The web’s most beautiful typefaces: Try typefaces from the web’s best known web font services.

Design with real content: Kiss goodbye to Lorum Ipsum. Get real web content in place, fast.

Create HTML & CSS in the browser: Quickly get to a working, standards-compliant prototype.

Let me introduce you to the best way to do your @font-face definitions:

My slides are not designed for people who didn’t see the talk in person. They’re designed to support my words, not some online audience. What’s more, many commented that they found the design of the slides to be noteworthy. I’m expressly not a designer.

The basic rule is: 10 to 15 words per line. For liquid layouts, at 100% font size, 50% column width (in relation to window size) is a good benchmark for most screen resolutions.

Typography of Apple Inc. refers to Apple Inc.’s use of typefaces in marketing, operating systems, and industrial design. Apple has used three corporate fonts throughout its history: Motter Tektura, Apple Garamond and Adobe Myriad.

Until its OED entry is solemnized, we’ll have to settle for this definition on Wiktionary: “grawlix, n. A string of typographical symbols used (especially in comic strips) to represent an obscenity or swear word.” I don’t think I’ll ever look at a character set quite the same way again.

It’s in State Department memos, vintage pages of Woman’s Home Companion and your inbox: Times New Roman, the most widely used typeface in the world — and one of the most controversial. For more than half a century, it was attributed to a titan in the field of typography, Stanley Morison. But in the late 1980s, a Canadian printer discovered that Morison might have plagiarized the classic font.

How to type symbols, accents, special characters, and weird punctuation

An understanding of typographic etiquette separates the master designers from the novices. A well-trained designer can tell within moments of viewing a design whether its creator knows how to work with typography. Typographic details aren’t just inside jokes among designers. They have been built up from thousands of years of written language, and applying them holds in place long-established principles that enable typography to communicate with efficiency and beauty.

Handling these typographic details on the Web brings new challenges and restrictions that need to be considered. Below are a few rules of thumb that will have you using typography more lucidly than ever before.

Learning the subtleties of Helvetica and Garamond used to be a pain—but a sleek new app has made the process easier

For many beginners, the task of picking fonts is a mystifying process. There seem to be endless choices — from normal, conventional-looking fonts to novelty candy cane fonts and bunny fonts — with no way of understanding the options, only never-ending lists of categories and recommendations. Selecting the right typeface is a mixture of firm rules and loose intuition, and takes years of experience to develop a feeling for. Here are five guidelines for picking and using fonts that I’ve developed in the course of using and teaching typography.

To wrap long URLs, strings of text, and other content, just apply this carefully crafted chunk of CSS code to any block-level element (e.g., perfect for <pre> tags)

Royalty-free vector icons, glyphs and symbols based on the Helvetica Bold typeface

Chartwell is a family that explores the use of OpenType to interpret and visualize data. The font format is highly portable and can be used in any application that supports standard ligatures. The data also remains editable allowing for easy updates.

Published in 1936, The Organizationsbuch der NSDAP (with subsequent annual editions), detailed all aspects of party bureaucracy, typeset tightly in German Blackletter. What interested me, however, were the over 70 full-page, full-color plates (on heavy paper) that provide examples of virtually every Nazi flag, insignia, patterns for official Nazi Party office signs, special armbands for the Reichsparteitag (Reichs Party Day), and Honor Badges. The book “over-explains the obvious” and leaves no Nazi Party organization question, regardless of how minute, unanswered.

This page falls somewhere between a tool and an essay. It sets out to explore how the intertwined typographic concepts of scale and rhythm can be encouraged to shake a leg on web pages. Drag the colored boxes along the scale to throw these words anew. For the most part, this text is just a libretto for the performance you can play upon it.

Cooper Black is a heavily weighted, old style serif typeface designed by Oswald Bruce Cooper in 1921 and released by the Barnhart Brothers & Spindler type foundry in 1922. The typeface is drawn as an extra bold weight of Cooper Old Style.

MATTHEW CARTER, a type designer and the recipient of a MacArthur genius grant, was recently approached in the street near his home in Cambridge, Massachusetts. A woman greeted him by name. "Have we met?" Mr Carter asked. No, she said, her daughter had pointed him out when they were driving down the street a few days before. "Is your daughter a graphic designer?" he inquired. "She's in sixth grade," came the reply.

There’s more than one way for developers to access fonts. This list is based on cycling through UIFont. However, there are a few more fonts available via Core Text. I’m debating on a design for displaying Core Text fonts in a meaningful way.

Following is a list of names and their correct pronunciations (using English orthography).

Inconsolata is my first serious original font release. It is a monospace font, designed for code listings and the like, in print. There are a great many "programmer fonts," designed primarily for use on the screen, but in most cases do not have the attention to detail for high resolution rendering.

From easyJet to Facebook, road signs to clothing labels, we are surrounded by a world of type. But what messages do its different kinds convey? In this extract from his new book, Just My Type, Simon Garfield looks at the history of typefaces, the obsessive care taken over their design – and the role they play in shaping our lives.

Typography belongs to the people. Typography does not belong to graphic designers. Visual communication, like verbal communication belongs to all. Just as we are all free to speak, we should all be allowed to communicate graphically. Trained designers are not the only ones who have earned the right to do so. Designers who stand in opposition to such “untrained” communication stand in the way of democracy and the right to speak our minds.

Typography is so overwhelmingly ever-present we hardly notice it there anymore. As elemental as it is to our culture, it’s actually bizarre to think it has a history at all. This article will serve as a condensed education on the basics of typography, including typographic terms, proper usage of fonts, unusual characters, and history.

The more things change, the more they stay the same. 11px Verdana will never go out of fashion: http://drbl.in/mf

Small treasures.

Most of these are wooden spools. My favourite is the small spool of "service khaki", it's only an inch high.

Enzo is a vigorous sans serif consisting of five weights, ranging from Thin to Black. Designed by Tobias Kvant, it was inspired by type from the past as well as from the present, giving it quite a unique look. Its short ascenders and descenders makes it a good headline face, ideal for magazines, posters and such, but it will work fine for body text as well.

Creating great typeface combinations is an art, not a science. Indeed, the beauty of typography has no borders. While there are no absolute rules to follow, it is crucial that you understand and apply some best practices when combining fonts in a design. When used with diligence and attention, these principles will always yield suitable results. Today we will take a close look at some the best practices for combining typefaces — as well as some blunders to avoid.

The dawn of the web has frequently been compared to the invention of the printing press. But the web has also destroyed one of the greatest features of nearly every press since Gutenberg: the ability to publish pleasing type.

The printing press gave us type that was clearer and easier to read than that produced from a typewriter, because the typesetter had additional tools at his disposal—and knew how to use them. The web has cost us some of those tools.

Copy and paste special characters.

Combines with Gotham Rounded

Please either add the ability to retain fonts (and all their settings) when importing Keynote, Pages, and Numbers documents from computer to iPad, or else please create a simple font management tool for the iPad that allows us to import a reasonable subset of our fonts to the device.

Gary Hustwit's Helvetica was fascinating. Lots of strong opinions for and against a 50-y-o typeface. http://bit.ly/27hKTm

To most people, typefaces are pretty insignificant. Yet to their devotees, they are the most important feature of text, giving subliminal messages that can either entice or revolt readers, says Tom de Castella.

Apple has made some puzzling decisions over the last few years that leave one wondering if they really care about typography as much as they did in the 1980s when the Mac launched the desktop publishing revolution. As recently as 2005, Steve Jobs made typography a central theme of his commencement address to Stanford grads, but his actions as the almighty head of Apple haven’t followed suit.

Apple has a typography desk. It is not exactly crowded with developers vying for every square centimetre, but it really exists. Have you ever heard of it? Could you tell me who runs it? Can you point to any publicly available resources about it?

Creating a beautiful display and patting yourself on the back for having good typography is disingenuous, I think. It’s a little like saying a high-definition television set makes for better television shows; an absurd claim at best.

What fonts work together? Four simple rules for combining type.

A refreshingly honest and detailed post on the BBC internet blog about the development of their visual identity. Like it or not, the new design and the principles behind it are well explained and thought-out.

"Nick Martens digs into the pages of the great dictionary that chronicles the history and development of the English language, and unearths some typographic gems."

"Type-themed & type-inspired iPhone & desktop wallpapers for typenuts. Completely free; no strings attached."

"David Foster Wallace was a big part of why I wanted to work at Little, Brown and Company. It was just a strange twist of fortune that the production people there also get to art direct the books' interiors. And another strange twist that I had a book design background. When Wallace published Oblivion, I decided to design it myself."

"As you probably know, the California-based company Apple makes a portable communication device — a device that an acquaintance of mine whose first language is not English distinguishes as a “self” phone. Though proper nouns conventionally begin with a capital letter, Apple spells the device’s trademark with an initial lowercase i, followed by an uppercase P. Thus styled, the word has a hump in the middle. I could print it here to show you, but I refuse to allow my prose to be so disfigured."

"There are many books and articles on typography, but considerably few explore typeface selection and pairing. With the floodgates poised to open and the promise of many typefaces being freed up for use on websites, choosing the right face to complement a website’s design will need to become another notch in the designer’s belt. But where do we start?"

"Vincent Connare designed the ubiquitous, bubbly Comic Sans typeface, but he sympathizes with the world-wide movement to ban it."

"Typography has a visceral and direct effect on everybody who reads. It can inhibit or enhance the feel of reading without being consciously noticeable. It does so by combining specific visuals that echo cultural memories, which are hopefully servile to the words they spell."

"In addition to new features such as support for HTML 5, geo-location, and a noticeably faster engine, Firefox 3.5 added a new CSS rule that makes Web typography much more attractive."