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Learn About Fonts & Typography

Explore the world of typography with 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 and the latest trends in visual design.

Recent articles

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

Applied Sans: A Classic and Contemporary Fusion

The Applied Sans™ typeface family takes the charm of early sans serif designs and restifies it for the 21st century. The first sans serifs typefaces widely used in print were Germanic in origin – designs like Ideal Grotesk and Venus. Admired for their neutrality and simplicity, when compared to other typefaces of the time, they […]

Paragraph Spacing

As a web designer, do you take paragraphs for granted? Putting in little to no effort designing them? Using whatever built-in paragraph <p> format your content management system provides? Relying on the defaults of your WYSIWYG web editor? Worse yet, doing next to nothing and hoping the browser takes care of it for you? If […]

Top 100 Web Fonts for December 2016

Linotype’s classic “Legibility Group” of typefaces are the earliest designs specifically created to be highly legible in a less than ideal reading environment. Designed in the 1920s, their goal was to improve the reading experience in newspapers of the day. The designers of these metal typefaces enlarged lowercase x-heights and made the glyphs proportionally wider. […]

The Right Bold & Italic for the Right Job

Imagine a world without italic typography. How would you style magazines, books, newspapers, TV shows, and other titles? You’d have to settle for underlines or quotes. Now imagine no bold typography. How would you establish hierarchy or design your headings? Without italic or bold, how would you create emphasis or a lot of emphasis? It’s […]

Top 100 Web Fonts for November 2016

It’s as if the PMN Caecilia® family was destined for the web. Peter Matthias Noordzij combined classical ductus with a contemporary vibe to create this friendly and versatile slab serif family. In addition, its large x-height, open counters, simple character shapes and sturdy serifs all contribute to the design’s high levels of legibility. With numerous […]

Heading in the Right Direction

What’s the first thing your visitors read when they come to your site? It should not be a Flash animation announcing its loading time. If it is, you need to update your site—immediately! Moreover, you need to think type first because that’s what readers are heading for: the typography. Thinking type first and considering hierarchy, […]

Top 100 Web Fonts for October 2016

All the beauty of 18th century classic typeface designs, but adapted for today’s typographic requirements—that’s the ITC Fenice® family, by Aldo Novarese. Based on the Bodoni model but warmer and much easier to use, this neoclassical classic sits at number 58 in last month’s Top 100 Web Fonts list. ITC Fenice’s 18th century predecessors are […]

Between: A New Type Family With Three States of Being

Monotype’s new Between™ typeface may seem to have an odd name – until you learn what it is all about. There are three states to Akira Kobayashi’s newest design and, while different from each other, they all offer a human-centered design to ensure that copy set in them is approachable and friendly. It’s this ability […]

Top 100 Web Fonts for September 2016

The Futura® typeface family was designed almost 90 years ago as fonts of hand-set metal type. It was made available for phototypesetting equipment about 50 years ago, as digital fonts over 20 years ago, and was one of the first typefaces to be made available as web fonts. Consistently popular over its octogenarian lifespan, Futura […]

The Reinvention of a Classic Geometric Sans

The Neue Kabel® typeface family, from Marc Schütz, takes the calligraphic charm of Rudolf Koch’s 1927 design and restifies it for the 21st century. Kabel was first released as just one weight and grew to a family of 9 designs over several years. Unlike most contemporary typefaces, however, the various versions of the first Kabel family […]

Geometry can produce legible letter but art alone makes them beautiful. Art begins where geometry ends, and imparts to letters a character trascending mere measurement.

Paul Standard