Tags: typography



Sunday, June 25th, 2017

The Equilateral Triangle of a Perfect Paragraph | Better Web Type

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.

Tuesday, June 20th, 2017

Standard Ebooks: Free and liberated ebooks, carefully produced for the true book lover.

Beautifully designed and typeset eBooks of royalty-free works—yours for the taking and reading.

There’s a styleguide if you want to get involved on the production side too.

Thursday, April 27th, 2017

Font Map · An AI Experiment by IDEO

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.

Tuesday, April 11th, 2017

Color fonts! WTF? 🌈

I only just wrapped my head around the idea of variable fonts and now here’s colour fonts to really mess with my mind.

Monday, March 20th, 2017

Untitled Sans & Serif Design Information · Klim Type Foundry

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.

Sunday, March 19th, 2017

Better Web Typography for a Better Web

A free ten part email course on web typography for designers and developers. The end results will be gathered together into a book.

Tuesday, February 21st, 2017

Get started with variable fonts – Medium

Rich has posted a sneak peek of one part of his book on Ev’s blog.

Variable fonts

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.

When Google’s AMP format came out and I had done some investigating, I led a brown bag playback on that. Recently Mark did one on Fractal so that everyone knew how work on that was progressing.

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 .woff and .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.

Friday, February 10th, 2017

Decovar: A multistyle decorative variable font by David Berlow

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!

Friday, February 3rd, 2017

Tuna - Typeface

I like the feel of this typeface a lot.

Bubbling, strong, but very accurate.

Monday, January 9th, 2017

The Futures of Typography

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!

Sunday, January 1st, 2017

Typography Wars: Has the Internet Killed Curly Quotes? - The Atlantic

Glenn Fleishman on the war of attrition between primes and quotation marks on the web.

Wednesday, December 28th, 2016

Google Noto Fonts

Google’s Noto (short for no-tofu; tofu being the rectangle of unicode sadness) is certainly ambitious. It has glyphs from pretty much every known alphabet …including Ogham and Linear B!

Monday, December 19th, 2016

The math of CSS locks

A very very in-depth look at fluid typography in CSS using calc.

Wednesday, December 14th, 2016

The typography of a web book

I’m a sucker for classic old-style serif typefaces: Caslon, Baskerville, Bembo, Garamond …I love ‘em. That’s probably why I’ve always found the typesetting in Edward Tufte’s books so appealing—he always uses a combination of Bembo for body copy and Gill Sans for headings.

Earlier this year I stumbled on a screen version of Bembo used for Tufte’s digital releases called ET Book. Best of all, it’s open source:

ET Book is a Bembo-like font for the computer designed by Dmitry Krasny, Bonnie Scranton, and Edward Tufte. It is free and open-source.

When I was styling Resilient Web Design, I knew that the choice of typeface would be one of the most important decisions I would make. Remembering that open source ET Book font, I plugged it in to see how it looked. I liked what I saw. I found it particularly appealing when it’s full black on full white at a nice big size (with lower contrast or sizes, it starts to get a bit fuzzy).

I love, love, love the old-style numerals of ET Book. But I was disappointed to see that ligatures didn’t seem to be coming through (even when I had enabled them in CSS). I mentioned this to Rich and of course he couldn’t resist doing a bit of typographic sleuthing. It turns out that the ligature glyphs are there in the source files but the files needed a little tweaking to enable them. Because the files are open source, Rich was able to tweak away to his heart’s content. I then took the tweaked open type files and ran them through Font Squirrel to generate WOFF and WOFF2 files. I’ve put them on Github.

For this book, I decided that the measure would be the priority. I settled on a measure of around 55 to 60 characters—about 10 or 11 words per line. I used a max-width of 27em combined with Mike’s brilliant fluid type technique to maintain a consistent measure.

It looks great on small-screen devices and tablets. On large screens, the font size starts to get really, really big. Personally, I like that. Lots of other people like it too. But some people really don’t like it. I should probably add a font-resizing widget for those who find the font size too shocking on luxuriously large screens. In the meantime, their only recourse is to fork the CSS to make their own version of the book with more familiar font sizes.

The visceral reaction a few people have expressed to the font size reminds me of the flak Jeffrey received when he redesigned his personal site a few years back:

Many people who’ve visited this site since the redesign have commented on the big type. It’s hard to miss. After all, words are practically the only feature I haven’t removed. Some of the people say they love it. Others are undecided. Many are still processing. A few say they hate it and suggest I’ve lost my mind.

I wonder how the people who complained then are feeling now, a few years on, in a world with Medium in it? Jeffrey’s redesign doesn’t look so extreme any more.

Resilient Web Design will be on the web for a very, very, very long time. I’m curious to see if its type size will still look shockingly large in years to come.

Saturday, December 10th, 2016

Accessibility Whack-A-Mole · An A List Apart Article

A fascinating piece by Eleanor on the typographic tweaking that the Wellcome team did to balance the competing needs of different users.

Friday, December 9th, 2016

Get the Balance Right: Responsive Display Text ◆ 24 ways

Some really great CSS tips from Rich on sizing display text for multiple viewports.

Monday, November 21st, 2016

Tentacular: Douglas Coupland on Helvetica, clip art and the gangly beast that is the internet

Douglas Coupland on web typography.

When I discuss the internet’s feel and its random rodeo of fonts, I think of the freedom, naivety, laziness, greed, cluelessness and skill I see there — it’s a cyberplace as wondrous as the bubbling cradle of pea-soup goo from which life emerged. The internet has a rawness, a Darwinian evolutionary texture. It’s a place where metrics totally unrelated to print typography dictate the look and feel.

Saturday, November 19th, 2016


A marvellous piece of writing and design. The family drama of two brothers who revolutionised the world of diving and salvage, told through beautifully typeset hypertext…

…which for some reason is rendered entirely using client-side JavaScript. Unfathomable indeed.

Tuesday, November 1st, 2016

Web fonts, boy, I don’t know – Monica Dinculescu

Monica takes a look at the options out there for loading web fonts and settles on a smart asynchronous lazy-loading approach.