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Web Typography: Educational Resources, Tools and Techniques Web typography has evolved a lot over the last years. Today we see rich, accessible typography, a plethora of type design choices for the web and a number of remarkable, type-based web designs. It’s a great time for web design, and it’s a great time for web typography. In this post we present an extensive overview of educational resources, tools, articles, techniques and showcases all related to web typography. We believe that such round-ups are valuable because they present many useful pointers in one place. Educational Typography Resources Link So You Want to Create a Font1 Alec Julien’s introductory piece on how you can create some beautiful fonts with a little hard work, a lot of knowledge and a little inspiration. Kerning Type and Great Typography4 There are lots of tips on the best way to perfectly kern a piece of type. Font Hinting8 Hinting, or screen optimising, is the process by which TrueType or PostScript fonts are adjusted for maximum readability on computer monitors.

Konstruktive The FontFeed | Fonts, Typography, Lettering, Design The Sky Was Pink | Subcultura y cultura underground a go-gó Articles & Essays - TypeCulture® The Design of Multilingual Type Families Written by: Jonathan Perez Type designers often strive for a new interpretation of letter forms, but Jonathan Perez seems just as interested in developing new design processes to better address an era of increasing multilingual communication and the rise in diversity of non-Latin scripts. In this article, he shares the strategies and decisions made while designing a typeface family in collaboration with a team of type designers specializing in different writing systems. Download PDF 161kb Frederic Warde: New York State of Mind Written by: Simon Loxley The book and type designer Frederic Warde is little more than a phantom in most histories of type, known only for creating the typeface Arrighi, and for being the husband of the charismatic Beatrice Warde, author of The Crystal Goblet. Download PDF 186kb Aesthetic Innovation in Indigenous Typefaces: Designing a Lushootseed Font Download PDF 850kb Download PDF 785kb The Scribe and the Silhouette Hearing Type

La Petite Claudine 3.0 Type Theory Design and branding news: idsgn (a design blog) Inconspicuous vertical metrics by Alec Julien Five? There are generally taken to be five vertical measures of note in type design (from bottom to top): descender, baseline, midline*, caps-height, and ascender. But if you delve into the minutiae of font design, you soon discover that there are a slew of important vertical metrics that aren’t much talked about. In this article, I will take a look at several of these metrics, and how they are used in font design. t-height Take a look at the basic alphabet from the venerable Minion, with the top three measures highlighted across each glyph: You’ll note that the lowercase ‘t’ sticks out like a proverbial sore thumb. The tradition for serif types is, like with Minion, for the crossbar of the ‘t’ to be at the font’s midline line, and for the top stem of the ‘t’ to come up somewhere midway between the midline and the caps-height. Typically, sans serif faces adhere to the same rule, as do slab serifs. Overshoot And typical uppercase overshoots: e-bar height A-bar height And then some

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