PRINTERESTING · The thinking person's favorite online resource for interesting printmaking miscellany. Typotheque type foundry - high quality fonts for print and web. Lost World's Fairs. So you want to create a font. Part 2. Choices, Choices, Choices [ So You Want to Create a Font — Part 1 ] T he sheer number of fonts out there ( MyFonts.com sells over fifty-five thousand) is a testament to the fact that there are nearly an infinitude of creative choices that can be made when designing a font. Of course there are the basics: serif vs. sans serif (and the numerous subcategories of each of these); handwritten vs. precision print-quality; wide vs. narrow; bold vs. light.
But beyond these obvious choices are some specifics you may not have thought of: closed or semi-open or open 4 ? Examine a bunch of your favorite fonts to get ideas about these specifics and others—see if there’s a method to the decision-making of others. Here are some other issues you may not have pondered: the height of the horizontal bar of your e the number of points in your * the degree of the slant of your # do your y and q have tails? Don’t get so bogged down in details that you never get to the actual font-creation. Vertical Metrics Kerning. Making Geometric Type Work | Typography Commentary. For graphic designers beginning to experiment in type design, a geometric or modular typeface is a natural starting point.
Illustrator and other programs offer a simple collection of elements such as circles, squares, and triangles which can be combined to create a passable alphabet. This is the same route I took when dissatisfied with the limits of commercial fonts at the time. I twisted and distorted each character to fit into a few simple, incredibly strict rules of construction. Invariably this produced a wide range of exotic letterforms, some more legible that others. The intention of creating an entire alphabet from a few shapes is a design challenge — problem solving at its purest. Luckily for those who make a career from type design, the Latin alphabet is not simply a collection of modular elements. Attempting to apply exactly the same set of rules to each letter is similar to handing out the same size clothes to a random selection of adults. Balance Widths The Joins The ‘S’ Spacing. Cross-browser kerning-pairs & ligatures. Learn: Anatomy of a Typeface. Font Directory.
GitHub. Cufón aims to become a worthy alternative to sIFR, which despite its merits still remains painfully tricky to set up and use. To achieve this ambitious goal the following requirements were set: No plug-ins required – it can only use features natively supported by the client Compatibility – it has to work on every major browser on the market Ease of use – no or near-zero configuration needed for standard use cases Speed – it has to be fast, even for sufficiently large amounts of text And now, after nearly a year of planning and research we believe that these requirements have been met.
So, how does it work? Cufón consists of two individual parts – a font generator, which converts fonts to a proprietary format and a rendering engine written in JavaScript. The generator In reality the generator is little more than a web-based interface to FontForge. The renderer The renderer is a bit more complicated. Handpicked free fonts for graphic designers with commercial-use licenses. AisleOne - Graphic Design, Typography and Grid Systems. Typetester – Compare fonts for the screen.
PXtoEM.com: PX to EM conversion made simple. Typechart - Browse Web Type, Grab CSS. Inspiration Bit. Typography. I Love Typography, devoted to fonts, typefaces and all things typographical.