Combining fonts - JakeArchibald.com
▻https://jakearchibald.com/2017/combining-fonts
https://jakearchibald.com/static/imgs/icon.e36785a43208.png
The trick is in the unicode-range descriptor. It indicates that the src should only be used for the hyphen (U+2d) and equals (U+3d) code points. You can turn a unicode character into a code point using this snippet:
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The Indian Ghost Sign Project – Ayesha Rana – Medium
▻https://medium.com/@ayesharana/the-indian-ghost-sign-project-57310b0a9ad2
https://cdn-images-1.medium.com/max/1200/1*Auw4T6rWg3xOvCJJrRcUAg.png
The Indian Ghost Sign Project is a recreation of hand painted signboards from the 1900s still in existence. My goal with this project is to draw attention to the last few traces of human involvement in this domain of lettering and art.
The process involves preserving the signboards by photographing and vectorising them, pinning their locations on Google Maps for people interested in visiting and discovering them in person and finally masking them on an augmented reality surface.
#typo
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Of Branded Voices and Funny Hats: A Closer Look at Youtube Sans – Typographica
http://typographica.org/wp-content/uploads/2017/05/stoessinger_yt_05-1.png
When I saw YouTube’s new proprietary typeface recently, I couldn’t help but post an exasperated little rant on Twitter. I’m not particularly proud of my comments, which weren’t as constructive as they could have been — but I’ve been surprised at the echo they received, especially against the backdrop of scant online critical discussion of YouTube’s effort. So I wanted to follow up in more detail and depth.
#typo
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Hating #Comic_Sans Is #Ableist
▻https://theestablishment.co/hating-comic-sans-is-ableist-bc4a4de87093
https://cdn-images-1.medium.com/max/1200/1*NHxIii5ShEDsPf_QYnzFhw.jpeg
he day my sister, Jessica, discovered Comic Sans, her entire world changed. She’s dyslexic and struggled through school until she was finally diagnosed in her early twenties, enabling her to build up a personal set of tools for navigating the written world.
“For me, being able to use Comic Sans is similar to a mobility aid, or a visual aid, or a hearing aid,” she tells me while we’re both visiting our family in Maryland. “I have other ways of writing and reading, but they’re not like they are for someone who’s not dyslexic.”
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Safari Typo ! - Paris (1/2) | ARTE Creative
▻http://creative.arte.tv/fr/safaritypo-1
http://creative.arte.tv/sites/default/files/atoms/image/opa/060512-001-A_1948111.jpg
De la #typo sportive du gymnase municipal du 20e arrondissement aux lettres dorées des Folies bergères, #Jean_François_Porchez nous invite à découvrir les lettrages « art-déco » de la capitale française.
Safari Typo ! plonge dans la jungle « typographique » de Paris, Londres, Berlin, Barcelone, Marseille, Amsterdam ou encore Montréal en 8 épisodes.
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The Futures of #Typography
▻https://robinrendle.com/essays/futures-of-typography
https://robinrendle.com/images/essays/futures/bible-text.jpg
Typesetting on the #web has evolved from a quirky afterthought into an invaluable practice. Within a span of twenty years complex interfaces that adapt to their environment, as well as an overwhelming number of typefaces, have bloomed all around us. Likewise, using animations and transitions or balancing display text in conjunction with powerful #OpenType features became not only possible but expected. So where do we go from here? What are the skills we need to contribute to the future of typography? And what do two ghostly figures from the 15th century have to do with that future?
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#TypoDiplo, les bons mots d’un site qui suit le Diplo à la lettre
▻http://typo.mondediplo.net
When text meets data visualisation
▻http://figs-lab.com/en/datalegreya
http://i0.wp.com/flowingdata.com/wp-content/uploads/2016/11/datalegreya.jpg
Datalegreya is a typeface which can interweave data curves with text. It is designed by Figs, on the basis of open source font Alegreya Sans SC Thin by type designer Juan Pablo Del Perla.
Datalegreya can be used in all contexts where small space is available to synthetically display graphical data: connected objects, embedded displays, annual reports, weather report, stock prices, etc. It doesn’t need any specialized software: users just have to install it in the operating system and launch any software able to display OpenType fonts, such as Microsoft Word, Apple TextEdit, Adobe Suite etc. Standards compliance makes it equally available on the web or software embedded.
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La Nouvelle Typographie de Jan Tschichold ou la page contre le nationalisme
▻https://www.actualitte.com/article/monde-edition/la-nouvelle-typographie-de-jan-tschichold-ou-la-page-contre-le-nationalisme/68209
La parution d’un manuel de typographie aux éditions Entremonde, plus habituées à la critique sociale, pourrait surprendre, mais une certaine logique s’opère : comme nombre de ses contemporains, Tschichold combine dans son texte les deux disciplines, qui ne vont pas l’une sans l’autre. Lorsque La Nouvelle Typographie est publié, en 1928, par l’association éducative du syndicat des imprimeurs allemands, le mouvement éponyme s’est développé depuis plusieurs années en Allemagne, par l’intermédiaire du Bauhaus.
Mais c’est véritablement Tschichold, jeune maquettiste et calligraphe né et résident à Leipzig, qui allait concentrer la substance de la Nouvelle Typographie dans son ouvrage publié en 1928, après quelques prémices dans la revue professionnelle Typographische Mitteilungen en 1925. « C’est au cours d’une exposition au Bauhaus de Weimar, en 1923, que Tschichold subit un choc : avec sa formation de typographe, il prend conscience qu’il faut révolutionner la discipline, dans le sillage des mouvements modernistes », rappelle Victor Guégan, qui a achevé une thèse sur Tschichold cette année à l’université Paris IV.
https://cdn.actualitte.com/images/actualites/images/Couvertures/j_tschichold-nouvelle_typo-couv.jpg
#édition #livres #modernisme #typographie
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Where the “comic book font” came from - Vox
▻http://www.vox.com/2016/9/2/12760504/where-the-comic-book-font-came-from
Comic book culture is mass culture — even lacrosse moms and field hockey dads who’ve never been in a comic book store can recognize the “comic book font.”
But calling it a font is a misnomer — as the above video shows, this distinctive style of handwriting is an aesthetic shaped by culture, technology, and really cheap paper.
That style is just as interesting in a digital era. I spoke to the founders of Comicraft, a digital font firm that replicates the handwritten style for many major comics. It turns out that the switch from pen to pixels is an evolution — not a rejection — of a long history of lettering in comics.
▻https://www.youtube.com/watch?v=e31fNccOQSE
#bande_dessinée #comics #typograophie via @opironet
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Typographics
►http://www.typographics.org
This site is the beginning of a new publication about type. The focus is you. A designer who uses type, a designers who creates it, or someone who just loves it. Or all three. We’re starting quietly, with a simple group blog. This fall we’ll publish a preview printed edition. The next six months we will try to prove the concept. And if we’re successful, we’ll start regular publication in 2017, with a quarterly print magazine and an active web site.
#typo
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Typographics
►http://www.typographics.org
This site is the beginning of a new publication about type. The focus is you. A designer who uses type, a designers who creates it, or someone who just loves it. Or all three. We’re starting quietly, with a simple group blog. This fall we’ll publish a preview printed edition. The next six months we will try to prove the concept. And if we’re successful, we’ll start regular publication in 2017, with a quarterly print magazine and an active web site.
#typo
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Typeset In The Future
Dedicated to fonts in sci-fi
Un blog pour @baroug
▻https://typesetinthefuture.com
Avec une analyse typo de Blade runner
▻https://typesetinthefuture.com/2016/06/19/bladerunner
https://typesetinthefuture.files.wordpress.com/2016/06/bladerunner_0_05_23_tyrell_corp.jpg?w=560&h=232 
https://typesetinthefuture.files.wordpress.com/2016/06/bladerunner_0_09_52_alien_purge_full.jpg 
https://typesetinthefuture.files.wordpress.com/2016/06/bladerunner_0_14_02_serial_numbers_leon.jpg?w=560&h=232
#fonts #typographie #science_fiction
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Typographics
►http://www.typographics.org
This site is the beginning of a new publication about type. The focus is you. A designer who uses type, a designers who creates it, or someone who just loves it. Or all three. We’re starting quietly, with a simple group blog. This fall we’ll publish a preview printed edition. The next six months we will try to prove the concept. And if we’re successful, we’ll start regular publication in 2017, with a quarterly print magazine and an active web site.
#typo
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Bungee – Fonts for multi-color and vertical typography
▻https://djr.com/bungee
https://djr.com/bungee/images/facebook.png
Bungee is a #typeface that celebrates the urban sign. From crummy liquor stores to majestic theaters, vertical signage fills our cities. They stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, I designed Bungee to be able to adapt to horizontal or #vertical text, so it is always ready to take your text in a new direction.
#typo
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l’Histoire des Magazines typoGabor N°9 Hermann Zapf et Paul Gabor | design et typo
▻http://paris.blog.lemonde.fr/2016/06/03/lhistoire-des-magazines-typogabor-n9-hermann-zapf-et-paul-gabor
http://www.typogabor.com/Media/Mag_9_Zapf_Paul_Gabor_JPG_640/01_Zapf_Paul_Gabor_GAB_5658_640.jpg
L’expérience de la photocomposition fut de courte durée. Le Postscript arrive sous la forme commercialisée d’Adobe Type Manager et tous les prestataires de composition perdent 50 clients par jour à partir de 1990. Peter Gabor tenta encore d’adapter son entreprise en devenant le premier compositeur qui a basculé la totalité de son fonds sur Macintosh. Mais les dettes s’accumulant et victime d’un administrateur judiciaire peu scrupuleux, il finit par baisser les bras, non sans avoir personnellement créé 4 polices de caractères pour le Journal Libération en 1994.
#typo
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How #Typography Can Save Your Life — Pacific Standard
▻https://psmag.com/how-typography-can-save-your-life-ac7e90ea1cf3
https://cdn-images-1.medium.com/max/1200/1*JyeNGWH52HkiHZbiIM1SGQ.jpeg
After decades of silently shouting at the top of its lungs, the National Weather Service recently announced that it’s going to stop publishing its forecasts and weather warnings in ALL CAPS. Beginning May 11, for the first time ever, we’ll start seeing mixed-case letters.
The weather service’s caps-lock habit didn’t happen entirely by choice. Old equipment left over from early weather service days of the late 1800s could only handle capital letters. Unfortunately, people have since learned to recognize those capital letters AS YELLING. It’s taken a long time for the weather service (and its customers) to update all their hardware and software, but now they’re finally ready to enter the 20th century.
For type nerds everywhere, this is a triumphant typographic victory the likes of which we haven’t seen since Massimo Vignelli re-designed the New York City subway sign system. OK, maybe that’s a stretch, but type choices are a big deal — and can, in fact, have life or death consequences.
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The convergence of emoji ✳️ — User Experience Design (UX) — Medium
▻https://medium.com/user-experience-design-1/the-convergence-of-emoji-%EF%B8%8F-1a600f1338e
https://cdn-images-1.medium.com/max/800/1*B5zXs8s0NreMp2kU_79kUw.jpeg
Language evolves. No matter how annoyed people were by the change of the Oxford English Dictionary to make ‘literally’ not quite ‘literal’, language is simply always reinventing and redefining itself. And as languages evolve, you often see a gradual convergence in shared concepts. Let’s take our latin alphabet.
Now considered quite standard, it used to be very different between languages and regions of the world.
(…)
A newer invention, Emoji, are similarly evolving as they are used. There’s been a few articles in recent months lamenting the differences in emoji sets from handset and software makers.
Significant design differences in emoji can be a hassle at best, but at worst it completely alters the meaning of a communication, and creates a jarring disconnect between the intended meaning the sender is trying to convey to the recipient. Imagine if the letters of our latin script varied depending on the phone you used!
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Klim Type Foundry - Why we need new #typefaces.
▻https://klim.co.nz/blog/why-we-need-new-typefaces
If meaning and information have been sucessfully extracted from the words, conscious recognition of the typeface is unnecessary: any old typeface will do.
However, if this were strictly true, the purpose of typography would be to merely convey information, to crystallise spoken words into symbols. It would thus render people as simple automatons blithely absorbing data. Efficient, but utterly joyless. Our relationship to typography is like our relationship to food—we eat for pleasure, not simply for nutrition. Sometimes we want an exotic dish to celebrate a special occasion, other times we just need a piece of toast.
#typo
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Fontself - Make fonts in Illustrator
▻http://www.fontself.com
http://storage.googleapis.com/instapage-user-media/e66feec8/2825957-0-Fontself-Maker-DragD.gif
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#REM vs #EM – The Great Debate | Zell Liew’s blog about web design and development
▻http://zellwk.com/blog/rem-vs-em
One of the best practices to typography on the web is to use relative units like rem and em.
The question is, which should you use? There’s been a longstanding debate between rem supporters and em supporters, believing that you should use one over the other.
In this article, you’re going to find my take on rem vs em. You’re also going to learn exactly what rem and em are, and how to use them to build modular components.
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The long, incredibly tortuous, and fascinating process of creating a Chinese font - Quartz
▻http://qz.com/522079/the-long-incredibly-tortuous-and-fascinating-process-of-creating-a-chinese-font
https://qzprod.files.wordpress.com/2015/10/arphic-first-edit.png?w=640
pour les amateurs de #typographie
L’ami @jjllnn a refait son site perso. Il est classieux :
▻http://jjllnn.fr
#typo tout ça…
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» Seriously, Don’t Use #Icon #Fonts Cloud Four Blog
▻http://blog.cloudfour.com/seriously-dont-use-icon-fonts
http://blog.cloudfour.com/wp-content/uploads/2015/11/death_to_icon_fonts-slide_20.jpg
Icons are everywhere. These “little miracle workers” (as John Hicks described them) help us reinforce meaning in the interfaces we design and build. Their popularity in web design has never been greater; the conciseness and versatility of pictograms in particular make them a lovely fit for displays large and small.
But icons on the web have had their fair share of challenges. They were time-consuming to prepare for every intended display size and color. When high-resolution displays hit the market, icons looked particularly low-res and blocky compared to the text they often accompanied.
So it’s really no wonder that icon fonts became such a hit. Icons displayed via @font-face were resolution-independent and customizable in all the ways we expected text to be. Sure, delivering icons as a typeface was definitely a hack, but it was also useful, versatile, and maybe even a little fun.
But now we need to stop. It’s time to let icon fonts pass on to Hack Heaven, where they can frolic with table-based layouts, Bullet-Proof Rounded Corners and Scalable Inman Flash Replacements. Here’s why…
#typo #icones #web_design
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