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Learn About Fonts & Typography

Explore the world of typography with Fonts.com as your guide. Our Learn About Fonts & Typography section is your resource for improving your typographic acumen and keeping up with what’s new on Fonts.com and the latest trends in visual design.

Recent articles

Browse the most recent contributions to Fontology, the Fonts.com Blog and fy(t)i.

Top 100 Fonts.com Web Fonts for March 2016

The Linotype Didot® typeface commands the 28th position on last month’s Top 100 Web Fonts list. This is a design that is more than a medium of graphic communication – it’s also an object of artistic delight. Although, at a casual glance, it may look like another interpretation of the Bodoni type style, Didot has […]

Classic Grotesque – A Distinctive Sans for the 21st Century

The name says it all. The Classic Grotesque™ typeface family has the timeless attributes of early grotesque typefaces of the 20th century melded with design traits and character proportions that optimize typographic legibility and design versatility. “When I began my career, one of my favorite typefaces was Venus,” recalls Rod McDonald. “I also liked the […]

From Oldřich Menhart to Richie

Jim Ford’s Richie™ typeface pays homage to the calligraphy and typeface designs of Oldřich Menhart (1897-1962). Inspired by Ford’s musing about what a display script by the Czech designer might look like, Richie brings Menhart’s calligraphic forms into the 21st century. Ford drew thousands of letters to achieve just the right mix of characters and […]

The Swash Font Feature

When it comes to visual enhancements, swash characters can add a little something extra to your site—emphasis on little, because a little goes a long way. Primarily found in typefaces classified as script, calligraphy, and handwriting, swashes work well for initial letters, titles, and pull quotes. But if you use too many swashes or set […]

Top 100 Fonts.com Web Fonts for February 2016

The Brandon Grotesque™ family sits at number 8 on last month’s Top 100 Web Fonts list. A sans serif type family of six weights, each with complementary italics, Hannes von Döhren found his muse for the design in the geometric sans serif typefaces that were popular during the 1920s and 30s. “I love the old […]

Kairos Sans – Building a Typographic Dynasty

There are typeface families and super families – and then there are typeface dynasties. Terrance Weinzierl is building the latter with his Kairos™ design. His robust slab serif Kairos was announced in August of last year. The fonts in the family span a full palette of weights and widths; including complementary italics and small caps, […]

Boost Your Type Inventory with the Monotype Library Subscription

Time, closet space and fonts. There are some things in life you can never have enough of. Fonts.com can help you out on two counts, thanks to the new Monotype Library Subscription. This service will instantly boost your inventory of desktop fonts with more than 2,200 families from Monotype, Linotype, ITC, Bitstream and Ascender. The […]

Top 100 Fonts.com Web Fonts for January 2016

Some typophiles trace the heritage of the ITC Avant Garde Gothic® family to the geometric sans serif typefaces produced by Bauhaus designers in the mid-1920s. Actually, the design has its foundation in the first sanserif ever produced: a cap-only face issued by the Caslon Type Foundry in 1816. The characters in this design set the […]

Making Initial Letters Part III: Fine Tuning & Fun

In Part I and Part II of this Initial Letters series, we looked at raised initials that sit on the baseline and dropped initials (also called drop caps) that sit below the baseline. In this final installment, not only will we dive deeper into testing and adjusting raised initials and drop caps across browsers using […]

Top 100 Fonts.com Web Fonts for December 2015

The University Roman™ typeface design began life as a lettering sample in a Speedball Lettering™ book of the late 1930s. Called “Stunt Roman” in the Speedball book, the name was changed when the design was first released as a phototype font in the early 1970s. Its decorative shapes and swash-like characters immediately caught the attention […]

Writing is not a series of strokes, but space, divided into characteristic shapes by strokes.

Gerrit Noordzij