This version of Roboto from Font Bureau is a very variable font indeed.
This font is a crossover of different font types: it is semi-condensed, semi-rounded, semi-geometric, semi-din, semi-grotesque. It employs minimal stoke thickness variations and a semi-closed aperture.
Robin makes a good point here about using dark mode thinking as a way to uncover any assumptions you might have unwittingly baked into your design:
Given its recent popularity, you might believe dark mode is a fad. But from a design perspective, dark mode is exceptionally useful. That’s because a big part of design is about building relationships between colors. And so implementing dark mode essentially forced everyone on the team to think long, hard, and consistently about our front-end design components. In short, dark mode helped our design system not only look good, but make sense.
So even if you don’t actually implement dark mode, acting as though it’s there will give you a solid base to build in.
I did something similar with the back end of Huffduffer and The Session—from day one, I built them as though the interface would be available in multiple languages. I never implemented multi-language support, but just the awareness of it saved me from baking in any shortcuts or assumptions, and enforced a good model/view/controller separation.
For most front-end codebases, the design of your color system shows you where your radioactive styles are. It shows you how things are tied together, and what depends on what.
Oh, nice! A version of the classic Proxima Nova that’s a variable font that allows you to vary weight, width, and slant.
A reminder that the contens of custom properties don’t have to be valid property values:
From a syntax perspective, CSS variables are “extremely permissive”.
Ever wanted to set some text in 70% Times New Roman and 30% Arial? Me neither. But now, thanks to variable fonts, you can!
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.
A history of typesetting from movable type to variable fonts.
Everything you ever wanted to know about variable fonts, gathered together into one excellent website.
In this interview, Biance Berning says:
Cassie Evans from Clearleft is an interesting person to follow as she combines web animation with variable font technology, essentially exploring the technology’s practicality and expression.
We’re only just scratching the surface of what variable fonts can do within more interactive and immersive spaces. I think we’ll see a lot more progress and experimentation with that as time goes on.
Play around with this variable font available soon from Google Fonts in monospaced and sans-serif versions.
fopenwhen you can write
throwVE. Call that name
fct. That’s German naming convention. Do this and your readers will appreciate it.
Here he is talking about custom properties in CSS as part of his Making Future Interfaces video series.
I think Cathy might’ve buried the lede:
The knock on effect of this was removing media queries. As I moved towards some of the more modern features of CSS the need to target specific screen sizes with unique code was removed.
But on the topic of Sass, layout is now taken care of with CSS grid, variables are taken care of with CSS custom properties, and mixins for typography are taken care of with
Personally, I’ve always found the most useful feature of Sass to simply be that you can have lots of separate Sass files that get combined into one CSS file—very handy for component libraries.
I had to read through this twice, but I think I get it now (I’m not the sharpest knife in the drawer). Very useful if you’re doing theming in CSS.