A fun way to play around with the options in variable fonts.
This is very neat! Test out how Google Fonts will look on your website: type in your URL and away you go. Works well on mobile too.
I have to admit, I didn’t realise that text reszing behaved differently for user preferences compared to page zoom. For that reason alone, I’m going to avoid setting font sizes in pixels.
If 2 to 3% (or more!) of your users are relying on a custom font size, you should know that so you can either support that user preference or make a conscious decision to not support it. Doing anything less is frankly irresponsible, especially considering that users with larger font sizes may be using those sizes to compensate for visual disabilities.
Tom Standage—author of the brilliant book The Victorian Internet—relates a tale of how the Chappe optical telegraph was hacked in 19th century France, thereby making it one of the earliest recorded instances of a cyber attack.
A nice intro to variable fonts.
Beneath the URL shorteners, the web!
It’s increasingly apparent that a more digitally literate citizenry would be good for a thousand different reasons. A great way to start would be to make URLs visible again, to let people see the infrastructure they’re living in.
Marcin built this lovely little in-browser tool to demonstrate how segmented type displays work at different sizes.
Rich enumerates some changes in how you set up variable fonts. So if you’re pulling in a font that has weight as an axis, you can now add this to your
font-weight: 1 999;
I’m already very excited about variable fonts—I’m going to be positively giddy by the time Ampersand rolls around (which, by the way, you should totally go to—it’s going to be sooo good!).
Here’s an interesting twist on variable fonts: one of variable axes is serificity …serificousness …serifness. The serifs. The serifs, is what I’m trying to say.
One small point: it seems a bit of a shame that there are separate files for regular and italic—it would’ve been nice to have a variable axis for italicity …italicousness …ah, screw it.
A profile of Susan Kare, icon designer extraordinaire.
I loved the puzzle-like nature of working in sixteen-by-sixteen and thirty-two-by-thirty-two pixel icon grids, and the marriage of craft and metaphor.
This is absolutely brilliant!
Forgive my excitement, but this transcript of Charlie’s talk is so, so good—an equal mix of history and practical advice. Once you’ve read it, share it. I want everyone to have the pleasure of reading this inspiring piece!
It is this flirty declarative nature makes HTML so incredibly robust. Just look at this video. It shows me pulling chunks out of the Amazon homepage as I browse it, while the page continues to run.
Let’s just stop and think about that, because we take it for granted. I’m pulling chunks of code out of a running computer application, AND IT IS STILL WORKING.
Just how… INCREDIBLE is that? Can you imagine pulling random chunks of code out of the memory of your iPhone or Windows laptop, and still expecting it to work? Of course not! But with HTML, it’s a given.
Conceding that a typeface is a tool sounds dangerously close to an excuse: toolmakers cannot be held responsible for things made with their tools, or the tasks leading up to those things. They are only responsible for the making of the tool itself. If a person decides to use a hammer to drive home a screw, then so be it. The hammer was only designed for nails. It’s not our fault the typography doesn’t look good. The typeface is just a tool — you’re using it wrong.
I’m soooo excited that Mandy is speaking at Ampersand here in Brighton in June!
Be there or be square.