November 5, 2013
We’ve made a small update to the languages supported by Typekit’s default web font character set. In addition to English, Italian, Portuguese, and Spanish, you can now use the Default option in the Kit Editor to display content in French and German.
To recap how language support works in Typekit, there are two character set options for each font in the Kit Editor, Default and All Characters. The All Characters set is exactly what it sounds like: every character (or glyph) in a particular font, including ligatures, alternates, and OpenType features (where available). Though these fonts have the broadest possible language and feature support, the font files themselves are much larger, typically 100-200% larger (in terms of KB).
The Default character set, on the other hand, includes all the characters necessary to support our most common languages, as well as some useful typographic characters like smart quotes and bullets. Because Default fonts include just the characters required for most web pages, these font files are much smaller, resulting in faster load times for your users.
What it means for your site
If you’ve been using the All Characters set to include French or German characters on your site, you can now switch to the Default character set instead (and trim down your kit size in the process). Simply launch the Kit Editor, select the font, and then change the Language Support setting to “Default.” When you’re done, republish your kit.
If you’re using any language that’s not included in the default character set, keep using the All Characters set. (Language support varies by font family and is specified on the font detail page.)
As always, if you have any questions, contact us at firstname.lastname@example.org and we’ll be happy to help.
November 1, 2013
The Typekit pop-up library will appear tomorrow, November 2nd, at Ampersand NYC. The library will be located on the upper level, to the left of the stage entrance and just around the corner. If you saw the pop-up library at Brooklyn Beta, it’ll look a little different this time, as we’ve changed the look and layout to be unique to Ampersand. In addition to hosting a few new books, our space is a little cozier, which we think suits a library well. Come find a book and take a seat for a little while between sessions; maybe you’ll learn something new.
And don’t forget to join us for the after party at the Hudson Bond, 215 West 40th Street. We’ll be there from 7:30pm on!
New additions to the library collection include:
Typeface: Class Typography for Contemporary Design by Tamye Riggs
Here is an ambitious book that covers a lot of ground and does it well. Written and designed by my friends Tamye Riggs and James Grieshaber, respectively, it works as both a visual introduction to typefaces in use in a variety of settings, but can also serve as a colorful reference for future typographic projects. — Christopher Slye
Typoholic by Viction:workshop
Thinking with Type (2nd Edition) by Ellen Lupton
Merz to Emigre and Beyond by Stephen Heller
Playful Type 2 by Robert Klanten; Hendrik Hellige; Jan Middendorp
Interaction of Color – Josef Albers
designing with web standards, Jeffrey Zeldman & Ethan Marcotte
Corporate Diversity – Andres Janser and Barbara Junod
Herb Lubalin – Gertrude Snyder and Alan Peckolick
Symbols Signs Letters - Martin Andersch
Football Type Rick – Banks and Sheridan Bird
Adobe Originals type specimen books: Poetica, Minion, Adobe Caslon, Adobe Garamond, Adobe Jenson, and Garamond Premier.
If you think Typekit’s pop-up library would be a good fit for your event, please get in touch with us through email@example.com.
November 1, 2013
In this week’s sites we like, we’re getting into the spirit of autumn—the season of transitions, gatherings, and pie. What’s not to love?
We Don’t Need Daylight Savings Time draws you in with a mesmerizing spinning globe animation and clean Proxima Nova text, neatly laying out the rationale behind doing away with the biannual time shift. In the meantime, those of us in the US are reminded to change our clocks back an hour this weekend.
Autumn being a traditional time of gatherings, we couldn’t resist noting the Nearly Impossible conference, which is happening next week in New York and aims to bring together “people who make and sell physical products.” Body text is set in lighthearted PT Sans, and we also enjoyed seeing Latinotype’s Trend Sans in the headers.
So, now we’ve got an extra hour and some new friends; let’s make the most of this situation and get some pie. (Perhaps the official baked good of autumn.) Mission Pie serves up delicious options, both savory and sweet—and uses Crete Rounded on their site to boot.
That’s it for this week; share sites you like in the comments!
October 29, 2013
Are you going to be at Gigaom Roadmap in San Francisco next week? Designer and typography expert Erik Spiekermann and our own Jeff Veen will be sitting down together to discuss Typeface on Screens: the Invisible Building Blocks of Brands. Join them to hear their thoughts on the importance of type in the digital age.
October 28, 2013
Ampersand, The Web Typography Conference, traditionally takes place once a year in Brighton, England. This Saturday, November 2nd, Ampersand will be making its stateside debut in New York City. The speaker lineup is impressive, including web design and type professionals such as Trent Walton and Nick Sherman.
Typekit is pleased to be sponsoring the event, and will be buying everyone drinks at the after party at The Hudson Bond. We hope to see you there!
The conference takes place from 9:00am–6:15pm on Saturday, November 2, at The TimesCenter (242 West 41st Street). The after party kicks off at 7:30pm at The Hudson Bond (215 West 40th Street). Tickets to the day event can be purchased online.
October 25, 2013
We’ve worked up a bit of an appetite looking through this week’s sites we like, which rounds up a few menus we’ve noticed recently—showing both delicious-sounding dishes and (of course) tasteful use of type.
The Electric Diner menu boasts “unfussy combinations of the best ingredients” in their London restaurant, and we might use the same phrase to describe the pairing of typefaces they selected for their website. Proxima Nova is a dependable choice for clear body text, and we love the bold, precise look of Prenton Ultra Condensed in the headers.
Futura gets center stage on the Fuel Cafe website, its geometric shapes working in good visual harmony with the clean design and navigation. Brandon Grotesque adds a touch of warmth to the menu descriptions—not that it takes much to make a “cheddar scallion biscuit with homemade sausage gravy” sound pretty appealing to us. (We’ll take 30, please.)
Not full yet? Let’s head over to Vermont Salumi, purveyors of fine cured meats with an evident flair for type. They use Chunk for an old-fashioned woodcut aesthetic in their standout headings, and News Gothic for no-nonsense navigation—and see if you can detect the tiny traces of Bello and Aviano Sans in there, too.
That’s it for this week’s sites; share sites you like in the comments!
October 25, 2013
The latest issue of 8 Faces magazine (run by our creative director Elliot Jay Stocks) is now available to buy, and features an article by our engineer Bram Stein about hyphenation and justification on the web. Bram gets into the details of just what, exactly, makes line justification so tricky on the web.
Here’s a preview:
As screen resolutions increase to the point where it’s comfortable to read long-form text from a screen, more and more traditionally print-based publications are moving to the web. However, the quality of these two reading experiences is not quite the same, and this is partially because designers working on print publications have the benefit of advanced justification and hyphenation algorithms that are not available on the web. Ideally, using paragraph justification (or not) should be a design choice. This choice is made more complicated because of the short-sighted justification algorithms employed in web browsers.
We’re going to need better paragraph justification in browsers if we aim to make it a place for long-form reading.
The whole issue looks great, and we’re proud to have members of the Typekit team among its contributors. You can pick up a printed edition, a PDF edition, or both versions of the issue right now from the 8 Faces website.
October 18, 2013
Design studio websites are reliably interesting for us, since they frequently want to pack a lot of character into the space while maintaining a wholly-functional work portfolio. It’s easy to mix up signal and noise with those priorities at stake, but here are a few studio sites that get it right.
With an energetic crew based in Charleston, South Carolina, the Fuzzco studio website shows a lot of personality—not to mention a lot of great type. Proxima Nova and Adobe Text are used for most of the body text and headings, but Droid Serif and Hydrophila Iced both make appearances as well. It’s a lot of fonts, but all are used with just the right amount of restraint.
Cultivated Wit is the studio of three former employees of The Onion, who have harnessed their penchant for humor and unleashed it upon all manner of web projects. Their selected web fonts are attractive and lean towards the conventional, which is all the better for tongue-in-cheek statements. Alternate Gothic No. 2 D appears in many headings, with Brandon Grotesque on broad display as well. FF Tisa appears on the blog and in other longer blurbs throughout the site.
I Shot Him is a design studio based in one of San Francisco’s sunnier microclimates. The type on their website does a great job of sturdily accompanying the stunning graphics, with Jubilat for most of the heading text and Gesta in place as a friendly, distinctive sans-serif body font. You’ll also see a few samples of lovely Signalist from Mika Melvas.
That’s it for this week; share sites you like in the comments!
October 17, 2013
In case you missed our tweets about some of these updates from TypeTogether, here’s a roundup showing off some of their latest. If you’re looking to revamp a blog or personal site, you’ll find some great inspiration here.
You might need to set aside the better part of an afternoon when designing with this typeface, because both Ronnia and Ronnia Condensed are available in seven different weights apiece and can be combined in nearly endless configurations that all look great. Perfect for magazine layouts and other editorial uses. (For some advice on designing with multiple weights and styles of the same font, check out Brian Warren’s guest post on the topic.)
A seriffed cousin to Bree, Bree Serif retains the bold character of its predecessor, but with a slightly more subtle approach that’s designed to work well for intensive editorial settings.
Edita makes for a beautiful typeface to display long-form writing, and we’ve recently added its Book weight to the Typekit library in addition to the Regular and Bold weights already on offer. The Book weight almost has a letterpress feel to it, even on screen.
Capitolium 2 takes its name from a typeface designed back in 1998 to help with wayfinding around Rome, which was in turn inspired heavily by the centuries-old tradition of lettering on Roman buildings. TypeTogether’s updated version here works just about anywhere chiseled stone won’t reach, and can serve as a nice alternative to Times New Roman.
October 11, 2013
Today we’re excited to announce the Typekit pop-up library, which is making its debut this week at Brooklyn Beta. If you’re here at the conference and need a break from the bustling crowd, we’ve designed this library to be a unique space to relax a bit and get inspired.
Books are a timeless source of inspiration, education, and influence for the work we do—not only do we respect their content, but also the craftsmanship behind the physical objects. Typekit’s pop-up library is a growing collection of design-centric books—currently numbering around 65 titles—carefully selected by members of the Typekit team. We recommended these because they continue to be useful in our work, and in many cases have even earned a spot on our shelves at home.
Conferences are great for meeting people in person. Meet some of your favorite books in person, too! The library is set up on the mezzanine level at Brooklyn Beta all day, along with some treats from Ovenly Bakery and Bedford Cheese Shop. Stop by to look through a book, enjoy a snack, and say hello to Typekit team members.
For those of you who can not be with us at Brooklyn Beta today and would like to check out the books we brought, here’s the complete list. We picked out 16 of our favorites and wrote a note about what we like most about it. Maybe you’ll find some titles here that can help you in your work too.
Another cherished overview of type, arranged as a kind of tour through styles and history. Chapter by chapter, it explores type from its beginning up to the 20th century. This is another book I read from beginning to end. It’s also carefully designed and a pleasure to look at and hold. — Christopher Slye
Drawing on his vast knowledge of typefaces and keen eye for subtle details, Stephen Coles coaches readers through a collection of simple, striking type samples—highlighting the features that make the typefaces noteworthy, and making suggestions about how each can best be used. — Tim Brown
This is an excellent visual overview of movable type as it has evolved over its history. The large format provides enough space to generously cover numerous examples from every significant typographic period. By presenting identical specimens for a variety of similar typefaces, you can easily see and compare their differences. — Christopher Slye
A superb collection of the interviews conducted with type designers for the MyFonts email newsletter. The interviews are so thorough that they absolutely deserved a medium more permanent than email, and this book is that answer. — Elliot Jay Stocks
The great type designer and typographer Hermann Zapf designed this book as a celebration of type and typography, as well as a nod to Giambattista Bodoni’s Manuale Tipografico. Each page shows a simple, elegant design, demonstrating the typeface and its function. And like most everything, most of the pages can now be found online. — Ben Trissel
Cyrus Highsmith’s brief book about the basics of typography, with delightful illustrations and no wasted words. The parts about white space are especially great, with useful terms like “glyph space” and handy volumetric comparisons. Simple and enjoyable, yet weighty with wisdom. — Tim Brown
A great primer for the budding typography enthusiast and an excellent reference manual for the more discerning typographer, Post Typography’s book is both educational and visually stimulating—perfect for the coffee table. — Elliot Jay Stocks
When I was first learning about type, this book was an intelligent and readable resource which covered, all at once, the technology, craft, history of type—and some of its best designers. It’s the kind of book you can read cover-to-cover (and I did). Walter Tracy’s writing is always friendly and approachable. Very much a predecessor in spirit to the better-known Elements of Typographic Style, it was one of the first several books that got me hooked on type. — Christopher Slye
Something of a typography bible from the highly-regarded and highly-opinionated Erik Spiekermann, using real-world examples—human faces, physical spaces, music, etc.—as metaphors for a deeper understanding of type’s ability to elicit deeply emotional responses in the reader. — Elliot Jay Stocks
Jay Hembidge spent years studying and analyzing classic art and architecture. From his research, he cataloged the types of proportional systems used in the creation of buildings, books and various artifacts. A fantastic resource for designers frustrated with the blank canvas or blank page. — Ben Trissel
From specimens, to symbols, to history and harmony, Robert Bringhurst explains the art and craft of typography like none other. If you buy one book about typography, make it this one. It was my own introduction to the field, and remains a reliable desk reference. — Tim Brown
This fun and informal book, divided into “good” and “bad” halves, takes an often-humorous look at the dos and don’ts of typography and presents them in an engaging style. — Elliot Jay Stocks
A straightforward book of text type specimens, with some interesting introductory notes. This is one of my favorite specimen books because of the quantity of typefaces shown and the extensive text specimens. The book’s British origin means some faces lesser-known to US readers are included. — Christopher Slye
WestVaCo commissioned this “inspirational” series as a method of showcasing their papers. The math was simple: pair exciting design with WestVaCo papers, and give the results to customers, who will in turn buy more paper. Each issue is about 28 pages in length and covers a specific aspect of typography: size, weight, structure, form, texture, color, and direction. — Ben Trissel
Typography Sketchbooks by Steven Heller & Lita Talarico
Glimpse into the rarely-seen sketchbooks of the world’s most respected designers in this behind-the-scenes book that provides healthy doses of inspiration and celebrates the power of these hand-drawn ideas. — Elliot Jay Stocks
Because so much of modern design and production happened in this magazine. If you were a designer in the 70′s and 80′s, U&lc was a constant in your studio. A product of Herb Lubalin and International Type Corporation, every issue featured fantastic spec sheets and Herb Lubalin’s signature style. Fonts.com has made a lot of the U&lc archives available in low-res pdf. — Ben Trissel
Designing with the Mind in Mind by Jeff Johnson
If you think Typekit’s pop-up library would be a good fit for your event, please get in touch with us through firstname.lastname@example.org. We are also looking for more books to add to our library and would like to hear your suggestions.