Sharing the resources Paul collects
From Kenneth Ormandy: When a developer I’m working with asks, “Why did you select that font,” they never seem to accept “Self-preservation,” as my answer. Type designer Pierre Haultin may have actually been able to get away with this claim.
Haultin lives and works in Paris during the mid-sixteenth century, designing type and printing books for a living. How the the type he designs performs—how efficient the letterforms are spatially on the page—is more relevant to his personal safety, than it is to his contemporaries.
From IA.net: 95% of the information on the web is written language. It is only logical to say that a web designer should get good training in the main discipline of shaping written information, in other words: Typography.
From Dear Design Student: The best tips and resources about web typography will challenge you to adjust your definition of typography. You must be willing to accept that challenge, or you’re wasting your time.
From Font Shop: Pairing typefaces is known as one of the great challenges in typography. While it can involve the gathering of two or more types of different styles, mixing types of the same style is perhaps considered the supreme discipline. Accomplishing the art of mixing typefaces without creating discordance or even committing a cardinal error takes much practice and eventually experience. However, there are a few guidelines and simple facts to watch out for.
Ellen Lupton is curator of contemporary design at Cooper-Hewitt, National Design Museum in New York City and director of the Graphic Design MFA program at Maryland Institute College of Art (MICA) in Baltimore. An author of numerous books and articles on design, she is a public-minded critic, frequent lecturer, and AIGA Gold Medalist.
This site started life from a short talk about the future and the importance of typography on the web. Web designers and developers are going to shape the coming years of global visual communication. The web spans many contexts and setting text that responds appropriately to those contexts is key. We still don’t yet have the level of control on the web as we have in print, and until we do we cannot fully explore what the medium holds for type. We cannot forget the centuries of work that has gone into figuring out solutions to similar problems, albeit in different contexts. We need to learn how to make better informed typographic decisions and not be put off by typography.
From Robin Rendle: We can trace a nervous path through the links and hearts that occupy our timelines. In search of answers, we’ve peeked under the covers of Material Design and examined hundreds of pattern libraries, since one of them might be secretly withholding the principles of good design within. But why are we obsessed with typographic rules? And if we were to make guidelines for setting text on the web, what form should those rules take?