Words are the primary component of content for the web. However, until a short while ago, all we had at our disposal were but a few system fonts. Adding to that, those system typefaces weren’t necessarily coherent from operating system to operating system (OS).
Fortunately, Windows, macOS and Linux made up font-wise, and since then, all modern fonts have been compatible across those OS’. There’s no question, the future of web typography looks promising.
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Lettering and calligraphy are quickly becoming desired skills in a designer’s toolbox. Designers such as Marian Bantjes, Jessica Hische, Sean Wes and Martina Flor, just to name a few, have become not only an inspiration to the rest of us, but also a standard.
Their work is not only client-based; they have become their own brand by providing products to their followers as well. Other designers have followed suit, and now it would seem that lettering and calligraphy are everywhere.
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Fluid layouts have been a normal part of front-end development for years. The idea of fluid typography, however, is relatively new and has yet to be fully explored. Up until now, most developers’ idea of fluid typography is simply using Viewport units maybe with some minimum and maximum sizes.
In this article, we are going to take it to another level. We are going to examine how to create scalable, fluid typography across multiple breakpoints and predefined font sizes using well-supported browser features and some basic algebra. The best part is that you can automate it all by using Sass.
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In the first part of this article, we discussed the resurgence of lettering, we defined the differences between lettering, calligraphy, and typeface design, and we also discussed pens, papers, and other supplies. In this second part, I will share with you how I got started, my journey, and will also share specific tips on how to start. Let’s get started.
When I decided to practice lettering daily, I was a tad overwhelmed with the options: Crayola (there is even a term for it, crayligraphy), pointed pen, brushes, illustrative lettering, lettering, calligraphy (Copperplate and Spencerian), modern calligraphy, and so on. I did not know what to do or where to start.
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The resurgence of hand lettering, calligraphy, signage, penmanship, or really anything that is graphic and handmade is increasingly difficult to ignore. Along with letters drawn in any of the categories just mentioned, drawing, sketching, sketchnoting, and any hybrid style (combinations of the above) have also been gaining attention among designers, illustrators, and other professionals.
A quick look around social media or simply googling lettering will quickly show impressive and notable work. Last year I deliberately started practicing brush lettering, meaning I had a dedicated time to practice exercises, write out words and practice letterforms.
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Hand lettering has taken the world by storm. It has become the beautiful connection — a juxtaposition — between design and words. The letter forms in the typography have been broken down into their shapes, flourishes, and textures.
Hand lettering speaks volumes. This is an art form which allows us to see the space between the letters, and the style of the lettering as a piece of art that can deeply evoke emotions and bring meaning — nostalgia, happiness, joy, and love.
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Embracing fluid typography might be easier than you think. It has wide browser support, is simple to implement and can be achieved without losing control over many important aspects of design.
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What would a page look like if it had no designer? This odd question occurred to me in the 1980s, while overseeing the transition from lead-based typesetting to phototypesetting of an Indian newspaper. The Patriot’s distinctive design seemed to emerge, not from a designer, but the tactile interaction between lead and the illiterate villager who assembled the pages.
This article examines how design has changed as materials have evolved, and underlines how the need for deliberate design is greater than it has ever been.
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Editor’s Note:Today we are pleased to feature the new and free font families Yrsa and Rasa by David Březina and Anna Giedryś and their story behind the design process.Yrsa and Rasa are two open-source type families published by Rosetta with generous financial support from Google. The fonts support over 92 languages in Latin script and 2 languages in Gujarati script. The family currently has 5 weights. They were designed and produced by Anna Giedryś and me and they are now released and ready for download.
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It’s the small details that make a project shine. Solid typography, well-crafted with attention and care is one of them. A harmonious visual rhythm, typographic subtleties like soft caps, margin outdents or the correct use of hyphens and dashes — there are a lot of things that add up to it.
In practice, however, publishing on the web is supposed to be fast, and the little details are often overlooked, which is a pity, because they are not only pleasing to the eye but also improve the reading experience.
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