Richard Rutter

Total Page:16

File Type:pdf, Size:1020Kb

Richard Rutter The Future of Web Typography Richard Rutter ÿ Ultra light Museo Slab Light Museo Slab Regular Museo Slab Bold Museo Slab Black Museo Slab Ultra black Museo Slab Ultra light Museo Slab Light Museo Slab Regular Museo Slab Bold Museo Slab Black Museo Slab Ultra black Museo Slab h1 { font-family: “Museo Slab”, Georgia, serif; font-weight: bold; } h1 { font-family: “Museo Slab”, Georgia, serif; font-weight: 200; } Values for font-weight property 100 Ultra Light, Extra Light 200 Light, Thin 300 Book 400 Normal, Regular 500 Medium 600 Demi Bold, Semi Bold 700 Bold 800 Heavy, Black, Extra Bold 900 Ultra Black, Extra Black, Fat, Poster Extra condensed Clarendon Condensed Clarendon Regular Clarendon Expanded Clarendon Extra expanded Clarendon h1 { font-family: “Clarendon”, Georgia, serif; font-stretch: condensed; } Values for font-stretch property Ultra Condensed Extra Condensed Condensed Semi Condensed Normal Semi Expanded Expanded Extra Expanded Ultra Expanded ffi ff fl ffl &i f&i fb fk fí ff fl ffl fi ffi fí http://dev.w3.org/csswg/css3-fonts/ h1 { font-family: Calluna, Georgia, serif; font-variant-ligatures: common-ligatures; } p { font-family: Calluna, Georgia, serif; font-variant-ligatures: no-common-ligatures; } st ip it ck gi fj ap qu OO h1 { font-family: Calluna, Georgia, serif; font-variant-ligatures: common-ligatures additional-ligatures; } !""#$%&&% &'(%)*#&%* Ollivette typewriter h1 { font-family: Ollivette, “American Typewriter”, monospace; font-variant-alternates: stylistic(1); } 0123456789 h1 { font-family: Calluna, Georgia, serif; font-variant-numeric: oldstyle-nums; } Lining Old Style , 409,280 , 367,112 Proportional , 155,068 , 171,792 , , , , Tabular , , , , h1 { font-family: Calluna, Georgia, serif; font-variant-numeric: oldstyle-nums tabular-nums; } ½ h1 { font-family: Calluna, Georgia, serif; font-variant-numeric: diagonal-fractions slashed zero; } font-feature-settings h1 { font-feature-settings:"liga=1, dlig=1, lnum=1, tnum=1"; } font-kerning h1 { font-kerning: none; } Top: Unkerned in Safari; Bottom: Kerned in Firefox font-size-adjust h1 { font-family:"Bickham Script Std", "Snell Roundhand"; } S n nmn v v; nm m vn v. h1 { font-family:"Bickham Script Std", "Snell Roundhand"; } Sequat nullute numsan vitae ed ullutat irilla volorerci; nim aliquatem velenisit veros. h1 { font-family:"Bickham Script Std", "Snell Roundhand"; font-size-adjust:0.19; /* aspect ratio of x-height to text height */ } s' = ( a / a' ) s s = font-size value a = aspect value specified by font-size-adjust property a' = aspect value of actual font s' = adjusted font-size to use fi Hyphenation in the Gutenberg Bible ´ Font Linking ‽ Colly.com 2010.dconstruct.org using Arial 2010.dconstruct.org using Reader avalokana.in using Georgia avalokana.in using Calluna '&3"ASKERVILLE ÀÆÆÂÈÄÅenOPENTYPE ×ÌeÑÀÄÈ]¿lÇÊÍ] ÀÅhÈ]ÙÌhÏ9 ЕГЍЋЕЙЍГЋЍГЋНБďĎĠĘĒğģĖęęĒ ǩ*OHN"ASKERVILLE ǹȊȎȇȃǶȀǿȂǽǹȉǻǴ ȊȋǿǾȐǶȋȇȌЮǽȋǿȅȋȌȈȇǻȉǹȍǷǹ ǹȃȃǴȈǹȉȓȃǹ ǹȌȋǴȋȇǵȉǻȇȋȇȌȌȈǶȉȆǽȊǿЮǹȅȋȁȂȓЊȉǹȊȋǶȉȁȇѳ ǽ͓ȎǽȁȉǿЮǹȋǷǹѳȂǹȁǹȅǶȊȌȎȇȈȅǽȔЮǹȐȍǵȃǿȊǽȋǿȅ ȋȌȈȇǻȉǹȍǷǹȋȓȊȇȊǽǹȁȊȀǿȋȁȂȓȓȊȇȂǹȁȊǽȋǽȎȅȇȃȇǻȁȂȓ ǽȈǷȈǽǼȇǪȉǹǻЮǹȋȇȈȇǷǿȊǽȈȇȃȃǵѳȂǹȁȅȇȋȇЮǷǽѳȊȋǿȅ ĎēĒĤĤĜğđĠĎďĜĢġďĎĠĘĒğģĖęęĒ ǽȂȋȔȈȐȊǿ ȋǿȅȂǹȋǹȊȂǽȌǶȎǹȉȋȁȇȔȂǹȁЮǽȃǴȅǿѳ ȂǹȁȌȈǶȉȆǽȋǽȃǽȁȇЮǹȅǶѳȊǽȂǴȀǽǽǻȎǽǷȉǿЮǹȈȇȌ *OHN"ASKERVILLE GOTINVOLEDIN ǹȅǹȃǴЮǺǹȅǽǜȊȎȇȃǶȀǿȂǽǽȈȁȊȋǹЮǵȅǹЮǽȋǿ TYPOGRAPHYLATEINHISCAREERBUTHISCONTRIBUTION ȊȎǽǼǷǹȊǿȋȌȈȇǻȉǹȍȁȂȕȅȎǹȉǹȂȋǶȉȐȅȂǹȁǿȃǹȋȁȅȁȂǶ WASSIGNIlCANT(EWASASUCCESSFULENTREPRENEUR ǻȉǹЮЮǹȋȇȊǽȁȉǴȋȇȌ ЮǽȋǿȅȇȈȇǷǹȋȔȈȐȊǽЮǷǹ ANDPOSSESEDANINQUIRINGMINDWHICHHE ǵȂǼȇȊǿȋȇȌǝȁȉǻȁȃǷȇȌȋȇ ǽȅȋȌȈȐȊǷǹȊǽȋȇȌѳ APPLIEDTOPRODUCEMANYAESTHETICANDTECHNICAL ȋȌȈȇǻȉǴȍȇȌѳȂǹȁȋȇǺȁǺȃȁȓȍȁȃȇȂȇȁȅȓȊǽȓȃǿȋǿȅ INNOVATIONSINPRINTING(EINVENTEDANEWINK ǟȌȉȕȈǿȂǹȁȋǿȅǜЮǽȉȁȂǶǜȉǻȓȋǽȉǹ ȇ"ASKERVILLE FORMULA ANEWTYPEOFSMOOTHPAPERANDMADE ǽȈȁȎǽǷȉǿȊǽȋȇȅȊȎǽǼȁǹȊЮȓǽȃȃǿȅȁȂȕȅȎǹȉǹȂȋǶȉȐȅ VARIOUSIMPROVEMENTSINTHEPRINTINGPRESS(E ȋǹȇȈȇǷǹȎȉǿȊȁЮȇȈȇǷǿȊǽǻȁǹȋǿȊȋȇȁȎǽȁȇȀǽȊǷǹȋǿѳ WASALSOINVOLVEDINTYPEDESIGNWHICHRESULTED ǤǹȁȅǶѳЊȁǹȀǶȂǿѳȋȇǻȁǹȋȇǪǹȅǽȈȁȊȋǶЮȁȇ INALATINTYPEFACEWHICHWASUSEDFORTHEEDITION ȋǿѳǩȆȍȓȉǼǿѳǩȊȎǽǼȁǹȊЮȓѳȋǿѳǻȉǹЮЮǹȋȇȊǽȁȉǴѳ OF6IRGIL IN4HEQUALITYOFTHETYPEWAS ǹȂȇȃȇȌȀȇȔȊǽȋǿȅǹȈȃȇȈȇǷǿȊǿȋǿѳǽȃȃǿȅȁȂǶѳ ADMIREDTHROUGHOUTOF%UROPEAND!MERICAAND ȋȌȈȇǻȉǹȍȁȂǶѳȂǴȊǹѳ ǹȈȇȍǽȔǻȇȅȋǹѳȋǹȈȇȃȌǴȉȁȀЮǹ WASREVIVEDWITHGREATSUCCESSINTHEEARLY ȊȌЮȈȃǵǻЮǹȋǹ ǹȃȃǴȇȁȊȎǽȋȁȂǴȊȋǽȅǵѳǹȅǹȃȇǻǷǽѳȋȐȅ THCENTURY"ASKERVILLEWASALSOINVOLVEDIN ȊȋȇȁȎǽǷȐȅǼǽȅȂǵȉǼȁȊǹȅȋǿȅǹȈȇǼȇȎǶȋȇȌǺȉǽȋǹȅȁȂȇȔ THEDESIGNOFA'REEKTYPEFACEWHICHHEUSED ȂȇȁȅȇȔȂǹȁǼǽȅȆǹȅǹȎȉǿȊȁЮȇȈȇȁǶȀǿȂǽǪǹȉȓȃǹǹȌȋǴ INANEDITIONOFTHE.EW4ESTAMENTFOR/XFORD ǵȅȋȇȅȇȁǹȈȓǿȎȇǷȋǿѳЮȈȇȉȇȔȅȅǹǹȅǹǻȅȐȉȁȊȋȇȔȅȊȋǹ 5NIVERSITY IN(EADOPTEDTHEPRACTICEOF ǽȃȃǿȅȁȂǴȊȋȇȁȎǽǷǹȋȇȌ'IAMBATTISTA"ODONIȊȋǿȅ AVOIDINGTHEEXCESSIVENUMBEROFLIGATURES ǣȋǹȃǷǹȂǹȁǽЮЮǵȊȐѳȊǽǹȌȋǴȋȇȌ&IRMIN$IDOTȊȋǿ WHICH!LEXANDER7ILSONHADSTARTEDAFEWYEARS EARLIERBUTHIS'REEKTYPESWERERATHERNARROW ǞǹȃȃǷǹ INPROPORTIONANDDIDNOTWINTHESYMPATHYOF ǡȏǿȍȁȇȈȇǷǿȊǿȋǿѳǻȉǹЮЮǹȋȇȊǽȁȉǴѳǵǻȁȅǽǹȈȓȋǿ THEPHILOLOGISTSANDOTHERSCHOLARSOFHISTIME ǬȇȍǷǹǤǹȃǹȑȋǾǷǼȇȌȂǹȁȋȇȅǞȁȕȉǻȇǦǹȋȀȁȓȈȇȌȃȇ 4HEYDIDINmUENCE HOWEVER THE'REEKTYPESOF 'IAMBATTISTA"ODONIANDTHROUGHHIM$IDOTS 'REEKIN0ARIS 4HETYPEFACEHASBEENDIGITALLYREVIVEDAS'&3 "ASKERVILLE#LASSICBY3OPHIA+ALAITZIDOUAND 'EORGE$-ATTHIOPOULOSANDISNOWAVAILABLEAS WWWGREEKFONTSOCIETYORGWWWGREEKFONTSOCIETY PARTOF'&3TYPELIBRARY @font-face { font-family: "Fontin Sans"; src: url("http://mysite.com/FontinSansR.otf"); } Browser support for Webfonts Browser File types supported Internet Explorer 4 Embedded OpenType (EOT) Internet Explorer 9 EOT, WOFF Safari 3.1 TrueType, OpenType, SVG Opera 10 TrueType, OpenType Firefox 3.1 TrueType, OpenType Firefox 3.6 TrueType, OpenType, WOFF Chrome beta 4 TrueType, OpenType, SVG Mobile Safari SVG Fonts as a Web Service Fontdeck.com ˇ apple.com 2010 Year of Web Typography Richard Rutter Director, Clearleft @clagnut Cofounder, Fontdeck http://webtypography.net/talks/london-web-standards/ The slides were set in Adelle, Syntax & Fleurons of Hope. Other fonts featured were Calluna, Clarendon, Cooper Black & Museo Slab. All these typefaces are available on Fontdeck.com..
Recommended publications
  • June 2015 Broadside
    T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff.
    [Show full text]
  • Booklet & CD Design & Typography: David Tayler Cover Art: Adriaen Coorte
    Voices of Music An Evening with Bach An Evening with Bach 1. Air on a G string (BWV 1069) Johann Sebastian Bach (1685–1750) 2. Schlummert ein (BWV 82) Susanne Rydén, soprano 3. Badinerie (BWV 1067) Dan Laurin, voice flute 4. Ich folge dir gleichfalls (St. John Passion BWV 245) Susanne Rydén, soprano; Louise Carslake, baroque flute 5. Giga (BWV 1004) Dan Laurin, recorder 6. Schafe können sicher weiden (BWV 208) Susanne Rydén, soprano 7. Prelude in C minor (BWV 871) Hanneke van Proosdij, harpsichord 8. Schlafe mein Liebster (BWV 213) Susanne Rydén, soprano 9. Prelude in G major (BWV 1007) David Tayler, theorbo 10. Es ist vollbracht (St. John Passion BWV 245) Jennifer Lane, alto; William Skeen, viola da gamba 11. Sarabanda (BWV 1004) Elizabeth Blumenstock, baroque violin 12. Kein Arzt ist außer dir zu finden (BWV 103) Jennifer Lane, alto; Hanneke van Proosdij, sixth flute 13. Prelude in E flat major (BWV 998) Hanneke van Proosdij, lautenwerk 14. Bist du bei mir (BWV 508) Susanne Rydén, soprano 15. Passacaglia Mein Freund ist mein J.C. Bach (1642–1703) Susanne Rydén, soprano; Elizabeth Blumenstock, baroque violin Notes The Great Collectors During the 1980s, both Classical & Early Music recordings underwent a profound change due to the advent of the Compact Disc as well as the arrival of larger stores specializing in music. One of the casualties of this change was the recital recording, in which an artist or ensemble would present an interesting arrangement of musical pieces that followed a certain theme or style—much like a live concert. Although recital recordings were of course made, and are perhaps making a comeback, most recordings featured a single composer and were sold in alphabetized bins: B for Bach; V for Vivaldi.
    [Show full text]
  • 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.
    [Show full text]
  • Web Typography Characteristics O Type Is Displayed at Between 72 and 110 Dpi, Much Lower Than in Print
    GD 321A :: Week 07 1 of 7 25 February 2004 Web Typography Characteristics o Type is displayed at between 72 and 110 dpi, much lower than in print. o Pages are rendered on the fly, and presentation varies depending on a number of factors: Operating system (Mac, Windows, Linux) Web browser maker (Netscape, Mozilla, Internet Explorer, Safari, Opera) Web browser version (3.0, 4.0, 5.5, 6.0, etc.) User preferences (adjustments to the default typeface, size, colors, etc.) Fonts installed on the end-user’s system o Consider your typography as mere suggestions rather than strict requirements. o Browser Samples: Note the differences in the amount of content displayed and in the size of the fonts between the two operating systems. Internet Explorer 5.2 on Mac OS X 10.2 Internet Explorer 5.5 on Windows 95 Why is type on the web so bad? o Initial goal of the web was to share physics documents with researchers around the world. Academics focused on the structural logic and portability of the information, not the visual presentation. o Early HTML documents used container tags (<h1>, <h2>, <p>, etc.) to create a visual hierarchy, not to precisely control the appearance of a page. o Older browsers emphasized the ability to customize font settings—it was considered a feature at the time. Has it gotten better? o When designers began working on the web, more visual control was desired. o Netscape introduced the <font> tag in 1995 to allow for better control of text, including size, face and color. o Today, designers are learning and using Cascading Style Sheets (CSS).
    [Show full text]
  • Advancements in Web Typography (Webfonts and WOFF)
    Advancements in Web Typography (WebFonts and WOFF) Aaron A. Aliño Graphic Communication Department California Polytechnic State University 2010 Advancements in Web Typography (WebFonts and WOFF) Aaron A. Aliño Graphic Communication Department California Polytechnic State University 2010 Table of Contents Chapter I: Introduction………………………………………………………….…………..2 Chapter II: Literature Review……………………………………………………….………5 Chapter III: Research Methods………………………………………………….…..…....18 Chapter IV: Results………………………………………………………………….……..24 Chapter V: Conclusions……………………………………………………………….…..38 References……………………………………………………………………………...…..41 1 Chapter I: Introduction When it comes to the control one has in designing and creating content for the World Wide Web, typography should be no different. Print designers have had the advantage for a long time over their ability to choose exactly how type is printed, limited only by their imagination and the mechanical limits of setting and printing type. Web designers, on the other hand, have been held back by the inherent hardware and software limitations associated with web design and font selection. What this means is that web designers have not been able to control type exactly the way they want. Web designers have been limited to fonts that can safely be displayed on most computers and web browsers. If web designers wanted to display type with a special font, they had to resort to a workaround that was not always effective. Web designers should have the same absolute control over typography as print designers. Control of web typography has gotten much better compared to the early days of web design, but 2 considering how powerful and robust computers and web browsers are now, it seems unfortunate that control over web typography is so primitive That has changed now.
    [Show full text]
  • Does Font Type Has Effects on Web Text Readability?
    International Education Studies; Vol. 6, No. 3; 2013 ISSN 1913-9020 E-ISSN 1913-9039 Published by Canadian Center of Science and Education Reading on the Computer Screen: Does Font Type has Effects on Web Text Readability? Ahmad Zamzuri Mohamad Ali1, Rahani Wahid1, Khairulanuar Samsudin1 & Muhammad Zaffwan Idris1 1 Faculty of Art, Computing & Creative Industry, Universiti Pendidikan Sultan Idris, Perak, Malaysia Correspondence: Ahmad Zamzuri Mohamad Ali, Faculty of Art, Computing & Creative Industry, Universiti Pendidikan Sultan Idris, Tanjong Malim, 35900, Perak, Malaysia. Tel: 60-124-777-395. E-mail: [email protected] Received: January 9, 2013 Accepted: January 18, 2013 Online Published: January 23, 2013 doi:10.5539/ies.v6n3p26 URL: http://dx.doi.org/10.5539/ies.v6n3p26 Abstract Reading on the World Wide Web has become a daily habit nowadays. This can be seen from the perspective of changes on readers’ tendency to be more interested in materials from the internet, than the printed media. Taking these developments into account, it is important for web-based instructional designers to choose the appropriate font, especially for long blocks of text, in order to enhance the level of students’ readability. Accordingly, this study aims to evaluate the effects of serif and san serif font in the category of screen fonts and print fonts, in terms of Malay text readability on websites. For this purpose, four fonts were selected, namely Georgia (serif) and Verdana (san serif) for the first respondents and Times New Roman (serif) and Arial (san serif) for the second respondents. Georgia and Verdana were designed for computer screens display.
    [Show full text]
  • Html Fonts with Examples
    Html Fonts With Examples Emilio remains onward: she misrating her caulicles frighten too less? Thymelaeaceous Martie alludes uneventfully while Aloysius always burn-up his whiffer scandalising tidily, he selects so strugglingly. Commemorable or exponent, Cyrillus never resupply any stimulatives! What is included with html fonts examples and minimalistic look and web safe fonts as their default font file in the font definitions relied on Friendly across The Visual Storytelling Tool Really? The html with a beautiful colorful image across all browsers support articles. It so another favorite font which is equally useful see the web as width as print. Get latest version of html email clients can take your emails in immediate text paragraph contains a very common among page. Learn how many other answers to apply this rule included in bold were developed to use in your emails. You prefer type your custom text making a specific box as see these that font looks like and customize it! When used for handheld styling of reasons but also agree with examples of fonts you can. Green text is too, with fonts presentable for use on. Also has bold a font you wish it a specific font will provide one? Century gothic not available in small sizes, has a text, no more about web page layouts are a test your email safe fonts makes text! These font to accomplish both macs that look similar stroke weight of text into a heart for helping us newbie not! If html style? Serif fonts have broad feet and tails. Web designers love the resources it looks like websites, fonts with very versatile font for our mission: physical fonts are.
    [Show full text]
  • Finding, Testing, and Using Web Fonts Laura Franz, University of Massachusetts Dartmouth 1
    Finding, Testing, and Using Web Fonts Laura Franz, University of Massachusetts Dartmouth 1 Finding, Testing, and Using Web Fonts Laura Franz, University of Massachusetts Dartmouth Where should I get my fonts? There is no wrong or right answer. It depends on your needs. • Ease of use (how much CSS do you need/want to know/use? How easy is the interface?) • Control/ownership (do you or your client want to own the font license?) • Cost • Quality • Availability of specific fonts (do you or your client need a specific font?) • Availability of desktop fonts for mock-ups • Screenshots of how fonts work cross browser Web font providers in alphabetical order (leaving out those with confusing interfaces and pricing plans): Self Host? Host on Desktop fonts Screenshots Pricing Fee Free Trial their for mock-ups of fonts cross Schedule available? server? provided? browser? Fontdeck No Yes No No Pay per font. Example: Din Text Pro Annual Yes (each weight/style charged separate- ly) $12.50/year. (1m page views) Fonts.com Yes, with Yes Yes, with Pro Yes Standard plan (500,000 monthly Monthly Yes Pro Plan Plan page views) is $20/mo. Pro plan is $100/mo. FontSpring Yes No Yes (otf) No Purchase font licenses. A full One Free fonts family (3–14 weights and styles) Time available costs $0–$300. Fee FontSquirrel Yes No Yes (otf) No Free None Free Google Web Fonts Yes Yes Yes No Free None Yes Justanotherfoundry No Yes No No Each family (all weights and styles, Annual Yes 2gb/Month traffic) €19/year myfonts.com Yes No Yes, with Yes Futura (6 weights and styles) 10,000 One Yes higher plan monthly views $133.68.
    [Show full text]
  • Webtypogrphy Inforgraphic.Graffle
    THE NEW WEB TYPOGRAPHY #1 WHAT IS A WEBFONT? + Although it is estimated that there are more than one hundred fifty thousand different digital fonts, that does not mean you can 150,000 legally use them in your web designs as webfonts. Fonts are small pieces of software subject to End User License Agreements (EULAs) which control what you can and can not legally do with them. Most fonts do not include the right to use the font with ✗ALL DIGITAL FONTS@font-face, so you should not use them. If in doubt, check with the font manufacturer before using as a webfont. f f 10! 182! 40,000@+ ! ✔CORE WEB FONTS ✔WEB SAFE FONTS ✔WEBFONTS Microsoft licensed ten typefaces to be installed on all PCs. Both Mac and Windows computers have a list of fonts that Webfonts are downloadable font file that can be used by a Apple also provided the same fonts, making them the most are always installed. Additionally, commonly installed Web browser to display text. Webfonts come in different commonly available typefaces, and thus the default choice software such as Microsoft Office and Apple iLife include formats which are supported by different browsers, but for most designers. The list originally included 11 typeface, more fonts. From this, we can derive a list of one-hundred virtually all browsers support Webfonts now, including but Microsoft no longer includes Andale Mono. eighty-two additional fonts that are commonly installed on Internet Explorer. Of the 100K digital fonts, around forty most computers. For the full list, visit http://bit.ly/web- thousand have been licensed for @font-face usage and the safe-fonts .
    [Show full text]
  • Web Style Guide
    Attachment 6 - MS CCR FIRM Appendix: TEA Web Style Guide Texas Education Agency Texas Education Agency Web Style Guide Version 3.0 Revised Feb. 23, 2016 Table of Contents About This Guide Provide Accessible Content 7 Role of TEA 6 Write Informative Content 7 Website Objectives 6 Contact Us 7 Maintain a Consistent Voice 6 Visual Identity The TEA Brand Meet TEA Image and Document Standards 18 The TEA Logo 9 Keep Hyperlinks Updated 18 Permission to Use Our Logo 9 Don’t Mess With the Code 18 Logo Treatment 9 The TEA Color Palette 10 Page Design Agency Typefaces 11 Visual Hierarchy 19 Category Icons 12 Inverted Pyramid 19 Buttons 12 Chunking 19 Headers 19 Site Structure Typography 20 Header 14 Alignment 20 Brand Bar 14 Typeface 20 Navigation 14 Emphasis 20 Footer 14 Page Elements 21 Templates 14 Photos 21 interiorpage.aspx 15 Graphics 21 interiorpage_wide.aspx 16 Tables 21 Ektron CMS Requirements 17 Forms 21 Fill Out Template Tabs 17 Structure Tables Correctly 17 Texas Education Agency Page 2 Accessibility Accessibility Overview Semantic Markup 25 Who Benefits? 23 Keyboard Accessibility 26 What is Covered? 23 Use of Color 26 Who Sets the Standards? 23 Links 27 Images 27 Accessibility Laws Tables 27 Federal Law 24 Forms 28 State Law 24 Multimedia Files 28 Agency Policy 24 Document Accessibility 28 Making Information Microsoft Word 28 Accessible Excel 29 Web Accessibility 25 PowerPoint 29 Use of HTML 25 More Information 29 Editorial Standard Plain Language Use Active Voice 33 The Plain Language Process 31 Use Present Tense 34 Identify Your Audience
    [Show full text]
  • Accessible Web Typography for the Visually Impaired
    Accessible Web Typography for the Visually Impaired by Erica R. McCoy May 2018 Presented to the Division of Science, Information Arts, and Technologies University of Baltimore In Partial Fulfillment of the Requirements for the Degree of Master of Science Approved by: ________________________________ Kathryn Summers, Ph.D., Thesis Advisor ________________________________ Deborah Kohl, Ph.D., Associate Dean Abstract Background: Visual impairments affect millions of people worldwide. Accessible web typography is important in ensuring online legibility for this diverse group of users to help them maintain their independence. However, existing typographic guidelines are based heavily on best practices, with supported research based largely on printed typography, and rarely considers the needs of visually impaired users. The purpose of this research is to investigate which elements of typography have the most impact on visually impaired users in an effort to work towards more accessible typographic guidelines. Method: An in-depth analysis of existing online typography trends found that even with copious resources available web designers are often not adhering to typographic guidelines. This analysis helped build a solid foundation for experimental research with visually impaired users by providing insight into how typography is actually being used on the web. In response, both line height and font size were tested for their effects on simulated macular degeneration. A second experiment tested line height across three other simulated visual impairment types. Results: This study did not show significant effects on legibility for simulated macular degeneration based on font size, although error rate was nearly twice as high for smaller font sizes. Increased line height did significantly reduce the error rate for simulated macular degeneration.
    [Show full text]
  • Using Font Attributes in Knowledge Maps and Information Retrieval
    Using Font Attributes in Knowledge Maps and Information Retrieval Richard Brath1 and Ebad Banissi1 London South Bank University, London, U.K. Abstract. Font specific attributes, such as bold, italic and case can be used in knowledge mapping and information retrieval to encode addi- tional data in texts, lists and labels to increase data density of visualiza- tions; encode data quantitative data into search lists; and facilitate text skimming and refinement by visually promoting of words of interest. 1 Why Font Attributes? Information visualization (infovis) transforms data into visual representations. In knowledge mapping, visualizations are used to gain insight into the struc- ture of large scale information spaces. In knowledge maps, similar to geographic maps, text should have an inherent role to help viewer comprehend information, however, the use of font-specific attributes, such as bold, italic, caps, etc., in in- fovis is uncommon for encoding additional information. In information retrieval, search results may use a few font-attributes, e.g. bold, underline, serif/sans serif, to differentiate classes of metadata. The goal of this paper is to illustrate that font-specific attributes can be used to: 1) facilitate skimming texts such as abstracts or lead paragraphs; 2) encode quantitative data using a novel technique of proportional encoding in search results and facets; and 3) encode multiple data attributes in labels. 2 Background Knowledge maps frequently use text labels: Places & Spaces (scimaps.org) is a repository of information visualizations and maps typically organizing large information spaces (i.e. knowledge maps). Of 144 maps, 80% use some form of text in the central visualization.
    [Show full text]