seich

seich:

I’ve been pretty bored lately, so I decided to redesign my site and found an awesome social icon set by Alex Peattie (http://www.alexpeattie.com) to go with the new design. The set is minimalistic and really cool! Unfortunately, I wasn’t as happy to work with it as I would have liked to…

fontdeck

fontdeck:

The vast majority of fonts contain lowercase and uppercase alphabets, numerals, punctuation and accents. But there can be much more to fonts than this basic set of characters. Many professionally-designed fonts also contain ligatures, alternative characters, smallcaps, different kinds of numbers,…

guillee

Some of my recent visitors might have noticed that the current version of this site uses Helvetica Neue Light1 for almost all the text, a look inspired by the beautiful pages of Panic’s products. As reference, here’s a screenshot of part of CandyBar’s website:

Partial screenshot of CandyBar's website.

Pretty, huh?…

decodering
decodering:

Secret Symphony: The Ultimate Guide to Readable Web Typography

At first glance, you might think that typography and math have nothing to do with one another. After all, typography consists of letters and words, and math is…well…numbers.
But the truth is, typography is a combination of artistic letterforms and mathematical proportions, an exquisite marriage of form and function.
When the mathematical proportions of your typography are harmonious, your site—and your content, specifically—look appealing to readers.

decodering:

Secret Symphony: The Ultimate Guide to Readable Web Typography

At first glance, you might think that typography and math have nothing to do with one another. After all, typography consists of letters and words, and math is…well…numbers.

But the truth is, typography is a combination of artistic letterforms and mathematical proportions, an exquisite marriage of form and function.

When the mathematical proportions of your typography are harmonious, your site—and your content, specifically—look appealing to readers.


PT Sans is based on Russian sans serif types of the second part of the XX century, but at the same time has a very distinctive features of modern humanistic design. The family consists of 8 styles: 4 basic styles; 2 captions styles for small sizes and 2 narrows styles for economic setting.


PT Serif is a transitional serif face with humanistic terminals designed for use together with
PT Sans and harmonized with
PT Sans on metrics, proportions, weights and design.
PT Serif consists of six styles: regular and bold weights with corresponding italics form a standard computer font family for basic text setting; two caption styles (regular and italic) are for texts of small point sizes.

Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov. Released by ParaType in 2010.

PT Sans | Paratype

PT Sans is based on Russian sans serif types of the second part of the XX century, but at the same time has a very distinctive features of modern humanistic design. The family consists of 8 styles: 4 basic styles; 2 captions styles for small sizes and 2 narrows styles for economic setting.

PT Serif Font | Paratype

PT Sans  | Paratype

PT Serif is a transitional serif face with humanistic terminals designed for use together with

PT Sans and harmonized with

PT Sans on metrics, proportions, weights and design.

PT Serif consists of six styles: regular and bold weights with corresponding italics form a standard computer font family for basic text setting; two caption styles (regular and italic) are for texts of small point sizes.

PT Serif  | Paratype

Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov. Released by ParaType in 2010.


The typeface with the working title »Edelsans« come into being with the idea to create a fashionable font which is, like Paul Renner’s Futura, really geometric. More over the typeface was planed to have only a light and a heavy weight to force an usage as display font. Orientated on Jakob Erbar’s Grotesk, the DTL Nobel and Christian Schwartz‹ Neutraface, the »Edelsans« characterize herself through less corners and more curves – obviously while having a look on the typefaces numerals.
Beside the ambition to design a geometric Grotesque, the »Edelsans« describes the attempt to generate a typeface completely digitally. Without hand-drawn sketches, the typeface is constructed by mono-lined vectors. Those were, of course, adjusted optically afterwards. Indeed the attempt to cover the vector with digital calligraphic brushes, shows how constrained a pure digital peace of work looks like.
»Edelsans« Characteristics
The proportions of the »Edelsans« are right inbetween those of the ancient Roman inscriptional capitals and modern ratio. As well the x-height, and the de– and ascender are inbetween both poles. Thus modernity and pragmatism accrues beside the typefaces luxury to be a little bit extensively.
»Edelsans« was designed as a noble geometric font for the screen, with few corners and mostly rounded glyphs. The typeface is not completely finished but is free for non-commercial use.

»Edelsans«

The typeface with the working title »Edelsans« come into being with the idea to create a fashionable font which is, like Paul Renner’s Futura, really geometric. More over the typeface was planed to have only a light and a heavy weight to force an usage as display font. Orientated on Jakob Erbar’s Grotesk, the DTL Nobel and Christian Schwartz‹ Neutraface, the »Edelsans« characterize herself through less corners and more curves – obviously while having a look on the typefaces numerals.

Beside the ambition to design a geometric Grotesque, the »Edelsans« describes the attempt to generate a typeface completely digitally. Without hand-drawn sketches, the typeface is constructed by mono-lined vectors. Those were, of course, adjusted optically afterwards. Indeed the attempt to cover the vector with digital calligraphic brushes, shows how constrained a pure digital peace of work looks like.

»Edelsans« Characteristics

The proportions of the »Edelsans« are right inbetween those of the ancient Roman inscriptional capitals and modern ratio. As well the x-height, and the de– and ascender are inbetween both poles. Thus modernity and pragmatism accrues beside the typefaces luxury to be a little bit extensively.

»Edelsans« was designed as a noble geometric font for the screen, with few corners and mostly rounded glyphs. The typeface is not completely finished but is free for non-commercial use.


With the release of Safari 3.1 for MacOS and Windows, Apple’s web browser now supports font embedding for websites. Now millions of web users can view websites the way they were intended to be. Safari 3.1 for Windows and Mac supports the embedding of sfnt fonts (TrueType, OpenType PS, OpenType TT) using the font-face declaration. Technically the fonts are not embedded in the website, but they are simply linked like an image file. Thus the fonts need to be stored on a public server. Since you cannot upload commercial fonts to a public webserver, you are limited to freeware fonts. fonts.info believes in the future of web fonts, so we decided to provide webdesigners with a set of high-quality web fonts supporting a wide range of character encodings.
Graublau Sans Web regular and bold were designed by Georg Seifert. Graublau Sans Web regular and bold are optimized for screen use and support a wide range of character encodings, for example ISO 8859-15 (Western), ISO 8859-2 (Central European), ISO 8859-3 (Turkish, Maltese and Esperanto), ISO 8859-4 (Baltic), ISO 8859-5 (Cyrillic), ISO 8859-7 (Greek) and ISO 8859-10 (Scandinavian).
Graublau Sans Web regular and bold may be embedded in any website free of charge. The new version now also works in Firefox 3.5 and supports ligatures and kerning.

Graublau Sans Web

With the release of Safari 3.1 for MacOS and Windows, Apple’s web browser now supports font embedding for websites. Now millions of web users can view websites the way they were intended to be. Safari 3.1 for Windows and Mac supports the embedding of sfnt fonts (TrueType, OpenType PS, OpenType TT) using the font-face declaration. Technically the fonts are not embedded in the website, but they are simply linked like an image file. Thus the fonts need to be stored on a public server. Since you cannot upload commercial fonts to a public webserver, you are limited to freeware fonts. fonts.info believes in the future of web fonts, so we decided to provide webdesigners with a set of high-quality web fonts supporting a wide range of character encodings.

Graublau Sans Web regular and bold were designed by Georg Seifert. Graublau Sans Web regular and bold are optimized for screen use and support a wide range of character encodings, for example ISO 8859-15 (Western), ISO 8859-2 (Central European), ISO 8859-3 (Turkish, Maltese and Esperanto), ISO 8859-4 (Baltic), ISO 8859-5 (Cyrillic), ISO 8859-7 (Greek) and ISO 8859-10 (Scandinavian).

Graublau Sans Web regular and bold may be embedded in any website free of charge. The new version now also works in Firefox 3.5 and supports ligatures and kerning.

Graublau Sans Web