I like a good em dash, me.
Better Typography with Font Variants - Jonathan Harrell | CSS Blogger & Teacher, UI/UX Designer, Front-End Developer
A quick guide to all the
font-variant-... stuff in CSS.
A fascinating bit of cartographic reverse engineering, looking at how Google has an incredible level of satellite-delivered building detail that then goes into solving the design problem of marking “commercial corridors” (or Areas Of Interest) on their maps.
A rather handsome looking free serif typeface based on Gargantua. Spectral is available under an Open Font License.
These experiments with transitioning variable font styles on hover might be silly, but I can see the potential for some beautiful interaction design.
Data visualisations created for The Times, complete with code.
Rob walks us through the typographic choices for his recent redesign:
Most of what I design that incorporates type has a typographic scale as its foundation, which informs the typeface choices and layout proportions. The process of creating that scale begins by asking what the type needs to do, and what role contrasting sizes will play in that.
An extract from Richard’s excellent book, this is a deep dive into styling tables for the web (featuring some CSS I had never even heard of).
Tables can be beautiful but they are not works of art. Instead of painting and decorating them, design tables for your reader.
(It also contains a splendid use of the term “crawl bar.”)
A really great case study of a code refactor by Mina, with particular emphasis on the benefits of CSS Grid, fluid typography, and accessibility.
A nice free and open source font designed for digital interfaces:
Inter UI is a font for highly legible text on computer screens.
The book draws together the many and varied uses of Futura that make it a universal language while simultaneously confirming its unique typographic voice. The book is a playful yet passionate rebuttal to the perceived dominance of Helvetica as the typeface of modern design.
A lovely interactive photo essay charting the results of what happens when evolution produces a life form that allows a planet to take selfies.
18F: Digital service delivery | Building a large-scale design system: How we created a design system for the U.S. government
Maya Benari provides an in-depth walkthrough of 18F’s mission to create a consistent design system for many, many different government sites.
When building out a large-scale design system, it can be hard to know where to start. By focusing on the basics, from core styles to coding conventions to design principles, you can create a strong foundation that spreads to different parts of your team.
There’s an interface inventory, then mood boards, then the work starts on typography and colour, then white space, and finally the grid system.
The lessons learned make for good design principles:
- Talk to the people
- Look for duplication of efforts
- Know your values
- Empower your team
- Start small and iterate
- Don’t work in a vacuum
- Reuse and specialize
- Promote your system
- Be flexible
Here’s the flow that eBay use for the font-loading. They’ve decided that on the very first page view, seeing a system font is an acceptable trade-off. I think that makes sense for their situation.
Interestingly, they set a flag for subsequent visits using
localStorage rather than a cookie. I wonder why that is? For me, the ability to read cookies on the server as well as the client make them quite handy for situations like this.
This book—released today—looks right up my alley.
After World War I, Smith used her talents to catch gangsters and smugglers during Prohibition, then accepted a covert mission to discover and expose Nazi spy rings that were spreading like wildfire across South America, advancing ever closer to the United States. As World War II raged, Elizebeth fought a highly classified battle of wits against Hitler’s Reich, cracking multiple versions of the Enigma machine used by German spies.
This forthcoming sci-fi quarterly publication looks intriguing:
Each issue contains a part of a previously untranslated novel as well as essays looking at the world through the lens of different writers.
I’m loving their typeface. It’s called Marvin. It was specially made for the magazine, and available to download and use for personal use for free.
Marvin gets its distinctive voice not only from its Art Nouveau vibe but also from its almost geometrically perfect construction. Its roundness and familiarity with Bauhaus typefaces shows its roots in geometric sans serifs at the same time.