Resource Centre

A carefully curated collection of articles, books, tools and galleries.

Topics for 2019 include visual trends, graphic design, strategy, creativity and inspiration; web design, development and seo; email marketing and copywriting; marketing, advertising and social media. If you have a resource you'd like us to consider adding to the list, email it to us or if you're interested in adding a resources module like this to your website, let us know.


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Confessions of a part-time type designer

By Terri Stone

Creative director Bruno Sellés is a co-founder of the renowned Barcelona design firm Vasava. In his twenty-plus years as a graphic designer and art director, he has been responsible for many projects, including covers for Variety, Computer Arts, and Nature magazines; packaging for Hennessy; and hundreds of graphics for Nike apparel. Less well known is that Sellés is also a typeface designer. He recently spoke to Create about that side of his career, including his advice for aspiring type designers.

Create: Do you have formal training in type design?

Bruno Sellés: I am self-taught in mostly everything. I learned from my dad, who was a design teacher, and I’ve worked with many talented people who specialize in type design. I get obsessed with things and I manage to get the knowledge I need to make it work. I’ve spent endless hours reading, drawing, observing, and looking online for technical info.

I did start very early. My first font was designed in the end of the 1990s. [Sellés was born in 1976.] I’m really embarrassed by it now. It was a learning; you have to walk the first steps of the ladder before going up. I gave it away for free as a download.

The most recent fonts I’ve released are more professional. They are more complex fonts with OpenType features and character sets that cover more languages. 

It took a long time to get there. I was designing fonts for the last six years without releasing anything. I would do it, give it a rest, take it up again and revise it. I don’t work full-time on typeface design. I have to find my spare moments to do it.

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50 Key Graphic Design Terms Explained Simply For Non-Designers


Getting thrown into the world of graphic design can sometimes feel like learning a new language.

Kerning, tracking, warm colors, cool colors, CMYK, RGB, OMG. There are a lot of technical terms thrown around and it can get confusing at the best of times. But, if you’re finding yourself confused, never fear – we’re here to help.

So, whether you’re a new designer yourself, are just a little curious, or are simply trying to decipher your designer’s emails, sit back and relax as we break down some common terms for you.

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5 Striking Trends in Web Typography

By: Patrick McNeil

Web typography is a hot topic that demonstrates how a very old dog can certainly learn some new tricks. While much of the buzz surrounds the technical developments of type online, there are ever changing stylistic trends as well. The technical aspects are indeed important, and at times drive the creative side of things. But as any technology matures, it goes from being a novelty that’s acceptable in almost any form to a more mature state in which its usage grows more sophisticated. Web typography has certainly gone through this change. The initial overuse of certain fonts has led designers to develop more creative type solutions. 

Here I will present and discuss a variety of trends at work in the realm web typography. These are visual trends, presented void of the technology used to make them happen. From the designer’s perspective, each choice is more about what each typeface communicates and less about how the website was built. The creative application of web type is nothing new, but as with any design fundamental, it’s being applied in unique and interesting ways today...

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20 Typography Mistakes Every Beginner Makes--And How You Can Avoid Them


Much more than just arranging pretty fonts on a nice background, typography is an essential part of most designs — one that can make or break a whole project.

Unfortunately, typography errors tend to make a bigger statement than good typography. Mistakes stick out like a sore thumb, while thoughtful typographic choices blend so nicely with the overall design that you might overlook them. So if you want to get your message across without distracting typographic errors, learn to recognize some of the most common mistakes below, and use this article as a final checklist before wrapping up your design.

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Most Popular Fonts of 2014

As usual, we hold off publishing our Most Popular Fonts of the Year list until the first full week of January. It’s based on the sales data of the entire year which, as few list makers seem to realize, did not end until December 31. To qualify, font families must have seen their first MyFonts release after December 1, 2013. That’s because fonts released in December seldom have a chance to make it big that same year. The list is based on sales revenue (not the number of copies sold); we kept the number of families from the same foundry to a maximum of two, and made sure popular genres are fairly represented. There you go: a type chart like no other, based on sales, just like the pop music hit parades of old (the fair ones). And thanks to everyone who bought a new font. You have helped us put this list together.

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A Look Inside the Design Team at Typekit

By Amanda Hackwith

We’re tracking down InVision users inside the world’s most amazing companies to discover their favorite tools, inspirations, workspace must-haves and the philosophy behind what makes them so awesome. Today, we’re talking to Elliot Jay Stocks & Jake Giltsoff, designers at Typekit.

Typekit, acquired in 2011 by Adobe, are dedicated to providing an ever-expanding library of fonts to designers for both web and, more recently, desktop use. Now a part of Adobe CC, the service is a firm favorite amongst web designers – some of the fonts on this very page are served via Typekit! We chatted to Elliot & Jake about finding a niche, getting a formal education in design, and the future of web typography.

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Creative Characters interview with Sumner Stone

This month’s interviewee has been one of the most influential people in digital type design. He was the first Type Director at Adobe Systems, where he supervised the development of the early Adobe Originals. He created ITC Stone, the “superfamily” that included the novel concept of an Informal version. He went on to set up his own Stone Type Foundry, which now has a dozen beautifully drawn text and display families on MyFonts. He is also a teacher at Cooper Union, where one of his students was the young designer that interviewed him for this newsletter — James Minior of MyFonts’ Helpdesk team. Meet the illustrious Sumner Stone.

Your work and teachings have influenced numerous designers. Would you indulge us in an exploration of how your craft and career have evolved?

I studied calligraphy with Lloyd Reynolds at Reed College in Portland, Oregon, and then went to work for Hallmark cards as a lettering artist. Reynolds was an inspirational teacher. He taught a systematic, well-organized historical approach to making letters. At the same time he presented a very broad view of the nature of letterforms and their meaning and function in a range of cultures both contemporary and historical.

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TypeTalk: Know Your Figures

by Ilene Strizver

Today’s OpenType fonts provide designers with a broad range of options never before available in one font. One extremely useful, but often overlooked feature of some OpenType fonts is the availability of more than one style of numeral, which can provide practical and sophisticated options for setting dates and years, quantities, prices, measurements, and a lot more.

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Type Classifications

By Allan Haley

Most typefaces can be classified into one of four basic groups: those with serifs, those without serifs, scripts and decorative styles. Over the years, typographers and scholars of typography have devised various systems to more definitively categorize typefaces – some of these systems have scores of sub-categories.


A classification system can be helpful in identifying, choosing and combining typefaces. While four categories are clearly inadequate for design professionals, dozens become self-defeating. We have put together a somewhat hybrid system of 15 styles, based on the historical and descriptive nomenclature first published in 1954 as the Vox system – and still widely accepted as a standard today.

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60 Brilliant Typefaces For Corporate Design


Typography is more than being legible and looking good. Among other things, effective typography manages to achieve two important objectives: a) to create an appropriate atmosphere and enable users to develop trust toward the site and b) to make sure visitors get the main message of the site and (if possible) become interested in the services offered on the site. Since written text is the most efficient instrument to communicate with visitors precisely and directly, the power of typography shouldn’t be underestimated.

To communicate effectively, typography requires appropriate typefaces. Last year we’ve presented 80 Beautiful Typefaces For Professional Design, a selection of excellent typefaces one should be aware of when developing web-sites. Now it’s time to update our selection with typefaces we’ve missed then and new typefaces which have been developed over the last year.

Below you’ll find over 60 first-class typefaces for corporate design. Please notice that they are not free; however, we’ve focused on typefaces which are definitely worth spending money on. So which typefaces are “bulletproof”? What fonts can be used effectively in almost every Corporate Design? And what are the options for unique, but still incredibly beautiful typefaces? Let’s find out.

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Typographical twins: 20 perfect font pairings

by Nick Carson

We reveal 20 font duos that are made for each other. Ideal for your design projects, some may surprise you!

It's a classic conundrum for any graphic designer: picking two (or more) typefaces that set each other off, don't fight the eye for attention, and harmonise without becoming homogenous and dull. The age-old rule goes as follows: concord or contrast, but don't conflict.

The easiest way to achieve 'concord' is by using different fonts within the same overarching typeface family. Find a so-called 'superfamily' and you'll have a ready-made range of weights, styles and classifications that are specifically designed to work together.

A good superfamily will include serif and a sans serif version of the same typeface: famous examples include Lucida/Lucida Sans and Meta/Meta Sans.

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TypeTalk: The Best of 2013

 by Ilene Strizver

In the world of fonts, January is a month of lists. Whether they’re called Best of, Favorites, or Best Sellers, they all enable designers to see what’s new, what’s hot, and what’s trending. 

Some lists are from major font resellers whose libraries consist of not only their own designs, but also the work of numerous other foundries as well as individual type designers.

Others are listings of the personal favorites of the author or blogger. But no matter what the source, they are all worth a looksee, as they provide an opportunity to take note of any typefaces that catch your eye, appeal to your typographic aesthetic, and seem potentially suitable for your next project or two.

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