Thoughts from I love typography…
Though I have the utmost respect for Massimo Vignelli, and am a fan of his work, his we use too many typefaces is just plain wrong. It’s by no means the first time Vignelli has voiced these views…
For any designer to claim that a half-dozen or a dozen typefaces is enough â€” well that’s their prerogative. However, it’s one thing to say â€˜twelve typefaces is enough for me, but to claim twelve typefaces is enough, period; extrapolating a generalisation from a personal imposition is rarely, if ever helpful.
Style, convert units, search, identify, preview, etc. Lots of resources for working with type on the web:
Since typography is one of the most challenging and important aspects of web design, it\'s important to have useful tools that can make things easier. Here\'s a list of tools that will be a big help in making your typography beautiful, and you won\'t even have to leave your browser.
Typographic and design standards on the web…
When I first started to design Baseline, I wanted to base the grid on the work of Josef MÃ¼ller-Brockmann, unfortunately some missing CSS attribute â€” like type leading â€” kept me from implementing a true grid based approach. I then decided to look back at the basic grid that is used in print: the baseline grid.
True font control on the Web? It’s getting closer:
When we started Small Batch Inc. last year, our goal was to explore what\'s now possible on the web. That exploration has taken many shapes: bringing together a community at The Start Conference, working with our friends at Twitter for a few months, and digging deep into data with Wikirank. Now we\'re focusing on an entirely new idea, and we\'d like to share that with you. It\'s called Typekit.
We\'ve been following developments in web browsers very closely, looking for new and smarter ways to build stuff. Last fall, we started seeing renewed interest in linking to fonts via Cascading Stylesheets. While the W3C working draft has been around for years, a new wave of browser support will finally offer designers more control over fonts on the web. A particularly cogent article from John Allsopp, followed by frequent conversations with him, helped us understand that there was a significant opportunity here.
“With our patented auto-swissification technology, making posters is a snap!”
“Ever seen a great font in a magazine ad, poster, or on the web and wondered what font it is? Whip out your iPhone and snap a photo, and WhatTheFont for iPhone will identify that font in seconds!” Yeah, I’m a little too excited about this.
“A quick reference guide of typographic terms and classification with definitions of form and usage for Latin based writing systems. Handy for the desk, the TDR contains over a thousand facts on typography.”
Looks beautifully simple.
“There is a commonly held belief that Helvetica is the signage typeface of the New York City subway system, a belief reinforced by Helvetica, Gary Hustwit\'s popular 2007 documentary about the typeface. But it is not trueâ€”or rather, it is only somewhat true. Helvetica is the official typeface of the MTA today, but it was not the typeface specified by Unimark International when it created a new signage system at the end of the 1960s.”
“The 1927 edition of Studio Handbook by Samuel Welo is 233 pages of beautiful type and timeless design advice. Only this book comes with a twist â€“ every page was hand-lettered by Welo.”
“Why go so big on type? There’s a short answer and a long answer.”