Taking the child on a tour through punctuation, Mr. Stops introduces him to a cast of literal “characters”: there is Counsellor Comma, who knows “neither guile nor repentance” in his pursuit of “dividing short parts of a sentence”; Ensign Semicolon struts with militaristic pride, for “into two or more parts he’ll a sentence divide”; and The Exclamation Point is “struck with admiration”, his face “so long, and thin and pale”.
A short list of opinions on typography. I don’t necessarily agree with all of it, but it’s all fairly sensible advice.
Ahmad runs through some of the scenarios where
text-wrap: balance could be handy.
Even though it’s not well-supported yet in browsers, there’s no reason not to start adding it to sites now; it’s classic progressive enhancement.
This is handy—a collection of font stacks using system fonts. You can see which ones are currently installed on your machine too.
The most performant web font is no web font.
This is a terrific walkthrough from Andy showing how smart fundamentals in your CSS can give you a beautiful readable document without much work.
Rich explains what
text-wrap:balance does …and what it doesn’t.
I feel like we need a name for this era, when CSS started getting real good.
I think this is what I’ve been calling declarative design.
For 24 days this month, Matthias featured a different independent type foundry, writing about each one and selecting some lovely examplars of their typefaces.
Two new lovely open source variable fonts from Github.
A drop-in replacement for Google Fonts without the tracking …but really, you should be self-hosting your font files.
I like this approach to offering a design system. It seems less prescriptive than many:
Designed not as a rule set, but rather a toolbox, the Data Design Language includes a chart library, design guidelines, colour and typographic style specifications with usability guidance for internationalization (i18n) and accessibility (a11y), all reflecting our data design principles.
A typeface co-designed with a tree over the course of five years.
Yes, a tree.
Occlusion Grotesque is an experimental typeface that is carved into the bark of a tree. As the tree grows, it deforms the letters and outputs new design variations, that are captured annually.
Cardigans are not entirely necessary for a show or a film to fit within the Cardigan sci-fi subgenre (although they certainly help). It’s the lack of polish in the world, it’s the absence of technological fetishism in the science fiction itself. The science or the tools or the spaceships do not sit at the heart of Cardigan sci-fi — it’s all about the people that wear the cardigans instead.
Mark Simonson goes into the details of his lovely new typeface Proxima Sera.
This version of Roboto from Font Bureau is a very variable font indeed.