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Why Care About Type In Your Church?

Carl Shank • June 14, 2021

Form or function? Is the type I use for church bulletins, newsletters and announcements a matter of "what is pleasing to the eye" (aesthetics/form) or is it simply an issue of “what gets the job done” (mechanics/function)? That’s very often the question, not only on theological or church growth issues, but also for church-oriented computer users when choosing a typeface for a particular job.


Most church bulletins, news-letters, correspondence and other written documentation seem fairly “bland” and straightforward in terms of the kinds of typefaces used to produce them. Many people, we think, don’t even pay too much attention to them. But, do we care about type? Every time we say, “That’s really nice!” about a wedding invitation, or “This is so clear to read!” about an ad or a flyer, or “That must be really sophisticated!” about a magazine cover, we indicate our care about type. On the other hand, when we squint to read an important announcement, or simply don’t read our church bulletin due to poor composition, or too many typo’s, we are saying that we care about type. We, consciously or unconsciously, use “bigger” and “bolder” type for signs and directions. Why? Because we care about legibility. We want the message that our type conveys to get across to those who read it.


We want “playful” type for those youth announcements, or children’s functions, or church volleyball game. Using either manually paste-in graphics from a church art supplier, or computer-generated graphics placed into the text through a page layout program, we show our care about type when we stop to consider what typeface goes with this graphic. We care about type because many of our churches are becoming “seeker-sensitive.” That means we are seeking, through differing “mediums,” like what the church prints, to convey clearly and effectively the “message” of the gospel of Jesus Christ. Since many people outside the church care about what they see, and hear, and read, we want to produce excellent promotional pieces and bulletins that “stand-out” and church correspondence that grabs their attention. Churches that still produce older typewriter generated bulletins run off by a stencil on the Rex Rotary (what's that?!) or older duplicator are becoming the focus of church cartoons and not considered a serious option in the twenty-first century.


We care about type because we also like to experiment and try a new challenge. So, we spend a few dollars and buy one or two of the many font packs made available to the Mac or Windows user. Then, as many professional typographers quickly point out, we tend to overuse and misuse and do all kinds of “wrong” things with fonts and font combinations. But, we like to experiment with type anyway.


Why should you care about type? Simply because when choosing a typeface, you must consider both character and legibility. Character has to do with the overall personality or mood a typeface projects. Legibility has to do with how easy or difficult it is to recognize each word in a particular typeface. Readability deals with the relative ease with which you can read a printed page. Overall appearance of the page involves how your type is arranged and how the page is designed. Page layout knowledge will help you in the overall “look” of your bulletin or newsletter. Typeface, or font, knowledge will help you better communicate the message you want the reader to receive.


Note the different character projected by the following fonts:

Character —  legible, newsy, modern

Character or Character  — display, highlights, imposing, strong

Character — playful

Character —  script, invitations

Character —  youthful, informal


Yes, we want to “get the job done.” We may not want to invest the time or money involved in typographical training. We may not have the slightest inclination to do so. But the Scriptures command us in whatever we do to “do all to the glory of God.” I believe an intelligent and studied use of type choices available to the Macintosh or Windows com-puter user today can help us achieve that end.



Successful Layout & Design

By Carl Shank January 29, 2025
Sketch & Hand Drawn Lettering. The history of font development includes a wealth of calligraphic fonts and artistically crafted hand drawn typefaces. A number of these lettering fonts have been drawn and submitted by smaller type foundries and entrepreneurs seeking to make their mark in the font world. A casual look at ChatGPT gives some idea as to their source and character. Fonts that mimic pencil drawings often have a hand-sketched, textured, or rough-lined appearance. These fonts are great for artistic projects, children's books, casual branding, or creative typography. The sample fonts below are mostly given for personal use only, use on personal invitations and so forth, but some have been made available for commercial use as well. They demonstrate the wide range of hand drawn fonts available for use and purchase.
By Carl Shank January 20, 2025
Four Old Playful Fancy Fonts . CARE Typography is pleased in its historical search for antique inspired fonts to introduce digitized versions of Harper and Mikado, a Gutenberg typeface and Lacrosse. Unlike their modern counterparts, these fonts are display only fanciful fonts of a bygone era in typography. However, they exude a rich history of font development that should not be forgotten in our search for the new, the sleek, the up-to-date in type. They have been developed from the rich typographic heritage of Phillips Old Fashioned Type Book published in 1945 by Frederick Nelson Phillips, Inc, in New York. This volume has caught my historic typographic eye for its plethora of ancient font styles and formulations. The Harper446 font is especially playful, with its curly capitals, its specialized "Q" capital and, of course, its flavorful and playful small case lettering, with the raised c, e and o letters and the odd looking "g." This is obviously not a text font, but can uses in artful decorative work. The Mikado231 font does not at all look like the variations of the typeface called "Mikado" in typography history. As that history notes, "Mikado was apparently inspired by Gilbert and Sullivan’s comic opera of the same name. The show opened in London in March of 1885 and in New York later that same year. According to Nicolete Gray in her classic book on ornamented typefaces, the English foundry of Sir Charles Reed and Son introduced a metal type called “Japanese” also in 1885. She characterized this typeface and other oriental based typefaces as superficial in their foreign influence. Nonetheless it appears that it was later copied by several of the American Wood-type companies. The 1906 Hamilton wood-type specimen catalog shows four versions of this design; one by Hamilton and three by acquired companies. The versions by Wells, and Morgans & Wilcox are called Mikado. The Hamilton and Page versions use model numbers 204 and 156 respectively. It is difficult to determine the specific dates when this particular wood-type was introduced, but the earliest wood-type catalog I could find showing Mikado is the 1888 Page catalog. Our sample “WINTER” is a 15 line unstamped type most similar to the Hamilton version. Incidentally, another English foundry, Miller and Richard introduced a metal typeface in 1887, also named Mikado. That typeface is totally different than the one presented here." (https://www.printmuseum.org/wood-type-mikado). This Mikado adaptation has straight angular E, F, G, K, T and even raised W, X, Y in the capitals. Note the falling stems of C, L, and lower c, e, h, m and n. Again, this playful font can be used sparingly in advertisement copy and flavorful playbills. The Gutenberg700 font is again from the Phillips book samples. Note the dotted C, U, V, small g and zero. The ampersand is also interesting. Curly serifs are used in A, J, L, S. The numerals are classic old school numerals. This Gutenberg rendering is unlike any classic Gutenberg typeface that has been presented. The LacrossePhillips font has a cute left hanging serif on the capitals. It is a bold faced font, both in the upper and lower case. It is a full font offering upper and lower case lettering, numerals and other marks. These fonts are available from CARE Typography at care typography.com at NO COST. They are free to purchase and use.
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