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Typography for web.

There are many books and articles on typography, but only a few of them reveal issues of choice and combination of fonts. In view of the opening opportunities and prospects for the free use of many fonts on the Internet, designers will have to master another important skill – the ability to choose the appropriate fonts to complement their design layouts. You can also study popular typography trends or ready-made beautiful examples from other professionals.

Until now, the use of fonts other than those installed with the operating system has meant the use of images, flash or other workarounds. However, the creators of browsers gave designers a map by hand, introducing the @ font-face CSS property, which allows you to register a link to any font file, as a result of which it will be used on the site.

Immediately there was a problem with font developers and distributors: most of them refused to issue licenses for the use of their raw fonts on web pages, for fear of piracy. The introduction of the @ font-face property reinforced these concerns, forcing both sides to look for solutions that are satisfactory to everyone. Some of them are already available, some are still under development. These are extended font end user license agreements, as well as third-party services that provide embedded fonts such as Typekit, Typotheque, and Kernest. Web designers are more free to choose fonts, and font companies and developers get paid for their work. Is the problem resolved? I guess, yes.

TOTALLY NEW WORLD
We are spoiled. Until now, the use of any font on a web page has been legal. Moreover, all the subtleties of the fonts that had to be used were known. Many fonts that will soon become available for use are not designed for the screen due to their difficult perception or obvious illegibility.

The technical difficulties of using fonts on the Internet have also worsened. These include uneven display across browsers and platforms, as well as problems processing the font file or even a font family. Page sizes can easily go up to 100k and higher. However, let’s imagine for a second that these problems will be resolved soon, and focus on what we will do.

There is a serious possibility that, having gained access to world font libraries, we will open the Pandora’s box. Many people working on the Internet today have some knowledge of typography, but most designers are somewhat puzzled by the new features.

CONTEXT AND VALUE
The profession of a web designer will soon require a deeper understanding of typography and the use of fonts. As this trend develops, the possibilities may be limited at first, but then the choice will steadily increase. And, as you know, great opportunities lead to great responsibility. If it is possible to use a font that looks like shabby trousers, this does not mean that this should be done.

Widely used system fonts, such as Georgia, Verdana, and Arial, are so ubiquitous that they are no longer associated with anything other than the web. Being unable to achieve the desired aesthetic effect due to the meager selection of fonts, we had time to focus on readability. Largely because of this, the work for the web was built on the principle of “make and forget”, partly because of the rapid development of printing, and also because in web design there are no such precise typographic rules as in the design of printing products. Not following the rules is a great luxury, but sometimes it’s quite real, for example, when creating creative illustrations or wallpapers on your desktop with text or letters.

FLOURS OF CHOICE
Of course, sometimes using a font just because it looks interesting can give acceptable results, but the real art of typography requires an understanding of fonts and their meaning. Choosing a good enough font is not difficult, but choosing the right font, taking into account societal and technical aspects, can be a difficult task.

Famous font designer Zuzana Licko once said: “Everyone reads what they read more often.” It’s about acquired skills. This explains why choosing a font is the typographer’s most difficult task: reading is a subjective relative action. It takes much longer to read a long paragraph written in Gothic, which was considered “readable” centuries ago, than if we used a simple font from the Serif or Sans Serif family, regardless of whether we are reading from a sheet or from a monitor.

In addition to readability, typography greatly affects the issues of contrast and form. Features of the font can fill the design with meaning: the smoothness and saturation of the lines, for example, can convey the fragility of the material or an atmosphere of elegance and nobility.

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