THE DISTINCTIONS

• • •

THE SIZE

• • •

RESPONSIVE

• • •

THE KERNING

• • •

THE KERNING

TRACKING

THE KERNING

VISUAL SPACE

THE KERNING

TIPS

THE PAIR

• • •

THE PAIR

TYPEKIT PAIRS

THE PAIR

BEST PRACTICES

THE PAIR

DO & DON'T

THE PAIR

RECOMMENDED

THE PAIR

EXAMPLES

THE SCRIPT

• • •

THE SCRIPT

TYPEKIT

THE SCRIPT

DO & DON'T

THE SCRIPT

EXAMPLES

THE SANS

• • •

THE SANS

TYPEKIT

THE SANS

DO & DON'T

THE SANS

EXAMPLES

THE SERIF

• • •

THE SERIF

TYPEKIT

THE SERIF

DO & DON'T

THE SERIF

EXAMPLES

THE SLAB

• • •

THE SLAB

TYPEKIT

THE SLAB

DO & DON'T

THE SLAB

EXAMPLES

THE BEST PRACTICES & SOME FAVS

• • •

THE RULES

BEST PRACTICES

THE RULES

DO & DON'T

THE TYPEKIT

FAVORITES

A

A

A

TYPE IS BEAUTIFUL WHEN
IT HAS FINESSE. IT'S NOT
 A TYPEFACE, IT'S WHAT
YOU DO WITH A TYPEFACE

16

02

11

#

MAX

MOMENT
WITH
TYPE

 

 

FF00FF • BLACK

THE INTRO

 

M

M

IN THE BEGINNING

 

 

Web designers were limited to a select number of

fonts to choose from. Fonts like: Helvetica, Myriad,
Arial, Georgia and Verdana. These fonts were
available for everyone, basic and functional.

IN THE WORLD OF TODAY

 

 

Designers have access to a huge and increasing
font base for all types of different digital platforms. These fonts have all the benefits of the web based
fonts allowing for much more web capability.

TYPE GUY, MUSE LOVER, AND

PRODUCT DESIGNER AT

                        IN SAN FRANCISCO.

 

FOUNDER OF:

 

PIVOTAL LABS

letterlapse.com

2