Still a good typeface maintains a relatively even texture.īefore we get into whether or not the texture of Papyrus is “good,” let’s look at a variety of factors that will ultimately influence this texture. For example, the letter combination “oo” is going to create a light area in the text block, while the letter combination “ff” is going to create a dark area. There are naturally going to be some darker and lighter areas in any text block. On the other hand, Comic Sans is very dark, since it has such wide strokes. Papyrus is the lightest and roughest of them all – like the pumice rock you might find next to an active Hawaiian volcano – because Papyrus has very large counters (the spaces within letters, such as within the “o”). These blocks of text look very different from one another, and these differences don’t necessarily mean that one typeface has a better texture than another. Trying to read a font that doesn’t present an even texture is like trying to listen to a symphony with a jackhammer sporadically pounding in the orchestra pit. Thus, the inherent differences between the letters shine through, rather than those inherent differences being muddied by haphazard variations. An even texture indicates that the visual weights of the individual letters are well-balanced. So when you set a block of text in a given typeface, that block of text should have an overall even texture. A good typeface lets those inherent differences between letters shine through, while maintaining harmony between all of the letters. If letters didn’t differ from one another, we wouldn’t be able to read them and get information from them. For example, an “x” is totally different from an “i.” That’s the very basis of letters. Each letter is inherently different from other letters. Letters do the job of conveying language. Instead, I mean the “texture” of an overall block of text set in Papyrus. I don’t mean the “texture” in the sense of the various nicks or scratches on the edges of Papyrus letters. One of the most important fundamentals by which to analyze a typeface is that of texture. Keep in mind that Papyrus is what you would call a “display” font, which means it was never intended to be used in blocks of body copy in the first place – not that that has stopped anyone from using it for their term paper on ancient Mesopotamian economics.Įven though Papyrus is a display font, seeing it set in body copy still helps us analyze how well it balances visual weight. Here I’ve set blocks of body copy in Papyrus, Garamond, and Comic Sans. So, I set out to compare and contrast the qualities of Comic Sans and Papyrus with the qualities of the most beloved typeface – Garamond. If Papyrus is the second-most hated font, next to Comic Sans, it makes sense to define Papyrus’s “bad”-ness in comparison with Comic Sans. Surprisingly, I didn’t find this to be true.
If it’s so hated, clearly it must be lacking in fundamentals. To start off, let’s look at Papyrus’s fundamentals as a typeface.
The surprisingly solid typographic fundamentals of Papyrus One that sends an important message about the potential downfall of civilization. I believe that James Cameron’s use of Papyrus was an artistic choice. And no, not necessarily because of any aesthetic quality the font has.
The most surprising finding of all was that Papyrus could potentially be the perfect font for the film Avatar. There were things I learned about Papyrus that deepened my dislike of the font, but there were other things that helped me appreciate it. (I wish I was kidding.) I’ve edited it down to this long blog post. I spent over a year writing a novel’s worth of words trying to untangle the mess. So, I set about the arduous task of breaking down Why You Hate Papyrus.
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It’s another thing entirely for it to be used to represent what would become the top-grossing movie of all time. It’s one thing for Papyrus to be used on the sign of a strip-mall bakery.
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