Posts tagged typography

Content-aware Typography, a blog collecting submissions of works that remix typography through Photoshop’s Content-aware Fill tool.

Font Face

Ah, web typography. When I did my first website back in 1997, things were pretty much limited to a choice between Arial and Times New Roman. Then Microsoft introduced Verdana and a couple of others, and people found out they could get away with really small font sizes. Georgia was lovely but not for everyone, and Trebuchet… well it just replaced Arial in my mind. The fact remains, for the last twelve years designers had less than a dozen sure choices for web type, fonts readily available in both Windows PCs and Macs. Windows Vista introduced a few pretty good fonts (such as the Candara that used to be this blog’s first choice), and that had designers writing ridiculously large CSS font stacks in order to maintain a small amount of control. Some did go all the way and wrote scripts that replaced HTML text with Flash movies which had some font embedded, but that’s a pretty crude solution to a problem that should be easier to solve.

It took ten years but finally most browsers support font embedding. Internet Explorer is a nuisance, as always, because despite being the first browser to support embedding (since I first started making websites, in fact!), it does so through some peculiar font format which is incompatible with everything else. Anyway, I finally jumped right into the @font-face bandwagon. You should be reading this text in CartoGothic (Font Squirrel also has a pretty friendly tool to help with the CSS and the conversion to IE format); and the headlines should be set in Jos Buivenga’s Delicious. If you are using one of the latest browsers, that is. Enjoy!

Update: screw that, using CartoGothic brings too much of a lag on page load. So it’s back to Trebuchet. But I’m keeping the titles set in Delicious.

Alex Cornell’s design proposals for a hypothetical Wes Anderson Film Festival. Style emulation isn’t normally my cup of tea, and the visual aesthetics of Wes Anderson’s films isn’t that hard to copy (think bold Futura, a mix of complementary pastel colors, and orthogonal framing — which Cornell didn’t even use). But still there’s something absolutely compelling about this series. (via Johanna Reed)