Typography cheat sheet

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. · Go to Typog­raphy cheat sheet →

The 40 best Google fonts

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. · Go to The 40 best Google fonts →

A pocket guide to master every day’s typographic adventures

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. · Go to A pocket guide to master every day’s typo­graphic adven­tures →

Efficient web type, c. 1556

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. · Go to Effi­cient web type, c. 1556 →

Mixing type

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. · Go to Mixing type →

Ellen Lupton

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. · Go to Ellen Lupton →

Typography on the web

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. · Go to Typog­raphy on the web →