Posts Tagged ‘typography’

Why is the web great for everything except fonts?

Wednesday, April 22nd, 2009

What is with the half-broken, difficult, problematic, proprietary, buggy, near-unworkable, and otherwise unsatisfactory solutions we’re presented with for rendering fonts beyond the chosen few web-safe fonts? Seriously,  with all of the magical, amazing, and near-miraculous innovations that developers bring to the web in other quarters, why is it that basic specialized font rendering is somehow beyond everyone?

As a developer I want to be able to simply place copy in a <p> tag or <h2> or <li> or any other appropriate text markup and have it render in the font I prescribe. I don’t want it to render as an image and I don’t want to have to adjust and readjust my CSS to accommodate the buggy results. I don’t want to have to worry about line breaks or dimension or anything else that is non-contextual. I just want text to behave like text. Period.

As a consumer I want to see things the way the designer/developer intended me to see them …unless I want to override that default presentation according to my preference. And I don’t want your buggy, shoddy, broken font rendering solution to get in my way. Ever.

Here’s a challenge for developers: Create the tool or technology that allows for what I’m describing here. Do it right; no hackery and no buggy, whimsical results. Maybe even demand that people purchase your solution. You will have earned that reward. Do this very soon. Stop making everything else until this one job is accomplished, for this is too basic a problem to leave unattended.

Just get it frickin done. Is this really too much to ask?

UPDATE:
What he said: http://tinyurl.com/cyexkk

Redesigning Unit Interactive

Monday, January 19th, 2009

Unit InteractiveLast week we launched the redesign of Unit Interactive.com, marking an important milestone in the progression of our company. All of us here—Angela, Andy, and Nathan—had a hand in this effort and we feel great satisfaction with the results. We thought it might be useful, both as catharsis for us and as inspiration or instructive example to others, to share a bit about our process and goals and to provide insights into some of the details of the results.

Why redesign?

Brand definition and evolution is the primary reason for our redesign. We began our agency with a clear vision and a strong internal understanding of what the Unit Interactive brand represents. It has, however, taken us a while to form an equally clear vision for how best to articulate those values and brand characteristics through our website. Our original design did not allow for us to express important aspects of our brand as well as we’d like and some pages were not designed to display certain kinds of information in the most effective or appropriate manner.

Another important reason for this redesign is that our agency has grown and we’ve added to our core competencies. These issues need to be reflected in our public face, and not just forced into a site that might not elegantly accommodate them. Design should be elegant, and so should a design agency’s website, of course.

The original design did express some things quite well. It was simple, uncluttered, and crisp, which expressed one core characteristic of our fundamental design value. Also, the main page allowed for a bold reference to one client project, providing us with a focused way to show off an example of our work to potential clients. In the end, however, we found the need for our site to do more.

Brand expression

We’ve built our company culture upon a set of uncompromising core values and have made a conscious decision to feature them strongly in our professional interactions; internally and externally. The result, we believe, sets us apart from other similar agencies. In order to build a brand, you’ve got to make a promise. Our expression of our values and difference is a big part of that promise, but we needed a better way to express it through our most conspicuous public face.

A better view of us
Unit Interactive is also founded strongly on the individuals involved. As a small agency, we have no room for staff inefficiencies. Everyone here is here for specific purposes and vital to our overall success. Since we trade largely based on the names and reputations of the individuals working here, we needed a better, more flexible way to reference our staff.

Additionally, we’re a young company. Our market is still getting to know our brand, so for the time being we need to expend more energy (and more website space) toward describing our values, explaining our services, articulating our differences, etc… than we might otherwise need to do. In time our brand will become better known, allowing us to pare-down our expository content. For now, however, our specific needs require contextually appropriate structure and volume.

Design features & theme

The visual design we pursued in this effort was meant to visually express certain characteristics of our brand and company culture. Also, elements of our individual tastes and aesthetic needed to be articulated. While the copy would do much of the heavy lifting in expressing our brand values, the rest of the design had to do its part.

Grid
As any Web designer knows, the grid is the foundation of order and meaning in design; established by how one adheres to or breaks with it. The grid for this redesign was determined by the categorical needs of the content. For our purposes, a 6-column grid would work best.

The design grid

Personality
We aimed for a bold and candid vibe. This meant that a strong typeface was required for titles and page introductions; one free of frivolous forms or ornament. For this, we chose Trade Gothic Bold Condensed. We tried other similar typefaces, but kept returning to this strong candidate. We chose to use it in all-caps for a couple of reasons, but an important reason was that the page design and layouts would utilize very little in the way of structural elements. The copy—the titles especially—would have to imply structure. Trade Gothic Bold Condensed is perfect for such an assignment. We used a combination of image replacement techniques and sIFR to implement this font into our pages.

Since we did not want to burden the pages with a lot of structure, the content layout required a strong convention and visual mechanism for suggesting a sequence of content consumption. One of the best ways to accomplish this is to rely on horizontal rows of information. We planned our content to fit comfortably into this format and planned the copy volume of successive horizontal elements to maintain the necessary consistency.

The structure that was there, as provided by heading copy and structural heading containers, had to present a logical and effective relative contrast—horizontally and vertically. Careful selection of where, and where not, to apply delineation with dotted lines was also necessary in order to maintain clarity without compromising simplicity.

Copy
Given our expository needs, the pages were going to have to accommodate quite a lot of copy. We did not, however, want to present pages that were “sick with copy” in the boring, featureless sense. Therefore we had to plan a page structure that would lead a viewer’s eye and invite interest in the information. Our choice of Trade Gothic for the titles was important in this effort, but so was our copy writing.

In our client dealings, we are very direct and candid. We needed our website copy to reflect this characteristic of our brand. We avoided jargon and stated our message plainly. As we are primarily a design agency, we also need the physical structure of the copy to support the overall page structure, too …to reflect our design DNA. Toward this point, on any horizontal plane of content the copy volume was written to maintain physical dimension consistency. Doing so helps to visually simplify and produce a rhythm of sorts in the content.

Here we introduce our staff with interesting dimension Details
We invested quite a lot of thought and consideration into every element on every page of our new site. While stylistic and thematic consistency is important in describing a brand, so is the articulation of subtle details and novelty within that context.

For instance, it was our desire to allow for a more expressive showcasing of our staff on the site. We chose to use a type-o-graphic motif to share interesting and offbeat information about the individuals at Unit Interactive. It is different in format from the rest of the design, but the use of Trade Gothic Bold Condensed maintains an important level of thematic consistency.

Our new main page

We’re big believers in the idea of an agency main page being used to strongly and quickly convey an example of the experience or results of working with that agency. We worked to craft a bold way to provide this example. We then set it upon a subtle, aesthetically pleasing and effective backdrop. We also wanted flexibility in what sort of content appeared there, which we have now achieved.

We implemented a more detailed view of each project

On the case study pages, we wanted to detail more information about what we did in each project. This is especially important because of what sorts of skills and practices we’re able to employ from project to project; some of which go beyond mere graphic design and front-end development. For the page design we decreased the contrast between the header area and the content area to allow the important content—the project screenshots—to provide more contrast on the page.

We believe that a website form is often the first chance someone has to interact with your brand. That interaction can lay the tangible foundation for someone’s impression of your brand. In light of this fact we designed our contact form to simulate something of a conversation with potential clients.

Our contact form starts a conversation

Each time someone enters content and then tabs to the next field, an appropriate response or prompting (suggestion, comment, or alert) is triggered in the copy above the form. We wanted this copy to inform and almost create a dialogue between us and a potential client. Our portion of the dialog, while automated, is imbued with some of our personality and should support our brand.

Our interactive map shows our global reach

Since we’ve worked with folks in Japan, Canada, Israel, The UK, and elsewhere, we thought it important to say so (again, our current expository needs), especially for clients who are not right next door. The mechanism with which we chose to do this is made from a custom JavaScript, rather than flash. It is both mildly interesting to interact with and provides some tasty graphic content on an otherwise text-centric site.

And finally

In the end, our aim is for all of the elements and details work together in concert to produce just the sort of theme and impression we want and need to convey through our website. While no one element provides full dimension of our brand or identity, we’re satisfied that the whole does. We’re excited about our new site design and hope that you like it. We also hope that you’ve enjoyed this look into our process and aims, and hope that it may have given you something(s) to think about.

Verification for Ampersands in URLs: The Movie.

Thursday, September 11th, 2008

Scene 1:
The road is abandoned except for one bold soul careening through the twists and curves of asphalt, his engine crying in mutiny against the silence of the hazy morning. In the man’s rear view mirror, lights flare up out of nowhere in a lively sequence of blue and red that might seem almost festive if they weren’t attached to the roof of a state cruiser. They pull over to the side of the road. Each footstep sounds more contemptuous than the last as the trooper approaches the side of the vehicle.

“Sir, are you aware that you just blew right through 92 validation errors back there?” The trooper says, grimacing as he adjusts his weighty belt.

“What? I mean no… no I wasn’t aware. S-sir.” The man wonders why his reflection looks so scared in the trooper’s sunglasses.

“Seems as though you have a bunch of ampersands that need to be converted to their correct HTML entity ‘&amp;’.” The trooper’s teeth are gritting.

“No… No sir, I wrote everyone out by hand! I promise!”

“Bet you didn’t think to check your href’s… how about on that link you generated off of Google translate? Or on that link from your website host? Leaving the ‘&’ unconverted could cause the link to be broken when the query happens to be an HTML entity as well, like ‘&sect;’, and such. You see, the browser translates ‘&amp;’ to ‘&’ so the server will only see ‘&’ and not ‘&amp;’ in the query string.”

“Shoot, officer, I didn’t know you’re supposed to convert those too.”

“Only every time you use ’em,” scolds the trooper, sounding fatherly. The man feels sorry for whoever might be his kid. “I’m gonna let you off with a warning this time. But don’t let me catch you making the same mistake.”

“No, no, of course not,” the man says, searching for his license and registration. “Never again. I will always be sure to convert any ‘&’ to ‘&amp;’ in the future. Especially in my URLs.”

The man turns back to the window to hand the trooper his information, but the trooper, and his almost festive lights are gone.

Better CSS Font Stacks

Thursday, June 26th, 2008

One aspect of designing for the web that almost immediately offends designers is the lack of fonts that are considered safe to use. While it is true that there are only a handful of web safe fonts, the ones we do have at our disposal can be quite powerful and diversely useful. On top of that, CSS gives us a nice little thing called a font stack.

Font stacks give you freedom.

You want to use Gill Sans? Go right ahead. Nothing should stop you. Font stacks are prioritized lists of fonts, defined in the CSS font-family attribute, that the browser will cycle through until it finds a font that is installed on the user’s system. This means that you can use Gill Sans, and if your users don’t have it, you can give them an adequate substitute that will not diminish their experience. As Mr. Richard Rutter has already illustrated, there are quite an array of typefaces that may be sitting on your user’s machine ready to serve your design needs.

Unfortunately, common web practices and/or technologies are not fully utilizing this functionality. There seems to be a lack of consideration for the process of creating these stacks. For example, Dreamweaver’s defaults look like so:

  • Arial, Helvetica, sans-serif
  • Courier New, Courier, monospace
  • Times New Roman, Times, serif
  • Georgia, Times New Roman, Times, serif
  • Verdana, Arial, Helvetica, sans-serif
  • Geneva, Arial, Helvetica, sans-serif

As you can see, there are not a whole lot of options, and the substitutes are often not appropriate. This is an example of how lax typographic standards on the web are leading to poor design decision making. I am not going to speculate, here, as to whose fault it is that typography on the web leaves much to be desired… there are probably as many culprits as there are offenses. I will say, though, that font stack are ultimately design factors, and should be scrutinized as such.

All in the Family

When creating a stack, first consider the context of the text. Is it going to be a headline, sub-head, or body copy? This can determine the appropriate order of a stack, considering certain fonts work well for setting blocks of copy, while others work better at larger sizes. For example, Helvetica’s nuances work well on screen, when the text is large enough, while Helvetica Neue’s slightly wider letter forms read better at smaller sizes on screen. Arial reads slightly better than Helvetica at smaller sizes on the screen, as well. Therefore, your font stack for Helvetica may need to be different depending on whether it is used for body copy or a page title.

Once context is considered, there are few more things to consider when building a stack. First, select your ideal candidate (more on that later). From there, the path of your choices may fork depending on the context.

Titles [ greater than 12px ]:

font-family: Ideal, Alternative, Common, Generic;
  1. Ideal – Your selection need not be bound by what is considered universally “web safe”. There are many more fonts that have a fairly high market penetration that you can choose from. Just don’t pick anything too obscure, or you will be the only one seeing it.
  2. Alternative – When selecting headline and title fonts, remember that the nuances will be more noticeable, and therefore you need to select an alternative that is closer in spirit than size or relative value. To find a spiritual cousin, you may want to look within the same type classification, or look for something created by the same type designer. Mainly, look for similarities in the letter forms.
  3. Common – At this point, you just need something similar that is not going to break your layout.
  4. Generic – Cap it off with the generic classification, for those zealots that don’t believe in installing fonts.

Paragraphs [ less than or equal to 12px ]:

font-family: Ideal, Fit, Common, Generic;
  1. Ideal – Even if you intend this copy to match the titles, you may want to consider the readability of the typeface over the span of a few paragraphs. For example: Helvetica Neue and Arial are better suited to be read small and on screen than Helvetica.
  2. Fit – Find something that is well represented, cross-platform that will not wreck your layout. For example: There is about 2 pts difference between the width of Times New Roman and Georgia. Multiply that by the number of characters in your copy blocks, and you could spell disaster for your otherwise-nicely-considered design.
  3. Common – Something similar in flavor and well-represented.
  4. Generic – Again, finish with the generic classification.

Keep in mind that if your ideal font is only well represented on Macs, for example, you may want use an alternative that is more prevalent on Windows machines. For more information on the prevalence of certain typeface on certain operating systems, take a look at codestyle.org/css/font-family/.

Stack Your Deck

Now, using these guidelines, and building on the experience of much more knowledgeable type gurus, I have compiled a list of font stacks that will both open up more font possibilities for web designers, and hopefully offer more appropriate substitutes:

p – balanced for paragraphs or body copy
t – balanced for headlines or titles

  • Arial, “Helvetica Neue”, Helvetica, sans-serif - p, t
  • Baskerville, “Times New Roman”, Times, serif - p
    Baskerville, Times, “Times New Roman”, serif - t
  • Cambria, Georgia, Times, “Times New Roman”, serif - p, t
  • “Century Gothic”, “Apple Gothic”, sans-serif - p, t
  • Consolas, “Lucida Console”, Monaco, monospace - p, t
  • “Copperplate Light”, “Copperplate Gothic Light”, serif - p, t
  • “Courier New”, Courier, monospace - p, t
  • “Franklin Gothic Medium”, “Arial Narrow Bold”, Arial, sans-serif - p, t
  • Futura, “Century Gothic”, AppleGothic, sans-serif - p, t
  • Garamond, “Hoefler Text”, Times New Roman, Times, serif - p
    Garamond, “Hoefler Text”, Palatino, “Palatino Linotype”, serif - t
  • Geneva, “Lucida Sans”, “Lucida Grande”, “Lucida Sans Unicode”, Verdana, sans-serif - p
    Geneva, Verdana, “Lucida Sans”, “Lucida Grande”, “Lucida Sans Unicode”, sans-serif - t
  • Georgia, Palatino,” Palatino Linotype”, Times, “Times New Roman”, serif - p
    Georgia, Times, “Times New Roman”, serif - t
  • “Gill Sans”, Calibri, “Trebuchet MS”, sans-serif - p
    “Gill Sans”, “Trebuchet MS”, Calibri, sans-serif - t
  • “Helvetica Neue”, Arial, Helvetica, sans-serif - p
    Helvetica, “Helvetica Neue”, Arial, sans-serif - t
  • Impact, Haettenschweiler, “Arial Narrow Bold”, sans-serif - p, t
  • “Lucida Sans”, “Lucida Grande”, “Lucida Sans Unicode”, sans-serif - p, t
  • Palatino, “Palatino Linotype”, Georgia, Times, “Times New Roman”, serif - p
    Palatino, “Palatino Linotype”, “Hoefler Text”, Times, “Times New Roman”, serif - t
  • Tahoma, Geneva, Verdana - p
    Tahoma, Verdana, Geneva - t
  • Times, “Times New Roman”, Georgia, serif - p, t
  • “Trebuchet MS”, “Lucida Sans Unicode”, “Lucida Grande”,” Lucida Sans”, Arial, sans-serif - p
    “Trebuchet MS”, Tahoma, Arial, sans-serif - t
  • Verdana, Geneva, Tahoma, sans-serif - p
    Verdana, Tahoma, Geneva, sans-serif - t

I did deliberately leave out some fonts, *cough* Comic Sans *cough*, because I do not particularly see the use in them, and I don’t believe that these examples will solve every typographic purpose, but hopefully it’s a start. Feel free to apply the above rules and create some stacks of your own.

If you’re interested in a more comprehensive comparison, download the pdf [13.1 mb]. In it, you will find examples of both titles and copy, set in the different font stacks.

Now, font stacks help us open up a few more typographic options to create a more engaging online communication, but how do we choose which specific face to use? And which of these web safe fonts will work as a good compliment? More on that in my next post.

* * *

This article is available in Belorussian provided by Patricia Clausnitzer .

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