Largest Free Font selection on the web – over 13,000 Free Fonts

A unique font can help your document stand out and attract attention. A perfectly suited font can help to make a design attractive and successful. Finding these high quality fonts is a task made easier with SearchFreeFonts.com. New SearchFreeFonts.com collection contains over 13,000 free fonts and over 91,000 commercial fonts

Font of The Day

Free Font: Ithuriel Demo

DownloadAdd CommentAdd to Favorites

(6 votes)

     

Commercial Font: Latienne URW Swash T Bold Italic

DownloadAdd Comment

(1 votes)

     

Featured Commercial Fonts

Source: Ascender Fonts

96 Amazing Typography Blogs and Resources

• Type Directors Club

  

  The Type Directors Club is the leading international organization whose sole purpose is to support excellence in typography, both in print and on screen.

• i love typography

  

  iLT was born from a desire to bring the subject of Typography to the masses.

Read full article here: 96 Amazing Typography Blogs and Recources

Using OpenType Features: Swashes

Typographic insights from Steve Matteson

Introducing the ‘swash’ – an exaggerated entry or exit stroke which adds flourish to a letterform. This design element is found in many fonts including some OpenType Pro fonts from various font foundries. This month we look at how to – and how not to – use swash letters in documents. We’ll also show how this feature can be accessed via Adobe Illustrator and InDesign applications.

Depending on the typeface design, swash forms can add a level of panache, elegance or even whimsy to a typographic layout. As you’ll see they can be the ‘frosting on the cake’. But exercise caution!

Read more here

Using OpenType Features: Figure Styles

Typographic insights from Terrance Weinzierl

This month we take a closer look at what OpenType fonts have to offer the user. It’s not a simple answer becuase there is no ‘standard’ set of added features and characters common to all OpenType fonts. Application developers like Adobe and Microsoft support these added features in different ways and sometimes not at all!

The following article discusses a single set of OpenType options called figure styles and how they can be used to polish your typographic document.

The OpenType font format allows four figure design styles to reside in the same font. Each style has a unique job and solves a specific typoraphic problem.

Read more here

Designer's Toolbox - April 2009

Typographic insights from Steve Matteson

This month we finish sorting through our sans serif tools. Now we contrast last month’s mechanically constructed Grotesques with types modelled after letters written by humanist scribes of the 12th Century. These scribes were perfecting a style developed during the time of Charlemagne in the 9th Century – the very birth of the roman lowercase alphabet. It’s no wonder this type style is the most legible of the sans serifs.

This genre gained popularity in the early 1980’s with the release of Lucida, Stone Sans and ITC Legacy, and has since exploded in popularity. It is arguably the newest trend in typeface design yet it is based on the oldest Roman letter forms.

Read more here

Arial versus Helvetica

Every typeface, like every one of us, has its distinguishing features. You might be forgiven for thinking that some fonts are clones, or identical twins. However, closer inspection reveals subtle differences and nuances that simply escape casual perusal. Something that can really help to heighten our sensitivity to those differences is getting out our magnifying glasses and really taking a closer look. If you’ve forgotten to bring your magnifying glass, then don’t fear for the Fontometer is here (we’ll get to that in a moment).

Today we’re going to de-robe two popular typefaces, namely Arial and Helvetica — faces that are often confused, and often the subjects of mistaken identity. But first let me re-introduce you to these two popular faces:

Read more here

Thirteen Ways of Looking at a Typeface

For the first ten years of my career, I worked for Massimo Vignelli, a designer who is legendary for using a very limited number of typefaces. Between 1980 and 1990, most of my projects were set in five fonts: Helvetica, naturally, Futura, Garamond No.3, Century Expanded, and, of course, Bodoni.

Read more: Thirteen Ways of Looking at a Typeface

Garamond v Garamond: Physiology of a typeface

How many times have you heard someone exclaim “Isn't a Garamond such a beautiful thing!”... Without a doubt, it's a beautiful typeface, even if I hate to use that expression. You could just as easily say a car is beautiful and immediately ask yourself why. Of course the answer is in the way one approaches type creation. There is that method of painstakingly drawing by hand (handtooling) that gives characters that crafted aspect that gives off an air of the terroir and rural furnishings; and then there's the modern method, far more conceptual, contemporary art in such a stark break with tradition and received wisdom — which isn't to say that they are any less beautiful: But their raison-d'être is no longer simply to be so [beautiful], but to arrest, and even shock.

Read more: Garamond v Garamond

Free fonts

Commercial fonts