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Hoefler&Co.

Holy shit. Premiums as a % of income for a 60 year old making $20,000. Obamacare vs. Trumpcare. kff.org/interactive/ta…
Retweeted by Hoefler&Co.
Wowee — supernice work on the @CodePen Projects IDE, smartly dressed in Operator Mono as always. blog.codepen.io/2017/03/20/cod… 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. 🔎hflr.co/gnmzedL
It’s a Match! Thirty-nine striking examples of brand typography, now at discover.typography. hflr.co/gnmze
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 try.typography.com:
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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