Hyperlinks on Typography

A number of hyperlinks that I’ve been holding onto:

“Tips on how to choose a Typeface for Person Interface and App Design?” by Oliver Schöndorfer. I just like the time period “useful textual content” for every thing that isn’t show or physique sort. Search for clearly distinct letters, open shapes, and little distinction. This jogs my memory of how we now have the charmap display screen on the Coding Fonts web site, however nonetheless must re-shoot a lot of the screenshots so all of them have it.

“Uniwidth typefaces for interface design“ by Lisa Staudinger. “Uniwidth typefaces, then again, are proportionally-spaced typefaces, however each character occupies the identical area throughout totally different cuts or weights.” So you may change the font-weight however the field the kind occupies doesn’t change. Good for menus! It is a totally different idea, but it surely jogs my memory of the Operator typeface (versus Operator Mono) which “is a pure width household, its characters differing in proportion in accordance with their weight and underlying design.”

“Ought to we standardize the naming of font weights?” by Pedro Mascarenhas. As in, the literal names versus font-weight in CSS the place we have already got names and numeric values however are on the mercy of the font. The picture of how dramatically totally different fonts, say Gilroy Heavy and Avenir Heavy, makes the purpose.

“About Legibility and Readability” by Bruno Maag. “Useful accessibility” is one other good time period. We will create heuristics like particular font-sizes that make for good accessibility, however all nuance is misplaced there. Good typography entails making sort readable and legible. Usually, anyway. I notice typography is a broad world and also you is likely to be designing a grungy skateboard that’s deliberately neither readable nor legible. However in the event you do obtain readability and legibility, it has kinds of advantages, like aesthetics and me-taking-you-seriously, however even higher: accessibility.

“Font dimension is ineffective; let’s repair it” by Nikita Prokopov. “Ineffective” is possibly robust because it, ya know, controls the font dimension. However this graphic does make the purpose. I discovered myself making that very same level just lately. Throughout typefaces, an equivalent font-size can really feel dramatically totally different.

“The sans choice” by Tejas Bhatt. A journey from an enormous choice of fonts for a long-form journalism platform right down to only a few, then lastly lands on Söhne. I loved all the very sensible concerns like (but once more) a tall x-height, not-too-heavy, and even worth (though the ultimate choice was among the many most expensive of the bunch).

“Plymouth Press” by James Brocklehurst. You don’t see many “SVG fonts” today, although the concept (any SVG is usually a character) is ridiculously cool. This one, being all grungy, has far too many vector factors to be sensible on the internet, however that isn’t a giant issue for native design software program use.

“Past Calibri: Discovering Microsoft’s subsequent default font” (I assume no person wished that byline). I’m so turned off by the pattern graphics they selected for the weblog publish that I can’t convey myself to care, although this ought to be tremendous fascinating to comply with due to the dimensions of use right here. The tweet is barely higher.

“Why you must Self-Host Google Fonts in 2021″ by Gijo Varghese. I’m conscious of “Cache Partitioning” (my web site can’t use cached fonts from your web site, even when they each come from Google) however I might have seen myself trotting out the opposite two arguments in a dialogue about this and it’s fascinating to see them debunked right here.

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