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19 top fonts in 19 top combinations

19 top fonts in 19 top combinations
Sign up and download immediately to take your typography to the next level! This classic contains some great stuff: An exceptional glossary of typography terms Killer tips on establishing typographic color Choosing and using the right typefaces 20 Action-packed info-dense pages!

More Meaningful Typography We have all heard of the golden mean (also known as the golden ratio or golden section): the self-replicating page with a proportion of 1:1.618 that is said to be found in everything from the design of ancient Greek architecture to the growth patterns of plants. Article Continues Below This and other meaningful ratios rooted in geometry, music, nature, and history can be expressed as modular scales and put to work on the web. Fig 1: A simple modular scale: 10@1:1.618 Fig 2: Our example page, designed using a modular scale. A modular scale is a sequence of numbers that relate to one another in a meaningful way. By using culturally relevant, historically pleasing ratios to create modular scales and basing the measurements in our compositions on values from those scales, we can achieve a visual harmony not found in layouts that use arbitrary, conventional, or easily divisible numbers. Let’s start by looking at what modular scales are, and how they apply to web design. Conclusion#section5

19 top fonts most preferred by graphic designers from around the web | BonFX – Logo Designer & Freelance Graphic Designer By Douglas Bonneville on September 9, 2009 Out of the huge number of fonts used by graphic designers, there really is quite a small pool of fonts consistently chosen over and over again by graphic designers as their “most used”. I took some time to search out as many “top fonts for graphic designers” search results (plus variations) that I had time to visit. I spent several hours visiting blogs, forums, magazine websites, etc.. I tallied up the top typefaces in people’s lists. The list was about 40 fonts long after the first hour, but could have easily been 100 fonts if I kept at it. NOTE: Because people generally favor the term “top fonts” over “top typefaces” according to Google, I’m using the term font. What we have left is 19 top fonts that met the criteria of being mentioned at least certain number of times. BTW: The Big Book of Font Combinations wants you to stop by and check out its samples. There you have it! More Top Fonts resources:

25 Fresh Examples of Beautiful Typeface Combinations in Web Design Typography is a very important part of design and choosing the right type for your design can be very challenging. From print to web layouts, typography is the center piece of a good design and today we gathered a few examples of beautiful typeface combinations in web design to inspire you. In web design, typography can be used in different forms, big bold headers, simple and clean menus, explanatory text and so on. Finding a good combination of typeface is more than only good taste, it's an art Typography is a very important part of design and choosing the right type for your design can be very challenging. To discover the fonts used in each design I used the WhatFont tool, which is pretty good (besides Firebug and other tools). Colbow Design Futura PT (header) – Yellowtail (center). Ana Majik FF Tisa (header and footer) – Josefin Slab (everything else). Fatum Helvetica Neue and Octin College Regular. nest nest is beautifully mixing Fuller Sans DT Bold and Fuller Sans DT Regular. Tommy La Wine

Typographer’s typefaces The 25 most admired... | Type Worship The 25 most admired typefaces by typographers, type designers and letterers. Selecting the right typeface makes all the difference to effective design and communication. But with over 100,000 font families to pick from it can be a daunting task. There are some excellent guides on how to choose a typeface and helpful methods for pairing typefaces but in order to apply these principles it’s important to be familiar with a broad range of quality typefaces. Wouldn’t it be great to start with a short list of typefaces, hand-picked by designers in the type industry? In each issue of 8 Faces magazine we asked eight leading designers from the fields of typography, lettering and type design itself: If you could use just eight typefaces, which would you choose? We’ve counted the number of times each typeface was selected and found consensus with the top 25. 1. Matthew Carter, 1993. “A gorgeous technical achievement.” 2. Tobias Frere-Jones, 2000. “Each character just feels ‘normal’ and ‘right’”. 3.

Typography Deconstructed | A comprehensive guide to the anatomy of type. 14 fonts gratuites de grande qualité Ces derniers temps, j'ai cherché à débusquer de nouvelles fonts gratuites capables de satisfaire vos exigences en terme de qualité et de bon goût. Ce n’est pas le choix qui manque. Tous les jours de magnifiques fonts sont créées. Mais le temps que vous passerez à les chercher ne sera pas investi sur vos projets. Dans cette sélection de fonts gratuites, je vous présenterez Foro Rounded, Supergrass, Prism, Salt & Foam et bien d’autres fonts de qualité. Astroman Typeface Astroman est une police de caractères disponible uniquement en minuscule accompagnée de quelques signes de ponctuations. Corbert Regular Une font sans serif aux formes géométriques influencées par le mouvement Bauhaus et moderniste. Supergrass Font Un projet de font destiné à l’identité du Festival Supergrass de Vigevano réalisé par le collectif RUN BVS. Technik Mono Technik Mono est une police regular composée de 527 caractères à télécharger au format Opentype. Global Prism BillMoney Font Savu Condensed Nougat Foro Rounded light

A Crash Course in Typography: Principles for Combining Typefaces Apr 11 2011 When combining typefaces, there are a couple of important principles you’ll need to keep in mind, namely contrast and mood. Effectively combining typefaces is a skill best learned through practice, and trial-and-error. Once you’ve mastered the principles covered here, you’ll have the tools you need to try out combinations while making educated guesses about what will and won’t work together. Here, we’re mostly covering combining two typefaces, as you would for body copy and headlines. Contrast Contrast is one of the most important concepts to understand when it comes to combining typefaces. But first, what exactly is contrast? Weight The weight of a typeface plays a huge role in its appearance. You’ll want to look for typefaces that have noticeable difference in weight, without being too extreme. Style and Decoration The style of a typeface has a huge impact on how it’s received. Style and decoration can also be used to create contrast within a type family or typeface. Structure

Commercial Type Establishing a Hierarchy of Goals for Everything You Design What one thing above all else makes for a great design? Where should your focus lie? More importantly, is it possible or even desirable to focus on a single goal at the expense of others? Today we’ll take a look at why goal-oriented design is good design and discuss how being a designer means weighing several competing factors. We’ll also discuss how to decide which goals are the most important and how establishing a hierarchy for each project will make for a better experience for the client, the user and the designer. The Magic Formula There’s constant debate in the design community over what the primary idea, principle or tactic is for creating “great” designs. I don’t possess such a formula, nor do I believe one even exists. Accepting this premise still doesn’t get us very far. Design is Like Golf This problem is a lot like that of hitting a golf ball and having it land anywhere near where you want it to (which I’m incapable of doing). Design is the same way. Stakeholders Lead to Goals

Butterick’s Practical Typography This is a bold claim, but I stand be­hind it: if you learn and fol­low these five ty­pog­ra­phy rules, you will be a bet­ter ty­pog­ra­pher than 95% of pro­fes­sional writ­ers and 70% of pro­fes­sional de­sign­ers. (The rest of this book will raise you to the 99th per­centile in both categories.) All it takes is ten min­utes—five min­utes to read these rules once, then five min­utes to read them again. Ready? The ty­po­graphic qual­ity of your doc­u­ment is de­ter­mined largely by how the body text looks. That’s it. Then, if you’re ready for a lit­tle more, try the sum­mary of key rules. If you’re ready for a lot more, start at the fore­word and keep reading.

The Journal of Urban Typography Ajouter une police dans Wordpress - w18w L’indépendance photographique entraîne vers des chemins parfois étranges. La présentation son travail sur internet est une nécessité d’aujourd’hui. Certains privilégieront des réseaux sociaux, d’autres des abonnements. Aujourd’hui, j’ai installé deux nouvelles typos sur ce site. Une fois la police téléchargée, il faudra la traduire en langage « internet ». Maintenant que les fichiers sont présents, il faut demander à wordpress d’utiliser cette police de caractères. Il faudra évidement remplacer ce qui est en vert par le nom de la police de caractère et ce qui est en rouge par le nom du dossier qui a été crée dans le répertoire du thème qui est utilisé. Tout est en place à présent pour que la police de caractères s’affiche. Une fois le fichier style.css éditer, il suffit de l’uploader sur le serveur pour qu’il remplace l’ancien fichier et la typo est incorporée.

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