There are 50 entries matching ‛variable fonts’:
Two weeks ago I was invited to Berlin for a CSS Working Group meeting. One afternoon was dedicated to resolving issues with the CSS Text and Font modules. Two resolutions in particular will affect the CSS we need to work with variable fonts.
Variable fonts are a new font format offering unprecedented flexibility. They will be landing in web browsers and native operating systems within 12 months. Learn how to try them out now.
Using variable fonts in the real world turns out to be tricky. This post explains how we achieved it for the new Ampersand website and what we learned along the way.
Professional fonts can contain a lot characters you will never use, increasing file size uncessarily. These characters can be removed by subsetting a font. This post explains how to subset fonts from first principles on a Mac using fonttools.
I’ve been playing around with ways of displaying images in variable width columns, particularly with images that are wider than their container. Please cast your eye over my experiments.
A fantasy proposal for a website which automatically generates font stacks based on community input.
Following on from yesterday’s post regarding Opera’s probable support of web fonts, there comes a timely press release from font publishers, Ascender.
Last week Digital Arts online featured me, among others, in a piece on web fonts in 2015. My main points were twofold: more interesting treatments are required, and type designers keep giving us more fantastic materials to work with.
A free font has made it into MyFonts’s top ten list of best selling typefaces. There’s a lesson there somewhere.
Håkon Wium Lie recently intimated that the forthcoming release of Opera will support downloadable fonts. Great news for web designers, but is it bad news for type foundries?
Just recently Jeffrey Zeldman was bemoaning the sub-standard state of text rendering in Firefox on a Mac. And the sad truth is he only skimmed the surface; Firefox, Safari, Opera and Camino may render even the same font differently.
Earlier this week it was announced that WebKit now supports CSS @font-face rules. There has been a mixed reception in some quarters, but this leap forward (for that’s what it is) has to be a good thing.
Unicode Font Info is a really handy free application for OS X. Essentially it’s a font inspection tool with full support for Unicode 3.2, allowing you to easily navigate huge fonts with tens of thousands of supported glyphs.
At Typ09, FontShop put together Webfonts Week, a series of interviews with leading type designers. There is universal support for webfonts now, even from those who were dead set against it a year ago.
Survey of installed fonts on different platforms, Mark Newhouse’s real world CSS and the Polar Bear 2 is in beta.
This Friday, 24th October 2008, I’ll be presenting as part of Head, a three-day global web conference. My talk is entitled Facing up to Fonts in which I get to talk more about web typography for the first time in ages. Update: Win a ticket!
The availability of fonts for use in Web typography, or more specifically the lack thereof, has been getting some welcome attention recently.
Back in January I was part of a double bill with Jon Tan, entitled Skillswap goes typographic. It went down really well so I thought I’d better tie it all together here.
A call out to font foundries to stop fretting about web font embedding and instead make it work in their favour.
Thomas Phinney, Adobe’s Fonts Product Manager for & Global Typography has posted a survey asking Web designers/developers about different implementations of font-face.
Jakob mourns the demise of the text sizing buttons IE but fails to point out that it won’t have any effect on a Windows machine if text is sized in pixels. Microsoft have stopped giving away their free web fonts.
The CSS3 font module has come back to life, and web designers have been asked for the their wish lists. Here’s mine.
Investigation into, and a fix for a peculiar bug in Mac-based Webkit browsers, including Safari and Chrome.
The font-stretch property was removed from CSS2 in the transition to CSS2.1. Unfortunately this leaves us with a rather gaping hole in overall font support.
There’s a different approach to web page layout which is gradually getting some traction. The idea is that the layout is changed to best accommodate the window size.
I’m extremely proud to say that two weeks ago Fontdeck opened its doors to the type-loving public. It’s been a long time in coming – too long I’d admit – but Fontdeck is now live and I’m hugely excited about what’s to come.
I want to design a new way for visual designers to find fonts which specifically suit their needs and the needs of their clients. This means approaching things by way of a user-centred design process. And I need your help.
Why and how I put together Ampersand, the UK’s first conference dedicated specifically to web typography.
Epizootic is to animals as epidemic is to people. And a brief exploration of putting Unicode characters into Web pages.
Why and how Web designers should be using font-family in a more adventurous manner: there are some great typefaces out there – let’s use them. The Visibone survey is an invaluable aid in typeface selection.
Not so long ago, I posted a first pass at CSS tabs with lists which, importantly, included secondary navigation and mouseover effects on the tabs themselves. My implemenation wasn’t bad but it was flawed. Radu Darvas has since come along and made some big…
I’m proud to have been part of the Web Typography panel at SxSW 2009 alongside Jon Tan, Ian Coyle, Elliot Jay Stocks & Samantha Warren. I’ve jotted down some of the topics we discussed, and some we talked about beforehand but didn’t have time for.
The BritPack logo on these pages is an alpha-transparent PNG and I use a little PHP script to deliver browser-specific code to IE6 and IE5.5 and a normal image to other browsers.
There’s more to the lives of many typefaces than just Bold and Regular, but almost no browsers follow the proper CSS 1 way of specifying Light, Semibold, Black and other weights. There is a workaround, but it’s nasty.
As part of the Open & Closed Project, Joe Clark has released a new site, Captioning Sucks, to highlight the shoddy state of captions in broadcasting. Check out the Comic Sans goodness.
On his tasty new blog, Brendan Dawes extolls the virtues of Apple’s Keynote as a rival PowerPoint. But I’m not convinced.
I’m no lover of Helvetica but neither do I hate it. That said I really do have an aversion to Helvetica Neue Light, or rather an aversion to when Helvetica Neue Light is used without due thought and attention, and particularly within user interfaces.
The latest issue of Design Edge Canada magazine – a publication for Canada’s graphic design industry – was a web typography special for which I contributed top ten tips for web typography.
Joe Clark needs your help in setting up an ambitious accessibility project.
A tale of how typesetting a beautiful poster led to an exploration and explanation of how manually kerning type on the web can be tricky, but also made to work across browsers.
I’m on two proposed panels for SxSW 2010 – please cast a thumbs up in their favour! Also, some typography and other interesting looking panels that caught my eye.
Here’s something that’s been playing on my mind recently. What role can CSS alone play in making websites accessible?
To my surprise, Clagnut.com was last redesigned in September 2008. Well, it’s all change, with a new redesign launched today. It’s been created from the typography outwards, responsive from the beginning and elegant on huge as well as tiny screens.
TypeCon2010 in Los Angeles was my first typography conference. It felt good. I was made welcome, made new friends, renewed old acquaintances and learned a lot.
Fixed versus liquid design is an emotive debate. Liquid layout seems more intuitive, appropriate and elegant but is not without issues. However many concerns can be addressed with little or no compromise.
One of the prime reasons for going to @media was to learn more from recognised experts in the field of accessibility, and yet I came away confused and disillusioned about the state of the things.
Design Week had an editorial highlighting the demise of craft skills and typography in college curricula. It reminded me that courses teaching web design in the UK rarely include such skills in the first place. So where are the good courses?
An unedited extract from my forthcoming book, Web Typography. This chapter is quite technically focussed and hopefully stands well on its own. The other chapters I’ve written contain much higher proportion of typographic theory.
The media conference this year was as good as ever. Even the queues for coffee and food were quicker this year. I’ve jotted down a few titbits gleaned from the sessions I attended.
There used to be a page on Wikipedia listing pangrams in various languages. This was deleted yesterday. Pangrams can be occasioanlly useful for designers, so I’ve resurrected the page of here, pretty much as it was in Wikipedia.