November 8, 2010
In what I consider an indication of great things to come, Adobe’s Acrobat.com site now features our exclusive corporate typeface design, Adobe Clean, delivered for us by our web font partner, Typekit. (We have already done the same for Typblography.) We are looking forward to Adobe Clean making its way onto other Adobe web sites in the weeks and months ahead.
Of course Adobe Clean has already been used on Adobe’s web sites, but anywhere else you have seen it has used (and is likely still using) pre-rendered bitmaps, or font replacement techniques like sIFR or Cufón. Although the latter techniques offer some advantages over the former, neither is as elegant, convenient and flexible as CSS’s @font-face rule.
And just a reminder: Don’t go looking for Adobe Clean on Typekit’s site. It was created and is being hosted for Adobe’s exclusive use — so it won’t be available to anyone else, anywhere. Of course Typekit has plenty of other fabulous Adobe typefaces for you to employ in your own work, so have a look.
For more information on the Adobe Clean typeface family, see last year’s blog post.
November 2, 2010
We’re happy to announce that earlier today, Typekit released 16 additional fonts of Garamond Premier Pro (Text and Caption). As you might recall from Christopher Slye’s post back in September, we went out and asked customers what fonts they wanted for the web. We heard some great feedback and thank everyone who chimed in.
Based on what we heard, we decided on a two-pronged approach for additional releases — to offer new families with just a few fonts and to extend certain families to include more weights. Our next web font release will include some new families for you to play with, but our first priority was to extend the offering for Garamond Premier Pro to include two more optical size ranges, Text (Regular) and Caption, for a total of 16 additional fonts. Our initial release included only the ten Display size fonts.
October 29, 2010
On Monday, Adobe debuted Adobe AIR® 2.5 at MAX. With this latest version, AIR (Adobe Integrated Runtime) supports web fonts with the CSS @font-face rule. This occasion seems like a good time to talk a bit about Adobe’s current font licensing policies for web fonts. Let me try to address a few of the big licensing issues that affect web fonts, in plain English, and without creating anxiety for our legal department. It’s a fine line to walk.
October 13, 2010
A couple weeks ago I mentioned the three rasterization methods available on Windows XP, and explained how to enable ClearType. This time I’m going to talk about the browsers’ default font smoothing method on the various versions of Windows, and how that may affect the rendering of text.
Vista and 7
Google Chrome 6.x
Internet Explorer 6.x
(browser uses the system’s
(browser uses the system’s
|Internet Explorer 7.x
Internet Explorer 8.x
(browser has a setting independent of the system setting)
October 6, 2010
One benefit of web fonts that many designers may not immediately think of is the potential to serve fonts for languages that website visitors may not have font support for on their local devices. In case you may have missed this information in earlier communications, the web fonts we are serving on Typekit are full analogues of desktop fonts. This means that the web versions of all our fonts have all the same glyphs and all of the OpenType features found in their counterparts. Although there is currently no mechanism for exploring language support on Typekit, I have been assured that this will be forthcoming. In the meantime, I thought it would be worthwhile to review the language support provided by our current set of web fonts.
September 29, 2010
Adobe has put a lot of effort into developing and supporting the OpenType font format, so we’re pleased that in the last ten years or so, type users have embraced it and enjoyed the layout features it offers. Getting accustomed to the typographic richness that OpenType provides means, though, that one misses it when it’s not available. That’s the problem we have right now with fonts on the web.
OpenType text layout requires an application or client to support a particular feature — substitutions like stylistic alternates and small caps, for example — before it can be seen or used. Most browsers don’t do this today. Your browser might receive a feature-laden OpenType font and use it to render the text you’re looking at, but it will ignore most or all of its OpenType features. (There is currently limited support for default ligatures, alternates and kerning in the current versions of Firefox and Safari, but it is far from the comprehensive support that web designers would like.)
Thankfully that’s about to change due to the growing popularity of web fonts and ongoing work on the next major revision for fonts in CSS, the “CSS Fonts Module Level 3,” usually just called “CSS3 Fonts.” (See the latest Editor’s Draft for all the details. Currently, OpenType layout is covered in the section Font Feature Properties.)
September 28, 2010
When you see text displayed on a modern computer screen or on a handheld device’s display, you are likely to be looking at a font that has been rasterized, i.e. converted, from vector outlines to pixels. There are currently three main ways of accomplishing this rasterization. The most basic one is aliased rendering, where the letters are drawn in black and white pixels only. The next one is anti-aliased rendering, where the pixels can assume shades of gray, in addition to black and white. And the third one is sub-pixel rendering, where the intermediate degrees of pixel opacity between black and white are displayed in color rather than grayscale. Microsoft’s sub-pixel rendering technology is called ClearType.
From left to right: aliased, anti-aliased and sub-pixel renditions of the letter o (enlarged to show detail).
September 22, 2010
If you had to pick twenty or thirty fonts to take with you to a desert island, what would they be? Does that sound like a lot? You probably want a few different typefaces, and various weights and widths. You’ll need some italics to go with them, and you might already be accustomed to having at least a couple optical sizes to choose from. Still think it’s easy? Consider this: The complete family of Kepler Std fonts in the Adobe Type Library contains 192 different fonts.
When we selected the first sixteen families for the debut release of Adobe Web Fonts, we used our own judgement and some internal data to choose an assortment of fonts (121 altogether) that we thought would offer excellent typographic options for our customers and satisfy a few well-known user requests (e.g. Myriad). With that first release behind us, we can now consider our next web font release — but preparing those fonts for the web takes time and resources, so there’s only so much we can tackle this time. This is our current challenge: to make a relatively small selection of fonts that will be satisfying and useful for our customers.
We have our own ideas, but we want to hear from you. We’ve already had a number of requests, but just about everyone has an opinion when it comes to type. Maybe you do too.
September 21, 2010
We’ve made some changes to the typography here at Typblography. Adobe’s blogging system was recently converted to use WordPress, and with it came an Adobe-wide template that we (and others) noticed had some typographic shortcomings. Particularly problematic was text size — and line length along with it. Now that the dust has settled on our WordPress upgrade, we were able to adjust a few of these things. We’re also pleased to now be using Adobe’s corporate font, Adobe Clean, served for us by our friends at Typekit.
Further improvements are certainly possible, but for the time being, we hope the current changes make your Typblography experience a bit more pleasant!
September 15, 2010
These days, almost anyone you talk to can name their favorite font. Likewise, virtually every business, whether large or small, as well as an ever-increasing number of individuals, maintain a website or blog. What if you could use your favorite font on your blog or website? With the advent of web fonts, the chances of being able to do just that are increasing day by day. In fact, this recently happened to Chelsey Scheffe as you can see from the screen capture of her blog post dated August 30 of this year. As we recently announced, Adobe has made several of its most popular typefaces available for @font-face embedding via Typekit’s service, and we plan on adding even more in the future.
Nothing Relevant blog using Adobe Garamond. Rendered in Chrome on Windows XP.
But, just because you can use your favorite font on the web, should you? This article is the second in our weekly series on web fonts, and seeks to lay out some very basic, practical design considerations to keep in mind when choosing type that is intended to be viewed on screen in the context of the web. I will thus focus on the more technical aspects of choosing type. For further guidance on choosing and pairing type, I strongly recommend reading Robert Bringhurst’s excellent Elements of Typographic Style, particularly the sixth chapter, which is entitled “Choosing & Combining Type.”