Interview With Nadine Chahine: The Art And Craft Of Arabic Type Design

Posted by Smashing Magazine Feed at 04-26-2013


  

The beauty of typography has no borders. While most of us work with the familiar Latin alphabet, international projects usually require quite extensive knowledge of less familiar writing systems from around the world. The aesthetics and structure of such designs can be strongly related to the shape and legibility of the letterforms, so learning about international writing systems will certainly help you to create more attractive and engaging Web designs.

Today we’ll explore the art and craft of Arabic typography with Dr. Nadine Chahine, who lives in Bad Homburg, Germany. She is an Arabic Specialist at Monotype GmbH and is an award-winning type designer who has created typefaces that are being sold worldwide.

Q: Where does your love of typography come from?

Nadine Chahine

Nadine: It’s something I discovered during my graphic design education. I was fascinated by the contrast of the black and white, and the tension between angles and curves. Type is a design ingredient of immense power and it feeds into our collective memory. Its expressive power, its ability to convey both mood and identity, and the many different forms that it can take lead to a very rich field to play in. It is one that is dangerously addictive. The more one learns about type, the more drawn in one is. Very willingly, of course!

Q: How did you come to design type?

Nadine: I started playing around with type in the second year of the graphic design course, and got into things in earnest in the final year. It was then that I decided that I want to pursue this as a career and joined the MA course at The University of Reading, UK. The course really put me on the right career track and provided the kind of educational setting that supported both practical and theoretical typographic explorations. It’s been 15 years now since I drew my first letters, and I still wake up every day with the desire to draw some more.

Q: According to your blog, you joined Monotype in 2005 (known as “Linotype” at the time). Can you summarize your current role at the company?

Nadine: I am the Arabic Specialist for Monotype (as we have rebranded in March 2013). I am responsible for our Arabic projects, and that involves designing typefaces for the library and custom ones for our clients. I am also involved when externals design for us. Last year we collaborated with the MIT Age Lab on legibility research into the effect of typeface style on driver distraction, and I was part of the team. As it is exactly aligned with the PhD research that I completed in October, I’m very happy that I am now involved in legibility research as well as in type design.

Closeup of the early sketches of Zapfino Arabic.
Closeup of the early sketches of Zapfino Arabic.

Q: What is the biggest challenge in designing an Arabic typeface?

Nadine: There are design challenges in drawing letterforms that, when put together, appear as one continuous pen stroke. There are also challenges that are more existential in nature, such as the face of modern Arabic typography and how closely tied it is to calligraphic references. We have so few well-designed typefaces that it is often the case that the typeface one is working on presents a design problem that has never been addressed to date. There is also a lot of freedom in that, so it’s not too daunting.

Q: How do you design? What does your design process look like?

Nadine: It starts with a vague idea that I try to formulate on paper or, usually, on computer. It takes a while for what I draw to match what I want the typeface to do. That usually involves generating many versions of the font, testing it out in sample texts, making modifications, and repeating the process until the typeface becomes itself. I know that sounds a bit funny, but a typeface goes through adolescence and eventually grows into the best that it can possibly be.

Hermann Zapf’s corrections to Zapfino Arabic.
Hermann Zapf’s corrections to Zapfino Arabic.

Q: From the initial idea to the finished product, how long does it take for a new typeface to be born?

Nadine: Sometimes it takes years and sometimes it is a matter of weeks. Some designs are simply more complex and need a long time to mature. Others are straightforward, and if you’ve designed in that style before and the client is in a hurry, they can be finished quite quickly. It used to take much longer when I first started out. Every time I made a few changes, I’d need to test immediately, and then would agonize endlessly over which version is better. These days it is, of course, easier, and the ability to control a curve gets better with practice. There are still styles that are hard to design and require a lot of effort. The more complex and organic the curve, the more attention it requires.

Q: Frutiger Arabic, Neue Helvetica Arabic, Univers Next Arabic, Palatino and Palatino Sans Arabic, Koufiya, Janna, Badiya, or BigVesta Arabic. Do you have a personal favorite?

Nadine: Koufiya is special because I drew both the Latin and Arabic, and the concept is fully mine. Some of my typefaces I prefer to others, but I try not to tell. :-)

Q: Where do you get your inspiration from?

Nadine: It is always the streets of Beirut. Not the way my city is now, but how I wish it to be. When I studied graphic design in Beirut, I was always frustrated by the low quality of available Arabic fonts. It felt as if this is a reflection of a much larger state of being, of everything that is not OK in our part of the world. And that was a state of affairs that was intolerable, and so I set about trying to make my environment look better, one letter at a time.

Simulation of how the eye moves across a line of text and the pattern of fixations.
Simulation of how the eye moves across a line of text and the pattern of fixations.

Q: What is your favorite part about designing type? Do you also have a least favorite part?

Nadine: There is an “A-ha” moment, when all the pieces suddenly fit together. That is the most gratifying moment, when the vague idea suddenly becomes a reality. For the least favorite, it’s designing the numerals. That is my punishment.

Q: In your opinion, what makes a great typeface?

Nadine: A typeface has a function, and the greatness lies in the balance of achieving that function with the pure aesthetic value of the curves themselves. Adrian Frutiger wrote that a typeface is like a beautiful group of people, rather than a group of beautiful people. He has designed some of the greatest typefaces that we know, and very likely redefined what a sans-serif typeface is supposed to look like. When you see his work, the kind of designs that are meant to become part of our lives, the curves that he draws, the elegance of movement and interplay of black and white, you know that you are in the presence of greatness.

Q: What are you working on at the moment?

Nadine: Zapfino Arabic! It’s the most challenging typeface that I have ever tackled. Both exciting and scary!

Q: What have been your biggest achievements so far?

Nadine: There are the design collaborations with Adrian Frutiger, Professor Hermann Zapf and Gerard Unger, and the design awards. The typefaces, of course, are my babies, but I am especially happy with my PhD. I did my research on the side of a very busy work schedule. It took five years of working six days a week and barely any holidays to get it done, and I still cannot believe that I managed it!

Specimens of Nadine’s typefaces.
Specimens of Nadine’s typefaces.

Q: Arabic Web fonts are still at a disadvantage because some typefaces do not display correctly in certain browsers and devices. Why is this the case? What needs to happen for this to change?

Nadine: Current desktop browser support has resolved this problem, but we still need the public to upgrade to the latest versions. The devices are a different story and still far from where we need them to be.

Q: We recently ran an article on Helvetica on Smashing Magazine. As the creator of Neue Helvetica Arabic, what is your opinion on the issue?

Nadine: Helvetica is a divisive typeface and passions run high when discussing it, as you can see in the comments. The important thing to keep in mind is, Helvetica came to light in a set of circumstances that might never repeat. In other words, the stars were aligned and this propelled it to the place it is now. I’m not sure we will ever have a typeface that comes close to what Helvetica is. This has to do not with the design of the typeface, but with the role that this typeface played in our lives 50 years ago and has played till today.

Gebran2005, designed for An-Nahar newspaper in Lebanon.
Gebran2005, designed for An-Nahar newspaper in Lebanon.

Q: How do you see the type industry evolving in the next 10 years?

Nadine: There is a very big push today in the direction of non-Latin type design. I expect this to continue to grow, and I do hope that we evolve into a more global approach to the design of letterforms and visual communication.

Q: What advice would you give to young readers out there who are interested in becoming type designers?

Nadine: Get into it! It is a very fulfilling design practice, and one that is highly addictive and enjoyable. My advice would be to attend one of the many type design conferences that take place regularly and to talk to other designers to see what the work is actually like. There are many resources online about type design, and starting there to get an overview is also helpful.

Early sketches of Zapfino Arabic.
Early sketches of Zapfino Arabic.

Q: How can readers find out what conferences you’ll be speaking at or attending, and workshops you’ll be organizing throughout 2013?

I usually mention these on Twitter, and sometimes on Facebook and my blog.

Thank you for your time, Nadine! We sincerely appreciate it.

(il) (al)


© Smashing Editorial for Smashing Magazine, 2013.

CSS3 Transitions: Thank God We Have A Specification!

Posted by Smashing Magazine Feed at 04-26-2013


  

This article is packed with a number of quirks and issues you should be aware of when working with CSS3 transitions. Please note that I’m not showing any workarounds or giving advice on how to circumvent the issues discussed. Alex MacCaw has already written a very insightful and thorough article on “All You Need to Know About CSS Transitions.”

Whereas Alex wrote about achieving particular effects, I’m going to talk about the technical background, especially the JavaScript-facing side. Pitfalls — this article is all about pitfalls.

Table of Contents

Separation of concerns is nothing new — we’ve been using template engines for years to accomplish exactly that, separating our HTML from whatever scripting language we were using. A website has three major concerns: structure (HTML), layout and style (CSS), and behavior (JavaScript). CSS crossed the line and became behavioral quite a while ago, but that’s a whole different discussion.

A couple of weeks ago, I was tasked with developing a JavaScript module that would allow for the use of CSS transitions in a way that the JavaScript side would know nothing about the transitions taking place. The actual problem is the asynchronousity of transitions. After writing a bunch of tests, I gave up on the task. It cannot be done with a reasonable amount of code and initialization time. My test results are what this article is all about.

Before getting started with transitions, we have to talk about a little, frequently used, helper function. getComputedStyle() is a JavaScript method that returns a CSS property’s value as the browser interprets it. This API goes back to “DOM Level 2: getComputedStyle()” and “CSS Level 2: Computed Values” — which basically specify that a computed style is an absolute value.

This is fine for properties such as font-size, which take only one argument and are reliably converted to pixel values. However, it doesn’t cover how browsers should handle shorthand properties, such as margin — some browsers return nothing, others something semi-useful. Then there are properties with different but equivalent values to consider, such as font-weight’s bold and 700. WebKit also has a bug that extracts the computed value of properties from pseudo-elements.

The quirks described here were identified in January 2013 using Firefox 18 (Gecko), Opera 12.12 (Presto), Internet Explorer 10 (Trident), Safari 6.0.2 (WebKit), Chrome 23 (WebKit), as well as Gecko’s and WebKit’s nightly build channels.

Without further ado, let’s dive into the specifications and implementations, a world riddled with misconceptions. Please note that in order to be concise, I’ve omitted vendor prefixes from the examples.

Not knowing is difficult to handle. It’s easier to assume.

– Dr. Axel Rauschmayer

… But assumptions are often wrong. I discovered the information in this article by creating a CSS3 Transitions Test Suite.

Specifying A Transition

Besides the shorthand transition property, the CSS3 transition specification defines the following four CSS properties for specifying an animated change of state:

  • transition-property,
  • transition-duration,
  • transition-delay,
  • transition-timing-function.

CSS Properties to Transition

The transition-property property defines the property (or properties) to animate. The default is all, meaning that all properties a browser can transition will be animated on change (if there’s a transition-duration greater than 0s). The property accepts one value or a list of comma-separated values (like all other transition-* properties).

The specification states that a browser should accept and preserve any property it doesn’t recognize. So, the following example would still run a transition on padding lasting 2 seconds:


transition-property: foobar, padding; 
transition-duration: 1s, 2s;

Contrary to the specification, WebKit parses the above to transition-property: all. Firefox and Opera parse it to transition-property: all, padding.

Duration of a Transition

The transition-duration property defines the amount of time a transition should take to get from the initial state to the target state. It accepts a <time> value in seconds or milliseconds (for example, 2.3s and 2300ms both specify 2.3 seconds).

While the specification makes it clear that values must be a positive number, Opera also accepts -5s — at least for getComputedStyle(). Opera and Internet Explorer (IE) do not accept values lower than 10ms, although the specification mentions no such limitation. In all fairness, you wouldn’t notice a transition lasting 9 milliseconds anyways. WebKit (except for the current WebKit nightly) has a bug in its getComputedStyle() implementation, returning values such as 0.009999999776482582s instead of 0.01s. At least all browsers agree on returning second-based values.

Delay of a Transition

The transition-delay property defines the time to wait before executing a transition, also using <time> values. The delay may be a negative value, which will start the transition immediately and make it appear as though the transition had started at the given offset in time — essentially starting with a jump.

As with transition-duration, IE and Opera don’t accept values between -10ms and 10ms. WebKit’s floating point issues appear here, too.

Timing Functions

The transition-timing-function property defines the mathematical function used to calculate a property’s value at time t. There are three basic types: cubic-bezier(x1, y1, x2, y2), step(<number>, start|end), and keywords that map to predefined cubic bezier curves. Most likely, you already know the keywords linear, ease, ease-in, ease-out and ease-in-out. The math behind cubic beziers gets ridiculously unimportant when using Lea Verou’s charming little Cubic Bezier Editor. While cubic bezier curves make smooth transitions, the step() functions don’t. They instead jump to the next value (i.e. the next step) at a regular interval. This allows for frame-by-frame animations; see “Pure CSS3 Typing Animation With steps()” for an example.

The computed value of linear is usually represented as cubic-bezier(0, 0, 1, 1) — except for WebKit, which actually returns linear. But not to worry: WebKit will still return cubic-bezier(0.25, 0.1, 0.25, 1) instead of ease. The current WebKit nightly returns the keyword for all defined keywords, though. Looking on the bright side, in a couple of months WebKit won’t be inconsistent with itself — only with the rest of the browser world.

The specification stipulates that the x values must be between 0 and 1, while the y values may exceed that range. Contrary to the specification, WebKit allows x to exceed the bounds, at least computationally. At the time of writing, the Android browser (version 4.0) mixes up ranges for x and y, essentially disallowing “bounce” effects.

When A Transition Is Complete

I already mentioned that CSS transitions run asynchronously. The specification provides the TransitionEnd event to allow JavaScript to synchronize with the end of a transition. Sadly, the specification isn’t very specific about this event. In fact, it simply states that an event is to be fired for every property that has undergone a transition. If you need a single word to describe the situation, “nightmare” isn’t far off.

While the specification says that shorthand properties (such as padding) should run transitions for all properties that it covers (padding-top, padding-right, etc.), it doesn’t say which property should be named in a TransitionEnd event. While Gecko, Trident and Presto agree on triggering events for the longhand sub-properties (such as padding-top), even if a transition was defined for a shorthand property (such as padding), WebKit would take the opportunity to screw things up. WebKit would trigger an event for padding if (and only if) you specified transition-property: padding, but transition-property: all would trigger the event for padding-left et al. For some reason, iPhone 6.0.1’s Safari browser might also triggers events for font-size and line-height when padding is being transitioned. Confused yet?


.example {
  padding: 1px;
  transition-property: padding;
  transition-duration: 1s;
}

.example:hover {
  padding: 10px;
}

The above CSS will trigger different TransitionEnd events across browsers:

Gecko, Trident, Presto
padding-top, padding-right, padding-bottom, padding-left
WebKit
padding

.example {
  padding: 1px;
  transition-property: all, padding;
  transition-duration: 1s;
}

.example:hover {
  padding: 10px;
}

The CSS above will trigger different TransitionEnd events across browsers:

Gecko, Trident, Presto, WebKit
padding-top, padding-right, padding-bottom, padding-left
Safari 6.0.1 on iPhone (not iPad, mind you!)
padding-top, padding-right, padding-bottom, padding-left, font-size, line-height

I said that you could specify a negative transition-delay to “jumpstart” your transition. But what happens for transition-duration: 1s; transition-delay: -1s;? Gecko and WebKit immediately jump to the target value and trigger an event. Trident and Presto won’t trigger any events.

That floating point issue that WebKit experiences in getComputedStyle() is also present in TransitionEnd.elapsedTime — consistently in all browsers. Math.round(event.elapsedTime * 1000) / 1000 will “fix” that for you.

WebKit and IE have implemented an unspecified extension to background-position that causes them to trigger TransitionEnd events for background-position-x and background-position-y, instead of background-position.

So, even if you knew that a transition was taking place, you wouldn’t be able to rely on the TransitionEnd.propertyName that you’re given. While you could write loads of JavaScript to equalize the behavior, you wouldn’t be able to do this in a future-proof way without doing proper feature detection for every single property. And this could include properties you might not even know are animatable.

Transitionable Properties

The specification lists a number of CSS properties that a browser is supposed to support animated transition for. This list contains properties of CSS2.1. Any of the newer properties will be marked as animatable in their respective specifications — as order of the Flexible Box Layout shows.

The property’s value type is an important factor. The property margin-top accepts <length> and <percentage> values, but according to the list of transitionable CSS properties, only <length> is to be animated. But that didn’t keep browser vendors from implementing transitions for <percentage> values anyway. The word-spacing property is a different story, though. The specification includes <percentage> values, but at the time of writing, no browser is able to animate that.

Ignoring the (inherently unreliable) TransitionEnd events, a property is transitioned from value A to value B if its getComputedStyle() value is different from A and B at a given time during the transition. Because there is no such thing as a “CSS property value changed” event, you’re left with polling the DOM. setTimeout()’s resolution is not good enough to do this for fast transitions (a duration of less than a few hundred milliseconds). requestAnimationFrame() is your friend for this. The browser will call you before it repaints to screen, allowing you to grab a couple of intermediate values during transitions. Except for Opera, all engines have this feature already.

Instead of bloating this article with a full compatibility table, I’ve sent my results to Oli Studholme (@boblet), who has updated his list of “CSS Animatable Properties” accordingly.

Priority of Transition Properties

The specification on the transition-property property states that we’re allowed to define a property multiple times:

If a property is specified multiple times in the value of ‘transition-property’ (either on its own, via a shorthand that contains it, or via the ‘all’ value), then the transition that starts uses the duration, delay, and timing function at the index corresponding to the last item in the value of ‘transition-property’ that calls for animating that property.

So, we can make padding transition for 1 second, while making padding-left take 2 seconds; or define a default transition style using transition-property: all and overwrite that for particular properties.

In Firefox and IE, this works fine. Opera mixes up the priority order, though. Instead of simply using the last applicable property in the list, it treats padding-left as more specific than padding and all.

The real problem is WebKit. It’s somehow managed to execute a transition multiple times if a property is specified multiple times. To really freak out WebKit, try running a transition for transition-property: padding, padding-left with the very small transition-duration: 0.1s (warning: this is not a good idea for epileptics). WebKit will render the transition at least twice. But the real beauty is the TransitionEnd events, of which you could receive up to hundreds for a single transition.

Transitioning From And To auto

The CSS property value auto translates to “Dear browser, please calculate some reasonable value for this.” Paragraphs (<p>) and any block-level elements will be as wide as their parent if they have width: auto. There are times when you’ll change from width: auto to a specific width — and want to transition that change. The specification neither enforces nor denies the use of auto values for transitionable properties.

Firefox, IE and Opera cannot transition from or to auto values. IE makes a little exception for z-index, but that’s it. WebKit, on the other hand, is capable of transitioning from and to pretty much any CSS property that accepts the auto value. WebKit doesn’t like clip too much; for that property, it will only trigger a TransitionEnd event, without generating or showing any intermediate values or states during the transition.

For the other properties, such as width and height, WebKit’s behavior is not quite what you’d expect. If width: auto translated to a calculated width of 300px and you transitioned that to 100px, then your transition would not shrink from 300 to 100 pixels. Instead, it would grow from 0 to 100 pixels.

For a full compatibility table, have a look at “CSS Animatable Properties.”

Implicit Transitions

An “implicit transition” happens when a change to one property causes another property to be transitioned — or if you change a property on a parent element and cause a child to transition either the inherited property or a dependent property. Confused? Consider font-size: 18px; padding: 2em; — the padding is calculated as 2 × font-size, because that’s what em does, giving us 36 pixels.

There are various relative value types: <percentage>, <length>, em, rem, vh, vw, etc. Using a relative value, such as padding: 2em, makes the browser recalculate the property’s getComputedValue() every time its depending value (such as font-size) changes. That in turn triggers a transition for padding because the computed style has changed. This transition is considered to be “implicit” because the padding property was not modified explicitly.

Most browsers run these implicit transitions. The exception is IE 10, which runs them only for the line-height property. WebKit runs implicit transitions for all applicable properties except vertical-align. Besides font-relative property values, there are width-relative property values (usually <percentage>), viewport-relative property values (such as vh and vw), default initial values (such as column-gap: 1em in Opera), and then currentColor. All of these might — or might not — trigger implicit transitions.

In Firefox, these implicit transitions get particularly interesting when both the depending and the dependent properties are transitioned but their transition-duration or transition-delay do not match. While WebKit and Opera produce transitions that make sense visually, Firefox garbles things a bit. In IE, this is a non-issue because it doesn’t do implicit transitions.

Don’t forget about inheritance within the cascade. A font-size on a DOM element will be inherited by its children, as long as it’s not overwritten, potentially causing implicit transitions.

Transitions And Pseudo-Elements

Pseudo-elements (:before and :after) were introduced with CSS2 generated content. Read “Learning to Use the :before and :after Pseudo-Elements in CSS” if you’re not yet familiar with generated content. While CSS3 content defines additional pseudo-elements (::alternate, ::outside), they are not (yet) supported. All animatable CSS properties should also be animatable for pseudo-elements.

Firefox and IE 10 will transition properties on pseudo-elements. Opera, Chrome and Safari will not. WebKit added support in January 2013 — which you can already check out in WebKit nightly and Chrome Canary.

Transitions of generated content bring their own set of funky issues. TransitionEnd events aren’t fired at all. At some point in the future, they’re supposed to be triggered on the owner element and provide their pseudo-element through TransitionEnd.pseudoElement. But even the “Transition Events” section of the “CSS Transitions” editor’s draft doesn’t specify that properly yet.

There was a time when we would change the value of the content property so that IE 8 would re-render that element in certain circumstances (like when entering a :hover state). It turns out that this fix for old IE interferes with this ability for all other browsers. So, when trying to transition a property on a pseudo-element, make sure the content is not changed.

IE 10 will not run a transition for a pseudo-element’s :hover state if the owner element doesn’t have a :hover state as well:


.some-selector:before {
  content: "hello";
  color: red;
  transition: all 1s linear 0s;
}

.some-selector:hover:before {
  color: green;
}
/* This next rule is necessary for IE 10 to transition :before on hover */
.some-selector:hover {}

The weird thing about this issue isn’t that you need a (possibly empty) :hover state on the owner element. It’s that if you don’t have one, IE 10 will interpret the :hover as :active (i.e. active when you mousedown on the element). The even weirder part is that the :active state persists even after mouseup and is removed only by another click on the document.

Background Tabs

At the time of writing, IE 10 is the only browser that responds to a tab being in the background or foreground. While it will finish a running transition if the tab is pushed to the background, it won’t start any new transitions there. IE 10 will wait until the tab is pulled into the foreground before starting any new transitions. Fortunately, IE 10 already supports the Page Visibility API, allowing developers to respond to this behavior.

We can expect similar things to happen with other browsers as they continue putting background tabs to sleep.

“Invisible” Elements

So, are transitions executed for DOM elements that are not attached to the DOM? Nope, not a single browser does that — why should they? Well, then, what about hidden elements? Most browsers have figured out that there’s no need to run a transition on an invisible (i.e. not painted) element. Opera thinks differently about this — it’ll run a transition regardless of whether it is painted or not.

Transitioning Before The DOM Is Ready?

The DOMContentLoaded event is triggered when the document leaves parsing mode. If you’re into jQuery, we’re talking about jQuery.ready() right now. Transitions can be run before this event happens.

Rendering Quirks

The issues I’ve described up to this point were found by testing against the specification. The tests were run automatically. But as it turns out, quite a few more problems are visible to the eye. The following quirks have been found by various other developers and could affect your meddling with transitions just as much.

At this time, transitioning a background from gradient to gradient is not possible. Transitioning from gradient to solid color is possible — with a big caveat. If a gradient is in play, then the color transition will happen from white to the target color, appearing to quickly flash white at the beginning of the transition. This can be observed in all current browsers.

Firefox seems to be using a different algorithm for rendering (or smoothing) images as they’re being animated (see an example). Apparently, Gecko sacrifies quality for performance during animation. Note that this occurs if a low enough transform: scale() is in play.

Firefox won’t properly animate from a:visited to a:hover or vice versa. Instead, it will jump from a:visited to a:link and then transition to a:hover, as you can see in this example. This is mentioned somewhat in “Privacy and the :visited Selector” on the Mozilla Developer Network. While IE 10 agrees with Chrome, Safari and Opera on the proper transition, it also runs the transition from a:link to a:visited on page load.

Transitioning multiple properties is not synchronized in Firefox and Webkit. You can see in this example how making the border smaller by the same amount that the padding increases (and vice versa) causes the following content to shake a bit. IE 10 and Opera get this right.

Firefox won’t animate an element’s properties if one of its parent’s position is changed, as you can see. Webkit, Opera and IE 10 behave correctly.

Recommendations For The Specification

Having read the specification from top to bottom and actually tested all of the features, I think a few changes would help:

  • Introduce a TransitionsEnd (notice the plural), triggered once all transitions for an element have completed. It could provide a list of properties that have been animated — but I don’t see the use case for knowing what has transitioned, as long as I’m informed when all animations are done.
  • Introduce a TransitionStart event, triggered for every property about to be transitioned. Because DOM events don’t come cheap and the JavaScript event loop and the rendering thread are not necessarily blocking each other, a single event TransitionsStart (there is that plural again) might be the better solution. I don’t see why I should be able to cancel the event, so this would be a “fire and forget” kind of thing.
  • Make it clear what TransitionEnd is supposed to be triggered for. That padding versus padding-left issue in WebKit is rather annoying.
  • Clearly specify how “implicit transitions,” such as line-height: 1em for transition-property: font-size, are to be handled.
  • Add a ::transitioning pseudo-class that allows you to define pointer-events: none to prevent accidental hover states (among other things). The trick here is to prevent the application of styles that themselves would trigger a new transition or that would alter an already running transition.

In addition to these suggestions, we should be able to accomplish a number of common (simple) things without having to throw a lot of JavaScript at the problem:

  • Every once in a while, you’ll want to completely mute all transitions — for example, because you’re changing the layout and need to calculate dimensions and positions before unleashing your beautiful transitions upon the visitor.
  • Sometimes you’ll want to remove an object from the DOM and want that to be animated. Right now, you’d add a class, wait for the TransitionEnd event and then remove the element.
  • Just as with removing things, you’ll want to add a new element and animate its appearance. Right now, you have to insert the element, set some “invisible style,” force a repaint and then revert to the new element’s actual style.
  • Reordering, hiding and showing elements are common for any Web application. Giving that task a little style currently requires us to run utilities such as Isotope. A vanilla CSS solution could shave off some bytes.

Use The delay, Luke!

Imagine a number of elements packed together tightly. Imagine that the styles of those elements change on hover. Imagine moving your cursor (moderately quickly) over that group. What happens? Exactly: you’ll see the styles of those elements flash.

By adding a relatively short delay to your transitions, you can mitigate that effect; 20 milliseconds is undetectable to the human eye, but it’s enough for the mouse cursor to pass over small elements. The transitions won’t appear to lag because of this, and the visual distraction you might have caused just disappears. Simple trick, I know.

Conclusion

  • Be very careful when using transition-property: all. You will get TransitionEnd events for properties that you didn’t expect to ever transition.
  • Be careful when using shorthand properties, because the number of triggered events varies between browsers.
  • Opera and IE don’t trigger events when a negative delay cancels out the duration.
  • WebKit has real issues with the priority of properties such as transition-property: margin, margin-left. Avoid this for now.
  • IE doesn’t support implicit transitions — for example, triggered for padding: 2em when font-size changes.
  • Firefox and Opera cannot parse transition-property: all, width.
  • Opera mixes up the priority of properties.
  • Transitions on pseudo-elements do not trigger TransitionEnd events.
  • IE 10 has a weird :hover bug when transitioning pseudo-elements.
  • The specification leaves a lot of room for improvement.

Related Content

If you’re interested in transitions and animations — and how to use them wisely — have a look at these fantastic resources:

Thanks go to Oli Studholme for taking the time to review this article, and Peter Linss for walking me through the CSS Working Group’s testing infrastructure.

(al)


© Rodney Rehm for Smashing Magazine, 2013.

Back By Popular Demand

Posted by BittBox at 04-25-2013

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Underdevelopment.com initially planned to wait until Fall 2013 to host another WordPress Bootcamp. But, their students had other intentions.

Due to popular demand, and the growing desire to learn WordPress, LearnWebDevelopment.com, has announced that they’ll host one of their hugely popular WordPress Bootcamps in May.

Check it out today because:

1. It starts soon.

2. You’ll save $200 with early-bird pricing. (But only until May 2, 2013.)

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In case you forgot, here’s a brief overview of the WordPress Bootcamp:

In this WordPress Bootcamp, you’ll learn everything you need to know – from the very basics (like how to choose a domain name) all the way to customizing your new website and even how to find clients.

These WordPress Bootcamps are so popular because they include:

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Early-bird pricing ends Thursday, May 2, 2013 (at midnight central time).

Imcreator – The easiest way to create free websites

Posted by BittBox at 04-24-2013

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How would you like to create a website in three easy steps, simply by clicking your mouse and adding some content? Sounds too good to be true?

Luckily, Imcreator is as real as it gets and it shows you how to create your own website without any coding or web design. It`s all pre-made for you, which leaves you with all the fun and almost no work at all. And it`s also free!

Yes, I know it sounds like a fairytale, but I assure you it’s neither. In fact, don’t take my word for it. Take a look at these websites and see for yourself. They were all created with Imcreator:

iniviate.com

artimpactnetpr.com

portuondo.fr

jeremytarian.com

Your website could look just as good as any of these… or even better! Just follow these three steps and you`ll have your own virtual hallmark, as well.

Step 1: Choose the design

Once you’ve started creating your website on Imcreator, you`ll be thrilled with the wide variety of templates you can choose from. There are dozens of designs that you can browse, to pick the one you like the most. And, believe it or not… this is the hardest part of all. Once you`ve chosen your template, you go straight to…

Step 2: Customize your website

In other words, MORE fun! With a couple clicks, you upload images, you add texts, edit them, delete whatever you don`t like, add some more photos or videos… basically, you get to play around until you reach that perfect look that you`ve been longing for. No hard work, no hassles, no need to hire web designers or programmers. You can do everything yourself without paying a dime.

After you’ve customized the template you chose and you`re happy with the result, you can jump to the final step:

Step 3: Publish

Just hit the “Publish” button and your work will plunge in the virtual world. Go ahead, be proud of what you’ve accomplished!

Making waves with Magasin

Posted by I love typography, the typography and fonts blog at 04-24-2013

I’ve always been fascinated by typefaces based on fluid handwriting, and as an amateur calligrapher of copperplate, I decided to design a display font based on this experience.

Origins and background
My first approach to this project began with the lettering I designed for BoMo, a graphic design studio, in spring 2011. It’s based on a brief: feminine, professional and sensibility. The solution came as a well-crafted series of ‘calligraphic letters’ with high contrast, the B, the M and the o, combined as two connected syllables. During the design process I discovered the significant potential that this idea could have if it were developed as a typeface. Thus, almost one year later, I began to sketch it, and two years after I released it!. It evolved from the initial three letters of the logo but with differences: slightly less condensed proportions, different designs for the two upper case letters and a new construction of the connecting strokes.

It combines a sense of script with geometric and slightly condensed structure resulting in idiosyncratic curves, yet with a retro-chic twist. These might probably be the most attractive features, because all together they give a very strong identity to words.

During my research I review a lot of previous & excellent typefaces sharing a similar idea, but any of them had this sense of a connected and upright script. Somehow, Magasin explores and pays tribute to the charm and playness of typefaces that were designed during the 1930s. Some inspiring references are Corvinus, released by Bauer in 1935 (designed by Imre Reiner in 1934), Quirinus (Alessandro Butti,1939) and Fluidum (1951), a kind of non-connected script version of Quirinus, also designed by Butti for the Nebiolo foundry.*

specimens-inspiration
Left: Cover of a catalogue published by Nebiolo in the 1950s; top: Cover of a catalogue and a Qurinus specimen, a typeface designed by Alessandro Butti in 1939. Both published by Nebiolo in the 1950s; bottom: Detail of the cover of a catalogue published by Nebiolo in the 1950s; below: Detail of a catalogue published by Nebiolo in the 1950. It shows Fluidum, a typeface designed by Alessandro Butti in 1951.

13Fluidum_AlessandroButti_1951_02

The design principle
Magasin is based on the idea of designing a display typeface inspired by the pointed pen calligraphy with geometric, upright and connected construction and high contrast. What I wanted to show is the obvious accuracy that can be seen in any calligraphic work, but with a close attention to the creative combination of linked letters when creating words, bringing a lettering flavor.

Construction principles:

1. the wavy shapes to emphasize the rhythm
2. four different ways of linking letters, always merging at half of the x-height
3. loops and drops reminiscent of pointed pen calligraphy
4. the angled ending stroke

Magasin font construction principles

The process
The first versions of Magasin were more experimental; I gave an extraordinary leadership to the connection strokes, and characters as ‘m’ and ‘n’, had a different starting stroke, but soon I found it problematic.The following versions were based on the exploration and refinement of some characters and the different connection possibilities, with the goal of balancing the spacing, a process that also led to the design of alternative glyphs.

magasin font construction principles
Early versions of Magasin shown in black; final solution(s) in color

At a certain point, I was not sure if it could become something usable or just a personal amusement; some connections were looking really weird but others just came automatically and in a very beautiful way. So I wrote a list of necessary ligatures to balance the text flow, and another of the non-convenient combinations that later became ‘exceptions’ in the programming. I also designed a reduced set of secondary alternates (ss02) and an out-strokes version of the ‘c’, ‘ç’, ‘e’ and ‘q’, to gave a better ending to sentences or words. Therefore, it implied a bunch of OT programming for a correct use and performance. I’ve explained this all in more detail in the PDF specimen I designed.

magasin-character-set
Top: Magasin, regular lowercase character set; bottom left: Magasin, lowercase contextual alternates (ss01); bottom right: Magasin, lowercase contextual alternates (ss02)

Capital and Swashes
The capital letters appeared much later, they are a bit experimental and very much inspired by the copperplate calligraphy mixed with some cancelleresca features.

While testing it, I discovered that Magasin could be very useful in a lot of applications, and for many various moods; moreover, the swash capitals were intentionally designed to ‘pimp’ words and provide many possibilities, but regular capitals can also perform better in certain situations.

magasin-swash-caps

And finally… why this name?
I only chose the name at the end of the process. It sounds like ‘magazine’ in English, but actually Magasin is the word for ‘store’ in French, because I always imagined Magasin used in magazine headlines, but also for brands and packaging. I’ve enjoyed working on Magasin immensely, and I have learned a lot, as always happens with every typeface I design. Because I love and collect old specimens, my typeface and the specimen are also a celebration and a tribute to all those works of art and their designers.

*See more specimen images on the flickr collections by Indra Kupferschmid, or see also the special Corvinus set from the Herb Lubalin Study Center, and the ‘caratteri nebiolo’ set by :nike

Author: Laura Meseguer




Sponsored by H&FJ.

Making waves with Magasin

Free Texture Tuesday: Wood Variety Pack

Posted by BittBox at 04-23-2013

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Pre-Order Your Smashing Book #4 Now: “New Perspectives On Web Design”

Posted by Smashing Magazine Feed at 04-23-2013


  

It’s that time of the year again: We’ve started working on a brand new Smashing Book! The book will be as ambitious as it is beautiful — a unique, extraordinary artefact, filled with valuable insight for Web designers and developers.


The Smashing Book #4 consists of two separate hardcover books, neatly packaged into one slipcase. The covers are designed by illustrator Anna Shuvalova.

The Smashing Book #4: New Perspectives on Web Design will consist of two hardcover books, “Coding” and “Design,” each with approximately eight chapters, both neatly packaged into one slipcase. New Perspectives will have practical tips on current practices and common design problems. We strongly believe in print and in the benefits of tangible books. And this time, we’d like to invite you to join us as we embark on the journey of publishing!

The Beauties And The Box

Excited as we are? Good! The release of this book is expected to be in September or October 2013. However, by pre-ordering your copy now, you will support our expansion of the Smashing Book series. And if you’re quick enough, you can grab a couple of extra (and exclusive) goodies.


The Fan Bundle offers your very own caricature, designed by Ricardo Gimenes.

New Perspectives On Coding And Design

The book will feature valuable insight into large-scale projects, adaptive interfaces, customer support, user psychology and typography. We will also uncover smart front-end strategies, obscure back-end techniques and find out what it takes to improve performance for faster and more robust websites and apps.

Table Of Contents

We’ve assembled a remarkable line-up of authors for the book. All of them are well-respected designers and developers who will share their practical insights, design strategies and hands-on tools as they explore new perspectives in Web design today. (Please note that chapter titles might still change!)

New Perspectives On Coding:

AUTHOR CHAPTER
Addy Osmani The Modern Front-end Tooling Workflow
Harry Roberts Breaking Good Habits: CSS Architecture For Tomorrow
Nicholas C. Zakas The Roadmap To Maintainable, Clean And Effective Code
Tim Kadlec A Culture of Performance
Christian Heilmann The Vanilla Web Diet
Paul Tero How To Break The Web And Fix It (Back-end Techniques)
Mat Marquis Robust, Responsible, Responsive Web Design
Andy Hume Real-Life Responsive Web Design (The Guardian’s Case-Study)

New Perspectives On Design:

AUTHOR CHAPTER
Web Standardistas On Creative Spirit
Rachel Andrew Providing Good Technical And Customer Support
Nishant Kothary The Psychology Of Human Behavior On The Web
Aaron Gustafson The New, Adaptive UX Interfaces
Joshua Porter Connecting The Dots: UX, Interface Design And Product Design
Dan Mall Common Responsive Design Problems
Marko Dugonjić The Next Step For Web Typography
Chris Shiflett How To Create Products That People Will Love

Technical Details

  • Two books, approximately 300 pages each, 16.5 × 24.0 cm (6.5 × 9.5 inches).
  • Quality hardcovers, with stitched binding and ribbon page markers.
  • A unique slipcase with a special surprise — just for you.
  • Excellent for both new and experienced Web designers and developers.
  • To be delivered from both the US and Germany.
  • Free worldwide shipping, with a 100-day money-back guarantee.
  • All eBook formats are included in all three packages (PDF, EPUB, Kindle).


The Smashing Book #4 consists of two separate hardcover books, neatly packaged into one slipcase. The covers are designed by illustrator Anna Shuvalova.

Pre-Order Your Copy Today!

We want to create the best printed book experience that we’ve crafted so far — a truly smashing book, with content, design and packaging that you will love. Please note that the Smashing Book #4 is also available as a standalone eBook bundle.


© Smashing Editorial for Smashing Magazine, 2013.

FYI Monday: Wicked Hand Lettering Designs by Sean McCabe

Posted by Fudgegraphics | for lovers at 04-22-2013

This post is part of the For Your Inspiration Monday series showcasing the most inspiring designs out there. Each week a new artist or design style will be presented in order to get your creative juices flowing for the upcoming week. I hope you enjoy the series.

Sean McCabe is a hand lettering artist, type designer and illustrator from San Antonio, TX working under the moniker seanwes. I’ve been following Sean’s work for quite a while on Instagram and decided to give him the spotlight he deserves. I’ve recently gotten into the hand lettering typography myself and Sean as been one of the biggest influences. For more inspiration make sure to check out seanwes.com

Hand Lettering by seanwes

Hand Lettering by seanwes

Hand Lettering by seanwes

Hand Lettering by seanwes

Hand Lettering by seanwes

Hand Lettering by seanwes

Hand Lettering by seanwes

Hand Lettering by seanwes

Hand Lettering by seanwes

Freebie Friday: 4 Crisp Debris Brushes

Posted by BittBox at 04-19-2013

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Download .ZIP

Complex, Yet Simple: Making Sense Of Type Classification (Part 1)

Posted by Smashing Magazine Feed at 04-17-2013


  

In my previous article on Smashing Magazine (“Understanding the Difference Between Typography and Lettering”), I wrote about how understanding type terminology can help us better appreciate the arts of typography and lettering. This article again deals with terminology, probably more specifically than most designers are used to, and the title gets to the heart of what I’m communicating in this article.

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. This article, distilling some of the complexities into a more understandable format, lands somewhere in the middle between the basics and genuine type nerdery — the perfect level for a practicing designer.

Making Sense of Type Classification

Why Classify Type?

There’s a certain intellectual delight in knowledge, particularly knowledge about one’s field of work and study. More importantly, perhaps, there is a way in which seemingly impractical knowledge of one’s profession lends more credence to the designer. That being said, what you’ll read here is by no means impractical. It really comes down to solid design choices.

Artist-14-opt
Sets film in 1920′s uses typeface from 1975.

A good grasp of type history will help you avoid typographic anachronisms, which, although often lost on the general public, do not escape the notice of many designers, as demonstrated in Mark Simonson’s article on the 2012 Oscar winner for Best Picture, “The Artist,” and his other typographic scrutinies of popular movies and media.

It’s not exclusively about the history of type, however. Type classification is also helpful in pairing typefaces for projects, sometimes based on historical proximity but also by noting similar features that unify the typefaces, such as axis or x-height. In some cases, by finding enough disparity in the small features, very different typefaces become complementary.

Most importantly, perhaps, this article will not only familiarize you with general type history and commonly used terminology, but also help you learn to look for and recognize important characteristics of type and the inexhaustible minutiae that make typefaces unique, as well as arm you with useful descriptors of type styles.

Type Classification Systems

Over the past century, quite a few classification systems have been proposed. Most are generally believed to be subjective and incomplete, and many of them use the same terms for similar but slightly different classes. The impossibility of a truly complete classification system has led many people to dismiss any attempt to classify typefaces — there are simply too many variables to make anything close to a practical, comprehensive system. Essentially, classification describes typefaces; it does not define them. It’s not inflexible, and is more of an aid than a rule. However, for the reasons given above, I believe there is value to be found in it. Below are a few examples.

The primary “official” classification system currently is the Vox-ATypI system. Originally put together in 1954 by Maxmilien Vox, it was adopted in 1962 by the Association Typographique Internationale (ATypI), which made a minor change at the 2010 conference (appropriately, held in Dublin) to include Gaelic as an extra category. It classifies typefaces in 11 general categories, with some subdivision. Its Wikipedia article provides an excellent overview.

The British Standards Classification of Typefaces, adopted in 1967, is also based on Vox’s original classification. It is slightly simplified and has remained essentially unchanged since its adoption.

Bringhurst, in his Elements of Typographic Style — perhaps the standard in typographic textbooks today — categorizes typefaces loosely after periods of art history; for example, Baroque, Rococo, Romantic, etc. A book designer himself, Bringhurst focuses on text typefaces and practically ignores display type.

Others are much more general. An early system by French typographer Francis Thibaudeau, which provided the base for Vox’s later more thorough classification, includes four broad categories: Antiques (sans serifs), Égyptiennes (slab serifs), Didots and Elzévirs (faces with triangular serifs).

Gerrit Noordzij, while at the Royal Academy of Fine Arts in the Hague, held that typography was essentially an extension of handwriting, teaching typography using loose categories of letters that might be written with a broad-nib or pointed-nib pen, as well as interrupted or uninterrupted strokes, with varieties of both serifs and sans falling into each category.

These are just a few of the ways people have classified type over the years. In this two-part article, I will condense the various methods slightly and present what is at the very least generally accepted as legitimate (as there will always be a few out there who refuse to give up a particularly unusual classification method, or who decry any method at all).

Classifying Serif Typefaces

In part 1 here, we’ll cover serif styles, following the natural progression of type history, and thus move into sans and other categories in part 2.

Humanist

Starting off, naturally, at the beginning of type history, we’re in the middle 1400s, during the Renaissance. The movement, led by Italian cultural hubs such as Florence and Venice, was drawing Europe away from medieval practices, and typography was one part of that. Rather than using the blackletter, or Fraktur type, that Gutenberg used, printers began to create type mimicking the Latin writing hand of the philosophers and scribes of the time, beginning around 1465.

Renaissance Printing
A 1905 textbook illustration of Renaissance printers

These typefaces are variously called Humanist or Venetian due to the zeitgeist and geography of the Renaissance. A number of distinct characteristics define Humanist typefaces.

Primarily, Humanist faces were very calligraphic in nature, and one way this manifested itself was in the strong axis, most apparent in the bowls of characters and the lowercase “o,” a characteristic borrowed from the angle at which a right-handed writer holds a pen. Another interesting way this showed itself was in the notably angled crossbar on the lowercase “e.” Other calligraphic influences are clear, such as inconsistencies in stroke weight and the way serifs are formed.

Other defining characteristics include a small x-height and a lower contrast between thick and thin strokes.

Venetian Typeface Characteristics

Not all Humanist typefaces are from the Renaissance era, however; many Humanist revivals have been created in more recent years, such as Centaur (1914) and Adobe Jenson (1996). Adobe Jenson, used in the specimen above, is based on the work of Renaissance printer Nicolas Jenson, a prominent printer and type designer who moved from his native France to Venice and contributed significantly to print and design history. There are even Humanist sans faces, but we’ll get to those in part 2. Although an influential period in type history, the Humanist era served primarily as a transition to newer styles of typefaces and was relatively brief.

Other examples of Humanist typefaces include Guardi, Arno, ITC Berkeley and Stempel Schneidler.

Garalde

In the Old-Style faces, often called Garaldes, we see type really beginning to come into its own. I call them Garaldes here because the term “Old Style” is at times used to include Humanist, Garalde and Transitional typefaces; simply calling this group “Garalde” helps to retain its identity.

Aldus Manutius and Claude Garamont
Aldus Manutius and Claude Garamont

This period in type history lasts from the late-15th century all the way until the early 1700s, and the type created in this period has shown remarkable longevity. “Garalde” itself is a hybrid term borrowed from the names of two notable type designers of the era, French punchcutter Claude Garamont and the Venetian Aldus Manutius. The category is occasionally called “Aldine” after Manutius.

There are many similarities to the Humanist faces, but things are moving in a particular direction, as we’ll see with the consecutive categories of Transitional and Didone. You can see the type designers treating type as different from the written word, losing some of the idiosyncrasies of handwriting that the Humanist designers retained, while carrying over others. The axis of the stress straightens, and while it still has an angle, it is subtler. The serifs become more carefully formed, and characters are designed more proportionately. One of the most obvious differences is the crossbar of the lowercase “e,” which, while remaining angled in the Humanist typefaces, drops to a horizontal position in the Garaldes. Also, the difference between heavy and light stroke weights increased, and everything became more precise, perhaps due to the progress in technical aspects of making type.

Old Style Typeface Characteristics

A huge amount of type was created in this era, and much of it is commonly used today, either digitized versions or new revivals. Common examples of the Garalde faces include Caslon, Sabon, Palatino, Galliard and Janson — not to be confused with Jenson, the Humanist typeface. In fact, Janson, named after Dutch punchcutter Anton Janson, is now thought to be the work of Miklós Kis, a Hungarian, produced during an apprenticeship in Amsterdam.

Transitional

Work was begun on the first Transitional typeface in 1692, long before people had left behind making Garaldes. In fact, William Caslon was creating typefaces based on Old-Style Dutch type as late as the 1720s. Because this part of type history is also significant, many have asserted that “Transitional” is an inadequate name for it, and this category may also be termed Neoclassical or Realist.

Louis XIV and the Romain du Roi
Louis XIV and the Romain du Roi

In the late-17th century, Louis XIV, as part of a general renovation of France’s Imprimerie Royale (the governmental printing works), commissioned the French Academy of Sciences to create a new typeface. The Romain du Roi — literally the “King’s Roman” — was designed using a strict grid, and its development was an arduous process, involving a committee that included a mathematician and an engineer. Although commissioned in 1692, the entire family of 86 fonts was not completed until 1745.

Baskerville and Fournier
John Baskerville (left) and Pierre Simon Fournier (right)

Two of the biggest names in type during this period were John Baskerville and Pierre Simon Fournier. Baskerville, an entrepreneur who dabbled in multiple businesses, developed quite an interest in printing and eventually designed his own type in order to improve on Caslon’s work. This did not please most of the printing world at the time, and Baskerville endured harsh criticism, despite having such luminaries as Benjamin Franklin as friends and advocates of his work. You may have read of the humorous encounter in which Franklin outwitted a critic of Baskerville. Numerous revivals, both metal and digital type, that draw on Baskerville have been made.

Fournier was among the printers who praised Baskerville’s type, reserving particularly high compliments for his italics. Fournier was highly respected in his lifetime, and despite having consulted royalty both within France and internationally on type design and having established printing houses, Fournier is primarily remembered today for introducing the point system as a way to measure type sizes. Pierre Fournier, uncannily sharing a name with an acclaimed 20th-century cellist, also had an interest in music and developed a new style of typography for musical notation.

Transitional Type Characteristics

In the Transitionals (or Neoclassicals), we see certain trends continuing. The axis is now nearly, if not completely, vertical. The weight difference between the thickest and thinnest points is now exaggerated. The serifs are less bracketed and flatten out. Details become very refined.

Eric Gill’s Joanna, Melior, Clearface and Mrs. Eaves — a Baskerville revival named after Sarah Eaves, Baskerville’s wife — all fall into this category.

Didone

As strange as it seems, what we call modern typefaces first appeared in the second half of the 1700s. Therefore, I will call them by their less absurd name — and who can argue that saying “Didone” is not more fun than saying simply “Modern”? Bringhurst terms them Romantics.

Through the 18th and 19th centuries, France witnessed a small printing dynasty in the Didot family. Over multiple generations, the family made major contributions to printing. One of the most remarkable members was Firmin Didot, who, with Giambattista Bodoni, ushered in and now acts as a namesake for this part of type history.

F. Didot and G. Bodoni
Firmin Didot (left) and Giambattista Bodoni (right)

In large part inspired by Baskerville, Didot and Bodoni pushed the limits of type design. They explored a similar style and were both meticulous craftsmen, consequently igniting a fierce rivalry. Bodoni (1740–1813) gave himself entirely to his craft. He was renowned for the beauty of his type specimens, and, a technically brilliant punchcutter himself, he designed some 298 typefaces. Didot (1764–1836), on the other hand, retired in 1827 to pursue political office and literature in his later years, writing tragedies and literary critiques.

If Baskerville’s stroke contrast was exaggerated, then the Didones’ are in the extreme. The heavy strokes are very heavy, and the light are a hairline. The stress is again completely vertical, and the apertures — places where the character opens — are generally very tight. Combined, these make for a very awkward visual rhythm, and Didones are always a poor choice for chunks of text. Rather, they work best at large sizes, as titling and display type, because the features emphasize the elegance of individual characters and do not blend well. Adobe’s New Caledonia, which softens some extremes and thus works for longer bits of text, is a possible exception.

Didone Characteristics

Aside from the obvious Bodoni and Didot faces, in their dozens of variants from nearly every foundry, Basilia, Aviano, Walbaum, Ambroise and Scotch Roman are exemplary moderns.

Slab Serif

Slab Serif Characteristics

This article wouldn’t be complete without a mention of slab serifs. These are among the easiest to identify because of their very obvious appearance. Originally created for advertising, posters and other large media, slab serifs, alternatively called “Mechanicals” (in VOX-ATypI) and “Égyptiennes” (by Thibaudeau), were the first types expressly designed as display type. Vincent Figgins is credited with the first slab serifs, the earliest specimen dating to 1815, and his work inspired a diversity of critiques variously commending and lambasting the new style.

Abrupt serifs, usually in heavy weights, and a no-nonsense attitude are the trademarks of this style.

Clarendon characteristics

Clarendons, a notable offshoot of the original slab serifs, are a slightly tamed slab style, often in less extreme weights and using bracketed serifs. They have a lighter, friendlier character than the Neo-Grotesque slabs (i.e. those with unbracketed serifs and geometric construction).

H&FJ’s Sentinel (2009) and David Berlow’s Belizio (1998) are examples of recent Clarendons.

And That’s It… For Now

If you have made it this far in the article, congratulations! You are now in possession of a solid basic understanding of type classification, at least as far as serif typefaces take you, and you are able to recognize the important distinguishing features that make typefaces unique. Following the line of type history, we’re now in the middle of the 19th century, and we have the entirety of sans serifs and some discussion of display faces ahead of us. We’re really only halfway through, so if you’ve enjoyed it, you can look forward to part 2!

For now, here’s a little exercise to test your comprehension of what we’ve covered in this article so far. Take a look at these specimens and comment on how you’d classify them. Keep in mind that classification is an aid, rather than a hard and fast system, so don’t be shy — let us know where you’d place these typefaces!

Typography Test Specimen

Identify each typeface by its number (1 to 6) if you are classifying it in the comments. Extra points if you can identify the individual typefaces! I’ll be joining the discussion with the answers later, although I am sure you’ll have figured them out soon.

(al)


© Joseph Alessio for Smashing Magazine, 2013.