Home » web-typography
Our bookmarks on this topic are also at pinboard.in/u:unison/t:web-typography/
From FastCompany: Are some fonts more believable than others? A curious experiment by documentary filmmaker Errol Morris suggests as much. After polling approximately 45,000 unsuspecting readers on nytimes.com, Morris discovered that subjects were more likely to believe a statement when it was written in Baskerville than when it was written in Computer Modern, Georgia, Helvetica, Trebuchet, or Comic Sans. Baskerville: truth’s favorite typeface?
From Information Architects: 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 Hoefler & Frere-Jones: Is there a way to know what fonts will work together? Building a palette is an intuitive process, but expanding a typographic duet to three, four, or even five voices can be daunting. Here are four tips for navigating the typographic ocean, all built around H&FJ’s Highly Scientific First Principle of Combining Fonts: keep one thing consistent, and let one thing vary.
From AIGA: More than twenty years ago, Jonathan Hoefler made it his mission to promote desktop publishing (and shush its critics) by providing designers with a new generation of fonts: attractive and useful designs which set a new standard in quality and dependability for that technology. Today, as webfonts are buoyed by a wave of early-adopter enthusiasm, they’re marred by a similar unevenness in quality, and it’s not just a matter of browsers and rasterizers, or the eternal shortage of good fonts and preponderance of bad ones. There are compelling questions about what it means to be fitted to the technology, how foundries can offer designers an expressive medium (and readers a rich one), and what it means for typography to be visually, mechanically, and culturally appropriate to the web. This is an exploration of this side of web fonts, and a discussion of where the needs of designers meet the needs of readers.
From Font Bureau: Georgia and Verdana rule the web. Billions of pages use these font families which have held the web together for over fifteen years. Now, through a special partnership, the families have been expanded to be even more useful.
From FontFeed: Tim Brown, Type Manager for Typekit, gives an inspiring presentation at the most recent edition of Build (November 2010 in Belfast). Entitled More Perfect Typography, it examines how to set text beautifully, mainly applied to web typography. Set aside half an hour and dive in.
From FastCompany: The possibilities for reviving the magazine and newspaper industries are exciting and real. Yet it’s exactly that part of media consumption, reading, that reveals what’s missing on the iPad: good typography.
From Macworld: The typeface Verdana was released in 1996 as an easy-to-read font for Websites, and in the intervening years, it has been used and misused in just about every imaginable way. For example, the Swedish furniture retailer Ikea recently began using Verdana in its printed materials, which caused an uproar among designers around the world. Because Verdana was designed for low-resolution on-screen use, its wide-open letterspacing make it inappropriate for use in printed materials, they claim. Also, its four limited styles of regular, italic, bold, and bold italic just don’t provide enough options for a sophisticated design. As fortune would have it, right now the team behind the original Verdana is working on an improved, expanded Verdana typeface family designed for use in both print materials and on screen. The expanded Pro version is expected to be available in the first quarter of 2010, along with an expanded version of the Georgia typeface (Verdana’s serif companion).