A blog dedicated to documenting the letterforms on display in Berlin.
This is a fun game (I scored a measly 73/100). The idea is to develop a feeling for the balance between font-size, line-height, and line length …just like the three sides of an equilateral triangle.
Too many of them still set line-height, font size and line width as independent features when in fact they should all be considered together. The equilateral triangle is a perfect representation of how the three features work in harmony.
Ethan’s been thinking about the trends he’s noticed in the work he’s doing:
- prototypes over mockups,
- preserving patterns at scale, and
- thinking about a design’s layers.
On that last point…
The web’s evolution has never been charted along a straight line: it’s simultaneously getting slower and faster, with devices new and old coming online every day.
I only just wrapped my head around the idea of variable fonts and now here’s colour fonts to really mess with my mind.
The accompanying video lists the design principles:
- Elevate our status
- Surprise & inspire
- Change perceptions
- Do good things
- Be unmistakably Wales
Two new typefaces, designed to be deliberately lacking in expression.
The write-up of the making of the typefaces is as open and honest as the finished output. This insight into the design process rings very, very true:
Post rationalisation is an open secret in the design industry. Only when a project is finished can it be written up, the messy process is delineated and everything seems to follow a logical sequence up until the final thing is unveiled, spotless and perfect.
However, I suspect the process is largely irrational for most designers. There is a point where all the input has been processed, all the shit drawings, tenuous concepts and small ideas have been thrown away and you just work towards the finish, too exhausted and distracted to even know if it’s worth anything or not. And, if you’re lucky, someone or something will come along and validate the work.
A free ten part email course on web typography for designers and developers. The end results will be gathered together into a book.
Rich has posted a sneak peek of one part of his book on Ev’s blog.
Here’s one of them new-fangled variable fonts that’re all the rage. And this one’s designed by David Berlow. And it’s free!
I like the feel of this typeface a lot.
Bubbling, strong, but very accurate.
A very very in-depth look at fluid typography in CSS using
A fascinating piece by Eleanor on the typographic tweaking that the Wellcome team did to balance the competing needs of different users.
Some really great CSS tips from Rich on sizing display text for multiple viewports.
Cennydd enumerates what design sprints are good for:
- generating momentum,
- highlighting the scope of the design process,
- developing the team, or
- provoking core product issues.
And also what they’re not so good for:
- reliable product design,
- proposing sophisticated user research,
- answering deep product-market fit questions, or
- getting the green light.
A series of quick’n’dirty prototypes to illustrate some of the design challenges involved in handling personal data:
- Data access tracker
- Data minimisation
- Guardian for digital identity
- Home privacy settings
- Portable shopping list
- Single trip insurance checker
If we don’t start exploring what the General Data Protection Regulation means for people, the same thing that happened with the cookie law will happen again.
These new rights have the potential to improve how our digital products and services work.
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…
If you enjoyed reading Marcin’s serendipitous story on Twitter, here are the pictures to accompany it.
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.
The 1978 short film Farewell, etaoin shrdlu documents the changeover from linotype to digital typesetting at The New York Times.
An evenhanded treatment of the unremitting march of technological progress, Weiss’s film about an outmoded craft is stylistically vintage yet also immediate in its investigation of modernity.