Language conjures the world into being.
Just type stuff.
Language conjures the world into being.
Just type stuff.
An extract from Richard’s excellent book, this is a deep dive into styling tables for the web (featuring some CSS I had never even heard of).
Tables can be beautiful but they are not works of art. Instead of painting and decorating them, design tables for your reader.
(It also contains a splendid use of the term “crawl bar.”)
A nice free and open source font designed for digital interfaces:
Inter UI is a font for highly legible text on computer screens.
The book draws together the many and varied uses of Futura that make it a universal language while simultaneously confirming its unique typographic voice. The book is a playful yet passionate rebuttal to the perceived dominance of Helvetica as the typeface of modern design.
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!
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:
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.
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 very very in-depth look at fluid typography in CSS using