Brush style, handwritten, hand drawn…whatever we’re calling it today, I’m for it.
It’s valuable to have one or two typefaces with a more human to painterly touch in your arsenal. However, much like an iron, moderate use is great for making your clothes look fantastic, but too much and they’re burnt.
Be ever cautious to your frequency of use with these elements (don’t burn your design so to speak). If you get all eye-of-the-tiger, muscle past my first bit of advice and decide to have all of the handwritten things in your work, then by all means go ahead. But remember, diversity is one of your greatest weapons against boring work (varied line weights, lower and upper case, vary your justification).
Choose fonts having both cases. Visually support your content, by reducing the size of certain words and enlarge the subject line, main point etc. Make sure your design is always a help to the idea as a whole. Lastly, if using these fonts simply as a header or main line, I like to write out my words, expand them in Illustrator and vary the duplicate letters to give it a bit more of that special authentic feel.
Nothing burns my biscuits more than seeing repeat letters, with the same tails, splotches, arches etc. If you’re going for that hand-typed feel over the handwritten one, then go on break a few minutes earlier.
The design above was created with fonts we found on Makerbooks blog post of handwritten fonts – a beautifully curated list of decorative fonts from some amazing designers.