Oh, nice! A version of the classic Proxima Nova that’s a variable font that allows you to vary weight, width, and slant.
Sounds like some convergent thinking with the ideas behind Utopia.
I think that the idea that that any typographic attribute (including variable font parameters) can be a function (linear, exponential, stepped, Bezier, random, or otherwise) of any given input variable (user preference, screen dimensions, connection speed, time of day, display language, or whatever else) is an incredibly powerful one, and worth exploring as an aesthetic as well as a technical proposition.
Here’s a demo you can play with.
A handy tool for getting an overview of your site’s CSS:
CSS Stats provides analytics and visualizations for your stylesheets. This information can be used to improve consistency in your design, track performance of your app, and diagnose complex areas before it snowballs out of control.
Employing the principle of least power for better digital preservation:
New frameworks and technologies spring up to try and cope with the speed of change. More and more ways to build and release things faster and cheaper becomes the norm. And, the more this happens, the more we deviate from standards: good ol’ HTML and CSS.
A trashcan, a tyepface, and a tactile keyboard. Marcin gets obsessive (as usual).
I linked to the first of Ethan’s short videos on accessibility last week, but it’s well worth checking out all five:
This is a lovely new project from Mark that gets very meta, cataloging specimens of type specimens:
This project will dig into specimens from these three perspectives: as artefacts made by and for font designers to evolve type culture; as tools for font users to make decisions about choosing and using type; and as effective marketing tools.
Using ligatures to create a s*** font that f***ing censors bad language automatically.
I’d watch this game show:
Welcome to the first installment of a new series on Typewolf, where I’ll be identifying the fonts used in popular things. The focus here is on anything you might encounter in contemporary visual culture—movie posters, TV shows, book covers, etc.
Ever wanted to set some text in 70% Times New Roman and 30% Arial? Me neither. But now, thanks to variable fonts, you can!
A treasure trove of case studies and interviews.
Great typography on the web should be designed in layers. The web is an imperfect medium, consumed by countless different devices over untold numbers of network connections—each with their own capabilities, limitations, and peculiarities. To think that you can create one solution that will look and work the same everywhere is a fantasy. To make this more than just one nice book website, the whole project and process needs to embrace this reality.
This is such a clever use of variable fonts!
We can use a lighter font weight to make the text easier to read whenever dark mode is active.
I never thought of combining the
datalist element with
input type="color"—it’s pretty cool that it just works!
Here’s one simple, practical way to make apps perform better on mobile devices: always configure HTML input fields with the correct
autocompleteattributes. While these three attributes are often discussed in isolation, they make the most sense in the context of mobile user experience when you think of them as a team.
This is an excellent deep dive with great advice:
You may think that you are familiar with the basic
autocompleteoptions, such as those that help the user fill in credit card numbers or address form fields, but I’d urge you to review them to make sure that you are aware of all of the options. The spec lists over 50 values!
A history of typesetting from movable type to variable fonts.