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Every now and again we take a look around, select “fresh” high-quality free fonts and present them to you in a brief overview. The choice is enormous, so the time you need to find them is usually the time you should be investing in your current projects. We search for them and we find them, so you don’t have to.

In this selection we’re glad to present you Madawaska ExtraLight, Apparatus SIL, League Gothic, Contra and many other high-quality free fonts. Please read the license agreements carefully before using the fonts — the license can change from time to time.

New Free Fonts For Your Designs

Madawaska ExtraLight
Madawaska is a rugged slab-serif font in 7 weights with fractions, old style numerals & lining numerals. When you’re using Madawaska Jeans or Madawaska River styles in an OpenType savvy application, common letter pairs will be automatically replaced by custom pairs for a more realistic, gritty effect. Madawaska ExtraLight is available for free download and use.

Apparatus SIL
The Apparatus SIL fonts were designed to provide most of the symbols needed to reproduce the textual apparatus found in major editions of Greek and Hebrew biblical texts. The fonts include the basic ASCII character set plus some international characters, Superscript characters, Certain Greek, Hebrew, Gothic (Fraktur) and other letters used for manuscripts and special punctuation. The font family consts of 4 weights: Regular, Italic, Bold and Bold Italic. It was designed for optimum clarity and compactness when printed at small point sizes.

League Gothic
League Gothic is a revival of an old classic Alternate Gothic No.1. It was originally designed by Morris Fuller Benton for the American Type Founders Company (ATF) in 1903. The company went bankrupt in 1993. And since the original typeface was created before 1923, the typeface is in the public domain. This font is a display sans-serif, available for free download and use in personal and commercial projects. Designed by The League Of Moveable Type.

Contra
This legible font family comes in 2 weights: Regular and Italic. It works best for headlines and in large sizes.

Sorts Mill Goudy
A ‘revival’ of Goudy Oldstyle and Italic, with features among which are small capitals (in the roman only), oldstyle and lining figures, superscripts and subscripts, fractions, ligatures, class-based kerning, case-sensitive forms, capital spacing. There is support for many languages that use latin script. Currently there is no bold, but artificial emboldening by a web browser isn’t especially offensive with these fonts. Serif text/display-font, designed by Barry Schwartz.

Calluna Regular (registration is required)
Calluna is a typeface with flow. Calluna supports a very wide range in languages and is a very complete OpenType typeface. Each font has overall 723 glyphs. To download the free regular weight, you’ll have to register at MyFonts.com. Designed by Jos Buivenga.

Goudy Bookletter 1911
A classic vintage serif font, based on Frederic Goudy’s Kennerley Oldstyle. Designed by Barry Schwartz.

Aeroportal Font
The round, easily legible forms of the typeface Aeroportal were inspired by European modernistic and British humanistic traditions, as well as contemporary Scandinavian design. Aeroportal expresses friendliness, simplicity and credibility, and evokes images of waves, motion and travel. Aeroportal is primarily intended for headline and logo use, but its clear and no-nonsense form makes it suitable as a body text typeface as well. The typeface is developed in regular, medium and bold. Notice: the license is restricted for Charter BT Pro (a supplementary typeface), not for Aeroportal. (via imjustcreative)

Public Gothic Family
Public Gothic Family is a little industrial, little vintage, little condensed, little bold. Public Gothic is a new font family, free to use in all your designs, commercial or non commercial. PB family members are PB Square, PB Vintage, PB Circular, PB Federal. It’s compatible with any OS (Mac T1, Win OTF, Win TTF).

ArtBrush
A brushed script font for informal occasions. The @font-face-kit is included.

FFF Tusj
A distinctive, original script font that is supposed to be a handwritten version of Georgia. The font works best in very large size.

ITC Chino Bold Italic
International Type Corporation released a new text family ITC Chino that consists of 10 fonts. One weight, Chino Black Italic was released for free.

Burnstown Dam
An original playful typeface that can be useful for family-related websites. Available in the OpenType format.

Deibi
An original, playful free font, created by Wete, a Spanish type designer.

Tex Gyre Schola
A clean, strong, academic sans-serif font that can be used for formal documents and scientific works.

Juvelo
A font family from The Crud Factory, inspired by Diethelm-Antiqua, and named ‘jewel’ in Esperanto. An italic is being developed.

Programming fonts: ProFont for Windows, Mac and Linux and Anonymous Pro (thanks, Chris Apalodimas).

Sovereign™ Regular
Sovereign is a highly original serif family from G-Type’s Nick Cooke. Available for Mac and Win.

Experimental Free Fonts

Groteska
A blocky experimental font by Alberto Rodríguez.

VAL

Digitica
Another geometric font by the French type designer Samuel Delabarre.

Layer Cake and Soraya
Layer Cake (the first screensot below) is an isometric multiple layered type with capital letters A-Z, available only in Illustrator AI format. Soraya (the second screenshot) is half serif, half sans serif with capital letters A-Z, also available only in Illustrator AI format. Designed by Jakob Nylund.

Badabum
Where does typography become art? Well, for instance in this font. The letters are difficult to read, but geometric forms are abstrac and captivaning. A creative font by Jonathan Calugi.

Free Font Amadeus
A playful, @font-face compatible free font by the foundry Bright Ideas.

20 Dingbat Fonts That Are Actually Useful

Reminder: Download fonts from our previous posts

Chunk Open Source Typeface [ Download the .zip-package ]
Chunk is an ultra-bold slab serif typeface that is reminiscent of old American Western woodcuts, broadsides, and newspaper headlines. Used mainly for display, the fat block lettering is unreserved yet refined for contemporary use. OpenType. Designed by Meredith Mandel. (via Graham Smith).

Titilium [ Download the .zip-package ]
A very legible, beautiful academic typeface that perfectly fits to every corporate identity design, magazines and headlines of corporate web-sites. The typeface is available in various weights: text version, title version, extra-black version and full-version.

Rough Draft Regular
A legendary TrueType typeface by Harold Lohner. Contains 189 characters in 9 ranges. For $5 you can buy the complete set which includes separate Outline, Clean Fill, and Solid Fill fonts.

Nilland
A beautiful slab-serif typeface, designed by Manfred Klein. The family consists of 6 weights, regular, bold, extra bold, black, small caps and small caps bold (link and images via DerSven.de).

Aller Sans [ Specimen | License | Download ]
Dalton Maag design team designed a beautiful sans-serif Aller Sans, sponsored by Danish publishing company Aller (hence the name). The typeface was designed as part of the Danish School of Media and Journalisms new CI and is now available for free use and download (via).

M+ Outline
These fonts are free software. Unlimited permission is granted to use, copy, and distribute it, with or without modification, either commercially and noncommercially. Designed by Morishita Coji. The fonts are regulary updated, work in progress. Caution: Japanese language.

Andale Mono
Andale Mono is a highly legible monospaced font which was originally distributed as part of the Internet Explorer 4.0 add-ons page as Monotype.com. It distinguishes well between the zero, and the O. You can find 4 further monospaced fonts in Hamish Macpherson’s article The Typography of Code.

Credits: Hamish Macpherson

Junction [ Download the .zip-package ]
Designed by Caroline Hadilaksono, Junction is a humanist sans-serif typeface. It has elegant, clearn and very sharp glyphs, but contains only 100 most common symbols. Like Gentium it perfectly fits to body copy, but can also show its strengths, balance and beauty in headlines. Here are some insights from the designer:

Vegur
This humanist sans-serif family is available in OpenType-format in three weights: ExtraLight, Regular and Bold. The typeface can be perfectly used both in body copy and in headlines.

© Smashing Editorial for Smashing Magazine, 2009. | Permalink | 6 comments | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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I have been invited to join the bloggers at Elegant Code and as you can see I happily accepted! It is nice to be in the presence of other Elegant Coders (al do I can’t say for sure because I haven’t seen everyone’s profile picture yet) instead of being on my own. I hope that I can reach more developers interested in writing Elegant Code, trying to make a small positive change.

I will also bring some (or maybe all) of my previous posts under here as I like to keep things nicely together. I’ll leave the old blog up for a while so the existing comments don’t disappear.

Finally I am looking forward to your critical input so I can continue to improve myself

You can contact me: Mark.Nijhof@Gmail.com or via Twitter @MarkNijhof

The iPhone will always be part of a much bigger picture. How well you address human and environmental factors will greatly determine the success of your product. All too often, iPhone developers create products in isolation from their customers. In order to create really appealing applications, developers must stop focusing only on the mechanisms of the apps. Zoom out: understand the person using the application, as well as the complex environmental factors surrounding that person.

To better understand the context of these design challenges, we’ll highlight several levels of human and environmental factors.

Also consider our related articles:

• iPhone design mistakes: Over-Design
• iPhone App Design Trends
• How to Create Your First iPhone Application

Level 1: You Are Here. To Create An App That Customers Love, Zoom Out

Level 1: The app itself.
This is how many developers view their apps. As a developer, you have a vision of what your product should look like and why customers will turn their attention to it. However, if you observe your product so closely, you may put it in the wrong context and design it for the wrong purposes and for the wrong users. This is why you need to zoom out.

Level 2: A person is using this app.
That person has specific goals and challenges. In the section below we’ll start by exploring some of the most prominent — and most ignored — human factors pertaining to the iPhone. We’ll discuss basic physical ergonomics, visual limitations and common design mistakes.

Level 3: That person is using this app in a specific environment.
Step back and you’ll see that the app is a part of a complex social environment. It plays but a relatively small role in communication between people and helping people accomplish bigger goals. This is where the social components comes into play: networking, community, social-driven websites and applications and many other things create the environment — or the context — in which the application will be used.

Level 4: The environment is part of a greater culture.
Your ability to address the unique needs of different cultures will affect the success of your product. Ignoring them is too expensive, especially if your app sells worldwide. Here it is important to understand that the environment is a part of global networking. You need to be aware of cultural differences, traditions and metaphors in order to create an application that will not only gain popularity in certain local circles, but will also have a global success.

Level 2: Understand The Person’s Needs And Limitations

“Measure twice and cut once”: an effective strategy indeed. For you, the iPhone app developer, this means that you have to step back and answer these questions before you start coding:

• Who will be using your application?
• What are the capabilities of that person?
• What are the limitations of that person?

Answering these questions will broaden your perspective and prepare you to address your customer’s needs. A whole Human Factors profession is dedicated to just that.

Basic Physical Ergonomics

Here are a couple of the most important physical-, cognitive- and ergonomic-related truths about the iPhone.

1. Our fingers are not mouse pointers.
Remember this property of our fingertips: their surface area is not equal to one pixel. In many applications, tappable objects are way too small, making the interface frustrating to use. Here’s one example: in iFitness, different muscle groups are indicated with red pins. Tapping a pin brings up the name of that muscle. And if you tap the name, you get a list of exercises that develop that muscle.

The pins are twice as small as those used in the Google Maps app. Tapping the pin you want is very hard, because the surface of your fingertip covers an area of three or more pins. You end up tapping repeatedly on the area, enabling random pins, wishing you could sharpen your finger. After more than a few tries, you get lucky and hit the right one.

Which of these pins will be activated when you tap on it?

Here are some ways to solve these ergonomic challenges:

1. Make buttons and other tappable objects bigger.
2. If making a button bigger is impossible, then enlarge the clickable area to be bigger then the button itself.
3. Reduce the number of options on each screen, and make the selection process sequential (e.g. Arm Muscles → Biceps).
4. Implement multi-touch gestures within the interface. For example, selecting a muscle group in iFitness would be made easier by introducing a two-finger zoom feature.

2. We’re not superheroes, unfortunately.
App designers need to take vision limitations into account. Mobile phones tend to be used in places with worse lighting conditions than computers. Think about those people who will be using your app on a bumpy bus or train or walking down a sunny street. Even if the technology is useful and perfectly executed, people will be reluctant to use the app if they find it hard to see what’s going on. Here are a few examples of potentially useful apps that do not account for vision limitations.

TweetDeck

Fish-tycoon

Here are some ways to avoid these mistakes:

1. Choose only the elements that are absolutely necessary. Make them bigger, and get rid of everything else. If needed, create additional screens with fewer options.
2. Remember that pixel dimensions on the iPhone are smaller than those on your computer screen. So, screenshots viewed on your computer’s iPhone emulator look larger than they would on the iPhone itself, even though the resolution is the same.

The author holds an iPhone (163 ppi) in front of Apple Cinema’s 30-inch display (~100 ppi). Your iPhone screen layout may look fine on a computer emulator, but don’t be fooled: it will appear much smaller on the iPhone because of its smaller pixel dimensions.

Level 3: Understand The Challenges Specific To The User’s Environment

Goals and Environment

Your app will usually play a relatively small role in helping the user achieve a bigger goal. The better you understand what goals people have and what they need to achieve them, the better you can design your app to satisfy those needs. Mobile phones are often used in loud, distracting environments. A simple stroll through town brings plenty of noisy distractions (cars, dogs, mail carriers, etc.). Consider the following examples. Which voice memo app would do a better job?

Apple Voice Memos	vs.	iTalk

Although Apple Voice Memos looks nice, iTalk addresses the average user’s goals and environment much better. Think about it: why would someone prefer to record a voice memo over writing a note? The audio format has fewer advantages than simple text. You can’t scan, edit or enhance audio files as easily as you can text. In most scenarios, text is a much more convenient format in which to exchange information.

So, why and, more importantly, when would people use voice memos? When they are not able to type. The most common time is probably while driving.

According to the New York Times‘ summary of the Virginia Tech Transportation Institute’s findings, drivers who text have a 23-times greater risk of a collision than drivers who don’t text. Which application would be easier to use in this case? The one with the big shiny mic and the record button that is small and hard to reach (especially for right-handed people)? Or the one with the red record button half the size of the screen? Certainly the latter.

Confirming for the user that the recorder is activated is important, too. Which interface communicates the device’s status more clearly? Where do you tap when you’re done?

Apple Voice Memos	vs.	iTalk

Based on which design works better overall, iTalk wins. Apple Voice Memo looks great when you’re checking it out on a friend’s phone but performs poorly in a real-world context.

Mobile Phones, Networking and Community

The mobile phone is, without a doubt, a social tool. The greater the number of people involved, the more engaging the experience is. Think about it: if you were the only one with a phone, it wouldn’t be very useful. YouTube, Facebook and Twitter are driven by the understanding that we are social beings — we want to share! Imagine how dramatically designs that foster greater social interaction could change the mobile world.

With the seemingly endless ways to capture and share information, many people feel overwhelmed with information. To help them cope, designers must exploit the iPhone’s platform to make their applications as efficient as possible. Here are some inspiring examples:

Bump

“Bump makes swapping contact information and photos as simple as bumping two phones together. No typing, no searching a list for the right person, no mistakes.” (iTunes Store description)

Mover

“Ever wished you could send something to the iPhone right next to you? Do it with style with Mover.”

Loopt

“Loopt transforms your mobile phone into a social compass to discover and navigate the world around you. Use Loopt to see who’s around, what to do, and where to go.”

How Loopt works (video):

Level 4: The Environment Is Part Of A Greater Culture.

Your ability to address the unique needs of different cultures will affect the success of your product. Ignoring them is too expensive, especially if your app sells worldwide. Design should adapt to regional challenges. Jacob Nielsen, a leading usability expert, gives us an illustration of this:

“In Sweden, the Automatic Teller Machines have very large buttons. I hadn’t noticed this particular design element on previous visits, which have usually been in warmer months. In 1996 I was in Stockholm in February and immediately realized why the ATM buttons are so big: you can press them wearing thick gloves.”

Such insights are gained only by understanding the product in its real-world context. Here is the graphic designer’s point of view:

“… Understanding the object in context moves graphic design from a purely formal arena to a social and political one.”
—Steven Heller and Karen Pomeroy in “Design Literacy,” Allworth Press, New York, 1997.

More wisdom from Nielsen:

“A system must match the user’s cultural characteristics. This goes beyond simply avoiding offensive icons; it must accommodate the way business is conducted and the way people communicate in various countries.”

Apple studied American users and addressed their goals. That’s why the iPhone is so popular in US. But it hasn’t succeeded in Japan. The handset is selling so poorly there that they are giving them away for free.

Conclusion: Excellence Comes From Hard Work

Designing a great app isn’t a simple task. Jacob Nielsen recently asserted that “the mobile user experience is still miserable.” Extracting user insights from testing is a challenge. People have difficulty telling you what they want; they usually only know it when they see it. But developers don’t have to tackle user research alone. Interaction designers are trained to find relevant user groups, talk to customers and read between the lines. They understand how real-world context affects an application’s design.

It takes a lot of leg work, but your efforts to understand user needs will be rewarded. The forefront of mobile technology is an exciting place to be.

Related posts

Please consider our related articles:

• iPhone design mistakes: Over-Design
• iPhone App Design Trends
• How to Create Your First iPhone Application

Special thanks to Larissa Itomlenskis.

(al)

© Alexander Komarov for Smashing Magazine, 2009. | Permalink | 6 comments | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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What MSDN says: enum (C# Reference)

Why can’t this just work?