What typefaces should I use?

This is actually a really big question. Do you want the short answer? Here it is: commonly used typefaces such as Arial, Calibri, Helvetica, Times New Roman, and Verdana are often rated as the most readable and are most preferred by those with vision or reading difficulties.

Does this mean that these are the best designed and most legible typefaces? No. 

What it means is that our familiarity with a font is one of, if not the single most important factor in, making a font legible and readable (and enjoyable) to us. Whether we like it or not, the more we read text typeset in Arial, the better we get at reading text typeset in Arial. We like Arial because we read in Arial.

If you can use these familiar typefaces for your design project, do it! If you can’t use these familiar typefaces for a project, consider their characteristics carefully in order to assess the potential legibility and readability of a font.

Style

Most fonts can be classified into one of two categories: text fonts, which are designed for readability and versatility, and display fonts, which are more decorative and designed for expression and style, especially in branding. For our purposes we are only considering fonts which are obviously designed for body text.

Stance

For accessibility, fonts with a Roman (upright) stance are preferred over Obliques (slanted), and highly preferred over Italics or Scripts.

Stance. From left to right, Arial Regular (which is roman), Arial Italic (which is actually oblique), Times New Roman Italic, and Caflisch Script.
Stance. From left to right, Arial Regular (which is roman), Arial Italic (which is actually oblique), Times New Roman Italic, and Caflisch Script.

Width

Typefaces with letterform designs that are too wide or too narrow will have decreased legibility. The relative width of a font can be measured by comparing the width of the letter “O” to the length of the letter “I.” In general, the width of an uppercase “O” should be within 75% and 105% of the height of an uppercase “I.”

Width. Compare the relative width to height ratios of Meta Normal (80%) and Gotham Regular (102%). The ratios are visualized by transposing the height of the “I” across the width of the “O.”
Width. Compare the relative width to height ratios of Meta Normal (80%) and Gotham Regular (102%). The ratios are visualized by transposing the height of the “I” across the width of the “O.”

Character width variation

Some typefaces such as Futura have letterforms with widths that vary an excessive amount. This impedes legibility on some of the narrowest characters, and the overall unevenness hinders readability. Avoid fonts with such extreme shifts in character widths. Typefaces such as Adobe Garamond have more moderate differences in width between the various letterforms, which increases readability.

Character width variation. Futura and Adobe Garamond. Note the extreme differences in narrow and wide letterforms in Futura, while these differences are less pronounced in Adobe Garamond.
Character width variation. Futura and Adobe Garamond. Note the extreme differences in narrow and wide letterforms in Futura, while these differences are less pronounced in Adobe Garamond.

Stroke contrast

The stroke contrast of a letterform is defined by its thick to thin stroke ratio. This is determined by comparing the thickest part of a letterform’s stroke with the thinnest part of the stroke. The lowercase “h” is a good letterform to assess. Look for a thick to thin stroke ratio lower than 3:1 but greater than 1.5:1. Fonts with a low thick to thin stroke ratio are generally preferred for good accessibility.

Stroke contrast. Compare the thick to thin stroke contrast ratios of the “h” letterform in Bodoni (4:1), Adobe Garamond (2.7:1), and Helvetica (1.6:1).
Stroke contrast. Compare the thick to thin stroke contrast ratios of the “h” letterform in Bodoni (4:1), Adobe Garamond (2.7:1), and Helvetica (1.6:1).

Weight

The weight of a typeface refers to the relative thickness of its stroke. This is measured by the stroke weight to character height ratio. If you are choosing a typeface for readability, consider fonts with a stroke weight to character height ratio less than 1:10. The smaller the font, the heavier this ratio should be. Fonts heavier than a 1:5 stroke weight to character height ratio may be uncomfortably heavy for extended text reading.

Weight. Compare the stroke weight to character height ratios of the “R” letterform in Gotham (1:9.1), Adobe Caslon (1:7.25), and Arial Bold (1:5).
Weight. Compare the stroke weight to character height ratios of the “R” letterform in Gotham (1:9.1), Adobe Caslon (1:7.25), and Arial Bold (1:5).

Counterforms

A well-balanced proportional relationship between stroke and counter will make letterforms more legible. If a letterform has overly thick strokes and small counters, the letterform can become indistinct, and this impedes legibility. Conversely, if a letterform has overly large counters, these counterforms tend to become distracting shapes, de-emphasizing the form of the strokes, and again reducing legibility. The most legible fonts have a well-balanced proportion between stroke and counter that avoids these issues.

Counterforms. Compare the counters of the “d” letterform in Century Gothic, Verdana, and Arial Black. Note how the moderately sized Verdana has the most distinct counter form.
Counterforms. Compare the counters of the “d” letterform in Century Gothic, Verdana, and Arial Black. Note how the moderately sized Verdana has the most distinct counter form.

Apertures

Typefaces with narrow apertures, such as Arial or Helvetica, can cause the counter to appear fully enclosed to some readers with vision impairment. Not surprisingly, this decreases legibility. Conversely, wider apertures can increase the legibility of a font by better emphasizing the unique shape of the open counter. To increase accessibility, look to use fonts with wider apertures.

Apertures. Compare the closed apertures of Helvetica with the more open apertures of Benton Sans, and the much more open apertures of Calibri.
Apertures. Compare the closed apertures of Helvetica with the more open apertures of Benton Sans, and the much more open apertures of Calibri.

X-height

The ratio of the height difference between uppercase and lowercase letterforms is critical in determining overall legibility. A typeface with a tall x-height usually appears larger than a comparable typeface with a lower x-height. This difference is more pronounced at smaller font sizes, where a high x-height can be particularly advantageous.

Look for fonts with an x-height of 2/3 (67%) to 3/4 (75%) of the cap height. While many accessibility experts advocate for using fonts with a higher than average x-height, it should be noted that some dyslexic readers conversely find fonts with longer ascenders and descenders to be the most comprehensible.

X-height. Compare the relative x-heights of Adobe Caslon (60% x-height), Times New Roman (67% x-height) and Verdana (75% x-height).
X-height. Compare the relative x-heights of Adobe Caslon (60% x-height), Times New Roman (67% x-height) and Verdana (75% x-height).