Better Typography with Font Variants - Jonathan Harrell | CSS Blogger & Teacher, UI/UX Designer, Front-End Developer
A quick guide to all the
font-variant-... stuff in CSS.
A quick guide to all the
font-variant-... stuff in CSS.
A rather handsome looking free serif typeface based on Gargantua. Spectral is available under an Open Font License.
These experiments with transitioning variable font styles on hover might be silly, but I can see the potential for some beautiful interaction design.
Rob walks us through the typographic choices for his recent redesign:
Most of what I design that incorporates type has a typographic scale as its foundation, which informs the typeface choices and layout proportions. The process of creating that scale begins by asking what the type needs to do, and what role contrasting sizes will play in that.
A nice free and open source font designed for digital interfaces:
Inter UI is a font for highly legible text on computer screens.
Here’s the flow that eBay use for the font-loading. They’ve decided that on the very first page view, seeing a system font is an acceptable trade-off. I think that makes sense for their situation.
Interestingly, they set a flag for subsequent visits using
localStorage rather than a cookie. I wonder why that is? For me, the ability to read cookies on the server as well as the client make them quite handy for situations like this.
This forthcoming sci-fi quarterly publication looks intriguing:
Each issue contains a part of a previously untranslated novel as well as essays looking at the world through the lens of different writers.
I’m loving their typeface. It’s called Marvin. It was specially made for the magazine, and available to download and use for personal use for free.
Marvin gets its distinctive voice not only from its Art Nouveau vibe but also from its almost geometrically perfect construction. Its roundness and familiarity with Bauhaus typefaces shows its roots in geometric sans serifs at the same time.
A good introduction to variable fonts, and an exploration of the possible interface elements we might use to choose our settings: toggles? knobs? sliders? control pads?
Interface is a font for highly legible text on computer screens.
And it’s free!
Everyone’s been talking about
font-display: swap as a way of taking the pain out of loading web fonts, but here Chris looks at
font-display: optional and
font-display: fallback as well.
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.
Fontlandia is yours to explore.
By leveraging AI and convolutional neural networks to draw higher-vision pattern recognition, we have created a tool that helps designers understand and see relationships across more than 750 web fonts.
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 new Clearleft website is live! Huzzah!
Many people have been working very hard on it and it’s all looking rather nice. But, as I said before, the site launch isn’t the end—it’s just the beginning.
There are some obvious next steps: fixing bugs, adding content, tweaking copy, and, oh yeah, that whole “testing with real users” thing. But there’s also an opportunity to have some fun on the front end. Now that the site is out there in the wild, there’s a real incentive to improve its performance.
Off the top of my head, these are some areas where I think we can play around:
@font-face. A smart font-loading strategy—at least for the body copy—could really help improve the perceived performance.
I’m looking forward to tinkering with some of those technologies. Each one should make an incremental improvement to the site’s performance. There are already some steps on the back-end that are making a big difference: upgrading to PHP7 and using HTTP2.
Now the real fun begins.
Rich has posted a sneak peek of one part of his book on Ev’s blog.
We have a tradition here at Clearleft of having the occasional lunchtime braindump. They’re somewhat sporadic, but it’s always a good day when there’s a “brown bag” gathering.
Today Richard gave us a quick brown bag talk on variable web fonts. He talked us through how these will work on the web and in operating systems. We got a good explanation of how these fonts would get designed—the type designer designs the “extreme” edges of size, weight, or whatever, and then the file format itself can extrapolate all the in-between stages. So, in theory, one single font file can hold hundreds, thousands, or hundreds of thousands of potential variations. It feels like switching from bitmap images to SVG—there’s suddenly much greater flexibility.
A variable font is a single font file that behaves like multiple fonts.
There were a couple of interesting tidbits that Rich pointed out…
While this is a new file format, there isn’t going to be a new file extension. These will be
.ttf files, and so by extension, they can be
.woff2 files too.
This isn’t some proposed theoretical standard: an unprecedented amount of co-operation has gone into the creation of this format. Adobe, Apple, Google, and Microsoft have all contributed. Agreement is the hardest part of any standards process. Once that’s taken care of, the technical solution follows quickly. So you can expect this to land very quickly and widely.
This technology is landing in web browsers before it lands in operating systems. It’s already available in the Safari Technology Preview. That means that for a while, the very best on-screen typography will be delivered not in eBook readers, but in web browsers. So if you want to deliver the absolute best reading experience, look to the web.
And here’s the part that I found fascinating…
We can currently use numbers for the
font-weight property in CSS. Those number values increment in hundreds: 100, 200, 300, etc. Now with variable fonts, we can start using integers: 321, 417, 183, etc. How fortuitous that we have 99 free slots between our current set of values!
Well, that’s no accident. The reason why the numbers were originally specced in increments of 100 back in 1996 was precisely so that some future sci-fi technology could make use of the ranges in between. That’s some future-friendly thinking! And as Håkon wrote:
One of the reasons we chose to use three-digit numbers was to support intermediate values in the future. And the future is now :)
Needless to say, variable fonts will be covered in Richard’s forthcoming book.
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 wonderfully thoughtful piece from Robin, ranging from the printing technologies of the 15th century right up to the latest web technologies. It’s got all my favourite things in there: typography, digital preservation, and service workers. Marvellous!