sit well with most designers. So, you see, Comic Sans is an archetypal enemy of the Graphic Designer. Its not only an unattractive font, but it also represents the invisible, evil force that is making the “print” designer less and less relevant. A natural reaction to being threatened is violence, and the hatred for Comic Sans is arguably violent.

qwack3rz loves comic sans

from: designforhackers.com/blog/comicsanshate/