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Imprint
Published in January 2011
Smashing Media GmbH, Freiburg, Germany
Book Cover Design: Fabian Ziegler
Layout: Thomas Burkert, Vitaly Friedman
Typesetting: Manuela Müller
Editing: Manuela Müller
Proof Reading: Brian Goessling, Katrin Eythorsdottir
Concept: Vitaly Friedman, Sven Lennartz
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Smashing eBook Series
: #6ᴹGetting the Hang of Web Typography ᴹ
2
Table of Content
Preface
4
The Ails Of Typographic Anti-Aliasing
5
10 Principles For Readable Web Typography
25
5 Principles and Ideas of Setting Type on the web
39
Lessons From Swiss Style Graphic Design
56
8 Simple Ways to Improve Typography in Your Designs
74
Typographic Design Patterns and Best Practices
87
Typefaces
106
Best Practices of Combining Typefaces
124
Guide to CSS Font Stacks: Techniques and Resources
137
New Typographic Possibilities with CSS 3
145
Rich Typography On The Web: Techniques and Tools
162
Good Old @Font-Face Rule Revisted
186
The Current Web Font Formats
190
Review of Popular Web Font Embedding Services
196
How to Embed Web Fonts from your Server
221
Web Typography – Work-arounds, Tips and Tricks
229
10 Useful Typography Tools
233
Glossary
243
The Authors
251
Smashing eBook Series
255
Smashing eBook Series
: #6ᴹGetting the Hang of Web Typography ᴹ
3
Preface
Script is one of the oldest cultural assets. The first attempts at written
expressions date back more than 5,000 years ago. From the Sumerians
cuneiform writing to the invention of the Gutenberg printing press in
Medieval Germany up to today
՚
s modern desktop publishing it
՚
s been a
long way that has left its impact on the current use and practice of
typography.
Even though we neither cut nor set metal types any longer we still use
terms like
uppercase
and
lowercase letters
referring to drawers in which
types were kept or – in German – use expressions like
Schriftschnitt
(English = typeface) which refers to the cutting of individual types. On the
other hand, most of the people who deal with typography in their daily
lives, whether they are graphic or web designers have no special training
for this independent craft.
The implications of desktop publishing have led to a flood of poorly
designed brochures, flyers and web pages. In web design especially illegible
text, incorrect use of punctuation marks and inappropriate font
combinations or use of line widths are frequent. The new techniques that
web fonts offer – much hailed by some and dreaded by others – might
bring about even worse examples of ugly and illegible web typography.
In order to avoid this, we have put together Smashing Magazine
՚
s best
articles on web typography with one additional article series and glossary
in e-book form for you as reference work and inspiration. Have fun creating
even better Web sites with beautiful and readable rich web typography!
Manuela Müller
eBook editor
Smashing eBook Series
: #6ᴹGetting the Hang of Web Typography ᴹ
4
 The Ails Of Typographic Anti-Aliasing
By Tom Giannattasio
As printed typography enjoys the fruits of high-DPI glory, proudly
displaying its beautiful curves and subtleties, its on-screen counterpart
remains stifled by bulky pixels, living in a world of jagged edges, distorted
letterforms and trimmed serifs. Until display manufacturers produce
affordable 200 or 300 PPI monitors, we
՚
ll have to rely on software advances
to fix these problems.
Enter
anti-aliasing
: the next best thing to a world of higher-resolution
monitors. The concept of anti-aliasing is fairly simple: add semi-transparent
pixels along the edges of letterforms to smooth the appearance of the
“stair-step” effect.
Smashing eBook Series
: #6ᴹGetting the Hang of Web Typography ᴹ
5
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