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136 The Principles of Beautiful Web Design Take a look at the Garamond text in Figure 4.15. Garamond is an old-style serif font. Old-style serif fonts are adapted from the brushstrokes of Italian scribes and can be recognized both by the smooth transitions between thick and thin strokes, and by their rounded serif edges. When I see an old-style serif font, it exudes historic, handcrafted charm. At the same time, fonts like Garamond are extremely versatile: they’re not so old-fashioned that they're unusable in modern applications. The second font in Figure 4.15 is Baskerville, a transitional serif font. The curved angle that connects the terminal of the stroke to the serif is known as a bracket. The brackets of transitional serif fonts are rounded, but Figure 4.15. Serif categories the edges of the serifs are squared off. The simple addition of 90-degree angles and perfectly straight lines gives this category of font a more modern and mechanical voice. This category of serif fonts is known as transitional because it provides a transition between old-style and modern serif fonts. The third font, Didot, is a modern serif font. Modern serif fonts provide a large amount of contrast between the thick and thin strokes, and their serifs are often completely unbracketed. Modern serif fonts were introduced during the Industrial Revolution as a radical alternative to the transitional serif style. Today, these fonts have an association with elegance, sophistication, and fashion. They represent timelessness more than cutting-edge modernity. Because of their fine line details, modern serif fonts are really only suitable for use in headlines. The consistent use of Italian Didot in Vogue magazine, 16 as seen in Figure 4.16, helped to establish both the font and the magazine as icons of style. Other famous magazines that use modern serif font faces for their mastheads include Brides, W, Elle, Parents, Seventeen, and Harper’s Bazaar. They’re fairly uncommon in web design, but are certainly a classy choice if high style is what you’re aiming for. 16 http://www.vogue.com/
Typography 137 Figure 4.16. Modern serifs lending a classy feel to Vogue In the later part of the 1800s, as advertising, posters, and flyers became more common, a bolder variation of modern serif fonts was needed to catch people’s attention. It was at this time that slab serif fonts were first introduced. Slab serif faces like Rockwell have an industrial but friendly voice that’s far less snooty than modern serifs, and even more contemporary. Because most slab serifs were designed to be readable from a distance, they make for excellent headlines and have been very popular on the Web lately. Figure 4.17 shows a couple of beautiful examples of slab serifs in action. On the left The Sew Weekly’s 17 logo features a typeface called Brosse. On the right we have The Mid-century Modernist, 18 which uses Rockwell Light for its logo. I personally think that slab serifs tend to feel masculine. The Sew Weekly is a beautiful contradiction to that notion, and evidence that you can go against convention when choosing fonts. 17 http://www.sewweekly.com/ 18 http://midcenturymodernist.com/
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Summary of Contents Preface . . . .
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iv The Principles of Beautiful Web
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Table of Contents Preface . . . . .
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ix Color Scheme Designer 3 . . . .
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xi Creative Image Treatments . . .
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xiv bathroom with the work that we
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xvi Tips, Notes, and Warnings Hey,
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2 The Principles of Beautiful Web D
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10 The Principles of Beautiful Web
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2 Chapter Color Whether you’re de
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Color 51 reason, it’s often used
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Color 53 Figure 2.5. Calming stones
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Color 55 Figure 2.7. These wind tur
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Color 57 Chromatic Value The measur
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Color 59 Figure 2.12. The tradition
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Color 61 thick that you’re unable
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Color 63 Another example of saturat
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Color 65 An Analogous Color Scheme
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Color 67 Figure 2.22. Blinksale’s
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Color 69 put off by the stark contr
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Color 71 Figure 2.27. Cross Cross C
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Color 73 Figure 2.30. The Bulls+Arr
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Color 75 Figure 2.34. The adventuro
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Color 77 Table 2.1. Counting from 1
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Color 79 Scheme Designer 3 works. U
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Color 81 Figure 2.39. Pictaculous C
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Color 83 Figure 2.41. A mood board
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