Set type as part of your content creation workflow, and your readers will be in for a treat. Check out these 3 ways to improve the readability of your content. Via Clark from InVision
Prototypo is an open-source online typeface editor: start shaping a complete typeface using sliders, then refine spacing and outlines.
A new project by ByteFoundry in London – looking for funding on KickStarter. Check them out here…
Proxima Nova (2005) is a clean, crisp, and modern typeface that continues to be a go-to font for me in my design work. I started wondering, just what was the story behind this font? Here is what I found:
Proxima Nova font is one of the latest incarnation of a typeface family Mark Simonson has been working on for over 30 years. The first sketches were made around 1981. At that time, he called it Zanzibar, mainly because he liked the word.
Zanzibar had much of the basic structure and appearance of Proxima Nova, especially in the lowercase. In 1991, Mark was art director of a magazine in which he was using Gill Sans. He liked it a lot, but wished there was something plainer and more geometric. Such a face did not seem to exist.
Taking this basic concept and the earlier ideas for Zanzibar, he began working on a new typeface, which he dubbed Visigothic. Many existing fonts influenced the look of Visigothic. Mark wanted something with the general proportions and stroke contrast of Helvetica or Akzidenz Grotesk, but with construction principles and details borrowed variously from Futura, Kabel, the aTF gothics and the U.S. Federal Highway signage typeface.
The result was a hybrid; a face combining modern, even-width proportions with a somewhat geometric appearance. It was released through FontHaus in 1994 as Proxima Sans, a family of six fonts—three weights with matching italics. The name Visigothic was dropped because of its similarity to the name of another recently released font, Visigoth, and because Mark felt it was just a bit too corny.
The name Proxima Sans was chosen to acknowledge that it was near other sans serifs in design and also because the letters in the name displayed some of the more identifiable characteristics of the design.
Four techniques for combining fonts via H&FJ
Is there a way to know what fonts will work together? Building a palette is an intuitive process, but expanding a typographic duet to three, four, or even five voices can be daunting. Here are four tips for navigating the typographic ocean, all built around H&FJ’s Highly Scientific First Principle of Combining Fonts: keep one thing consistent, and let one thing vary.
|It’s the interplay between fonts that gives them energy. The more distant the moods in a typographic palette, the friskier the design will be. Here, three fonts with distinctive silhouettes have been chosen for their contrasting dispositions: the unabashed toughness ofTungsten is a foil for both Archer’s sweetness, and the cheekiness of Gotham Rounded.|
|Tungsten from $99||Gotham Rounded fr. $179||Archer from $149|
|Three type families with nineteenth century roots, thrown together in a cheerful typographic riot. Choosing type families with different features helps prevent redundancy: here, the brawny variations of The Proteus Project are reserved for headings, Sentinel’s six weights of romans and italics recommend it to text, and Knockout’s nine different widths helps the sans serif fill in the cracks.|
|Proteus Project from $99||Knockout from $169||Sentinel from $199|
|What do a neoclassical modern, a suave sans serif, and a sporty slab have in common? All are meditations on precision, though each has a different texture. H&FJ Didot achieves its crispness through the thinnest possible serifs, Verlag through its insistently geometric motifs, and our new Vitesse typeface through its pairing of machined edges and racy curves. Together, these three mechanical faces create a dramatic typographical tension.|
|H&FJ Didot from $299||Verlag from $199||Vitesse from $199|
|A clever way to combine typefaces with similar proportions is to assign each a different purpose, and to limit each to a specific range of sizes. Here, two hard-working typefaces are assigned supporting roles: the seriffed Mercury serves for text, and the sans serifGotham furnishes all the annotations. The star of the show is the sophisticated Hoefler Titling, which preserves its spotlight by appearing only occasionally, and always in large sizes.|
|Mercury Text from $199||Hoefler Titling from $199|
Brought to us by Studiodass Magazine
Here we are presenting 11 jQuery plugins for you to improve your typography. With jQuery plugins, you can implement superb things on your website quite easily. In this round up, we have put together some jQuery plugins that will allow you a better control on your website for web typography. We all know that typography is an important element in a web design and achieving a high level of typographic style can make your web design look eve more stunning and attention grabbing.
There are over 400 typefaces in the Google web fonts directory. Many of them are awful. But there are also high-quality typefaces that deserve a closer look. Below are examples of these typefaces in action. Click the examples to get the typeface from the Google web fonts directory.