An illustrated history of digital iconography.
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.
Here you go: a free book on icon design in three parts, delivered via email.
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…
Monica takes a look at the options out there for loading web fonts and settles on a smart asynchronous lazy-loading approach.
A selection from an ongoing photography project—seven years and counting—leading up to the launch of the Orion project.
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.
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.
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.
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.
But, like, have you have ever really looked at your hand?
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 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
The history of the GIF—a tale of licensing, compression, and standards.
Yummy wallpapers for your desktop, tablet, and phone, from NASA and ESA.
A terrific rundown of all your options when it comes to web font loading.
A handy tool for testing the legibility of different typefaces under all sorts of conditions.
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.
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.