You’ll need to be comfortable with using the command line, but this is a very useful font subsetting tool from those clever folks at Filament Group.
A rather handsome looking free serif typeface based on Gargantua. Spectral is available under an Open Font License.
Rob walks us through the typographic choices for his recent redesign:
Most of what I design that incorporates type has a typographic scale as its foundation, which informs the typeface choices and layout proportions. The process of creating that scale begins by asking what the type needs to do, and what role contrasting sizes will play in that.
A nice free and open source font designed for digital interfaces:
Inter UI is a font for highly legible text on computer screens.
The book draws together the many and varied uses of Futura that make it a universal language while simultaneously confirming its unique typographic voice. The book is a playful yet passionate rebuttal to the perceived dominance of Helvetica as the typeface of modern design.
This forthcoming sci-fi quarterly publication looks intriguing:
Each issue contains a part of a previously untranslated novel as well as essays looking at the world through the lens of different writers.
I’m loving their typeface. It’s called Marvin. It was specially made for the magazine, and available to download and use for personal use for free.
Marvin gets its distinctive voice not only from its Art Nouveau vibe but also from its almost geometrically perfect construction. Its roundness and familiarity with Bauhaus typefaces shows its roots in geometric sans serifs at the same time.
Interface is a font for highly legible text on computer screens.
And it’s free!
A blog dedicated to documenting the letterforms on display in Berlin.
The accompanying video lists the design principles:
- Elevate our status
- Surprise & inspire
- Change perceptions
- Do good things
- Be unmistakably Wales
Two new typefaces, designed to be deliberately lacking in expression.
The write-up of the making of the typefaces is as open and honest as the finished output. This insight into the design process rings very, very true:
Post rationalisation is an open secret in the design industry. Only when a project is finished can it be written up, the messy process is delineated and everything seems to follow a logical sequence up until the final thing is unveiled, spotless and perfect.
However, I suspect the process is largely irrational for most designers. There is a point where all the input has been processed, all the shit drawings, tenuous concepts and small ideas have been thrown away and you just work towards the finish, too exhausted and distracted to even know if it’s worth anything or not. And, if you’re lucky, someone or something will come along and validate the work.
Here’s one of them new-fangled variable fonts that’re all the rage. And this one’s designed by David Berlow. And it’s free!
I like the feel of this typeface a lot.
Bubbling, strong, but very accurate.
I’ve always loved the way that Edward Tufte consistently uses Bembo to typeset his books. Here’s a version made for screen and freely licensed.
A single page showing all the weights available from Google fonts at a glance.
The missing font generator for Mac OS X.
Very handy for subsetting fonts for the web. It doesn’t (yet) export WOFF2 unfortunately.
Many of the free fonts available from Google are pretty bad, but this site showcases how some of them can be used to great effect.
Here’s the font that Brian created at the line-mode browser hack day at CERN.
A cute approach to pairing typefaces: treat it like a dating game.