Tag: typography
Archival Liturgical Modernism
The visual and interaction system of Cameron.stream: a dense public archive with ritual geometry, institutional typography, and quiet technical provenance.
CSS Tips Part 2 - text-wrap: pretty will make your text feel intentional
Go beyond balance. Learn how text-wrap: pretty improves readability, reduces awkward breaks, and makes your UI feel more polished.
CSS Tips Part 2 - text-wrap: pretty will make your text feel intentional
Go beyond balance. Learn how text-wrap: pretty improves readability, reduces awkward breaks, and makes your UI feel more polished.
CSS Tips Part 2 - text-wrap: pretty will make your text feel intentional
Go beyond balance. Learn how text-wrap: pretty improves readability, reduces awkward breaks, and makes your UI feel more polished.
Hello, and other thoughts.
On presentation, design choices, projects, and, ultimately, greetings.
Pretext review
Another distraction from improving user experience
Cyrillic in fonts
Chip Away
Chip, badge, pill, tag, lozenge, how about none?
Fit Text Responsibly
Be careful of the shiny new things.
Typography in the wild
how we feel emotions with words
Font Discoveries
Bookmarking fonts for myself and hopefully giving you some inspo.
Fluid Headings
Uniformly reducing headings for smaller screens.
Technical Polish — Inter, KaTeX, and Prose Styling
Swapping to Inter for better readability, adding KaTeX support, and refining prose styling.
Antidatalossconfigurationism
Wrangling text and the CSS behind it all.
Font size dimensions
Pixels or font size for dimensions, and when.
Tiny Type On Yellow Pages
Why AT&T had to redesign its primary phone-book font in the late 1970s to keep with the times, and the clever typographical trick it used.
Relearning line height
Changing what I thought I knew about typesetting.
Two Typographic Tricks
Modern CSS unlocks some wishful visual treatments.
Hooked On Clarendon
I saw a font recently, and it inspired me to kick off work on a full redesign. The funny part: It’s the most common font, ever.
From Segments To Pixels
Handheld calculators saw a massive amount of innovation in the 1970s—thanks in no small part to LCD screens and a primitive form of typography.
The Chaotic Neutral Nature of Font-size
The first step to properly aligning web typography is understanding font-size
Title goes here
A quick exploration of naming typography components
Tales Of Type
A discussion of the ways that large tech companies helped to define the evolution of computer typography. One battle made the CEO of Adobe really mad.
62.5%
Humans don't like math so we use math to make the math easier, but at what cost?
Open House
The open house at David Jonathan Ross's House.
Doing Things The Wrong Way
Pondering the way that the creative process is often directed by rules which, in many cases, stifle creativity. Sometimes, you just have to throw the rules out.
The beginning of silent reading changed Westerners’ interior life
For centuries, Europeans who could read did so aloud. The ancient Greeks read their texts aloud. So did the monks of Europe’s dark ages. But by the 17th century, reading society in Europe had changed drastically. Text technologies, like moveable type, and the rise of vernacular writing helped usher in the practice we cherish today: taking in words without saying them aloud, letting them build a world in our heads.
A Nod To Readability
As it turns out, not everyone is a fan of slab-serif body copy. We're making some quick typography changes in an effort to not scare folks off.
Seek And Spell
Teaching computers to read was one of the 20th century's great challenges. At first, the secret to optical character recognition was purpose-built type.
a lowercase controversy
how Quinnipiac university, a school known for its polling, got embroiled in a debate over a single letter’s case.
The Futures of Typography
Typesetting on the web has evolved from a quirky afterthought into an invaluable practice. Within a span of twenty years complex interfaces that adapt to their environment, as well as an overwhelming number of typefaces, have bloomed all around us. Likewise, using animations and transitions or balancing display text in conjunction with powerful OpenType features became not only possible but expected. So where do we go from here? What are the skills we need to contribute to the future of typography? And what do two ghostly figures from the 15th century have to do with that future?
The story of Nebiolo
The Italian type foundry Nebiolo of Turin was the biggest type and printing equipment manufacturer in Italy. It started in 1852 and thrived in the first half of the 20th century, but never made the transition to phototype. The foundry closed in 1978.
Why do we need new typefaces?
This is a perennial question from non-designers and folks who don’t use typefaces. They do, of course, need them on a daily basis. Modern life would grind to a halt if every typeface suddenly vanished overnight. Typefaces are so ingrained into our existence that it seems like they’ve always been there. It’s a “problem” that’s been “solved”. Most people don’t see the typeface, not consciously anyway, they read the words. To notice the forms of the letters is a learned, higher-level process and largely unnecessary for daily life. If meaning and information have been sucessfully extracted from the words, conscious recognition of the typeface is unnecessary: any old typeface will do. However, if this were strictly true, the purpose of typography would be to merely convey information, to crystallise spoken words into symbols. It would thus render people as simple automatons blithely absorbing data. Efficient, but utterly joyless. Our relationship to typography is like our relationship to food—we eat for pleasure, not simply for nutrition.
Archivio Grafica Italiana
Archivio Grafica Italiana is the first digital archive dedicated to the Italian graphic design heritage. A growing overview to spread and promote the culture of quality that distinguishes the Italian design tradition. From the greatest classics to the best contemporary projects, commissioned by Italian clients or made by Italian designers, to explore and discover the fundamental aesthetic and cultural contribution brought by the Italian graphic design all over the world.
Drowning the Crystal Goblet
Typography is the visual component of the written word. But the converse is also true: without typography, a text has no visual characteristics. A goblet can be invisible because the wine is not. But text is already invisible, so typography cannot be. Rather than wine in a goblet, a more apt parallel might be helium in a balloon: the balloon gives shape and visibility to something that otherwise cannot be seen.
Tufte CSS
The web is not print. Webpages are not books. Therefore, the goal of Tufte CSS is not to say “websites should look like this interpretation of Tufte’s books” but rather “here are some techniques Tufte developed that we’ve found useful in print; maybe you can find a way to make them useful on the web”.
Eurostile, the modern typeface
While watching Mr. Robot, Sam Esmail’s terrific new TV series, I couldn’t help but noticing a small detail from main character Elliot Alderson’s personal computer.
Controlling the Rag with Redcarpet
Improving web typography by preventing orphans and controlling line breaks with custom Redcarpet renderer
Design by numbers - typography
A clear, concise primer on typography by Dan Eden.
What is Good Design?
Exploring good design principles through the lens of the UK Government Digital Service website