Braille Institute launch a new, free typeface promising greater legibility and readability for low vision readers.
What makes it different from traditional typography design is that it focuses on letterform distinction to increase character recognition, ultimately improving readability.
Jakarta Sans is a nice-looking Open Source (so free to use) typeface which I reckon I could use at some point.
Here’s a beautiful, magazine style website design for digital publication Bustle. The typography, use of whitespace, responsive layout, menu pattern, colour palette and imagery are all on point!
A font pairing app that helps you match fonts – useful for pairing a webfont with a suitable fallback. You can place the fonts on top of each other, side by side, or in the same line. You can adjust your fallback font’s size and position to get a great match.
If you’re using a web font, you're bound to see a flash of unstyled text (or FOUC), between the initial render of your websafe font and the webfont that you’ve chosen. This usually results in a jarring shift in layout, due to sizing discrepancies between the two fonts. To minimize this discrepancy, you can try to match the fallback font and the intended webfont’s x-heights and widths. This tool helps you do exactly that.
Here’s Rob Weychert advocating a combination of CSS custom properties,
calc() and Sass to automate the construction of a flexible typographic scale in CSS.
When people zoom a page, it is typically because they want the text to be bigger. When we anchor the text to the viewport size, even with a (fractional) multiplier, we can take away their ability to do that. It can be as much a barrier as disabling zoom. If a user cannot get the text to 200% of the original size, you may also be looking at a WCAG 1.4.4 Resize text (AA) problem.
Although FS Split started out as a project to create a fresh, modern new sans, it has developed into a broad type family that can bring so much variety to everything from magazines and packaging to websites and branding. The conflicting yet harmonising nature of sans and serif should give designers the tools they need to be both bold and subtle, eclectic and ordinary, contemporary and classic.
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