From: Elliot Jay Stocks Date: Mon, 5 Dec 2022 10:44:17 +0000 (+0000) Subject: GFK Q4 fast-follows (#5665) X-Git-Url: http://git.ipfire.org/cgi-bin/gitweb.cgi?a=commitdiff_plain;h=1a0bcaf549e98ad8199e01861767090175c02467;p=thirdparty%2Fgoogle%2Ffonts.git GFK Q4 fast-follows (#5665) * Fix `name: "Readability & accessibility"` * Adding reviewer credits for Ben & Rain * Fixing Benjamin Franklin error * Copy change addressing https://github.com/google/fonts/issues/5515 * Image change addressing https://github.com/google/fonts/issues/5515 * Adding typeface names (and links) to Nick’s article * Improving formatting of further reading links on Readability article --- diff --git a/cc-by-sa/knowledge/contributors.textproto b/cc-by-sa/knowledge/contributors.textproto index de7fb6254c..e26ab3f00c 100644 --- a/cc-by-sa/knowledge/contributors.textproto +++ b/cc-by-sa/knowledge/contributors.textproto @@ -2,6 +2,10 @@ contributors { name: "Andrew Johnson" personal_site: "https://www.aetherpoint.com/" } +contributors { + name: "Ben D. Sawyer" + personal_site: "" +} contributors { name: "Ben Weiner" personal_site: "https://readingtype.org.uk" @@ -150,6 +154,10 @@ contributors { name: "Piper Haywood" personal_site: "https://piperhaywood.com" } +contributors { + name: "Rain Michaels" + personal_site: "" +} contributors { name: "Richard Rutter" personal_site: "https://clagnut.com" diff --git a/cc-by-sa/knowledge/glossary/terms/cyrillic/content.md b/cc-by-sa/knowledge/glossary/terms/cyrillic/content.md index 0ea9d79fef..fbef738c03 100644 --- a/cc-by-sa/knowledge/glossary/terms/cyrillic/content.md +++ b/cc-by-sa/knowledge/glossary/terms/cyrillic/content.md @@ -1,5 +1,5 @@ -Cyrillic is the writing system used for Russian and various other languages across Eurasia and beyond, originally developed in the 10th century for speakers of the Proto-Slavic language. +Cyrillic is a [writing system](/glossary/script_writing_system), named after the missionary work of St. Cyril in the first Bulgarian Empire. The original Cyrillic script was based on uppercase [Greek](/glossary/greek_script) [letterforms](/glossary/letterform).
@@ -7,4 +7,4 @@ Cyrillic is the writing system used for Russian and various other languages acro
-So-called because of the missionary work of St. Cyril in the first Bulgarian Empire, the original Cyrillic script was based on uppercase Greek [letterforms](/glossary/letterform). +Cyrillic was originally developed in the 10th century for speakers of the Proto-Slavic language. Today, the script is used for various languages across Eurasia and beyond. diff --git a/cc-by-sa/knowledge/glossary/terms/cyrillic/images/thumbnail.svg b/cc-by-sa/knowledge/glossary/terms/cyrillic/images/thumbnail.svg index 2f2674e5a2..f732d41cd6 100644 --- a/cc-by-sa/knowledge/glossary/terms/cyrillic/images/thumbnail.svg +++ b/cc-by-sa/knowledge/glossary/terms/cyrillic/images/thumbnail.svg @@ -1 +1 @@ - \ No newline at end of file + \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/history_of_type/lessons/modern_type/content.md b/cc-by-sa/knowledge/modules/history_of_type/lessons/modern_type/content.md index 63334f79bc..2989eaf0b7 100644 --- a/cc-by-sa/knowledge/modules/history_of_type/lessons/modern_type/content.md +++ b/cc-by-sa/knowledge/modules/history_of_type/lessons/modern_type/content.md @@ -13,7 +13,7 @@ Firmin Didot (1764–1836), son of François-Ambroise Didot, from the storied Pa In 1768, Bodoni was invited to run the newly established Stamperia Reale, or Royal Press of Duke Ferdinand in Parma. When Bodoni arrived in Parma, he immediately got to work stocking up on type by the famed French punchcutter Pierre Simon Fournier (1712–68). When Bodoni began to make his own typefaces, he credited Fournier as his primary influence. But from the 1770s, we begin to see a change in Bodoni’s style. Initially, his typography imitated that of Fournier with its rococo decoration and [transitional](/glossary/transitional_neo_classical) style typefaces, but he gradually moved toward a new and distinctive style of his own. He rejected all forms of typographic ornamentation and borders, preferring instead vast expanses of white space, and generous margins. In his typefaces, he increased contrast and introduced very fine—almost unbracketed—serifs, longer ascenders and descenders, and more generous line-spacing. Now, line-spacing we would usually associate with typography rather than the design of typefaces. For centuries, type had typically been set solid; that is with no additional spacers inserted between lines of type. But Bodoni incorporated extra line-space into the type itself. He did this by casting his type on a larger body, thus imitating the appearance of additional line spacing. -Reproduction of the fine details in Bodoni’s type was made possible by exceptionally smooth paper, new inks, and improved type casting methods. Under magnification, Bodoni’s typefaces reveal remarkably crisp outlines and even fill. Bodoni became a celebrity during his own lifetime for his Modern typefaces and his meticulous typography. And the Modern style took Europe by storm, even reaching America and winning the praise of a printer named Benjamin Franklin, in future to become president of the United States, Franklin wrote to Bodoni in 1787 praising his printing and type: “It is one of the most beautiful that Art has hitherto produced.” Bodoni also counted the Pope and Napoleon as admirers of his work. +Reproduction of the fine details in Bodoni’s type was made possible by exceptionally smooth paper, new inks, and improved type casting methods. Under magnification, Bodoni’s typefaces reveal remarkably crisp outlines and even fill. Bodoni became a celebrity during his own lifetime for his Modern typefaces and his meticulous typography. And the Modern style took Europe by storm, even reaching America and winning the praise of a printer named Benjamin Franklin, one of the Founding Fathers of the United States, who wrote to Bodoni in 1787 praising his printing and type: “It is one of the most beautiful that Art has hitherto produced.” Bodoni also counted the Pope and Napoleon as admirers of his work. As an interesting historical aside, Bodoni and the Didots did not get along. Unable to fault Bodoni’s typefaces and typography, the brothers Didot, Firmin and his older brother Pierre, chose to attack the textual accuracy of Bodoni’s editions, jumping on even the smallest typos. In 1799 Firmin Didot wrote, “As a literary man, I condemn his editions, as a typographer I admire them.” The snub was fueled by national rivalry, snobbery, and no doubt a good amount of jealousy, too. diff --git a/cc-by-sa/knowledge/modules/readability_and_accessibility/lessons/how_type_influences_readability/content.md b/cc-by-sa/knowledge/modules/readability_and_accessibility/lessons/how_type_influences_readability/content.md index bf1db276ae..90417e7162 100644 --- a/cc-by-sa/knowledge/modules/readability_and_accessibility/lessons/how_type_influences_readability/content.md +++ b/cc-by-sa/knowledge/modules/readability_and_accessibility/lessons/how_type_influences_readability/content.md @@ -144,11 +144,10 @@ The best solution for choosing a readable typeface will always be dependent on w You might find these sources valuable for more information on readability and accessibility: -* Web Usability [https://www.nngroup.com/articles/how-users-read-on-the-web/](https://www.nngroup.com/articles/how-users-read-on-the-web/) (1997) -* Glanceable fonts [https://www.nngroup.com/articles/glanceable-fonts/](https://www.nngroup.com/articles/glanceable-fonts/) (2017) -* Interlude reading [https://www.bendsawyer.com/project/towards-individuated-reading-experiences/](https://www.bendsawyer.com/project/towards-individuated-reading-experiences/) (2022) -* Handwriting in education around the world: [https://www.type-together.com/new-research-handwritting](https://www.type-together.com/new-research-handwritting) -* Experiencing crowding: [https://www.sciencedirect.com/science/article/pii/S0042698907005561](https://www.sciencedirect.com/science/article/pii/S0042698907005561) -* Accessibility considerations -* Individualising reading formats research provided by The Readability Consortium [https://www.thereadabilityconsortium.org/research](https://www.thereadabilityconsortium.org/research) +* [Web Usability](https://www.nngroup.com/articles/how-users-read-on-the-web/) +* [Glanceable fonts](https://www.nngroup.com/articles/glanceable-fonts/) +* [Interlude reading](https://www.bendsawyer.com/project/towards-individuated-reading-experiences/) +* [Handwriting in education around the world](https://www.type-together.com/new-research-handwritting) +* [Experiencing crowding](https://www.sciencedirect.com/science/article/pii/S0042698907005561) +* [Individualising reading formats research provided by The Readability Consortium](https://www.thereadabilityconsortium.org/research) * The Science of Reading Progresses: Communicating Advances Beyond the Simple View of Reading. Duke, N.K., and Cartwright, K.B. (2021). The Science of Reading Progresses: Communicating Advances Beyond the Simple View of Reading. Reading Research Quarterly 56(S1), S25– S44. [https://doi.org/10.1002/rrq.411](https://doi.org/10.1002/rrq.411) diff --git a/cc-by-sa/knowledge/modules/readability_and_accessibility/lessons/how_type_influences_readability/lesson.textproto b/cc-by-sa/knowledge/modules/readability_and_accessibility/lessons/how_type_influences_readability/lesson.textproto index 592b5df4a7..aeb419bb28 100644 --- a/cc-by-sa/knowledge/modules/readability_and_accessibility/lessons/how_type_influences_readability/lesson.textproto +++ b/cc-by-sa/knowledge/modules/readability_and_accessibility/lessons/how_type_influences_readability/lesson.textproto @@ -1,5 +1,6 @@ name: "How type influences readability" authors: "Hilary Palmen" +reviewers: "Ben D. Sawyer" reviewers: "Bonnie Shaver-Troup" reviewers: "Susanna Zaraysky" topics: "accessibility" diff --git a/cc-by-sa/knowledge/modules/readability_and_accessibility/lessons/introducing_accessibility_in_typography/lesson.textproto b/cc-by-sa/knowledge/modules/readability_and_accessibility/lessons/introducing_accessibility_in_typography/lesson.textproto index c3da0f28cb..b82e8ab2eb 100644 --- a/cc-by-sa/knowledge/modules/readability_and_accessibility/lessons/introducing_accessibility_in_typography/lesson.textproto +++ b/cc-by-sa/knowledge/modules/readability_and_accessibility/lessons/introducing_accessibility_in_typography/lesson.textproto @@ -1,6 +1,8 @@ name: "Introducing accessibility in typography" authors: "Susanna Zaraysky" reviewers: "Bonnie Shaver-Troup" +reviewers: "Hilary Palmen" +reviewers: "Rain Michaels" topics: "accessibility" topics: "readability" related_terms: "legibility" diff --git a/cc-by-sa/knowledge/modules/readability_and_accessibility/module.textproto b/cc-by-sa/knowledge/modules/readability_and_accessibility/module.textproto index 48455bad25..83bae6f524 100644 --- a/cc-by-sa/knowledge/modules/readability_and_accessibility/module.textproto +++ b/cc-by-sa/knowledge/modules/readability_and_accessibility/module.textproto @@ -1,4 +1,4 @@ -name: "Readability" +name: "Readability & accessibility" lessons: "how_type_influences_readability" lessons: "introducing_accessibility_in_typography" excerpt: "Making our text readable should be our primary goal when setting and manipulating type. Readability—along with the closely related concepts of legibility and accessibility—is at the core of typography, and yet it’s rarely discussed thoroughly in typographic contexts. In these articles, we examine the qualities of type and typography that make reading easier." diff --git a/cc-by-sa/knowledge/modules/using_variable_fonts_on_the_web/lessons/interactive_animations_with_variable_fonts/content.md b/cc-by-sa/knowledge/modules/using_variable_fonts_on_the_web/lessons/interactive_animations_with_variable_fonts/content.md index 155f11fe08..a0488d676b 100644 --- a/cc-by-sa/knowledge/modules/using_variable_fonts_on_the_web/lessons/interactive_animations_with_variable_fonts/content.md +++ b/cc-by-sa/knowledge/modules/using_variable_fonts_on_the_web/lessons/interactive_animations_with_variable_fonts/content.md @@ -9,7 +9,7 @@ For a simple example of hover interaction, let’s consider hyperlinks that chan ![An animated loop showing the effects of the styling discussed in the preceding text.](images/4_1.gif) -
Basic weight change on hover.
+
Basic weight change on hover. Typeface: Newsreader.
The effect is rather sudden, switching between weights instantly on hover. With variable fonts, though, it’s possible smooth the effect using a simple transition: @@ -40,13 +40,14 @@ For more demanding situations where shifts in positioning aren’t acceptable at ![An animated loop showing how text shifts when using non-multiplexed fonts.](images/4_4a.gif) +
Typeface: Newsreader.
![An animated loop showing how no text shifts when using multiplexed fonts.](images/4_4b.gif)
-
Multiplexed fonts prevent shifts in the layout by maintaining the same width requirements across variants.
+
Multiplexed fonts prevent shifts in the layout by maintaining the same width requirements across variants. Typeface: Recursive.
On a related note, some variable fonts also offer a “[grade](/glossary/grade_axis)” axis separate from (and often in addition to) the standard [weight](/glossary/weight_axis) axis. This allows for multiplexed adjustments to a typeface’s apparent weight even if its standard weight axis would otherwise affect spacing. @@ -61,7 +62,7 @@ Multiplexing isn’t limited to just standard variations in weight or grades eit ![An animated loop showing the way different elements of the type’s design can be manipulated.](images/4_5.gif) -
Multiplexed hover animations with variations other than standard weight.
+
Multiplexed hover animations with variations other than standard weight. Typeface: Cheee Variable.
Finally, for other special interactive effects, keep in mind that `:hover` isn’t limited to just hyperlinks. For example, you can wrap arbitrary elements in their own `span` elements and use that for triggering hover effects. You can also tweak the timing of a transition to make it faster or slower: @@ -69,6 +70,6 @@ Finally, for other special interactive effects, keep in mind that `:hover` isn ![An animated loop showing how each letter drips with a slime-like effect when the user hovers over them.](images/4_6.gif) -
Multiplexed hover effects with more expressive variations, on a letter-by-letter basis.
+
Multiplexed hover effects with more expressive variations, on a letter-by-letter basis. Typeface: Cheee Variable.
Interactivity is a virtually infinite space for experience design, and variable fonts offer that much more room for exploration. For more ideas on using variable fonts, see the [other articles listed under the topic of variable fonts](https://fonts.google.com/knowledge/topics/variable_fonts).