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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.

Top 100 Web Fonts for May 2016

The Chaparral™ typeface is a hybrid, combining the sturdiness of geometric slab serif designs with sixteenth century Roman lettershapes and proportions. The result shares overtones with old style typefaces – but with less contrast in stroke weights. Calligraphic suggestions in several letters also add to the design’s personality. The Chaparral family is available in four […]

Introducing Posterama

The Posterama™ family is out of time – and into the future. It’s a suite of 8 stylistic designs that draw themes from 20th century history, art, architecture, cinema, culture – and more. Drawn by Jim Ford with help from Karl Leuthold, Posterama’s wide and diverse palette of typographic playfulness captures the charm of iconic imagery […]

Working with Alternate Characters

If you want to add style and functionality to your Web typography, look for fonts that have alternate characters. And if working economically, with just one font, the added characters you get with alternates can stretch your design further. An alternate character—sometimes called an alt character—is a different version of a standard character design. An […]

30 Fonts From a Type Design Master

It goes without saying that Adrian Frutiger was one of the most talented and influential type designers of the twentieth century. His contributions to the field of design are indelible—his typefaces are not only lauded, but still used extensively to this day. In fact, Frutiger’s designs occupy four of the top 10 spots on our all-time […]

Surveying our Typographic Heroes

Our friends at Happy Cog originally pitched the idea of utilizing an expressive, typography-driven hero image to act as our masthead during our 2012 site redesign. Since then, we’ve evolved the concept with our talented in-house design crew, and we’ve been lucky to work with an amazing contingent of designers and illustrators who keep our […]

Demos Next Update

The Demos® typeface family was expanded, updated and revitalized as Demos Next early last year – but the new design was still missing something. The Demos design is handsome and highly legible, but the family lacked a suite of condensed designs for when space is at a premium. That is, until now. This month […]

Top 100 Web Fonts for April 2016

DIN Next™ was the 6th typeface in last month’s Top 100 Web Fonts list. Dating back to the late 19th century, the original DIN typeface is first “industrial strength” sans. Its name is an acronym for the German Deutsches Institut für Normung (German Institute for Standardization), and it was first used to identify railroad cars […]

Gravers & Files

Rarely is something so important and so valuable available for free. If you’re a typophile, typographic educator or design student, Canadian designer, Carl Dair’s film on the lost art of type punch cutting is something you can watch – and own – at no cost. Initiated by Rod McDonald and Sheridan College in Canada, and […]

Top 100 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 […]

...type design, in its restraint, should be only felt but not perceived by the reader.

Adrian Frutiger