Tag: Type design20 articles
See how we helped Duolingo find its voice (and its wings) with a custom brand font.
Fontsmith's roster of typefaces, along with its years or experience and expertise, are part of the Monotype library and available for all Mosaic customers.
Speaking at Typographics 2017, Director of Design Hilary Greenbaum explained how typography helps the museum keep the focus on its art.
We’ve compiled six common myths around the role of text in augmented and virtual environments and reasons why these challenges don’t hold true.
Choosing a typeface to represent a brand's voice isn't an easy decision, and it becomes more complicated when companies have to factor in the future. Type offers brands an immense amount of value, but it needs to be able to stretch.
Just as a torn seam or a missing button would spoil the effect of a perfectly tailored suit, so too can the details of a typeface put readers off.
Today's brands need to speak a wide range of languages. This installment of Good Type examines the different ways type can take your message across the globe.
UK Type Director Tom Foley discusses how today’s brands can deliver stunning, impactful creative work--if they can get everyone on the same page.
Pairing typefaces is one of the more challenging tasks a typographer faces. This installment of Good Type examines the different ways designers can pair fonts.
A good typographic system is like a family—and just like people, it comes in all shapes and sizes, allowing it to address a range of design requirements.
Choosing the right typeface can be a daunting task for any brand. We explored this topic in greater detail during a panel discussion at this year's Adobe MAX.
When designing with type, the use of numbers can take a layout from good to great. Here's how to use them to the best of their ability.
When it comes to the display fonts, there's more freedom to experiment and play. Not just with the type itself, but with people's expectations.
Neue Kabel brings back the liveliness of the original's strikingly quirky characters, while adding in the long-lost italics and missing glyphs needed for it to address a wide range of editorial and branding purposes.
This first installment of the Good Type series shows how traces of the same forms and styles emerge again and again as fonts are created or revived.
How much are designers willing to pay for high-quality fonts? Are variable fonts ready for showtime? These are among the mysteries this annual survey seeks to unravel.