With a vast selection of typefaces now available, there is no excuse for using boring typography in web design. The New Web Typography: Create a Visual Hierarchy with Responsive Web Design shows you how to implement web-safe fonts to create visually appealing and multi-browser-friendly websites while encouraging you to develop designs that express your own unique typographic voice.
This book discusses general principles for choosing typefaces for on-screen display and tips for creating a visual hierarchy that works on monitors, tablets, and smartphones. It shares some of the authors personal experiences to illustrate situations where one font would be more effective than another in giving readers an optimized experience that includes quick download times and an overall aesthetically pleasing presentation.
Since good typography is good web design, font selection is a critical aspect of web design. The New Web Typography is more than a simple overview of web typography. It provides practical advice and examples that help you make good decisions in choosing fonts for web design.
Key Features
Demonstrates how to implement responsive web typography, with up-to-date HTML5 and CSS3 code
Uses case studies and examples to enhance instruction
Provides practical tips on special techniques for implementing webfonts and searching and using webfont libraries
Encourages you to develop a unique typographic voice
| Introduction What Is Good Typography |
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vii | |
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1 | (10) |
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Choosing the Right Typeface |
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4 | (2) |
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Building a Fluid Font Stack |
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6 | (5) |
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11 | (48) |
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14 | (2) |
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16 | (1) |
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17 | (2) |
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19 | (6) |
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Understanding Type on the Web |
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25 | (7) |
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32 | (6) |
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38 | (3) |
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Types of type: Display or Body |
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41 | (1) |
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Classifying Type for the Web |
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42 | (7) |
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49 | (3) |
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Character and Text Encoding On the Web |
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52 | (3) |
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55 | (4) |
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59 | (32) |
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Solutions for Fonts on the Web |
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62 | (3) |
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Adding Fonts: the Font Stack |
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65 | (2) |
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67 | (3) |
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70 | (7) |
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Firefox and the Cross-Domain Conundrum |
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77 | (1) |
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Installing Webfonts on Your Computer |
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78 | (1) |
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End User License Agreements and You |
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79 | (5) |
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84 | (7) |
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91 | (28) |
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94 | (6) |
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100 | (5) |
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105 | (5) |
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110 | (3) |
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Checklist for Choosing Type |
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113 | (1) |
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Interview with Nicole Arnett Phillips |
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114 | (5) |
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119 | (26) |
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122 | (9) |
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131 | (2) |
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Styling Italic and Oblique Fonts |
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133 | (2) |
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135 | (3) |
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138 | (2) |
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Styling Text with Borders and Bacgrounds |
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140 | (2) |
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142 | (3) |
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145 | (22) |
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Understanding Relative and Absolute Type Units |
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148 | (5) |
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Type Size and Line Height |
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153 | (3) |
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156 | (5) |
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161 | (6) |
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167 | (12) |
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170 | (9) |
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179 | (16) |
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182 | (1) |
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183 | (2) |
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185 | (2) |
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187 | (3) |
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190 | (1) |
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Finding Webfont Icons or Make Your Own |
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191 | (1) |
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192 | (3) |
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195 | (26) |
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198 | (4) |
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202 | (6) |
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208 | (3) |
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211 | (1) |
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212 | (1) |
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Balancing Readability and Retention |
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213 | (1) |
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214 | (1) |
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215 | (2) |
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217 | (1) |
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217 | (4) |
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221 | (4) |
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225 | (12) |
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227 | (2) |
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229 | (5) |
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234 | (3) |
| Index |
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237 | |
Jason Cranford Teague designed the first web based magazine, Computer Mediated Communications, in 1994 and has been at the forefront of digital innovation ever since. He is the co-founder and lead creative at The Cranford Teague Group, which specializes in digital communication strategies. Learn more at www.cranfordteague.com. Stephen Boss has consulted on type projects for Fairchild, JP Morgan Chase, Bumble and bumble, and Oshkosh. His work has been featured around the world, including in several publications and as part of the Seybold's New Type Gallery exhibition, a show which travelled from New York City to England, the Royal Academy of Art in the Hague, and finally to Harvard, where it is archived. He is also in the designer database in the Klingspor Museum in Offenbach, Germany. Interested in developing typefaces with a unique vernacular, he founded Emboss Fonts in 1995.
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