The Symbly project aims to produce the largest collection of mono icons and symbols. Symbol Icons are designed especially for mobile apps, wireframes and web design. They are free to use commercially and available to download in a variety of formats. Wooo!
Source: symb.ly
All-Encompassing Trip: Helvetica Neue Light
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:
Pretty, huh?…
Source: guillee
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.
Source: decodering
i didnt even know about this until i read about it on tputh. ironically, this is someone saying that its bad to shit over peoples ‘work’ (i suppose the color of hard work is lilac), and then proceeds to basically shit over read the fucking hig while inserting a few ‘inspired’ quotes.
you just cant make this up. read the comments for a good laugh.
ps. i do make stuff. ship apps. design things. but since when is ‘you have to be a master chef to be critical of food’ a valid argument?
pps. i do hope i didnt hurt anyone with this blog, its really only made to— haha, really? i was pained to see so much crap on my favorite os and now i cant deal some of that pain right back at the people who cant spend a few minutes on a ui before submitting another four apps to the app store?
Source: readthefuckinghig
Pictocture is a designed and optimized icon set for your next website, user interface or application. There are 32 free icons for you to download or you can purchase full 256 icon for only $9.
Source: riseofdesign.de
Golden Grid System splits the screen into 18 even columns. The leftmost and rightmost columns are used as the outer margins of the grid, which leaves 16 columns for use in design..
While the column widths in Golden Grid System are proportional to the screen’s width, the widths of its gutters (the spaces between columns) are proportional to the page’s font-size, specified in ems.
Responsive layouts often require you to change the font-size at certain screen widths, for example to make the text easier to read on huge monitors, or to make the text fit better onto narrow mobile screens. This can make the proportions of your layout feel off, especially if you’re using a baseline grid. Golden Grid System’s zoomable baseline grid gets around this problem.
Source: goldengridsystem.com
Responsive Design Testing: Test your responsive web designs
Responsive Design Testing is a great tool by Matt Kersley to test responsive web designs. You can quickly test your designs in multiple screen widths.
You can even share a link with someone by adding your URL to the end of the testing page. For example: google.com.
Special thanks to Ryan Carson of Carsonified for sharing this on Twitter.
Source: thechangelog
This is awesome - Jesse Eisemann, who illustrates and writes for CollegeHumor and Dorkly.com, created an interactive map of New York City based on the style of Super Mario World!
My favorite bits are the ghosts floating over old landmark places that are either graveyards or presumably haunted by their former occupants. Also, the mario bridge representation of a real bridge is pretty cool.
Oh, and that Mario at the top? He’s Hipster Mario in Jortveralls.
You can explore the interactive version here.
(via thecoolnews)
Source: jesseeisemann.com
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.
Source: paratype.com
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.
Source: 26plus-zeichen.de
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.
Source: fonts.info
Bricss: Noise in CSS – fo' realz?
For some years now, addding a “noise” texture to a design seems to be all the craze, and admittedly it can spruce up an otherwise rather bland background. The web design community has been trying to come up with an easy, lightweight method of adding noise, with some degree of success.
It turned…
Source: bricss
