Good typography has always been a defining aspect of effective Web design, and this holds true especially for websites in which the emphasis is on presenting a large amount of content — specifically, articles, news and stories.
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Everyone knows their serifs and sans, slabs and scripts, but most classifications go much deeper than that. Type classification, while helpful, is often convoluted, confusing and even controversial.
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There are several tactics for deciding where to put breakpoints in a responsive design. There is the rusty idea that they should be based on common screen sizes, but this doesn’t scale well. There are no “common” screen sizes. Another popular tactic is to create a breakpoint wherever the layout breaks.
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As of today we’re pleased to announce Typeplate, a free-range and open-source typographic starter kit that will hopefully help you build beautiful, text-rich websites. The word on the street is that the Web Is 95% Typography, so as we hurtle towards the future, we think there’s still a lot we can learn from five centuries of history “Typeplate: A Starter Kit For Beautiful Web Type”)](https://www.smashingmagazine.com/2013/02/27/typeplate-for-beautiful-web-type/)
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Layout, for both print and screen, is one of the most important aspects of graphic design. Designs that extend across multiple pages or screens, whether containing large or small amounts of type, must be carefully controlled in a way that is enticing and is easy for all to access.
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With the rise of web fonts as well as affordable hosted web font services and ready-made kits, typography is reclaiming its title as design queen, ruler of all graphic and web design. At the same time, for far too many designers, the main concern about typography today seems to be aesthetic in nature.
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If people are on your website, they’re probably either skimming quickly, looking for something, or they’ve found what they’re looking for and want to read it as easily as possible. Either way, keeping text readable will help them achieve their goal.
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I’ve always wondered, “What is it that makes a typeface or any other design good?” However simplistic this question may seem to typographers, it is a legitimate question many of us are trying to answer.
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Vertical rhythm is clearly an important part of Web design, yet on the subject of baseline, our community seems divided and there is no consensus as to how it fits in — if at all — with our growing and evolving toolkit for designing online.
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