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Holy shit. Premiums as a % of income for a 60 year old making $20,000. Obamacare vs. Trumpcare.…
Retweeted by Hoefler&Co.
Wowee — supernice work on the @CodePen Projects IDE, smartly dressed in Operator Mono as always.… Congratulations!
Thank you everyone for pointing out the error in my last tweet, proving that ghastly signage. One more for the road, & good luck:
The City of LA desperately needs to hire @pentagram to clarify this mess. This messy totem = "3hr parking 5am-5pm, no parking other times."
Thank you, @EdwardTufte! This goes without saying, but your work has been profoundly meaningful throughout my career. This means a lot.
I recently bought @HoeflerCo’s Operator Mono, and boy am I’m glad I did 😍E
Retweeted by Hoefler&Co.
All fourteen lines in David Shulman’s sonnet ‘Washington Crossing The Delaware’ (1936) are anagrams of the title.
Retweeted by Hoefler&Co.
jeez. the way that @cloudTypography handles Stylistic Sets is so dang nice. simple checkboxes to turn things on and off:
Retweeted by Hoefler&Co.
Hot vs cold type on the first day of using photocomposition at the @newyorktimes. Can you see the difference in the…
Retweeted by Hoefler&Co.
Most of my universe is encapsulated in this exchange. @darth @wilw
#minutia: Thanks to Maurizio, Brian & Brandon at H&Co for realizing that people want to look at un-sliced type. 🔎
It’s a Match! Thirty-nine striking examples of brand typography, now at discover.typography.
Oh! @mantia, I forgot one more suggestion. This is on the lowercase 'a', but applies everywhere. Often useful in faces with rounded corners.
I think so, @mantia. We do this a _LOT_. Here are some quickie examples from
14 — And finally a note on the 'z'. Don't feel hidebound by your design motifs: use them only when you think they're helping.
13 — "The letter X was made to vex" wrote Edward Gorey. Dude had the straight dope. Also a thought on radii in the 'y'; see also 'e'.
12 — Unrelated thoughts about the 'v' and 'w', and a question of how they relate, too.
11 — Some thoughts about the patterns of thins & thicks on the 's'. See also the 'c' for an idea about the lengths of those sheared strokes.
10 — Widths are one of the first things I look at in a new typeface. See how your 'r', and 'f', 't', and 'vwxyz,' feel between ns and os.
9 — Equalizing these notches in the 'm' is always tough, especially in modular typefaces, bold ones most of all. Good luck!
8 — Two quick thoughts on the 'j' and 'k'. I'm intrigued by this one, but a descender will help w/ spacing. (Or, do 'pqgy' to match.)
7 — Never admit it to a client, but… try lifting the bowl of the 'g' off the baseline. Helps w/ short descenders + bolder weights.
6 — The 'f' is really interesting to me. What motivates the angles: a design motif, or a desire for compactness? Compare 'f' and 's'…
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