The Lost Type Co-op is a collaboration between Tyler Galpin and Riley Cran. It was founded with the intention of providing unique and quality fonts based on a pay-what-you-want model. All designers get 100% of the donations their font receives.

letterheady
–adjective
1. overcome by a strong emotion due to a letterhead design.

I love the font Inconsolata. At bigger sizes and higher resolutions, it looks incredibly smooth and clear, and avoids the messy sort of feeling that Monaco gains as text density increases.

One thing that bothered me about Inconsolata, however, was the fact that its single and double quotes were slightly slanted or curly. It especially bothered me when using single quotes and commas, as the two looked visually similar, and my eye kept jumping levels.

As such, I made my own modification using the Font Forge source script, and named it: Inconsolata-dz

Your mission is simple: achieve pleasant and readable text by distributing the space between letters. Typographers call this activity kerning. Your solution will be compared to typographer's solution, and you will be given a score depending on how close you nailed it. Good luck!

Sorry the entire world can't all be done in stark Eurotrash Swiss type. Sorry some people like to have fun. Sorry I'm standing in the way of your minimalist Bauhaus-esque fascist snoozefest. Maybe sometime you should take off your black turtleneck, stop compulsively adjusting your Tumblr theme, and lighten the fuck up for once.

for intentional organization

The Daily Drop Cap is an ongoing project by typographer and illustrator Jessica Hische. Each day (or at least each WORK day), a new hand-crafted decorative initial cap will be posted for your enjoyment and for the beautification of blog posts everywhere. To use a Daily Drop Cap on your site or blog, follow the instructions in each post and read about the usage limitations. Enjoy!

A sans-serif font I actually like.

I use design to solve problems & communicate.

These pages are provided as an outline for GRPH: 210 Typography. At right you will find links to the material covered each week throughout the course, as well as links to each weeks assignments, distributed via Adobe PDF files. Though this site is updated frequently, all materials and assignments are subject to change at Instructor’s (Todd Roeth’s) discretion.

Emigre, Inc. is a digital type foundry, publisher and distributor of graphic design related software and printed materials based in Northern California.

Founded in 1984, coinciding with the birth of the Macintosh, Emigre was one of the first independent type foundries to establish itself centered on personal computer technology. Emigre holds exclusive license to over 300 original typeface designs created by a roster of contemporary designers. Emigre's full line of typefaces, ornaments and illustrations is available in Type 1 PostScript and TrueType for both the Macintosh and PC.

Emigre is also the publisher of the critically acclaimed design journal Emigre magazine which was published between 1984 and 2005.

The Ministry of Type is a weblog by me, Aegir Hallmundur, about type, typography, lettering, calligraphy and other related things that inspire me.

The FontFeed is a daily dispatch of recommended fonts, typography techniques, and inspirational examples of digital type at work in the real world. Eat up.

Typographica is a review of typefaces and type books, with occasional commentary on fonts and typographic design. Edited by Stephen Coles, also of The FontFeed and The Mid-Century Modernist.

The Typographer.org website is an eternally evolving not-for-profit typography project.

During its fifth and current phase, it is a joint project between David and Yves Peters – David providing the bulk of news items and in the role of publisher, with Yves writing comprehensive reviews of the cream of recent typeface releases in his Bald Condensed column.

Daily Type is a creative project run by several russian type designers.
Day by day, they create original typefaces and post their results along with routine.

Most websites are crammed with small text that’s a pain to read. Why? There is no reason for squeezing so much information onto the screen. It’s just a stupid collective mistake that dates back to a time when screens were really, really small. So…

My name is Matthew Butterick. I’m an attorney in Los Angeles. I run a law office, Butterick Law Corporation, where I do civil litigation.

But before I had the idea to become an attorney, I got a degree in art from Harvard University, focusing on graphic design and typography. After college, I worked as a digital typeface designer. Then I started and ran a website development studio.

Even though the legal profession depends heavily on writing, legal typography is often poor. Some blame lies with the strict typographic constraints that control certain legal documents (e.g. court rules regarding the format of pleadings).

This venue has been created to appreciate the practice of book cover design. This is not a blog to rip apart what we dislike—everyone has a different aesthetic. This is a blog about the challenges and outcomes of a project. We are here to teach and be taught by one another.

Launched on April 1, 2009, Poems Out Loud is a place for poetry. The site features columns and recorded readings by well-known and award-winning poets as well as general poetry news and ephemera.

Somehow I don't have this bookmarked already.

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.

home "setup page" for the bookmarklet

There are two problems here. The first is that until HTML 4 came along, the web was missing almost all of these tools (it’s still missing many important ones).

But the larger problem is, now that they’re available, almost no one publishing on the web today knows how to use them—or often even knows of their existence.

Read this, though, and you’ll understand the answers to both problems far better than almost anyone else, including your English teachers.

How to Size Text in CSS
by Richard Rutter

The above is, of course, a starting point: there are myriad other challenges that face the liquid web designer, most of which arise when you introduce fixed content (such as images, Flash, and so forth) into a fluid framework. I’ve been experimenting with a few possible solutions on my blog, but other, better workarounds are still out there.

Robert Bringhurst’s book The Elements of Typographic Style is on many a designer’s bookshelf and is considered to be a classic in the field. Indeed the renowned typographer Hermann Zapf proclaims the book to be "a must for everybody in the graphic arts, and especially for our new friends entering the field."

In order to allay some of the myths surrounding typography on the web, I have structured this website to step through Bringhurst’s working principles, explaining how to accomplish each using techniques available in HTML and CSS. The future is considered with coverage of CSS3, and practicality is ever present with workarounds, alternatives and compromises for less able browsers.

Links to sites about calligraphy, calligraphic fonts and the art of handwriting; compiled by Luc Devroye