To that end, our Javascript is minified and the fonts themselves are represented as Base64 encoded strings. You may see right through this, but the vast majority of web users wouldn’t know what to make of it.
Those Base64 encoded strings are then placed right into the CSS file. And even better than that, the fonts are split up into multiple files and recombined using the CSS font stack. Pretty clever stuff.
At 5, Edward received a toy printing press as a gift and began publishing his own newspaper. (It was a very small newspaper, about the size of a postcard, his son said.) Only a few years later, he and a friend opened a print shop in a nearby basement, doing jobs for paying customers; they ran the business through high school and for a year afterward, to earn college money.
The Typography Manual has several useful features and resources for designers, including a visual type anatomy glossary, a font size ruler, an em calculator, and a enough content to fill a 60 page book. It has the all the essentials of a desk reference in a regularly updated pocket resource.
Throughout the nation men and women, forgotten in the typographical philosophy of the Foundries, look to us here for guidance and for more equitable opportunity to share in the distribution of typefaces… I pledge myself to a New Deal for the American people. This is more than a font. It is a call to arms.
Typekit is an upcoming typeface hosting service which will provide vetted fonts that you can include in your site’s stylesheet using the @font-face mechanism.
That’s where Typekit comes in. We’ve been working with foundries to develop a consistent web-only font linking license. We’ve built a technology platform that lets us to host both free and commercial fonts in a way that is incredibly fast, smoothes out differences in how browsers handle type, and offers the level of protection that type designers need without resorting to annoying and ineffective DRM.
What a great idea. And web entrepreneurs pay attention, this is how to make a compelling online property: take an idea that everyone loves in theory but doesn’t use in practice because it’s a pain in the ass (in this case, embedding type on the web) and offer a hosting service to solve that problem. YouTube did this with videos, Blogger/Blogspot, TypePad, & Wordpress did this with blogs, Flickr did it with photos, etc. etc.
Both houses of Congress have recently passed credit card legislation which will cut down on credit card companies abusing their customers. The NY Times has a guide to what the new legislation could mean for consumers. The bill that passed the House contains some interesting provisions on how card companies can use type.
The House throws in what ought to be called “The Fine Print Rule.” Card companies must print their account applications and disclosures in 12-point type or greater. A supervisory board will also probably declare certain hard-on-the-eyes fonts off limits. The Senate is silent on typeface but imposes many other communication requirements.
Section 122 of the Truth in Lending Act (U.S.C. 1632) is amended by adding at the end the following new subsection:
“(d) Minimum type-size and font requirement for credit card applications and disclosures. -All written information, provisions, and terms in or on any application, solicitation, contract, or agreement for any credit card account under an open end consumer credit plan, and all written information included in or on any disclosure required under this chapter with respect to any such account, shall appear-
“(1) in not less than 12-point type; and
“(2) in any font other than a font which the Board has designated, in regulations under this section, as a font that inhibits readability.”.
I haven’t seen a credit card application or bill in years (we’re paperless)…what unreadable fonts are these companies using? Do they set their terms and conditions sections in 6-pt Zapf Dingbats a la David Carson?
Sensationalism aside, it’s significant that the ever-increasing quality in type design these days — dubbed by some as the new “golden age” of type — has caused this year’s list to supersede previous lists in many ways.
Joe liked the idea of measuring how long this number would be if it were set in type, which immediately called into question the choice of font. The number’s length would depend chiefly on the width of the font selected, and even listener-friendly choices like Times Roman and Helvetica would produce dramatically different outcomes. Small eccentricities in the design of a particular number, such as Times Roman’s inexplicably scrawny figure one, would have huge consequences when multiplied out to this length. But even this isn’t the hairy part. Where things get difficult, as always, is in the kerning.
In some cases, properly kerning the number resulted in a difference of more than 1000 feet for 12 pt. text.
But then a funny thing happened. I kept correcting and correcting, and all of a sudden I had sanitized the font and there was almost no personality left in it. What I was left with might as well have been VAG Rounded. In a very early draft, I had played with the idea of exaggerating the swellings in the strokes from the original sign. Now I resurrected that, and found the true character of the font.
It’s been said that type design is the art of making unequal things appear equal. Noordzij’s theory of the Stroke of the Pen is apparent even in monoweight sans-serifs. Flip Helvetica’s A, V, or W sideways, and you’ll see that the diagonal strokes are slightly unequal. Rotate the O in Futura, which I was always told was a perfect circle, and you’ll see why that’s not true.
As if this plethora of signs were not enough, the subway system also had a bewildering variety of other porcelain enamel and hand-painted signs. The porcelain enamel signs, either hung from the ceiling or posted on the walls, were directional as well as informational. The directional signs included those on the outside of the station entrances as well as those intended for the corridors and platforms underground. Many of the informational signs warned against criminal, dangerous or unhealthy behavior: no peddling wares, no leaning over the tracks, no crossing the tracks, no smoking, no spitting. The directional and informational ones were made by Nelke Veribrite Signs and the Baltimore Enamel Company, while the behavioral ones were the product of the Manhattan Dial Company. Most were lettered in some form of sans serif capitals-regular, condensed, square-countered, chamfered, outlined-though some were in bracketed or slab serif roman capitals. They were usually white letters on a colored background (often dark green for the IND and dark blue for the IRT and BMT), yet many were also black on a white background. There was no house style.
What is to modern eyes a beautiful disorder of tiled text and hand-painted enamel became an embarrassing shambles in the 70s and 80s. It was only in late 1989 that Helvetica became the official typeface for New York City subway system signage…about 20 years too late to prevent the current signage from looking dated.
The pixel will never go away entirely, but its finite universe of digital watches and winking highway signs is contracting fast. It’s likely that the pixel’s final and most enduring role will be a shabby one, serving as an out-of-touch visual cliche to connote “the digital age.”
Giampietro has put out a call for someone to develop a Williams Word Generator. Drop him a line if you can help out…shouldn’t be too much different than the many “words within words” generators scattered aroundthe web.
Then there is the Gill Sans (c. 1930) problem. Gill is used quite a lot in the series, mainly for Sterling Cooper Advertising’s logo and signage. Technically, this is not anachronistic. And the way the type is used — metal dimensional letters, generously spaced — looks right. The problem is that Gill was a British typeface not widely available or popular in the U.S. until the 1970s. It’s a decade ahead of its time in American type fashions.
Serious Sans is a more professional take on Microsoft’s much-maligned Comic Sans typeface. The typeface is a project by four students at the Royal College of Art in London. From The Moment blog:
Struggling to understand what could possibly be good about Comic Sans, Valerio — together with partners Hugo Timm, Filip Tydén and Erwan Lhussier — found that the doggedly goofy font’s irregular forms made it one of the easiest typefaces for dyslexics to read. The designers also liked how it undermined the authority — and changed the meaning — of texts set in it.
In Raiders of the Lost Ark (1981) which is set in 1936, we see ITC Serif Gothic (designed in 1972). The wide spacing feels right, and it does have an art deco feel, but it’s 1970s art deco.
Any guesses as to when it was published? The title, Latin text, yellowed paper, and lack of page numbers might tip you off that it wasn’t exactly released yesterday. Turns out that Hypnerotomachia Poliphili was published in 1499, more than 500 years ago and only 44 years after Gutenberg published his famous Bible. It belongs to a group of books collectively referred to as incunabula, books printed with a printing press using movable type before 1501.
To contemporary eyes, the HP looks almost modern. The text is very readable. The typography, layout, and the way the text flows around the illustration; none of it looks out of the ordinary. When compared to other books of the time (e.g. take a look at a page from the Gutenberg Bible), its modernity is downright eerie. The most obvious difference is the absence of the blackletter typeface. Blackletter was a popular choice because it resembled closely the handwritten script that preceded the printing press, and I imagine its use smoothed the transition to books printed by press. HP dispensed with blackletter and instead used what came to be known as Bembo, a humanist typeface based on the handwriting of Renaissance-era Italian scholars. From a MIT Press e-book on the HP:
One of the features of the Hypnerotomachia that has attracted the attention of scholars has been its use of the famed Aldine “Roman” type font, invented by Nicholas Jenson but distilled into an abstract ideal by Francesco Biffi da Bologna, a jeweler who became Aldus’s celebrated cutter. This font — generally viewed as originating in the efforts of the humanist lovers of belles-lettres and renowned calligraphers such as Petrarch, Poggio Bracciolini, Niccolo Niccoli, Felice Feliciano, Leon Battista Alberti, and Luca Pacioli, to re-create the script of classical antiquity — appeared for the first time in Bembo’s De Aetna. Recut, it appeared in its second and perfected version in the Hypnerotomachia.
In that way, Hypnerotomachia Poliphili is both a throwback to Roman times and an indication of things to come.
The MIT Press site also notes a number of other significant aspects of the book. As seen above, illustrations are integrated into the main text, allowing “the eye to slip back and forth from textual description and corresponding visual representation with the greatest of ease”. In his 2006 book, Beautiful Evidence, Edward Tufte says:
Overall, the design of Hypnerotomachia tightly integrates the relevant text with the relevant image, a cognitive integration along with the celebrated optical integration.
The Hypnerotomachia Poliphili is one of the most unreadable books ever published. The first inkling of difficulty occurs at the moment one picks up the book and tries to utter its tongue-twisting, practically unpronounceable title. The difficulty only heightens as one flips through the pages and tries to decipher the strange, baffling, inscrutable prose, replete with recondite references, teeming with tortuous terminology, choked with pulsating, prolix, plethoric passages. Now in Tuscan, now in Latin, now in Greek — elsewhere in Hebrew, Arabic, Chaldean and hieroglyphs — the author has created a pandemonium of unruly sentences that demand the unrelenting skills of a prodigiously endowed polyglot in order to be understood.
It’s fascinating that a book so readable, so beautifully printed, and so modern would also be so difficult to read. If you’d like to take a crack at it, scans of the entire book are available here and here. The English translation is available on Amazon.
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