Today’s web fonts are not living up to their potential. What if the stylistic parameters of a typeface were fluidly variable? What if the design of a typeface could be as flexible and responsive as the layout it exists within? Nick Sherman shows us where we’ve been and where we’re going as we move toward truly responsive web typography.
We all want to design great typographic experiences—while serving users on a huge array of devices. But today’s type is inflexible and doesn’t scale. We can solve this problem by making webfonts more systemized and context-aware, and live web font interpolation—the modification of a font’s design in the browser—can help us get there. Andrew Johnson points the way.
When you read, you filter text through your experiences and past conversations. You put words into context. You interpret. So how can we use typography to welcome readers and convince them to sit with us through this process? A List Apart alum Jason Santa Maria explains in this excerpt from Chapter 1 of On Web Typography, his new book from A Book Apart.
A style guide, also referred to as a pattern library, is a living document that details the front-end code for all the elements and modules of a website or application. It also documents the site’s visual language, from header styles to color palettes. In short, a proper style guide is a one-stop guide that the entire team can reference when considering site changes and iterations. Susan Robertson shows us how to build and maintain a style guide that helps everyone from product owners and producers to designers and developers keep an ever-changing site on brand and on target.
London-based web designer Phileas Fogg IV has teamed up with his internationalization friend Jean Passepartout III to explore the world’s typographic conventions…
For ideal typography, web designers need to know as much as possible about each user’s reading environment. That may seem obvious, but the act of specifying web typography is currently like ordering slices of pizza without knowing how large the slices are or what toppings they are covered with.
Welcome to the third epoch in web performance optimization: symbol fonts. Everything from bullets and arrows to feed and social media icons can now be bundled into a single, tiny font file that can be cached and rendered at various sizes without needing multiple images or colors. This has the same caching and file size benefits as a CSS sprite, plus additional benefits we’re only now realizing with high-resolution displays. Discover the advantages and explore the challenges you’ll encounter when using a symbol font.
Font hinting has been the source of countless headaches for type designers and users. In the meantime, some of the most fundamental and important elements of typography still can’t be addressed with the web of today. Rather than being seen as a tedious chore whose demise will be celebrated, hinting might actually provide the essentials for truly responsive design, and vastly expand the possibilities of digital typography for designers, publishers, and readers.
Presenting the ALA Summer Reading Issue—our favorite articles from 355 issues of A List Apart. You can also read them all as an epub on your Kindle, iPhone, iPad, Readmill, or other e-book reader.
While historically, it’s been difficult at best to create print-quality PDF books from markup alone, CSS3 now brings us the Paged Media Module, which targets print book formatting. “Paged” media exists as finite pages, like books and magazines, rather than as long scrolling stretches of text, like most websites. With a single CSS stylesheet, publishers can take XHTML source content and turn it into a laid-out, print-ready PDF. You can take your XHTML source, bypass desktop page layout software like Adobe InDesign, and package it as an ePub file. It’s a lightweight and adaptable workflow, which gets you beautiful books faster. Nellie McKesson, eBook Operations Manager at O’Reilly Media, explains how to build books with CSS3.