Opinionated Type

Just Like Yours, Only They’re Mine: Josh Farmer

Category: Examples

The Complete Engraver Book and Two Free Fonts

The Complete Engraver is a tome by Nancy Sharon Collins about the place of engraving in typographic history. Ink used to be a luxury and paper was handmade, so the dedicated act of engraving something turned it into the proverbial priceless heirloom.

The Complete Engraver Book by Collins

The Complete Engraver Book by Collins

What we understand now as engraving took much dedication, patience, and skill to mature into an artful business. It took the perfecting of swashes and hairlines and rhythm, and it took a sense of relational maturity to do include just enough flourish and no more than the event called for. (Yes, that ended with a preposition. And?) Engraving is not done to worthless things; that is not its purpose. Engraving marks now for forever. It is a monument given at a precise moment, a purposeful recall imbued with every ounce of emotion one could possibly muster. It is not to be taken too lightly. Hopefully, beyond the droll act of pressing metal majuscules to hot wax, Collins’s book will convince us of that.

In the meantime, enjoy two free fonts that have nestled themselves somewhere between a 14-year-old’s whimsical doodles and the maturity of Jessica Hische’s designs — but created by a dude — Terrance Weinzierl’s Feldman Engraver and JMC Engraver.

Feldman Engraver and JMC Engraver at fonts.com

Feldman Engraver and JMC Engraver at fonts.com

Go forth and fancify something.


Apple’s New Typeface in Maps: Avenir

Apple uses Myriad Pro (with a few tweaks) for its company branding. They used Helvetica for most of iOS until they switched to Helvetica Neue, which they still use now. They have consistently added new typefaces to their reading applications, like iBooks. And they use context-specific typefaces where needed, such as with the LED numerals for sports scores.

With the announcement of iOS 6 and iPhone 5, their video showed a clear all-purpose sans used in Maps.

The lowercase a is not right for it to be Futura, Frutiger, or Proxima Nova. The lowercase y is not right for it to be Soleil, Gotham, or Lucida Sans.

It’s Adrian Frutiger’s Avenir, the latest addition to the good stockpile of typefaces on Apple systems. Avenir is yet another answer to the desire for a Futura that is not Futura. Frutiger wanted something with more personality and a less harsh presentation than Futura on the printed page. Avenir is still geometric and still understated, but slightly more readable. And let’s hope so because your ability to arrive fashionably late now depends on it.

Avenir Next Image from fonts.com

Avenir Next Sample from fonts.com

Jimmy Dean Breakfast Commercials: Shine On Campaign

These Jimmy Dean commercials crack me up. I think the cheesy music is perfect, but if I eat a Jimmy Dean breakfast will I be as big as a planet? Or just a gigantic ball of gas? That’s not what they should be getting across. Someone didn’t think this through all the way.

Hunt Roman Typeface Review at Typographica

“Hunt Roman can be considered a prototype for exclusive typefaces, designed for one specific purpose, as opposed to the universally applicable typefaces of the time, such as Adrian Frutiger’s Univers or Max Miedinger’s Helvetica.The friendship between Jack Stauffacher and Hermann Zapf is the foundation for the development of this typeface.”

(via Hunt Roman Typeface Review at Typographica)

Hunt Roman Typeface by Hermann Zapf

Hunt Roman Typeface by Hermann Zapf

This good little article about an exclusive typeface demonstrates what I’ve said before: Much of design is about great relationships.

Maturity & Mirth: NBC Uses Sweet Sans

Engraver’s Plates

Engraver’s Plates

Over the past several years NBC has consistently advanced their branding almost solely through typeface selection. The peacock logo, the doorbell tone, the quick screen wipes and reveals, and the bright, solid colors: all unchanged.

The fantastic Sweet Sans (PDF sample) by Mark van Bronkhorst of MVB Fonts leads NBC’s fall 2012 season with a website refresh and a series of teaser commercials. Before that, they used Cyrus Highsmith’s Antenna, for which they were summarily sued for not purchasing enough licenses. Before that, Gotham. And still further back, Eric Olson’s Klavika. Notice the text on their website — all set in Sweet Sans. [I would have either used a lighter weight or more tracking for the smaller text so there’d be less clashing of letters, but overall it’s great.]

NBC Website 1, Sweet Sans

NBC Website 1, Sweet Sans

I love that a major consumer company is pushing their design — again, almost completely through type. And I love that they had the guts to leave behind the safe, overplayed, and now-not-distinct-or-brandable Gotham. Because they were willing to take just such a bold step, they are clearly distinct from CBS (with a history of tech and typewriter faces), Fox (with a history of ultra-weight sans faces and weird mixes of Helvetica and Arial), and ABC (with the most spastic choices used all at once).

As a throwback to historical roots of draftsman’s typefaces, Sweet Sans is for NBC a fantastic choice. Gotham is beautiful, even, and reliable, but was too austere; sports it could do, not comedy. With its tech inspiration, Klavika works great in almost microscopic sizes and has an unmistakable voice in display sizes, but it simply didn’t invoke the right tone. Klavika is forward-looking so teasers for Dateline felt out of sync emotionally, but Chevrolet has used it to wonderful effect in exactly that way. Antenna worked great and I think it was the best trajectory NBC had until now.

Sweet Sans Regular, 48 pts, Justified Sample

Sweet Sans Regular, 48 pts, Justified Sample

Sweet Sans, though, is pretty much pitch perfect with its cheeky and playful attitude that most viewers equate with the NBC brand. The slight outstroke turns combined with simple, open forms take it out of the zone of a staunch sans and gives it a more relatable tone. The naturally wide characters and the ginormous x-height make it easy to read regardless of point size, and its true zen quality is displayed in all-caps treatments. Sweet Sans readily takes on a supporting role next to show lockups ranging from comedy (The Office, Parks and Recreation, Go On) to drama (Revolution, Grimm, Parenthood) to reality competition (The Voice, America’s Got Talent) to news (Dateline) to sports (Monday Night Football, 2012 Olympics). And that was one of the main capabilities missing from past choices.

NBC Website 2, Sweet Sans

NBC Website 2, Sweet Sans

Sweet Sans Sample

Sweet Sans Sample

The small sizes on the website show just how plainspoken Sweet Sans can be while the range of details come through on the commercials because they’ve set the words so large. So large, in fact, that you don’t take the company too seriously. You take them just how they meant for you to: as an entertainment company with equal parts maturity and mirth.

Video: Jonathan Hoefler on “Type at the Crossroads”

Video: Jonathan Hoefler at AIGA: “Type at the Crossroads”

This is one of the best expressed understandings of type on the web that I have seen. From the introductory Helvetica musings to unpacking the technical details of generating fonts for the web, Hoefler is funny, erudite, and a wordsmith. And opinionated, which makes it that much better. His take on what makes a typeface that certain typeface is spot on — spoiler: it’s the feel of it — and the solution H&F-J have landed on is so obviously correct — get it to feel right by letting the idea of a certain typeface determine the form it must take in each medium.

After this, I understand better why it is taking so long for them to get their typefaces on the web. They are, after all, one of the last foundries to port their catalog for Internet use. At least we know they’ll be done right once they’re released. Until then we can try to contain our smoldering jealousy for those lucky ones already using Whitney on their site.

Inge Druckrey Film: “Teaching to See”

Inge Druckrey Film: “Teaching to See” on Edward Tufte’s website

A 37-minute film covering the teaching of Inge Druckrey. More than a teaching lesson — almost like a manifesto, but with subtlety. Tons of examples are shown, including the minimal dot and line exercises used to design our entry in the Olympic poster competition.

It’s only available on Tufte’s website for the time being, so give it a minute to load and then learn from one of the best.

These Are Things Website: Home of the Modern World Map

These Are Things.

Jen and Omar have made a very special website here. Click the red triangles to go to the next frame or just scroll through. I promise you’ll like what happens — all thanks to some fancy and very open coding.

map elements

Fonts in use: Museo Slab for text, Gotham for site name and random bits, and Futura for headings.

Once again maybe maps can be cool. And fun.

Apple’s 2012 WWDC Logo

Apple’s 2012 WWDC Logo

Apple’s WWDC 2012 Logo

This beautiful logo is brightly colored and made of the icon squares we’ve come to associate with iOS devices. It’s a good step away from the monochrome Apple logos we’ve seen over the last several years, and seeing the individual rounded squares gives a great sense of the developer community that has flourished on the iOS foundation. Though the multilayered effect is good and the heart of the logo beats red, blue still seems the dominant color.

To the unseen designer of this logo, good job. Very effective. I wonder if there’s a method to the design, like certain kinds of apps are certain colors while sizes are based on sales? I’d love to see if there’s a rationale to it.

Sebastian’s Drawings

Sebastian’s Drawings

Stylish. Simple. Gorgeous. Rapid-fire expressiveness with heart and humor. You can feel a story brewing behind each frame.

(Via Shawn Blanc.)

Typographing: A Google Webfonts Tester


Typographing is a quick and dirty filter built around the Google Webfonts API. If you’re looking to use Google’s offerings, this is a great resource. Add a filter or take it away to change results automatically. And clicking the X in the top left corner helps narrow type choices by getting rid of that font if you’re not a fan. And—ooh! Lobster!

Hold on, why is Lobster in the sans category?

(Via Shawn Blanc.)

Exclusive Interview: TypeTogether Releases Tablet Gothic

There are many incredible type foundries — Underware, House Industries, Village, Type Jockeys, and so many others — and TypeTogether is at the top of my list. They consistently impress, breathing new life into familiar categories.

As background, TypeTogether is the two-person company co-founded and run by Veronika Burian and José Scaglione, both graduates from the University of Reading with MAs in Type Design. According to Tiffany Wardle’s “Female Type Designers” entry on Typophile, Veronika has more than ten type family attributions — three other women are tied with her and only four have more type families than she. This is far more than impressive since TypeTogether has only been in existence since 2006.

TypeTogether focuses on typefaces for editorial use: magazines, newspapers, fine book type, and on the web. Skolar, Bree, Adelle, and Ronnia are four of their most popular families, and with good reason. They are modern, they work well in all mediums, and they have a special ability to charm the eye.

For instance, only a few days ago TypeTogether released a new editorial family, Tablet Gothic.

Tablet Gothic by TypeTogether

Tablet Gothic comes in an astounding 42 styles — seven weights in each of six widths — guaranteeing that, whatever the publication format is, there’s a Tablet Gothic font that will do the job and perform well both technically and aesthetically. TypeTogether says the wide, normal, and narrow widths produce a beautiful texture and highly readable text blocks at small sizes. The almost-vertical axis is one of the keys that allows the family to come in a wide range of weights without losing its signature look.

Weights of Tablet Gothic by TypeTogether

Weights and Widths of Tablet Gothic by TypeTogether

Tablet Gothic Widths in Bold

Tablet Gothic Widths in Bold

Notice the subtle line that angles up and to the right throughout a line. This quality, harnessed so well in Jos Buevenga’s Calluna, pushes the reader’s eye through the line and on to the next. It is especially noticeable in Tablet Gothic’s semibold weights and heavier since the terminals have more definition and are a large part of this visual propulsion.

Tablet Gothic Sample 3 by TypeTogether

Tablet Gothic Sample 3 by TypeTogether

Speaking of propulsion, TypeTogether granted me an interview about Tablet Gothic and their perspective on type design.

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Josh Farmer: Thanks for talking with me today, Veronika.

TypeTogether: My pleasure.

JF: You’ve just released the personable Tablet Gothic family. What was the inspiration behind it?

TT: We wanted to design a sans serif workhorse for extensive editorial use and give our recently released text family Abril a good companion. Our initial inspiration came from early grotesque designs in Britain and Germany. However, we didn’t want a revival, but a typeface that looks to the future of publishing with a clear understanding of its history. As always, our focus was on functionality while allowing a good measure of personality at the same time.

JF: For readers who do not know, what is a grotesque model and what is so appealing about it? Can you give examples of other grotesques you like?

TT: Grotesques are the early sans serif typefaces from the beginning of 19th century. To the eyes of the public at that time, a typeface without serifs looked odd and unfamiliar, so the name grotesque came about. They are quirky, quite ugly, and disproportionate to our eyes today, but that is what gives them a certain charm. They are much less regularised than static sans serifs like Helvetica. New typefaces modeled on the old grotesques, however, are usually stylised and adapted to the needs and tastes of today. One of the most famous grotesques is Akzidenz-Grotesk. A newer version I like is Kris Sowersby’s National by Klim Type Foundry.

JF: What characters did you begin with for Tablet Gothic and was there a specific reason behind those choices?

TT: We usually start with so-called control characters: the lowercase n, o, a, c, p, and the capital H and O. They set the proportions, stem thickness, and contrast. Most of the other letters are derived from these.

JF: Do you feel there is certain glyph which sums up Tablet Gothic’s voice, and why or why not?

TT: The most distinctive letter in the alphabet is always the lowercase a and sometimes the k and s. They are the most complex ones that a designer can play with to set the tone for the typeface.

Weights of Tablet Gothic by TypeTogether

Tablet Gothic Sample by TypeTogether

JF: Tablet Gothic has 42 total styles. How long did the family take you to complete?

TT: Actually, it took us only about four months from the start of the idea.

JF: That’s quite a fast pace. How do you accomplish such a wide range of work in such a short amount of time?

TT: We worked extensively with the multiple-master technology and two interpolation axes: weight and width. This facilitates the process quite a lot, but with 42 fonts everything gets a bit more complicated, and we had outside help with the kerning.

JF: What tools (software and hardware) are necessary for your such a fast workflow?

TT: We work with Fontlab, Superpolator, and Prepolator. As far as hardware, we have several Mac workstations and good A4 laser printers.

JF: How do you know when a typeface is finished and ready to release to the public?

TT: When we are happy with the quality of the shapes, the whole character set is drawn, spacing and kerning are done, and all the other necessary post-production is finished.

Tablet Gothic Sample Mix

Tablet Gothic Sample Mix

JF: When will the web version of Tablet Gothic be released and where can fans go to buy it?

TT: Within a few weeks, I think. It will be on Typekit, Fontdeck, and WebINK.

JF: How do you decide which type designs to pursue and which to wait on?

TT: Well this is not as straightforward as you might think; many factors play a role here.

JF: You’ve partnered with Wolfgang Homola, David Březina, and others to release their designs through TypeTogether. What do you look for in a new typeface? Is there a certain aesthetic or certain values the design or the designer should have to become part of the TypeTogether catalog?

TT: Quality is one thing and the design should fit into our font library. We also look for aesthetic values that we like or think would be interesting to our customers.

JF: What advice would you give to a graphic artist who is quite interested in type design?

TT: Go and look at old manuscripts, letterpress books; trace the shapes of the typefaces you like most; give calligraphy a try to experience where the letter shapes come from; read about typography and type design; take part in a workshop . . .

JF: What new typefaces or expansions do you have coming up?

TT: Adelle Sans, Adelle Cyrillic, Soleil Italics, Eskapade Fraktur, Bree Serif, and the 42 matching italic weights of Tablet Gothic, which will be coming very soon.

JF: You all are incredibly busy, so thanks again for taking time to discuss Tablet Gothic and TypeTogether. Can’t wait to see your newest family in use and to see what else you have in store.

TT: You’re welcome.

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If you like the samples TypeTogether made, grab the free semi-condensed extrabold weight of Tablet Gothic. Just add the correct weight to your cart and use the coupon code ba9daa9d when you check out.

With another superfamily under their collective belts — Ronnia has 28 weights, Karmina Sans and Adelle both have 12, Abril has 8 text styles and 12 display styles — José and Veronika could be excused if they took a short break. But their release calendar for the near future is looking quite nice, with several strong families preparing for their time in the spotlight.

As far as creating typefaces that are highly functional and carry a distinct voice, TypeTogether’s impact in six short years been stunning. And their effect on the way we read and feel text, as well as its myriad expressions, is only beginning.

Frustro Typeface: In-con-ceiv-a-ble

I love the impossibilist M.C. Escher. He was a brilliant artist with a true gift, and he dreamed of the most astounding things. Or maybe they were nightmares. Either way, he was capable of turning his mental dissolutions into tangible fancies for the eye. Escher was an ace at perspective and lighting and realism and angles and subtlety — all necessary for the work by which he would be remembered.

Based on similar impossible angles, the Frustro typeface by Martzi Hegedűs is a solid entry in the category of the odd. It’s a fantastic face in the vein of Escher’s work that does exactly what it sets out to do: give the illusion of simultaneously looking down on the character and up at it. Shading is key here, as well as using it in display settings. I like it a lot.

Frustro Typeface by Martzi Hegedűs

Frustro Typeface by Martzi Hegedűs

Another in this category is Priori Acute by Jonathan Barnbrook, but his looks like a mix of concrete and ribbon.

Priori Acute Specimen

Priori Acute Specimen

(Via Shawn Blanc.)

The Best Part of Star Wars: Ralph McQuarrie

Concept Ships: Good-bye Mr. Ralph McQuarrie.

The best part of Star Wars was not the dialogue or the trade agreements, it was the place to which we were transported, the archetypes we relate to, and the unbelievable vision we were shown. As an artist, illustrator, and matte painter, Ralph McQuarrie — now gone — was a major part of that experience, as well as a gallery of a few other science fiction pieces you may be familiar with. (Via Daring Fireball)

Guardian Newspaper’s Three Little Pigs Video Ad

Picking up where the Three Little Pigs story leaves off, The Guardian does a fantastic job of throwing in everything from financial reform to conspiracy theories. This is an example of great advertising. Funny, thoughtful, extending a storyline we’re already familiar with, they got their point across, and I didn’t mind watching it one bit.

If you liked this commercial and feel in the mood for a bit more of the adventures of diminutive swine, check out this hilarious retelling in the Shakespearean style by comedian John Branyan.

Conqueror Typographic Poster Competition: Behind the Scenes

My great friend Tom Morse-Brown and I entered a typographic poster competition with an Olympic theme. So I wanted to give a peek at our process. And if you like what we’ve created, we’d love to have your support. Vote for it by going to the Conqueror website and either tweeting it or facebook it. (The page is done in Flash, by the way.)

You may have seen the same post on the FontFeed. The competition is hosted by Conqueror Paper, owned by Arjowiggins Fine Papers, which operates from three locations: Great Britain, Scotland, and France. As Yves Peters put it,

“The Conqueror Typographic Games ask the question “What if typography was a sport”? This Olympic-style contest is open to all designers, professionals and students who think they have what it takes to win the Gold. The challenge at hand: create a typographic poster about sports, using the phrase:

It’s not what you win, but how you conquer it.

Choose from one of Conqueror’s premium papers, select two printing techniques, and submit your poster by the 30th of April, 2012.”

The Study

Tom and I thought this would be a fun exercise so we decided to follow a Swiss Design model of minimal elements with strong meaning. We believe you should be able to replace the word minimal with meaningful in any sentence about form or function. Minimal doesn’t mean meaningless, it means that what is left should be even more powerful and more meaningful since it is what remains. Take for instance this perfect poster by Josef Muller-Brockmann for a Beethoven concert. The simple curves have movement and give the understanding of sound waves, as well as a mimicking the shape of a music hall and the shape of some instruments. The understated type is integrated into the the overall grid along a vertical axis.

Beethoven Concert Advertisement, Josef Müller-Brockmann

In this mode we first narrowed down what we thought defined the Olympics to just two words: best and determination. Next we created line and circle studies focused around those two words. How do you show determination or best with a line or circle?


Determination Line Study

Determination Line Study


Line Study: Best

Line Study: Best


Determination Circle Study

Determination Circle Study


The Visual

The primary — and quite accidental — thought that came out of it was the leader board, the narrowing of the competitive field until the very best emerges as winner. The leader board inherently speaks of determination and overcoming various obstacles. This visual idea is common in all cultures, and every kid dreams of making the big score.

Leader Board Study 2

Leader Board Study 2


Olympic Iteration, Squares   Olympic Iteration, Rings and Stripes

The Shape

At first we defaulted to using the Olympic rings in our leader board sketches. But it had several problems: it was too literal, it had little emotion, it would tie the poster to only one event, and it had no movement or energy. Circles are easy, but they can be boring. Besides, it seemed most designers in this competition were using the Olympic rings, so we wanted to push ourselves further to see if we could find another route. We tried various shapes and patterns to see what would hold the weight of our expectations, and eventually we found that, when combined with the previous line studies, the triangle with a series of stripes running throughout worked best to get across the idea of determination.

Every time you fall, you get back up and push harder. Every day brings a new opportunity to do it again and do it better. Always moving forward. Determination. The circles, rectangles, and squares just didn’t have this kind of psychological underpinning, even though they could have worked for other reasons. But the overall design had to live and breathe on its own.

The Typeface

I love researching type for a project and this choice seemed rather straightforward. We could echo the triangularity of the design, contrast it with either harsh and round geometric circles, or choose something smooth and sedated. All the classic sans faces seemed out of place and a serif just didn’t work. So, no to Helvetica, Futura, Gotham, Trade Gothic, DIN, or any of the standard poster faces we would expect. Unfortunately, that meant that the AW Conqueror series by Jean-François Porchez, who is also the main judge for this competition, was out. (I don’t think this is the case, but I really hope we’re not judged on whether we used the Conqueror series or not.)

OurType had put out a gem just a little while ago that I knew would be perfect — Meran, in the semi-condensed, semi-bold flavor. With three widths and six weights (with matching italics), this defies-normal-categories face is a great headliner. Meran is built with contrasting sharp and curved corners and with some interior connection points taken out, so it is in perfect keeping with the angular shape of our design.

The Colors

This was not an easy decision — perhaps one of the most difficult ones — which is why we kept coming back to it. In fact, it was the last major detail to get settled, but part of that was because we wanted to get it right. Should we incorporate the kind of paper as one of the colors or design elements? How will paper stock effect print registry? Do we choose the Olympic colors or go with something less expected? We went reserved, then crazy, then back to restrained in our color choices.

Grayscale Iteration, Olympic Typography


Gray Iteration, Olympics Poster

Gray Iteration, Olympics Poster

Orange Iteration, Olympics Poster

Orange Iteration, Olympics Poster

The Result

Even after these major decisions had been made, we still had 15–20 iterations before we landed on a final design. And we had the great fortune of having to let go of some really strong contenders for good reasons.

What we end up with is an angular leader board coming in from the left of the poster. Each column of triangles is an Olympic color for this poster competition, but the colors could have several meanings. The stripes give it a sense of speed and energy. Several of the stripes on each triangle stretch out beyond their border to heighten the mental connection with the determination to push through whatever holds us back. The yellow (gold) triangle in the center is the obvious winner, showing how the athlete fits in with the overall competition, but how they also deservedly stand apart as the best. The typeface echoes the angular design. The words are simple and speak the same message as the poster design. And it’s all done on gorgeous 300-gram (130-lb. for Americans) Conqueror Wove Calligraphy paper, using the paper as the foundational charcoal color and contrasting texture for the entire print. (This also saves on cost of ink by not having to print the background.) The poster would be printed using offset method as long as we can ensure a precise and consistent registry.


Final Poster, Olympic Typography Competition, Feb 2012

Final Poster, Olympic Typography Competition, Feb 2012


Hope you like the poster design and that you’ve enjoyed getting a peek at our process. If you think it’s a winner, let the fine folks at Conqueror know by voting and by passing the word. And take a look at the other entries while you’re there to see what we’re up against.

Stan Typeface from OurType

Stan Typeface from OurType.

Distinction wins the branding game, folks. So here’s a slab serif with an actual personality, meaning you’ll immediately be able to recognize this in a crowd of other slabs.

Stan Four-Weight Sample

Stan Four-Weight Sample

The j and f look like twins flipped upside down. I love how that north-bound ear on the lowercase g matches the rest of the slabs, but how the oblique angle breaks up the slab’s natural vertical emphasis. And I’m a sucker for the way the italic f drops below the baseline. I have always liked typefaces that make that choice. And notice how the lower left-hand side serifs disappear in the italic so the speed is emphasized. Very nice.

Stan comes in two versions: Stan and Stan Plus. The plus means that the ascenders and descenders are longer, which is useful when space is not a real concern. Think of it as the difference between Mrs. Eaves and Mrs. Eaves XL. And use it well.

Best Dressed Fonts

Best Dressed Fonts.

Glad to see IE taking major steps here. (NOTE: I had originally worded this rudely, but this current verbiage is truly what I meant. I’m not above clarifying and improving my word choice. I’m very happy to see Microsoft taking a major leap from where they currently are to where all browsers should be.)

My real frustration is this:

Note that because Firefox and IE implemented different versions of the draft[,] the value syntax they accept is different. For example, enabling kerning in both browsers requires the following:

-ms-font-feature-settings: “kern” 1;

-moz-font-feature-setting: “kern=1”;

What is it about companies — all of them — that force coders to write specifically for them? Really, Microsoft couldn’t have just gone with what Mozilla had already baked in? This irks me to no end. Stop picking the version (or creating your own version) that suits you and your company. Go with the established one that suits the user and the other coders. We already have a long history of forcing coders to do almost entire rewrites so IE doesn’t break when accessing your URL. So let’s not make this more difficult than it has to be.

On to happier subjects. Isn’t FF Milo just gorgeous when it’s that big? I mean, c’mon, that lowercase a is beautiful, the non-connected leg of the k is great for small print (ink won’t glob up there), and the elegance of the bottom right leg of the k is subtle. FF Ernestine is a fun slab serif; I’m liking it a lot.

Ultrasparky | Type on Screen: Choosing and Using It Well

Ultrasparky: Type on screen: Choosing and using it well.

Dan Rhatigan gives a 20-minute talk on using type on the screen. Great overview of the challenges and some general concepts and options, but he doesn’t get into naming, for instance, his top 50 recommendations in each typeface category.

Type on screen: Choosing and using it well from Dan Rhatigan on Vimeo.

And here’s the same talk given at a different conference, but this one includes Rhatigan’s slides.