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Posts Tagged ‘Fonts’.

We are pleased to present below all posts tagged with ‘Fonts’.

Making Sense Of Type Classification (Part 1)

In my previous article on Smashing Magazine (“Understanding the Difference Between Typography and Lettering”), I wrote about how understanding type terminology can help us better appreciate the arts of typography and lettering.

Making Sense Of Type Classification, Part 1

This article again deals with terminology, probably more specifically than most designers are used to, and the title gets to the heart of what I’m communicating in this article. Everyone knows their serifs and sans, slabs and scripts, but most classifications go much deeper than that.

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Creating Exciting And Unusual Visual Hierarchies

Layout, for both print and screen, is one of the most important aspects of graphic design. Designs that extend across multiple pages or screens, whether containing large or small amounts of type, must be carefully controlled in a way that is enticing and is easy for all to access.

Creating Exciting And Unusual Visual Hierarchies With Typography

Careful control of visual hierarchy is a key aspect of the design decisions we have to consider. In this article, we will look at how frequently type needs to be broken down into different levels, such as topic, importance and tone of voice.

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Designing For The Reading Experience

With the rise of web fonts as well as affordable hosted web font services and ready-made kits, typography is reclaiming its title as design queen, ruler of all graphic and web design. At the same time, for far too many designers, the main concern about typography today seems to be aesthetic in nature. [Links checked March/06/2017]

Designing For The Reading Experience

The problem is, we tend to use typography and lettering as two interchangeable terms, which they are not. The allure of well-executed lettering — and, boy, I could spend hours just looking at lettering portfolios! — can affect the way we view typefaces, because both typography and lettering share common visual concepts.

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A Critical Approach To Typefaces

I've always wondered, “What is it that makes a typeface or any other design good?” However simplistic this question may seem to typographers, it is a legitimate question many of us are trying to answer.

A Critical Approach To Typefaces

After several years working as a professional type designer, teaching, and running a type foundry, I pretty much gave up my attempts to find a golden set of rules. The answer is not so simple.

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Understanding The Difference Between Type And Lettering

Coming out of the grunge, graffiti and David Carson era through the 90's, there has been a major resurgence of interest in typography. We have seen a number of designers and artists make their careers out of designing type or custom lettering, and it has become common to list typography among our skills and disciplines. [Links checked February/21/2017]

Understanding The Difference Between Type And Lettering

Unfortunately, as with any popularity surge, there have come with it a lot of misunderstandings of some of the terms and concepts that we use. This article will help you gain a clearer understanding of what typography is and isn't, and why.

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Being Fogged in Font Aversion Hinders Sight

Yesterday we published the article "Why Won't Helvetica Go Away" in which Alastair Johnston discussed the evolution of Helvetica, the reasons for its popularity as well as his thoughts on why designers should start questioning the usefulness of Helvetica in their projects. Hours later Indra Kupferschmid published an article in which she corrected some of the facts presented in the original article. We republish Indra's article to correct the factual errors, with her permission of course.—Ed.

This isn’t a “blue pencil” (I could never challenge master Shaw); just a lazy, quick rant. Alastair Johnston wrote an article on Helvetica posted on Smashing Magazine yesterday. I don’t want to comment on his strong opinion and cut out most of his subjective ranting. But some facts seem to have gotten a bit wonky.

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Industrial-Strength Types

The Industrial Revolution gave us a new iron age, one of cast iron, which a devotee of Vulcan told me he thought was the highest achievement of man — or, as he put it, “the hairless ape.” In the 18th century, cast-iron bridges sprang across British rivers such as the Tay and Severn. These lovely sculptural archways are resistant to rust, so many are still standing.

Industrial-Strength Types

Before the introduction of Clarendon as a text face, it could be seen as a display type, for example in Figgins’ two-line Pica in shade, from about 1817. It was copyrighted by Robert Besley of London’s Fann Street Foundry in 1845, and as soon as the copyright lapsed three years later, it was widely copied. Railway timetables, newspaper headings, dictionaries, guidebooks, textbooks and other places that required spot emphasis were its preferred venues at first.

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40 Delightful High-Quality Free Fonts

Every now and then, we look around, select fresh free high-quality fonts and present them to you in a brief overview. The choice out there is enormous, so the time you need to find them is usually time you should be investing in your projects. We search for them and find them so that you don’t have to. [Links repaired January/18/2017]

New High-Quality Free Fonts

In this selection, we’re pleased to present Signika, Plastic Type, Bariol, Alegreya, Metropolis, Typometry and other quality fonts. Please note that while most fonts are available for commercial projects, some are for personal use only and are clearly marked as such. Also, please read the licensing agreements carefully before using the fonts; they may change from time to time.

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Avoiding Faux Weights And Styles With Google Web Fonts

If you’re using Google Web Fonts on your websites, then there’s a very good chance that 1 in 5 visitors are seeing faux bold and italic versions of your fonts — even if you correctly selected and used all of the weights and styles. That’s because the implementation method recommended by Google Web Fonts doesn’t work with Internet Explorer 7 or 8.

Avoiding Faux Weights And Styles With Google Web Fonts

As of 21 May 2012, StatCounter reports that IE 7 or 8 was used for 19.4% of the 45 billion page views collected in February, March and April 2012. As an experienced print and Web typographer, I embrace and use the term “font” when talking about Web fonts; it’s the term used in CSS syntax and by a myriad of Web font providers.

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A Closer Look At Font Rendering

The Web font revolution that started around two years ago has brought up a topic that many of us had merrily ignored for many years: font rendering. The newfound freedom Web fonts are giving us brings along new challenges.

A Closer Look At Font Rendering

Choosing and using a font is not merely a stylistic issue, and it's worth having a look at how the technology comes into play. While we cannot change which browser and OS our website visitors use, understanding why fonts look the way they do helps us make websites that are successful and comfortable to read in every scenario

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23 Splendid High-Quality Free Fonts

Every now and then, we look around, select fresh free high-quality fonts and present them to you in a brief overview. The choice is enormous, so the time you need to find them is usually time you should be investing in your projects. We search for them and find them so that you don’t have to. [Links repaired February/21/2017]

New High-Quality Free Fonts

In this selection, we’re pleased to present Homestead, Bree Serif, Levanderia, Valencia, Nomed Font, Carton and other quality fonts. Please note that while most fonts are available for commercial projects, some are for personal use only and are clearly marked as such in their descriptions. Also, please read the licensing agreements carefully before using the fonts; they may change from time to time.

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Mind Your En And Em Dashes: Typographic Etiquette

An understanding of typographic etiquette separates the master designers from the novices. A well-trained designer can tell within moments of viewing a design whether its creator knows how to work with typography. Typographic details aren’t just inside jokes among designers. They have been built up from thousands of years of written language, and applying them holds in place long-established principles that enable typography to communicate with efficiency and beauty.

Math symbols

Handling these typographic details on the Web brings new challenges and restrictions that need to be considered. Below are a few rules of thumb that will have you using typography more lucidly than ever before.

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