Varför Comic Sans är bättre än du tror.
It’s cool to hate comic sans. But it’s also problematic.
Läs och lär om läsbarhet: Hating Comic Sans Is Ableist
An introduction to the inline formatting context. Explores line-height and vertical-align properties, as well as the font metrics. Understand how text is rendered on screen, and how to control it with CSS.
What we learned (TL;DR):
- inline formatting context is really hard to understand
- all inline elements have 2 height:
- the content-area (based on font metrics)
- the virtual-area (
- none of these 2 heights can be visualize with no doubt. (if you’re a devtools developer and want to work on this, it could be awesome)
line-height: normalis based on font metrics
line-height: nmay create a virtual-area smaller than content-area
vertical-alignis not very reliable
- a line-box’s height is computed based on its children’s
- we cannot easily get/set font metrics with CSS
- there is a related future spec to help with vertical alignment: the Line Grid module
Two typography designers talk about what it takes to create a font for Google.
Written By: Jill Blackmore Evans
This article originally appeared on Format Magazine and was republished with permission.The new, updated Google Fonts is a treasure trove of open source, totally free-to-use typefaces. From classic to creative, the new font selection supports over 135 languages, and is set up to let typography buffs easily discover new fonts by browsing through style categories like Serif or Handwriting.Who are the designers behind Google’s favorite typefaces? We spoke to two of them to find out what it takes to design a font for Google.
Color fonts represent a key evolution in digital typography, introducing rich graphic features into font files. Thanks to new font formats, color fonts are finally becoming a reality for millions of creatives.
Learn everything about color fonts, chromatic typography and OpenType-SVG.
Read more: Color fonts. Get ready for the revolution!
Designers are trained to believe that similar typefaces should never be used together. But breaking this cardinal rule can sometimes be the perfect way to create ordered, elegant typography.
Say you have a client project where you need a bold, condensed sans-serif. A very narrow scope but there’s tonal variation between two typefaces in the same category. This week, TypeThursday founder Thomas Jockin discusses the typographic nuances of October Compressed, from Typotheque, and Gabriello, from Commercial Type.
So you have seen a typeface in use – on a poster, in a magazine, on a website … and you want to know what’s the name of that typeface. Here are 5 useful tips to identify it.
The machine is designer Sooji Lee’s attempt to bring craftsmanship back to the age of digital reproduction.
Press down a letter on your keyboard, and your computer will fill your screen with it, in any font you want. It’s a process we take for granted, says Design Academy Eindhoven graduate Sooji Lee, who wondered what it would take for a human to reproduce type—or at least one typeface, Bodoni—as reliably as a computer does.
Born is more than a typeface, it’s also a story: that of my 2013. A story about moving to the big city, the result of meeting great people from all over the world and their cultures, too; the result of talks in classes, bars and trains… the result of sharing moments, experiences, knowledges… Born is the result of all these experiences and people, and now I’m sharing with you this piece of my story.