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Check out all of the posts in ‘Fonts’ below. If you still can't find what you are looking for, try searching using the form at the top of the page.
Typography is a primary element of composition. Being a designer, I pay a lot of attention to its quality. Operating Photoshop is easy for me; however, to level up my skills, I am always learning to work with letters, using my hands, without any computer programs.
The first time I took a calligraphy course was about a year ago, and the decision was quite hard. I was sure that it would be painstaking and that I would need excellent handwriting to learn this art. How mistaken I was!
The sharing spirit in the design community is remarkable. Designers spend countless hours on side projects and without asking for anything in return, they share their creations freely with the community. Just to give something back, to inspire and to support fellow folks in their work.
When working on a project yourself, freebies like these can come to the rescue when you have to get along on a tight budget, but, more often that that, they simply are the missing piece that’ll make your design complete.
Editor’s Note:Today we are pleased to feature the new and free font families Yrsa and Rasa by David Březina and Anna Giedryś and their story behind the design process.
Yrsa and Rasa are two open-source type families published by Rosetta with generous financial support from Google. The fonts support over 92 languages in Latin script and 2 languages in Gujarati script. The family currently has 5 weights. They were designed and produced by Anna Giedryś and me and they are now released and ready for download.
It’s the small details that make a project shine. Solid typography, well-crafted with attention and care is one of them. A harmonious visual rhythm, typographic subtleties like soft caps, margin outdents or the correct use of hyphens and dashes — there are a lot of things that add up to it.
In practice, however, publishing on the web is supposed to be fast, and the little details are often overlooked, which is a pity, because they are not only pleasing to the eye but also improve the reading experience.
Typography can make all the difference. However, if your project has to get along on a very limited budget and you need to rely on free fonts, good ones are never easy to find. Luckily, we stumbled across some real gems lately.
The following fonts can be downloaded for free and are bound to give your project — both private and/or commercial — a classy finishing touch.
For perhaps the first time since the original Macintosh, we can get excited about using system UI fonts. They’re an interesting, fresh alternative to web typography — and one that doesn’t require a web-font delivery service or font files stored on your server. How do we use system UI fonts on a website, and what are the caveats?
System UI fonts being amazing kind of snuck up on us. Google has been toiling away at Roboto with great success (including regular updates), Apple made a splash with San Francisco, and Mozilla asked renowned type designer Erik Spiekermann to create Fira Sans.
There’s more to spaces than the key you instinctively hit with one of your thumbs between words. Let’s find out what other space characters there are, what their heritage is, and how they can be useful today.
What you see below are two tweets. In one of them, Paul Irish will be notified of my taunt. In the other one, he’ll be completely oblivious. What’s the difference between the two? Read on!
Having the ability to set legible body copy is an absolute must, and we’ve come a long way with web typography since the dawn of web design. However, I feel like we have allowed the lack of variety prior to the rise of web fonts to dampen our creativity now that thousands of web fonts are at our disposal. Have usability conventions and the web’s universality steered us away from proper art direction? Have we forgotten about art direction altogether? I believe so.
As designers, we can achieve much more with type, and with just a little more thought and creativity, we can finally start to take full advantage of the type systems available. Let’s look at ways we can push typographic design on the web further, beyond the status quo of today.
Customers and clients cannot physically touch the products that online designers create, nor can they smell, hear or taste them. One of the important factors in a customer’s decision of whether to use a product is usually the brand’s visual presence, which can help a product stand out from the rest of what the market has to offer. Upon taking a closer look, it doesn't take long to see that good typography is involved.
Like all type designers, Akira Kobayashi believes that good typography reinforces the meaning of the text. He has a background in art and calligraphy and has been a freelance type designer for 18 years. Originally from Japan, Akira is a frequent speaker at type conferences and workshops in Europe, the Americas and Asia, and he has served as a judge in prestigious international type design competitions.
Choosing typefaces is an integral part of every web design project. With thousands of typefaces available from hosting services such as Typekit, as well an ever-improving collection of free fonts available, there has never been a better time to be a typography-obsessed web designer.
One could easily argue that nothing affects a design more than typography. And good typography starts with choosing an appropriate typeface. But can having too much choice be a bad thing? With more choices, we have more opportunities to make bad decisions.
As we refine our methods of responsive web design, we’ve increasingly focused on measure (another word for “line length”) and its relationship to how people read.
The popularization of the “ideal measure” has led to advice such as “Increase font size for large screens and reduce font size for small screens.” While a good measure does improve the reading experience, it’s only one rule for good typography. Another rule is to maintain a comfortable font size.
Handwritten text shows a personal side of its author, a side that is not easy to put into words and that contrasts with the standardized look of digital communication. This contrast and “aura” is perhaps what makes handwriting fonts so popular. As a typographer, I love handwriting, and in this article I’d like to share a hands-on overview of my creation process of a handwriting font.
Over the past four years, I’ve completed three typefaces inspired by handwriting. I started with the digitization of Albert Einstein’s handwriting and continued with Conspired Lovers, a font based on my own love-letter writing. In 2013, I ran a Kickstarter campaign to fund the creation of a font based on Sigmund Freud’s handwriting. The public interest in the project was overwhelming, and the Sigmund Freud typeface became the first typeface to be reviewed in the Wall Street Journal.