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Web Typography │ 2 Table of Content
Imprint Published in January 2011 Smashing Media GmbH, Freiburg, Germany Cover Design: Ricardo Gimenes Editing: Manuela Müller Proofreading: Brian Goessling Concept: Sven Lennartz, Vitaly Friedman Founded in September 2006, Smashing Magazine delivers useful and innovative information to Web designers and developers. Smashing Magazine is a well-respected international online publication for professional Web designers and developers. Our main goal is to support the Web design community with useful and valuable articles and resources, written and created by experienced designers and developers. ISBN: 978-3-943075-07-6 Version: March 29, 2011 Smashing eBook #6│Getting the Hang of Web Typography │ 2 Table of Content Preface The Ails Of Typographic Anti-Aliasing 10 Principles For Readable Web Typography 5 Principles and Ideas of Setting Type on the Web Lessons From Swiss Style Graphic Design 8 Simple Ways to Improve Typography in Your Designs Typographic Design Patterns and Best Practices The Typography Dress Code: Principles of Choosing and Using Typefaces Best Practices of Combining Typefaces Guide to CSS Font Stacks: Techniques and Resources New Typographic Possibilities with CSS 3 Good Old @Font-Face Rule Revisted The Current Web Font Formats Review of Popular Web Font Embedding Services How to Embed Web Fonts from your Server Web Typography – Work-arounds, Tips and Tricks 10 Useful Typography Tools Glossary The Authors Smashing eBook #6│Getting the Hang of Web Typography │ 3 Preface Script is one of the oldest cultural assets. The first attempts at written expressions date back more than 5,000 years ago. From the Sumerians cuneiform writing to the invention of the Gutenberg printing press in Medieval Germany up to today՚s modern desktop publishing it՚s been a long way that has left its impact on the current use and practice of typography. -
Copyrighted Material
COPYRIGHTED MATERIAL 006_542514_ch01.indd6_542514_ch01.indd 1414 66/2/10/2/10 99:27:27 AAMM CHAPTER ONE A BRIEF HISTORY OF TYPE he story of type doesn’t begin with type per se, rather it starts with the beginning of mankind and civilization. Type has only existed for about 560 years, but its beginnings are rooted in the life of the caveman himself, as it was his developing needs and habits that led civiliza- tion on a path toward the evolution of the alphabet and subsequently the invention of type and printing. It is certainly possible to learn to use type effectively and tastefully without knowing its roots; but to fully understand and appreciate type today, it is important to know something of the past. Milestones in the history of type are highlighted throughout this chap- ter. Some of the dates, chronology, and details vary from source to source, but the spirit of the events remains the same. These events have taken mankind on a glorious ride from the crudest cave drawings to the bits and bytes of type in the digital age. SOUNDS TO SYMBOLS For many years, early humans communicated purely with sound. Verbal language–which is heard and not seen as opposed to visual language (or visible language, as it is often called)–has many limitations: it is gone the instant it is spoken and heard, and it is therefore temporary. Stories, history, and other information could not be passed on from generation to generation in a permanent way, only by direct word of mouth. The earliest attempts to record stories and ideas were through cave drawings; the fi rst known is dated around 25,000 bc. -
Typesetting Technologies and Typographic Refinements Reported in the Previous Issue of U&Lc
AdBbCcIdFA, Ff Cig Fih hij Kk H Mm 1Nn Oo Pp Qt.! ft 41V■.:Wv, Zz 12345678908A-11 Ss(' ?( UPPER AND LOWER CASE, THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION, VOLUME FOUR, NUMBER FOUR, DEC. 1977 Fad U&Ic VOLUME 4. NUMBER 4 1977 HERB LUBALIN. EDITORIAL 6. DESIGN DIRECTOR AARON BURNS, EDITORIAL DIRECTOR EDWARD RONDTHALER, EDITORIAL DIRECTOR JACK ANSON FINKE, ASSOCIATE EDITOR ANDY DIDORA. TONY DISPIGNA. LOUISE FILI, LYDIA GERSHEY, KELLY KAO, ANNA McCUSKER, TED SZUMILAS, DOUG TURSHEN, ALAN WOOD, ART & PRODUCTION EDITORS JOHN PRENTKI, BUSINESS AND ADVERTISING MANAGER EDWARD GOTTSCHALL. EDITORIAL ADVERTISING COORDINATOR 0 INTERNATIONAL TYPEFACE CORPORATION 1977 PUBLISHED FOUR TIMES A YEAR IN MARCH,JUNE,SEPTEMBER AND DECEMBER BY INTERNATIONAL TYPEFACE CORPORATION 216 EAST 45TH STREET. NEW YORK, N.Y. 10017 A JOINTLY OWNED SUBSIDIARY OF PHOTO-LETTERING, INC. AND LUBALIN, BURNS & CO. INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK, N.Y. AND AT FARMINGDALE. N.Y. PUBLISHED IN U.S.A. ITC OFFICERS: EDWARD RONDTHALER, CHAIRMAN AARON BURNS, PRESIDENT HERB LUBALIN EXECUTIVE VICE PRESIDENT JOHN PRENTKI, VICE PRESIDENT, GENERAL MANAGER BOB FARBER, SENIOR VICE PRESIDENT ED BENGUIAT, VICE PRESIDENT STEPHEN KOPEC, VICE PRESIDENT U.S. SUBSCRIPTION TO INDIVIDUAL $6.00: SINGLE COPIES $1.50 ELSEWHERESUBSCRIPTION. SB.00: SINGLE COPIES $2.50 Vision '77 covered much more than the new typesetting technologies and typographic refinements reported in the previous issue of U&lc. It was concerned with everything from information flow and systems to the -role of creative graphics in making communications work; with the experience of companies that have used various typesetting systems; with the viewpoints of educators, designers and typographic services concerning the new machines and materials; and with what the near future holds in store. -
Copyrighted Material
INTRODUCTION Type is all around us, in everything we read, from product packaging in the grocery store to television commercials, from greeting cards, books, and magazines to movie credits and storefront signs. Learning to read and write the alphabet is one of the fi rst things we are taught in school, and that process oft en begins before nursery school with television shows and videos intended for the hungry and curious minds of two- and three-year-olds. Type and printed matter not only communicate information to us but also infl u- ence decisions we make on a daily basis. Whether we realize it or not, type and the way it appears aff ects which CD or book cover catches our eyes, which detergent we think might make the whites whiter, and which movie seems like it might be the scariest or most romantic. Much of this process goes on unconsciously, which is why the art and craft of typography is so invisible to the average person. But its unseen nature by no means diminishes the importance and infl uence type has on the quality and substance of our daily lives. Type Rules! is intended for anyone interested in typography, be they a professional graphic designer, an instructor, or a novice computer user. Th ere is something here for everyone, whether you know a little or a lot about type. Th is book does not have to be read front to back; you may thumb through the chapters and stop wherever something sparks your interest, or you may read it chapter aft er chapter, cover to cover. -
Editor Barbara Beeton
Damn braces. Bless relaxes. William Blake Proverbs of Hell THE l$jX USERS GROUP NEWSLETTER EDITORBARBARA BEETON VOLUME5, NUMBER1 MAN 1984 PROVIDENCE RHODEISLAND U.S.A. TUGboat, Volume 5, No. 1 ADDRESSES OF OFFICERS, AUTHORS AND OTHERS BEETON, Barbara GENOLINI, F. MacKAY, Pierre A. STROMQUIST, Ralph American Mathemat~calSociety Universita deglt Studi di Milano University of Washington MACC P.O. Box 6248 Istituto dl Cibernetica Department of Computer Science, FR-35 Unlverslty of W~sconsin Providence, RI 02940 Via Viott 5 Seattle, WA 98195 1210 W. Dayton Street 401-272-9500 20133 Milano, ltaly 206-543-2266 Madison, WI 53706 23.52.93 608-262-8821 BERTELSEN, Erik MacKayQWashlngton GOUCHER, Raymond E. Regional EDP Center. Univ of Aarhus (RECAU) MALLETT, Rick THEDFORD, Rills Ny Munkegade American Mathemat~calSociety Computing Services lntergraph Corporation Sygnlng 540 P.O. Box 6248 Room 1208 Arts Tower One Madison lndustrlal Park DK-8000 Aarhus C, Denmark Providence, RI 02940 Carleton Unlverstty Huntsvdle, AL 35807 401-272-9500 x232 45 6 128355; Telex: 64 754 recau dk Ottawa (K1S 586). Ontarlo Can 205-772-2000 BLOCK, Neil GROSSO, Paul TOBIN, Georgia K. M. Hughes Arcraft Co. Textset, Inc NICHOLS, Monte C. Office of Research Bldg. Al, MIS 3C923 P 0 Box 7993 OCLC Online Computer Library Center, lnc P.O. Box 9339 Ann Arbor, MI 48107 Exploratory Chemistry Division 6565 Frantz Rd Sandla National Laboratories 8313 Long Beach, CA 90810 313-761-9732 Dublin, OH 43017 213-513-4891 Livermore, CA 94550 614-764-6000 GUENTHER, Dean 415-422-2906 Computer Service Center CANZII, G. TUTTLE, Joey K. -
Softmaker Megafont XXL – Part 1 Key to Original Font Names
Softmaker MegaFont XXL – Part 1 Key to Original Font Names The "MegaFont XXL" Fonts CD-ROM containing thousands of fonts is sold by the Softmaker GmbH, Nürnberg, run by Mr. Martin Kotulla, since December 2002. It comprises almost the entire "Berthold Types" collection including the original Berthold typefaces and numerous ATF and ITC typefaces licensed by the H. Berthold AG. Furthermore MegaFont XXL contains many other typefaces by Adobe, Compugraphic, Esselte Letraset, Fundicion Tipografica Neufville, Linotype (Heidelberger Druckmaschinen), Monotype/AGFA, URW++ and other foundries. The fonts of the MegaFont XXL CD were forged by Mr. Martin Kotulla by the "Linotype Method" (see the report "The Funny Font Forging Industry" http://www.sanskritweb.net/forgers/forgers.pdf). He forged copyright notices by always inserting "2002" as "year of first publication" (compare § 506 c USA Copyright Law, Criminal offenses: Fraudulent copyright notice). The MegaFont collection is of particular importance for historians of typography. It includes many original fonts of the Berthold period 1858–1993 no longer available elsewhere, e.g. the original Palatino by Hermann Zapf of 1950. The Berthold foundry was founded in 1858 in Berlin as "H. Berthold Messinglinienfabrik und Schriftgießerei" and was transformed into a stockholding company in 1896. The H. Berthold AG was the most important German type foundry for highest-quality photocomposition. Due to mismanagement the H. Berthold AG went broke in 1993. Some years ago a new company called "Berthold Types Limited" was founded in Chicago, Illinois. Many fonts contained in the MegaFont XXL collection are still sold by other type foundries at very high prices. -
Dista Iiiiily Hieli Tucji Center Rrrainino Vnit 21050 Mcclellan Rd
• I to DIsta_ IIIIIly Hieli tUcJi Center rrrainino Vnit 21050 McClellan Rd. Cupertino, CA 95014 www.htctu.net • HTCTO Foothill - De Anza Community College District • California Community Colleges Creating Accessible Online Courses • Creating Accessible Online Classes High Tech Center Training Unit of the California Community Colleges at the Foothill-De Anza Community College District 21050 McClellan Road Cupertino, CA 95014 (408) 996-4636 http://www.htctu.net • • 1 • • Copyright 2009 HTCTU http://creativecommons.org/licenses/by-nd-nc/l.O/ • Creating Accessible Online Courses Contents Creating Accessible Online Classes 1 Background & Overview 5 • Introduction to Assistive Technology 13 Introduction to Alternate Media 17 Campus Accessibility Resources 21 Legal Issues 22 Usable Web Accessibility 26 Production Plans and Workflows for Success 27 Course Production Plan ExaIllples 29 Basic Accessibility Skills & Formatting .3 7 Accessibility Principles for Electronic Documents .44 Creating an Accessible Document in Word ··.·.48 Accessible PDF 52 Accessible PowerPoint. 58 Adobe DreamWeaver 61 WYSIWYG HTML Editors 64 Captioning & Multimedia Accessibility 67 Basic Formatting Concerns for Captions 68 Laws on Video and Captioning 71 The Distance Education Captioning and Transcription (DECT) GranL 73 Captioning Essentials ····· ·· ·.. ·76 Using Any Video Converter 77 Express Scribe 78 • YouTube: easy Do-it-Yourself Captioning 79 Optimizing Content for Online Delivery 81 CMS and LMS Access Issues 81 Live Delivery ofWeb-Based Learning (CCCConfer) 89 • 3 Creating Accessible Online Courses • • • 4 Creating Accessible Online Courses Introduction to Creating Accessible Online Classes • Background & Overview Introduction to Digital Media Electronic or digital media includes a wide range oftechnologies and content. When properly designed these media can encourage interest and participation by students in otherwise dry or uninspiring subjects.