#22679
It doesn't matter how many hours of video and megabytes of graphics can be stuffed onto a silver platter, typefaces still serve an essential function that can't be duplicated by other means--transmitting complex intellectual and emotional messages in a very concise and precise way.
Will-Harris, Daniel. Typofile. Design>Typography>Fonts>Emotions
#22682
I like bit-mapped screen fonts. In fact, I prefer old-fashioned bit-mapped screen fonts to anything that ATM, TrueType, or Speedo can throw up on the screen. If we're expected to read documents on screen, we need better type than they can offer.
Will-Harris, Daniel. Typofile (1996). Design>Typography>Fonts>Online
#20396
The purpose of the Character Design Standards is to state the general rules for character shapes in Latin based languages in digital fonts. Primarily defining the guidelines designers use for character alignments, both vertical and horizontal and how these relate to other similar characters or character groups.
Microsoft (1999). Design>Typography>Fonts>Online
#23307
A Comparison of Two Computer Fonts: Serif versus Ornate Sans Serif
Fonts are described in terms of their face, style, size and color. There are two main types, namely, serif and sans serif. Serif fonts have small appendages at the top and bottom of the letter. Serif fonts are the preferred fonts for large blocks of text, since the serifs are thought to help to distinguish each letter and thus, make it easier to read strings of characters. Sans serif fonts consist of only primary line strokes and are therefore simpler in shape, e.g. Arial and Futura. In standard typography these fonts are used primarily for short phrases, e.g. headings. This study compares reading performance between an ornate sans serif font (Gigi) and Times New Roman. The traditional measures of reading speed, comprehensibility, and subjective preference were employed.
Morrison, Sarah and Jan Noyes. Usability News (2003). Design>Typography>Fonts>Online
#27474
Typographically, the Euro symbol had a difficult birth. Instead of defining a currency symbol, the European Commission dictated a logo. The inclusion of the character in computer fonts is being delayed. Both copywriters and designers struggle with inadequate solutions. The five-year history of the Euro mark, or: How typeface designers and corner-store owners restore the health of a character.
Siebert, Jürgen. Font Magazine (2003). Design>Typography>Fonts
#27533
Examining the Legibility of Two New ClearType Fonts
This article introduces six new ClearType fonts developed by Microsoft. Legibility of two of the serif fonts, Cambria and Constantia, is compared to the traditional serif font Times New Roman. Results show that the legibility, as measured by the number of correct identifications of briefly presented characters, was highest for the new font Cambria, followed by Constantia, and then Times New Roman. Old style digits, such as 0,1, and 2, used in Constantia resulted in confusion with the letters o, l, and z. Times New Roman symbols were confused with both letters and other symbols.
Chaparro, Barbara S., A. Dawn Shaikh and Alex Chaparro. Usability News (2006). Design>Typography>Fonts>Online
#20936
Helvetica is back, bigtime. On the street, it’s in campaigns for companies as different as IBM and The Gap. At the online font retailers, it tops the sales charts. In the metaculture, Getty Images uses it to express control of the visual world. It’s quite shocking to look at the font sales charts, and realize that the serif genre has dropped off the map. But you know this already, because whenever you try a serif font in a layout it doesn’t look right — too oldfashioned. But perhaps that’s the wrong term, because the sans faces ruling the roost today are anything but contemporary, mostly dating from the mid-20th century, many from a lot earlier.
Shinn, Nick. ShinnType (2003). Design>Typography>Fonts
#23136
Acrobat's intelligent font substitution is a godsend for office documents, but it can be a nightmare in situations where font fidelity is important. If you're a graphic designer, then you need to know how to work with fonts in PDFs.
Perets, Shlomo. Creative Pro (2004). Design>Typography>Fonts>Adobe Acrobat
#24057
One of the original ideas behind the Web is that readers should have control over how things look, since only they know what color combinations, point sizes, and so on they find easiest to read on their particular combination of hardware and software. That said, there's a difference between designing for the World Wide Web, where your documents can be read by anyone, and designing for an intranet, an internal network that's accessible only to people within your organization. On an intranet, you can (theoretically) know exactly what hardware and software your readers are using, so you can control the look to a much greater extent.
Ivey, Keith C. Editorial Eye, The (1997). Design>Typography>Fonts>Web Design
#20417
Help, I’m Lost in a Sea of Typefaces! (Part 1)
Decisions, decisions, decisions! One of the most challenging aspects of any design project is choosing the typefaces. There are now more than forty thousand fonts on the market and that number is growing daily, which makes the search for the “perfect” typeface only slightly more daunting than looking for that proverbial needle in a haystack. With a little planning, however, you’ll find that selecting appropriate typefaces is far more manageable than it appears.
Strizver, Ilene. Upper and lowercase Magazine (2002). Design>Typography>Fonts
#22788
Mark van Bronkhorst's recent type family MVB Verdigris is easier on the eyes than many of the existing typefaces that are used for text at small sizes.
Berry, John D. Creative Pro (2004). Design>Typography>Fonts>Online
#29974
Seven new fonts will make their public appearance in Office 2007. Segoe UI will be used as the Office user interface, and will also be the font used throughout the Windows Vista user interface. For documents produced by Office, Calibri (a sans serif font) is recommended for headings, with Candara (a humanist sans font) recommended for sans body text, and Cambria for serifed. Consolas is a monospaced font, while the remaining two having characteristics that suit particular types of paragraphs.
Self, Tony. HyperWrite (2006). Design>Typography>Fonts>Microsoft Windows
#27473
Jonathan Barnbrook discusses type design and his Virus fonts.
Barnbrook, Jonathan. Font Magazine (2003). Design>Typography>Fonts
#10242
For use in extensive text the font's rigid, uniform strokes will create eye problems right away. Additionally, the perfect circles in the round characters begin to form light spots or 'holes' in the text that disturb the calm texture of columns of type. The character count is so extended that in order to fit copy you have to run it at 8 or 9 point, which is not acceptable for comfortable reading. Bumping it up to 10 or 12 generates ugly text at best.
White, Alex W. Design, Typography and Graphics (2001). Design>Typography>Fonts
#32557
OpenType fonts often contain a treasure trove of typographic options. Discover some easy ways to enhance your typography by taking advantage of discretionary ligatures, swashes or titling alternates – to name just a few.
Strizver, Ilene. Upper and lowercase Magazine (2008). Design>Typography>Fonts
#32558
The history of Helvetica includes a number of twists and turns. There are, in fact, two versions of Helvetica. The first one is the original design, which was created by Max Miedinger and released by Linotype in 1957. And secondly, in 1983, D. Stempel AG, Linotype’s daughter company, released the Neue Helvetica® design, which was a re-working of the 1957 original.
Strizver, Ilene. Upper and lowercase Magazine (2008). Design>Typography>Fonts
#32561
Will the “Real” Garamond Please Stand Up 
Garamond typefaces, in both their American and European flavors, are generally considered ideal book faces. The design is also an excellent choice for most other forms of continuous text. Magazines, newsletters, annual reports, lengthy advertising copy – for example – are all naturals for the Garamond design.
Illuminating Letters (2008). Design>Document Design>Fonts>Typography
#32727
Don't Be Afraid of Serif Fonts
As the practice of Web design ages, some common rules and "best practices" inevitably embed themselves in the craft. Among these are the processes for using specific types of semantics when coding your site, like using divs as hooks in your X/HTML for your CSS, and making your page beautiful and functional that way. Another is to ensure readability of your site by choosing a proper number of fonts (generally, no more than three or four, and for the minimalist, one or two).
Rodriguez, David. Web Page Design for Designers (2008). Design>Web Design>Typography>Fonts
#34047
Get creative. Expand your font choice. Mix fonts. Use weights, font-styles, small-caps. Mind variations in size and legibility.
Schoors, Lennart. SlideShare (2009). Presentations>Web Design>Typography>Fonts
#34048
Increase Your Font Stacks With Font Matrix
I have put together a matrix of (western) fonts showing which are installed with Mac and Windows operating systems, which are installed with various versions of Microsoft Office, and which are installed with Adobe Creative Suite. The idea of the matrix is that use can use it to help construct your font stack.
Rutter, Richard. Twenty-Four Ways to Impress Your Friends (2007). Articles>Web Design>Typography>Fonts
#35483
Ampersands have long been the character in a typeface with which typographers can indulge themselves. Sweeping curves, flirtatious finishes and bold statements – these are the things that make ampersands an exciting character to use and, better still, to design. There are, however, two problems.
Smashing (2008). Articles>Typography>Graphic Design>Fonts
