![]() I do that with a few commercial typefaces on my own web site. Most of the Google Fonts can be downloaded and self-hosted, FWIW, and you can use Font Squirrel to subset them and make them extremely small and fast. Maybe the most relevant in a discussion about Neue Haas Grotesk, since it's another font with a strong sense of design and purpose, and, well, isn't Helvetica. Cooper Hewitt: a sans serif designed for the museum of the same name. The Computer Modern fonts from TeX: easy to overlook if you're not using TeX, and makes anything you use them with look like you are using TeX, but they're good typefaces. Charter: an old font that's actually really high quality. ![]() Adobe's Source Code, Source Sans, and Source Serif Pro fonts: now that Source Serif has its italics (and Google Fonts looks like they've finally bothered to update), these are pretty terrific. (Red Hat's Liberation fonts are basically the same.) Arimo, Tinos, and Cousine: The "Croscore" fonts designed by Monotype's Steve Matteson as metrically-compatible replacements for Helvetica, Times New Roman, and Courier, respectively. Obviously that falls into it "it depends on what you're looking for" territory, but some of my favorite (AFAIK) open source fonts: Eight display weights, from Thin to Black, plus a further three weights drawn specifically for text make this much more than a revival - its a versatile, well-drawn grot with all the. These typefaces are available to the MIT community at no cost. We suggest using our brand typefaces to further reinforce the connection to MIT and help create a unified look and feel. Our typography emphasizes clarity and legibility, and reinforces the brand’s key elements. History is also marked by how text is represented and reproduced. Schwartzs revival of the original Helvetica, his new Neue Haas Grotesk, comes complete with a number of Max Miedingers alternates, including a flat-legged R. Typography is an important and high-visibility part of the MIT brand. I’m absolutely no expert in font matters but for me the interest started by reading the history of design and its actors: the Trajan's Column, Gutenberg, Bodoni, the industrial revolution, mechanical typesetting, OCR, PostScript, etc. ![]() Of course for the reader the contents of the text can be accessed without knowing any of these details, but there are more layers of information (and beauty) available. The questions is: what characteristics can be expressed with the choice of a particular typeface? There aren’t only the functional aspects to consider when choosing a typeface: the cultural and formal aspects are also pertinent for the (hopefully erudite and passionate) designer.ĭoes the font originate from the beginning of the previous century? Is it an Italian or an American design? Is it a new edition or a redesign of a classic version? Is the historical context of the font relevant to the meaning of the text? Sometimes it may be just a formal choice: a particular glyph has an interesting, funny or pointy shape and this could help setting the mood of the text.
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