Why Comic Sans is a Good Typeface

Comic Sans is just as good as any other typeface. In fact, I would argue that no typeface is inherently better than another. They are all tools capable of accomplishing different things.

We should keep in mind that the beauty of aesthetics lies in the differences between them. No aesthetic is objectively related to good design. A gridded layout with text in Helvetica and ample white space might produce a clean look, but cleanliness shouldn’t be the goal of a designer. It should be a tool. The aesthetics of design inform the tone of content, and tone should be based on the purpose of the content.

In the biographical documentary I Have Nothing to Say and I am Saying it, the experimental composer John Cage says, “The first question I ask myself when something doesn’t seem to be beautiful is ‘why do I think it is not beautiful?’ And very shortly, you discover that there is no reason.” I often think about this quote when I am evaluating the quality of design. It helps me remember that there is nothing inherently wrong with any particular design element. The issue occurs when design elements get in the way of the purpose of their content. For example, shouldiuseacarousel.com demonstrates why designers should not use carousels. However, they effectively used a carousel to drive their point.

Comic Sans might be a poor choice of typeface in a lot of situations, but only because it doesn’t convey the appropriate tone for the content. There is nothing inherently wrong with Comic Sans, and if its character (no pun intended) is strongly in line with the intended tone of the content, it is a good typeface.