Tags: graph

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History of Icons – a visual brief on icon history by FUTURAMO

An illustrated history of digital iconography.

Tentacular: Douglas Coupland on Helvetica, clip art and the gangly beast that is the internet

Douglas Coupland on web typography.

When I discuss the internet’s feel and its random rodeo of fonts, I think of the freedom, naivety, laziness, greed, cluelessness and skill I see there — it’s a cyberplace as wondrous as the bubbling cradle of pea-soup goo from which life emerged. The internet has a rawness, a Darwinian evolutionary texture. It’s a place where metrics totally unrelated to print typography dictate the look and feel.

Free Icon Design Guide - Icon Utopia

Here you go: a free book on icon design in three parts, delivered via email.

Unfathomable

A marvellous piece of writing and design. The family drama of two brothers who revolutionised the world of diving and salvage, told through beautifully typeset hypertext…

…which for some reason is rendered entirely using client-side JavaScript. Unfathomable indeed.

Web fonts, boy, I don’t know – Monica Dinculescu

Monica takes a look at the options out there for loading web fonts and settles on a smart asynchronous lazy-loading approach.

NASA – Past and Present Dreams of the Future | Benedict Redgrove

A selection from an ongoing photography project—seven years and counting—leading up to the launch of the Orion project.

How the Web Became Unreadable

Kevin writes a plea on Ev’s blog for better contrast in web typography:

When you build a site and ignore what happens afterwards — when the values entered in code are translated into brightness and contrast depending on the settings of a physical screen — you’re avoiding the experience that you create. And when you design in perfect settings, with big, contrast-rich monitors, you blind yourself to users. To arbitrarily throw away contrast based on a fashion that “looks good on my perfect screen in my perfectly lit office” is abdicating designers’ responsibilities to the very people for whom they are designing.

Can These Pornographers End ‘MILFs,’ ‘Teens,’ and ‘Thugs’? | The Nation

A fascinating look at an attempt to redefine the taxonomy of online porn.

Porn is part of the ecosystem that tells us what sex and sexuality are. Porn terms are, to use Foucault’s language, part of a network of technologies creating truths about our sexuality.

Reminds of the heady days of 2005, when it was all about tagging and folksonomies.

The project, at its most ambitious, seeks to create a new feedback loop of porn watched and made, unmoored from the vagaries of old, bad, lazy categories.

The scorpion express | Butterick’s Practical Typography

This is easily the most wrong-headed piece of writing I’ve read in a long time.

“But cus­tomers ben­e­fit from smaller file sizes too, be­cause that makes web pages faster.” Cer­tainly, that was true in 1996. And some web de­vel­op­ers per­sist with po­lit­i­cal ob­jec­tions. But with to­day’s faster con­nec­tions—even on mo­bile—op­ti­miz­ing for file size is less use­ful than ever.

I’ll leave it to you to see the logical flaws in every one of the arguments presented here by Matthew Buterick. Meanwhile I’m going to get off his lawn.

The Typekit Blog | Variable fonts, a new kind of font for flexible design

This is what Nick Sherman has been banging on about for years, and now the time has come for variable fonts …as long as typographers, browser makers, and standards bodies get behind it.

More details on Ev’s blog.

CanvasSwirl: An animated spirograph experiment in JavaScript and canvas by xhva.net

But, like, have you have ever really looked at your hand?

Webfonts on the Prairie · An A List Apart Article

A good ol’ polemic in favour of using web fonts. It’s a good read although I strongly disagree with this line of reasoning:

The average internet speed in the United States today is three times as fast as it was in 2011.

But that americentric view is redeemed later on:

The World Wide Web may be a creation of the West, but now, at long last, it needs to get ready for the rest.

I may not agree with all the points in this article, but I think we can all agree that if we’re going to use web fonts, we must use them responsibly …otherwise users are going to treat them as damage and route around them.

`font-display` for the Masses | CSS-Tricks

The font-display property is landing in browsers, and this is a great introduction to using it:

If you don’t know which option to use, then go with swap. Not only does it provide an optimal balance between custom fonts and accessibility of content, it provides the same font loading behavior that we’ve relied on JavaScript for. If you have fonts on the page that you’d like to have load, but could ultimately do without, consider going with fallback or optional when using font-display.

Until it’s more widely supported, you can continue to use a JavaScript solution, but even then you can feature detect first:

if ("fontDisplay" in document.body.style === false) {
  /* JavaScript font loading logic goes here. */
}

The Long, Remarkable History of the GIF

The history of the GIF—a tale of licensing, compression, and standards.

Psiu Puxa Wallpapers

Yummy wallpapers for your desktop, tablet, and phone, from NASA and ESA.

FontShop | The Fonts of Star Trek

Yves Peters examines the typography of Star Trek. Unlike Typeset In The Future, which looks at on-screen typography, this article dives into titles and promotional posters.

A Comprehensive Guide to Font Loading Strategies—zachleat.com

A terrific rundown of all your options when it comes to web font loading.

Legibility App

A handy tool for testing the legibility of different typefaces under all sorts of conditions.

ET Book · Edward Tufte on GitHub

I’ve always loved the way that Edward Tufte consistently uses Bembo to typeset his books. Here’s a version made for screen and freely licensed.

Typography Handbook

You can think of this as a short book or a long article, but either way it’s a handy overview of typography on the web:

A concise, referential guide on best web typographic practices.

Mind you, I take issue with this assertion:

Establishing a vertical rhythm is simple.