Wednesday, August 18th, 2021
Wednesday, June 23rd, 2021
As part of my content buddying process, I am henceforth going to typeset all drafts in this font. I just tested it with this sentence:
We can leverage the synergy of a rich immersive user paradigm shift.
Sunday, June 6th, 2021
The typography of horology.
Saturday, April 24th, 2021
Professional web designer on a closed course. Do not attempt.
Wednesday, April 21st, 2021
An experimental image font made using the University of Plymouth’s unique letterpress workshop.
The font is intended for display purposes only, and not is suitable for body text.
Tuesday, April 6th, 2021
A genuinely interesting (and droll) deep dive into derp learning …for typography!
Thursday, April 1st, 2021
An excellent explainer from Trys and James of their supersmart Utopia approach:
Utopia encourages the curation of a system small enough to be held in short-term memory, rather than one so sprawling it must be constantly referred to.
Wednesday, March 17th, 2021
Monday, March 8th, 2021
This could give a big boost to web performance!
You don’t have to use web fonts—there are some pretty nice options if you stick to system fonts (like Georgia, Charter, and Palatino).
Monday, March 1st, 2021
Oh, nice! A version of the classic Proxima Nova that’s a variable font that allows you to vary weight, width, and slant.
Thursday, February 4th, 2021
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.
Friday, January 29th, 2021
A terrific in-depth look at improving the performance of web fonts.
Monday, November 16th, 2020
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.
Thursday, October 15th, 2020
Thursday, October 1st, 2020
Downloading from Google Fonts
If you’re using web fonts, there are good performance (and privacy) reasons for hosting your own font files. And fortunately, Google Fonts gives you that option. There’s a “Download family” button on every specimen page.
But if you go ahead and download a font family from Google Fonts, you’ll notice something a bit odd. The .zip file only contains .ttf files. You can serve those on the web, but it’s far from the best choice. Woff2 is far leaner in file size.
This means you need to manually convert the downloaded .ttf files into .woff or .woff2 files using something like Font Squirrel’s generator. That’s fine, but I’m curious as to why this step is necessary. Why doesn’t Google Fonts provide .woff or .woff2 files in the downloaded folder? After all, if you choose to use Google Fonts as a third-party hosting service for your fonts, it most definitely serves up the appropriate file formats.
I thought maybe it was something to do with the licensing. Maybe some licenses only allow for unmodified truetype files to be distributed? But I’ve looked at fonts with different licenses—some have Apache 2 licensing, some have Open Font licensing—and they’re all quite permissive and definitely allow for modification.
Maybe the thinking is that, if you’re hosting your own font files, then you know what you’re doing and you should be able to do your own file conversion and subsetting. But I’ve come across more than one website in the wild serving up .ttf files. And who can blame them? They want to host their own font files. They downloaded those files from Google Fonts. Why shouldn’t they assume that they’re good to go?
It’s all a bit strange. If anyone knows why Google Fonts only provides .ttf files for download, please let me know. In a pinch, I will also accept rampant speculation.
Trys also pointed out some weird default behaviour if you do let Google Fonts do the hosting for you. Specifically if it’s a variable font. Let’s say it’s a font with weight as a variable axis. You specify in advance which weights you’ll be using, and then it generates separate font files to serve for each different weight.
Doesn’t that defeat the whole point of using a variable font? I mean, I can see how it could result in smaller file sizes if you’re just using one or two weights, but isn’t half the fun of having a weight axis that you can go crazy with as many weights as you want and it’s all still one font file?
Like I said, it’s all very strange.
Friday, August 28th, 2020
An excellent explanation of the new
text-edge properties in CSS, complete with an in-depth history of leading in typography.
(I’m very happy to finally have a permanent link to point to about this, rather than a post on Ev’s blog.)
Thursday, August 20th, 2020
The latest edition in this wonderful series of science-fictional typography has some truly twisty turbolift tangents.
Friday, May 29th, 2020
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.