Fonts for designer – It's like heaven!
An old style font by Robert Slimbach, Minion Pro was originally designed for print. It is part of the Adobe Originals series. Minion Pro feels “old” and pen-formed. It has a smaller x-height than Georgia, small closed counters on the letters a and e, and relatively small apertures. Thus it needs to be set larger […]
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A humanist sans serif font designed by Erik Spiekermann and published by FontShop. Meta was originally a print font designed for small text. The same elements that helps Meta stay readable at small sizes in print helps Meta Web Pro stay readable on screen: open apertures, a generous x-height, generous closed counterforms, and slightly loose […]
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A serif font designed by Erik Spiekermann, Christian Schwartz, and Kris Sowersby. Published by FontShop. Meta Serif (for print) was originally designed as a companion font to Meta. Meta Serif Web Pro is not merely a print font repackaged for web use—it has been carefully hinted and looks great on screen. I classify Meta Serif […]
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A serif font by Eben Sorkin. I categorize Merriweather as an “Other Serif” font, because it does not fall neatly into any of the general historic categories commonly used to describe serif type. Merriweather gracefully mixes-and-matches various historic approaches to font design. Head serifs and some terminals feel pen-formed, while foot serifs are reminiscent of […]
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If you’re looking for new ideas for pairing web fonts, check out Just My Type by Dan Eden. The site recommends font pairs using fonts from TypeKit’s collection. I cannot guarantee that all web fonts shown are perfect (I don’t know if they’ve all been tested cross browser for instance), but the pairings will certainly […]
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A font that almost made it. A Venetian serif font by Jos Buivenga (exljbris.com), Calluna has a smaller x-height than Georgia, and works best at a generous font-size. Calluna feels like an “old” font; it has pen-formed serifs and terminals. The rising crossbar of the lowercase e is reminiscent of early Renaissance (Venetian/Humanist) letterforms. Unfortunately, […]
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Designed by Steve Matteson, Type Director of Ascender Corp. Droid Serif is a transitional font; it feels more “idealized” than “written.” It has a slightly condensed, “square-feeling” bowl, contrast between thick and thin strokes, a vertical stress, and terminals and serifs that don’t look pen-formed. It has a significantly larger x-height than Georgia. According to […]
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Designed by Steve Matteson, Type Director of Ascender Corp. Droid Sans is a humanist sans serif font. Ascender describes it as having “an upright stress, open forms and a neutral, yet friendly appearance.” Its open aperatures, slightly tapered spurs, and a double-decker g all make Droid Sans feel slightly more hand-written than manufactured. It has […]
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A slab serif font by Tavmjong Bah, based on the Vera fonts. Unlike traditional slab serif fonts, DejaVu has contrast between thick and thin strokes. The bowls are slightly square, and the large x-height means it remains readable at smaller sizes. DejaVu tests well across browsers, though there are some letterspacing issues in Safari on […]
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A serif font designed by Jean François Porchez of Porchez Typofonderie, Le Monde Courrier attempts to “re-establish a style halfway between writing and printing.” First, let me say, I love this font! The overall structure and system (when viewed on Safari, Chrome, Opera or Firefox from my mac) is gorgeous. I want to use it. […]
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