From Designmodo: Understanding type can be one of the most difficult elements of design. There’s a lot of terminology and lingo that type designers (and designers, in general) use when talking about lettering. Sometimes it can be tough to decipher it all. This cheat sheet describes all of the different aspects of lettering, from terminology to components to type styles and methods of typographic manipulation so you will have a better grasp on how to understand and use typography in your design projects.
From Typewolf: These are the 40 best free web fonts available on Google Fonts, in my humble opinion. They are all open-source and 100% free for commercial use. This collection focuses on typeface families from reputable type designers and foundries that contain multiple weights and styles. I’m purposefully avoiding single-weight display faces as they have limited usefulness in real-world design projects.
Up-to-date data on support for type and typographic features on the web. Search or choose from the features below to get started.
From Tim Brown: Quite a bold claim. Can typography be universal? Can it work for everyone and still look good? How can we practice? What should we study? Which fonts and tools work best? Should designers and developers work together on this?
Whether you’re a novice or an expert in any medium, good decisions take practice — and great ones stand on a solid foundation. Typekit Practice is a collection of resources and a place to try things, hone your skills, and stay sharp. Everyone can practice typography.
From Donny Truong
A guide to all things in type
Typography is the craft of arranging type with the goal to make language visible. We arrange type multiple times throughout the day; whether we are writing essays, summarizing meeting minutes or creating slides for a presentation. Unfortunately, we usually end up thinking more about what we write than how we write it. And, most importantly, how others will read it.
From Kenneth Ormandy: When a developer I’m working with asks, “Why did you select that font,” they never seem to accept “Self-preservation,” as my answer. Type designer Pierre Haultin may have actually been able to get away with this claim.
Haultin lives and works in Paris during the mid-sixteenth century, designing type and printing books for a living. How the the type he designs performs—how efficient the letterforms are spatially on the page—is more relevant to his personal safety, than it is to his contemporaries.
From IA.net: 95% of the information on the web is written language. It is only logical to say that a web designer should get good training in the main discipline of shaping written information, in other words: Typography.
From Dear Design Student: The best tips and resources about web typography will challenge you to adjust your definition of typography. You must be willing to accept that challenge, or you’re wasting your time.
From Font Shop: Pairing typefaces is known as one of the great challenges in typography. While it can involve the gathering of two or more types of different styles, mixing types of the same style is perhaps considered the supreme discipline. Accomplishing the art of mixing typefaces without creating discordance or even committing a cardinal error takes much practice and eventually experience. However, there are a few guidelines and simple facts to watch out for.
Ellen Lupton is curator of contemporary design at Cooper-Hewitt, National Design Museum in New York City and director of the Graphic Design MFA program at Maryland Institute College of Art (MICA) in Baltimore. An author of numerous books and articles on design, she is a public-minded critic, frequent lecturer, and AIGA Gold Medalist.
This site started life from a short talk about the future and the importance of typography on the web. Web designers and developers are going to shape the coming years of global visual communication. The web spans many contexts and setting text that responds appropriately to those contexts is key. We still don’t yet have the level of control on the web as we have in print, and until we do we cannot fully explore what the medium holds for type. We cannot forget the centuries of work that has gone into figuring out solutions to similar problems, albeit in different contexts. We need to learn how to make better informed typographic decisions and not be put off by typography.