69 Matching Annotations
  1. Dec 2022
    1. For the typography of the album and the invitation, Brandon Guerin and Mickael Alzate combined DaVinci Italic and Suisse Int’l. Photography by Alyas. 3D art by Samy LaCrapule with help from Timotheos, Janis and Nolann Blettner
  2. Nov 2022
    1. A glyph can also represent more than one character at once. Take an f_f_f ligature as an example. It represents three f characters in a row. Ligatures do not have Unicodes, because the separate characters already have codes and the the fact that it’s a ligature does not change the meaning of its parts.
    1. I know this is older but I'm surprised by the "Is redrawing 110K glyphs (with metrics and kerning and combining attributes and hinting) too hard?" I used to do typography. A plain, unoriginal typeface with 255 straightforward latin-# oriented letters is at least a couple days of work; probably a couple weeks; couple months for truly good work. 110K is the equivalent of 400+ faces with much harder metrics and such. 15,000 hours of work or drastically more; so at least 7 or so years. So, kinda hard.
  3. Sep 2022
    1. Above all, a fresh and original intellectual approach is needed, avoid-ing all standard solutions.

      This relates to the increasing difficulty of being originial with the rapid advances in productivity today.

    2. A striving for order can, and must, also be expressed inasymmetrical form.

      This relates to sticking to past foundations that are somewhat indispensable.

    3. Thetypographer must take the greatest care to study how his work is read andought to be read.

      Today, this is foundational since there are constantly advances in works of typography making documentation and research important to giving future credit.

    4. Evenin good central-axis composition the contents are subordinated to “beautifulline arrangement.”

      Clarity becomes less important due the focus on the composition being centralized as it relates to improving the visual appeal of the artistic, "arrangement."

    5. the rigidity of central-axis setting hardly allows work tobe carried out with the degree of logic we now demand.

      The central axis in art relates to a somewhat balanced distribution of space on an art piece.

      “ARTTALK Chapter 10 Balance - Ppt Google Img.” SlidePlayer, https://slideplayer.com/slide/10709291/.

    6. This utmost clarity is necessarytoday because of the manifold claims for our attention made by the extraor-dinary amount of print, which demands the greatest economy of expression.

      This emphasizes that having clear communication is made crucially important due to the difficulty of communicating to those who are surrounded by countless other "prints."

    1. https://www.amazon.com/s?k=math+demystified&i=stripbooks&crid=UM15P2ZTY84C&sprefix=math+demystified%2Cstripbooks%2C137&ref=nb_sb_noss_2

      A whole series of books from McGraw Hill whose titles all carry an implicit math shaming. Who wants to carry these books around and be seen reading them? Even the word DeMYSTiFieD on the cover is written in CLoWn case.

      • Business Math Demystified
      • Dosage Calculations and Basic Math for Nurses Demystified
      • Geometry Demystified
      • Business Calculus Demystified
      • Math Word Problems Demystified
      • Everyday Math Demystified
      • Discrete Mathematics Demystified
      • Math Proofs Demystified
      • Pre-Algebra Demystified
  4. Jul 2022
    1. There are standard fourth-, fifth- and sixth-order reference marks, too: they are the section mark (§), parallels (||), and number sign (#), after which the cycle repeats with doubles, triples, and so on: *, †, ‡, §, ||, #, **, ††, ‡‡, §§, ||||, ###, ***, †††, ‡‡‡, etc. Beyond three, numbered footnotes are always preferable, even if you are David Foster Wallace.
    2. The approach that a designer follows in the asterisk is usually echoed in the typeface’s second-order reference mark, the dagger (also known as the obelus, obelisk, or long cross), and its third-order mark, the double dagger (a.k.a. diesis or double obelisk.)
  5. May 2022
    1. he also innovated in typography, being responsible for an influential font that omitted the long s.

      John Bell created an early and influential font which omitted the long s in English.

      reference: Barker, Hannah. "Bell, John". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/2014.

  6. Apr 2022
    1. These days, both PT typefaces from the Russian Federation and Arsenal from Ukraine co-exist in Google Fonts, a neutral position so to say, even if Google applies to some extent US sanctions on Russia [5].

      interesting to think about what happens when Google (Fonts) is banned from a country, and therefor all sites using fonts served via Google have to rely on fallback fonts

    1. art of arranging letters and text in a way that makes the copy legible, clear, and visually appealing to the reader

      Good interpretation and definition

  7. Mar 2022
  8. Feb 2022
  9. Dec 2021
    1. An absolutely beautiful design for short notes.

      This is the sort of theme that will appeal to zettelkasten users who are building digital gardens. A bit of the old mixed in with the new.

      <small><cite class='h-cite via'> <span class='p-author h-card'>Pete Moor </span> in // pimoore.ca (<time class='dt-published'>12/24/2021 18:02:15</time>)</cite></small>

    1. These designers value expression over style

      It's about expressing oneself or creates distortion rather than valuing or achieving a certain look that they should convey.

    2. syntactical

      in a way that relates to the grammatical arrangement of words

      in a sentence: a syntactically complicated language

      definition

    3. Shattering the constraints of minimalism was exhilarating and far more fun than the antiseptic discipline of the classical Swiss school.

      That's understandable because doing the same type of style over and over again can be boring sometimes.

    1. “I could fit this in my pocket,” I thought when the first newly re-designed @parisreview arrived. And sure enough editor Emily Stokes said it’s was made to fit in a “large coat pocket” in the editor’s note.

      I've been thinking it for a while, but have needed to write it down for ages---particularly from my experiences with older manuscripts.

      In an age of print-on-demand and reflowing text, why in goodness' name don't we have the ability to print almost anything we buy and are going to read in any font size and format we like?

      Why couldn't I have a presentation copy sized version of The Paris Review?

      Why shouldn't I be able to have everything printed on bible-thin pages of paper for savings in thickness?

      Why couldn't my textbooks be printed with massively large margins for writing notes into more easily? Why not interleaved with blank pages even? Particularly near the homework problem sections?

      Why can't I have more choice in a range of fonts, book sizes, margin sizes, and covers?

  10. Sep 2021
    1. i chose her tweet on september 12th that says:

      screaming BRING ME THE HALO TOP BRING ME Flips table THE flips another table" HALOOOOO TOPPPPPbirthday halo top appears* NOT THIS ONE

      McCulloch states that when someone uses all caps, they are conveying strong emotion. repeating letters are also an "expressive tool" (233). the way she writes this tweet portrays the idea that she is feeling VERY strong emotions about halo top. she needs that halo top. but she does NOT want the birthday cake halo top, because duh. she's obviously meaning to be funny, but i think she's also a little serious and wants us to know that? she obviously feels really strongly about halo top, and that is nothing to joke about. she also creates this idea of an "in-joke" about how birthday cake halo top sucks. she knew a certain audience would understand her joke, so she said it. she also uses asterisks to add irony to the tweet.

      however, we see her do a complete 180 in a series of other tweets, where she says "I want to fucking quit." and It's all a fucking boy's club." in these, especially in the first one, using the period at the end of the sentence conveys that she is very serious. she's not the silly, fun girl who wants halo top. something has obviously upset her to the point of using grammatically correct sentences--no capitalizing words, no cheeky comment, nothing. her tone is completely different because her tweets are devoid of effort, just like she is feeling as she types it. the simple sentence structure and complete lack of her fun, usual things shows that she is upset. overall, she seems like a smart, funny, intelligent individual who is incredibly relatable.

  11. Aug 2021
    1. To create furigana in your posts, use the following syntax: [漢字](#fg "かんじ") will display 漢字 The quotation marks are not optional. Read more here.

      This is a cool feature. I'm sort of hoping that major markdown tools might support furiganadown out of the box!

  12. Apr 2021
    1. Originally, one of these marks (or a plain line) was used in ancient manuscripts to mark passages that were suspected of being corrupted or spurious; the practice of adding such marginal notes became known as obelism. The dagger symbol †, also called an obelisk, is derived from the obelus, and continues to be used for this purpose.
  13. Jan 2021
    1. You can read more about properly sizing the text using a combination of units along with the the calc() function in this excellent article about viewport unit-based typography.
  14. Dec 2020
  15. Oct 2020
  16. Jul 2020
    1. Slab serifs are often used in children’s booksbecause of their clean, straightforward look.

      good for children's books

      good for copy (although can darken the page).

    2. A contrasting relationship occurs when you combineseparate typefaces and elements that are clearly distinct fromeach other. The visually appealing and exciting designs thatattract your attention typically have a lot of contrast built in,and those contrasts are emphasized

      we gotta aim for contrasting type relationships.

    3. Body copy, body text, or sometimes just plain body or text refers to themain block of text that you read, as opposed to headlines, subheads, titles,etc. Body text is usually set between 9- and 12-point type with 20 percentadded space between the lines.

      body copy, body text

    4. A dingbat is a small, ornamental character, like this: . Youmight have the fonts Zapf Dingbats or Wingdings, which are made up ofdingbats.

      dingbat

    5. When the last line of a paragraph has fewer than seven (more or less,depending on the length of the line) characters, that last line is a widow.Worse than leaving one word as the last line is leaving part of a word, theother part being hyphenated on the line above. Don’t ever do that!

      Do not leave a widow or hyphenated word as the last thing in a paragraph

  17. May 2020
  18. Apr 2020
  19. Jan 2020
    1. Learn more about font type, typography, and readability If you’re interested in reading the research about font type, typography, and readability, check out these two great Web sites:

      resource

  20. Dec 2019
  21. Nov 2019
    1. created a Greek alphabet carefully honed to convey scientific meaning rather than typical Greek-language prose

      type design as a means to convey scientific meaning

  22. Aug 2019
    1. Many types of comment described in Reagle’s Reading the Comments - from likes and faves, to emojis and reactions, ratings, upvotes and downvotes - are contemporary kin of the small hands (☞) that twelfth century scribes drew while working in their scriptoriums to indicate importance.8Piper, Book Was There, 7.

      Could these be included in Edward Tufte's definition of a sparkline in some sense? If not included, they're certainly an interesting typographic precursor.

  23. May 2019
  24. May 2018
  25. Nov 2016
    1. , which are enforced by default in RASH,

      "(used by default by RASH)" in paranthesis

    2. just an empty link

      This functionality is sweet - but it seems to be partially broken in the PeerJ PDF for the section references (But not tables!)

    3. πr2

      This came out as just "r²" in the PeerJ PDF (pi symbol was missing).

    4. orthogonality

      Use italics on the new concepts orthogonality and assemblability

  26. May 2016
    1. Figure 6-1 shows how the font metrics apply to glyph dimensions, and Table 6-1 lists the method names that correlate with the metrics. See the various method descriptions for more specific information.

      Useful diagram illustrating the various metrics of fonts. Unfortunately many of these are not currently accessible using Web Platform APIs.

  27. Feb 2016
    1. Let’s instead choose numbers because they fit, because they look good, and because they serve the meaning of the design.
    2. In some ways it’s different from how we already work, but it feels more natural. Going from content out, rather than canvas in, to paraphrase Mark Boulton, is a more web native way of designing
  28. Jan 2016
  29. Sep 2015
    1. So to sum up: It should be an active design choice whether you want to enable users to change the font size independently to parts of or all layout and graphics. If so, pixels will probably not be your friend. If not, I’d say it’s mainly a matter of personal taste and/or project.

      This is good guidance on when/whether to use em vs. px sizing

  30. Apr 2015
    1. Set body copy as justified left, ragged right?

      I'm a huge fan of justified text. I don't know why a typography checklist would encourage "ragged right". I do understand that humans can sometimes make better decisions about stretching character spacing (or not) and breaking words with hyphens at line boundaries, but computers do pretty well and it's so nice.

    2. Limit line length to 350–550 pixels by splitting wide pages into two or more columns?

      Why would you measure line length in px rather than characters?