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One of the Largest Free Font Selections 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 New collection contains over 13,000 free fonts and over 91,000 commercial fonts

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Sellfy - Simplified E-Commerce for Digital Products

There is a common perception that selling digital products online takes a lot of work and cost a significant amount of money. From web graphics, templates, photos, fonts and to software – you may need custom development, a licensed shopping cart software, and a payment gateway. A recently launched start-up called Sellfy avoids all of this hassle and promises to make the online sales process as easy as pie. Sellfy also reinvents the way you think about promoting products and enhances sales by utilizing social network based discounts.

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Web Design is 95% Typography

95% of the information on the web is written language. It is only logical to say that a web designer should get good training in the main discipline of shaping written information, in other words: Typography.

Information design is typography

Back in 1969, Emil Ruder, a famous Swiss typographer, wrote on behalf of his contemporary print materials what we could easily say about our contemporary websites:

Today we are inundated with such an immense flood of printed matter that the value of the individual work has depreciated, for our harassed contemporaries simply cannot take everything that is printed today. It is the typographer’s task to divide up and organize and interpret this mass of printed matter in such a way that the reader will have a good chance of finding what is of interest to him.

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Reactions to 95% Typography

An avalanche of comments, hundreds of applauding blog entries, honorable mentions from cooler and more sublime and hotter and higher places, forum discussions, translations in Chinese and partially in Italian and even blunt plagiarism was incited by one of my recent notes. In order to not answer to each commentator individually, I decided to write a summary that answers most of the raised concerns, accusations and questions. As a result I think that managed to make things a little clearer.

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96 Amazing Typography Blogs and Resources

  • Type Directors Club

    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

    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

Dingbats & Bullets & Sorts

Typographic insights from Steve Matteson

Words and ornamentation have gone together since the very early days of written communication. Scribes copied text and their illuminator colleagues added color and gold leaf ornamentation to finish manuscript pages.

As type evolved to moveable pieces of metal, artwork was added in the form of wooden engravings and even as individual pieces of type (figure 1).

There are many words describing these decorative elements: dingbats, sorts, fleurons, bullets, flowers and fists to name a few. Today there is a nearly endless variety of them for combining with type (figure 2). With a simple keystroke these elements can add subtle and understated flair or become prominent graphic features in a design. For the purposes of organizing the toolbox I’ll divide these graphic elements by how they might be used.

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Ligatures & Diphthongs

Typographic insights from Steve Matteson

Doctors use ligatures to connect tissue. Musicians use them to connect notes or musical phrases. A diphthong is a hard to describe sound made when pronouncing vowels. But every font with a standard Latin character set has yet another form of ligature and diphthong – what are they and how are they used correctly?

Ligature comes from the word ligate or ‘to connect’. Simply put, a ligature is two or more connected letters – most commonly fi and fl. Diphthongs are also connected letters but are specifically vowels – Æ, Œ, æ, oe. These five connected letters are included in the basic Latin1 character set.

The ’f’ ligatures can, and most certainly should, be set as default behavior in applications by selecting this option in paragraph preferences. Diphthongs must be entered manually from the keyboard.

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Using OpenType Features: Alternate Characters

Typographic insights from Steve Matteson

The OpenType font format was a big upgrade to the designer’s toolbox. It was designed to support non-Latin fonts which require several different shapes for the same character. Arabic, for instance, has as many as four different shapes for each letter depending on where it falls within a word (figure 1). A nice side effect of this bit of technology is that Latin fonts may now have more than one shape for each letter too.

Historic Origins
Gutenberg’s 42-line Bible, printed in around 1450 used dozens of alternative letter shapes and connected letters to make it possible to neatly align columns of text. Experts believe he had around 300 letters and ligatures (connected letters) in his font allowing for many possible substitutions (figure 2). With the advent of OpenType, computer fonts may now contain an equally rich complement of letters.

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Ands & Ampersands

Typographic insights from Steve Matteson

Frederic W. Goudy is known today for many of his fantastic contributions to the font menu – Goudy Old Style, Copperplate, Californian (aka ITC Berkeley Old Style) and Forum to name a few of the hundred. Goudy also wrote and letcured extensively on various topics related to printing, design and typography.

His book from 1936, Ands & Ampersands is a study of the development of the ampersand and is, perhaps, the first exposition on the matter. Originally concieved as a simple Christmas keepsake, it became a thorough investigation of the history of the symbol.

‘What in Sam Hill is an Ampersand?’

Goudy was asked this question frequently – he says that he usually answered: ‘it is a short form of and’ and ‘let it go at that’. But he also points to several ampersand designs in his book which are actually wider than the word ‘and’ and he muses ‘what’s the point?’

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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!

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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.

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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:

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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.

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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.

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