Episode 18: Roger Black on web type and templates

Roger Black

Legendary art director Roger Black guests on tomorrow’s episode of The Big Web Show, co-hosted by Dan Benjamin and taped in front of a live internet audience.

Roger co-founded the following new companies: Webtype, creators of high-end fonts for online typography; Treesaver, a platform that uses CSS, HTML, JavaScript, and the principles of responsive design to publish beautifully formatted content on any device with a web browser; Ready-Media, which designs templates for newspaper and magazine publishers (and attracts controversy); and Nomad Editions, a series of digital weeklies designed directly for mobile devices.

Roger is also a founding partner in Danilo Black, an international design agency he co-founded with Eduardo Danilo, and The Font Bureau, a leading type foundry he co-founded with David Berlow.

“He pioneered the use of computers in design, cut the best deals, and made himself synonymous with the modern magazine,” wrote Michael Wolff in a New York Magazine profile of Roger back in the 1990s, when Roger was the best-known magazine art director in the world. (Among many others, he designed Rolling Stone, The New York Times Magazine, Newsweek, The New Republic, Fast Company, Advertising Age, and Esquire.)

He also co-founded Interactive Bureau, one of the biggest and most successful web design agencies of the dot-com era.

In his free time, Roger putters around in his award-winning West Texas vacation home made of recycled shipping containers.

Roger Black is an astoundingly prolific creative force; we hope you can join us for this Episode of the show.

The Big Web Show (“Everything Web That Matters”) is taped live in front of an internet audience every Thursday at 1:00 PM ET on live.5by5.tv. Edited episodes can be watched afterwards, often within hours of taping, via iTunes (audio feed | video feed) and the web.


Photo of Roger Black at Happy Cog by Jeffrey Zeldman.


I guest-edit .net magazine

Web 2.1. Zeldman guest-edits .net magazine.

A List Apart and .net magazine have long admired each other. So when .net editor Dan Oliver did me the great honor of asking if I wished to guest edit an issue, I saluted smartly. The result is now arriving in subscriber post boxes and will soon flood Her Majesty’s newsstands.

In .net magazine Issue No. 206, on sale 17th August in UK (and next month in the US, where it goes by the name “Practical Web Design”), we examine how new standards like CSS3 and HTML5, new devices like iPhone and Droid, and maturing UX disciplines like content strategy are converging to create new opportunities for web designers and the web users we serve:

  • Exult as Luke Wroblewski shows how the explosive growth of mobile lets us stop bowing to committees and refocus on features customers need.
  • Marvel as Ethan Marcotte explains how fluid grids, flexible images, and CSS3 media queries help us create precise yet context-sensitive layouts that change to fit the device and screen on which they’re viewed.
  • Delight as Kristina Halvorson tells how to achieve better design through coherent content wrangling.
  • Thrill as Andy Hume shows how to sell wary clients on cutting-edge design methods never before possible.
  • Geek out as Tim Van Damme shows how progressive enhancement and CSS3 make for sexy experiences in today’s most capable browsers—and damned fine experiences in those that are less web-standards-savvy.

You can also read my article, which asks the musical question:

Cheap, complex devices such as the iPhone and the Droid have come along at precisely the moment when HTML5, CSS3 and web fonts are ready for action; when standards-based web development is no longer relegated to the fringe; and when web designers, no longer content to merely decorate screens, are crafting provocative, multi-platform experiences. Is this the dawn of a newer, more mature, more ubiquitous web?

Today’s web is about interacting with your users wherever they are, whenever they have a minute to spare. New code and new ideas for a new time are what the new issue of .net magazine captures. There has never been a better time to create websites. Enjoy!


Photo by Daniel Byrne for .net magazine. All rights reserved.

Minneapolis Remembered

Eric Meyer at An Event Apart Minneapolis - photo by Jared Mehle

The show’s over but the photos linger on. An Event Apart Minneapolis was two days of nonstop brilliance and inspiration. In an environment more than one attendee likened to a “TED of web design,” a dozen of the most exciting speakers and visionaries in our industry explained why this moment in web design is like no other.

If you were there, relive the memories; if you couldn’t attend, steal a glance at some of what you missed: An Event Apart Minneapolis: the photo pool at Flickr.

Next up: An Event Apart DC and San Diego. These shows will not be streamed, simulcast, or repackaged in DVD format. To experience them, you must attend. Tickets are first-come, first-served, and every show this year has sold out. Forewarned is forearmed; we’d love to turn you on.


Photo: Jared Mehle.

Fink on Web Fonts

In Issue 307 of A List Apart for people who make websites:

Web Fonts at the Crossing

by Richard Fink

Everything you wanted to know about web fonts but were afraid to ask. Richard Fink summarizes the latest news in web fonts, examining formats, rules, licenses, and tools. He creates a checklist for evaluating font hosting and obfuscation services like Typekit; looks at what’s coming down the road (from problems of advanced typography being pursued by the CSS3 Fonts Module group, to the implications of Google-hosted fonts); and wraps up with a how-to on making web fonts work today.

A List Apart: Web Fonts at the Crossing


Illustration by Kevin Cornell for A List Apart


And now, Google

Web Fonts Part 9: Google enters the fray.

THE long-planned inevitable has now been announced. With open-source-licensed web fonts, web font hosting, and add-a-line-to-your-header ease of configuration, Google has joined Typekit, Font Squirrel, Ascender, Font Bureau and others in forever changing the meaning of the phrase, “typography on the web.”

The Google Font Directory lets you browse all the fonts available via the Google Font API. All fonts in the directory are available for use on your website under an open source license and served by Google servers.

Oh, and Typekit? They’re in on it, and they couldn’t be more pleased.


Big Web Show No. 1 up!

Jeffrey Zeldman

FOR YOUR viewing and listening pleasure, The Big Web Show’s Episode 1: Web Fonts is now online.

Jeffrey Zeldman and Dan Benjamin grill Ethan Dunham of Fontspring and Font Squirrel and Jeffrey Veen of Typekit (and other sites, too numerous to name) about one of your favorite subjects, “real fonts on your website” in this, our inaugural episode.

Enjoy!

Live Today: Web Fonts Dialog

The Big Web Show, a live video call-in show and podcast. Today's show is all about web fonts.

Update! Final audio and video are now available for your listening and viewing pleasure.

Live today, Dan Benjamin and I grill Ethan Dunham of Fontspring and Font Squirrel and Jeffrey Veen of Typekit and numerous other good things on the web about one of your favorite subjects, “real fonts on your website.”

The Big Web Show

Be part of this dialog that takes place via streaming video feed with live call-in.

Don’t miss the inaugural live broadcast of The Big Web Show today at 1:00 PM Eastern.

(And get the podcast next week by following 5by5 on iTunes.)


More Mod on the Digital Book

Embracing the Digital Book by Craig Mod.

A Reading Heatmap: Key passages illuminated by layering all readers’ highlights for the same text.

LAST MONTH, he wowed us with Books in the Age of the iPad, a call to make digital books as beautiful as printed ones. This month, Craig Mod is back with Embracing the Digital Book, an article (or blog post if you must) that begins as a critique of iBooks and Kindle and moves on to discuss the e-reader of our dreams, complete with reasoned social features:

I’m excited about digital books for a number of reasons. Their proclivity towards multimedia is not one of them. I’m excited about digital books for their meta potential. The illumination of, in the words of Richard Nash, that commonality between two people who have read the same book.

We need to step back for a moment and stop acting purely on style. There is no style store. Retire those half-realized metaphors while they’re still young.

Instead, let’s focus on the fundamentals. Improve e-reader typography and page balance. Integrate well considered networked (social) features. Respect the rights of the reader and then — only then — will we be in a position to further explore our new canvas.

Embracing the digital book — Craig Mod


Verdana Pro (and Con)

Although Matthew Carter is overseeing the project and David Berlow of The Font Bureau is leading development, I’m feeling twitchy about Verdana Pro, a new print family from an old screen face.

Start there: Verdana was born of the screen. In particular, as all reading this know, it was born of the needs of the crude, non-anti-aliased, 72/96 ppi desktop screen of the mid-1990s. At Microsoft’s behest, Matthew Carter created the original cross-platform Verdana with its generous x-height so computer users, whether PC- or Mac-based, would have a sans-serif that was easy to read at small sizes.

Verdana Pro, a new print family from an old screen face.

Verdana is a font that looks gorgeous at 11px in a non-antialiased environment, and handsome at 9px and 10px in that same setting. Make it any bigger than 11px, and it looks grotesque. Set it via ems or percentages rather than pixels—as most accessibility-conscious designers do—and you ding its perfection. View it in a sub-pixel antialiased environment (i.e. on a modern platform) and, if it is small enough and near enough to an exact pixel size, it still looks nice and reads well … but not nearly as nice or as well as it does in the environment for which it was originally created.

Yes, if you are a genius like Matthew Carter or David Berlow, you can take a screen font, even one of the two definitive screen fonts of the 20th century—the other being Carter’s Georgia, which also looks best at exactly 11px in a non-antialiased environment, though it survives handsomely in modern environments and at inexact, percentage-based sizes—and build a true print family around it. But the idea makes me twitchy.

And that screen guy’s twitch I can’t quite shake makes me start to understand how type designers may be feeling as they watch their gorgeous high-resolution creations, rooted in hundreds of years of craft and technology, take the first small steps toward a new world of web fonts.


Opera loves my web font

And so do my iPhone and your iPad. All it took was a bit o’ the old Richard Fink syntax and a quick drive through the Font Squirrel @Font-Face Kit Generator (featuring Base 64 encoding and SVG generation) to bring the joy and wonder of fast, optimized, semi-bulletproof web fonts to Safari, Firefox, Opera, Chrome, iPhone, and Apple’s latest religious device.

Haven’t checked IE7, IE8, IE9, or iPad yet; photos welcome. (Post on Flickr and link here.)

What I learned:

Even if manufacturer supplies “web font” versions with web license purchase, it’s better to roll your own web font files as long as this doesn’t violate the license.