Fonts for designer – It's like heaven!
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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A transitional font by Robert Slimbach, Utopia was originally designed for print. It is part of the Adobe Originals series. Utopia has a vertical stress and significant contrast between thick and thin strokes. The strong vertical strokes and the slightly square bowl give the font a “square” feeling when used for text. It has a […]
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A humanist sans serif font designed by Steve Matteson. Open Sans was designed with an upright stress, but still feels humanist due to its open apertures, double-decker g, and humanist italic. It has a similar x-height to Verdana, but has a lighter stroke weight, and even more clarity (legibility) at smaller sizes. The bold feels […]
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A sans serif open license font family, funded by Canonical and implemented by Dalton Maag. Ubuntu has some quirky elements, such as the corners created where shoulders meet stems on the letters a, r, n, m, h, p, q, and u. The quirks don’t undermine the overall texture, rhythm, or readability of the font, but […]
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