Typography and the Web
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Me and type go way back. At RISD I did an internship with Barry Moser whose fine, press limited-edition books blew my mind. Hot type printed on handmade paper--it's a thing of beauty. My degree project was designing, illustrating, printing and binding an edition of 50 handmade books. I still remember taking a file to my 36pt metal type to tighten up the kerning for the book title. Setting type by hand, justifying with coppers, tins and little slips of paper--typography was not for the lazy.
Then the web showed up. Typographwho? Sure you had a choice of typefaces--Times, Helvetica, or Arial. What else would you need? You could even choose from seven, count 'em, seven sizes! Leading? Kerning? Controlling the rag? What does that have to do with the web?
Thankfully the web has matured. We still may not have as many typefaces as in print, and sure, individual letter pair spacing isn't exactly normal practice, but things are much better. We've already written about some of the reasons why typography is more controllable today in part due to a degree of
Browser Détente and also with the consistent CSS standards. This month we'll show some examples of what is possible with CSS and share some great web resources for dealing with typography online - and a couple for offline too.
Designers love type--some more than others. This passion for letter form is rarely understood by anyone outside the design world. Most people wouldn't know a serif if it bit them on the descender. Long ago, when I was engaged, my soon-to-be wife asked what I wanted for Christmas. I listed off a few books about typography--she stared back blankly. But we designers enjoy this mystery knowledge of the sublimest of the arts. Then there's the web. Anyone with a refined appreciation for typography can barely stand the abuse of type on the web. It's truly ghastly--so few typeface options and so little size control. And on the web users can increase or decrease font size at will--oiy!
Early in my career I was a production artist at Pagano Schenk & Kay. I spent a large portion of my days fitting copy, working it into a nice even rag, letter-spacing and kerning everything from billboards to bowling shoe catalogs. Xacto blades and rubber cement brushes were like extensions of my hands.
So when I became a web designer I was both aghast at the horribly limited typographic control of the web, but also somewhat relieved that my days of filing metal or hacking up galleys were over.
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