• • • / • Content is the most important thing on your site, but typography is how you dress it up. The clothes you put on every morning express purpose for your day, and that’s what typography does for your content.

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Assuming you’re not just using emojis to express semantic meaning on your sites you’re using typography, and that same typography is in the equation of what’s making your users feel like using your site in the first place. If you’re like me you you want that type to make your users feel good. You want your type to be beautiful.

“That’s all well and good,” you say, “But what does it mean to have beautiful web typography? What are the steps from getting from knowing relatively little about typography to making typefaces beautiful?” It would also be pretty valid to ask, “Fancy web type means HTTP requests, and additional load time, and potentially poor user experience—how can I be sure that I’m making all of this performant?” To which I say, don’t worry.

That’s why you’re reading this. What is Beautiful Web Typography Typography doesn’t just exist on the web. If you want beautiful web typography, you need to get beautiful typography first. As with most things in life, having a little history doesn’t hurt. Gutenberg and his printing press mark the birth of modern typography but written language stretches way further into the past than the 15th century.

Before Gutenberg, religious men and scholars all over the world were trying to pen history by hand. Calligraphy, the art typography sought to modernize, is really old. Old like hieroglyphics Batman is old Your browser does not support the video tag. Have you ever done any UX design? When you’re trying to create a new website or new app, you draw from patterns you’ve already seen in other places that work well.

This is because choosing patterns users are familiar with helps them acclimate to your product faster. Typography over the years did the exact same thing—it copied from predecessors. Those religious men penning history created letters and alphabets and words and the way those things looked on the page. When that technical revolution hits, it copies what these men had been doing, and even now typography draws inspiration from the way we write on paper. That technical revolution?

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That’s Gutenberg. That’s where typography begins. Typography copying the way we write and technical revolution means three patterns emerge: • Typography and what we as readers find legible change and morph together, and are influenced by how we’re reading—be it by book, newspaper, or webpage. • Typography is also influenced by the way people write by hand, and borrows the solutions people find when writing by hand when it needs them.

• Typography nonetheless becomes fundamentally different from traditional calligraphy because of the ways printing presses work. Instead of letters being coupled closely together, printing presses force each letter to be in an individual metal box called a slug.

I found this great tweet the other day: Your browser does not support the video tag. If we think of this phenomenon as something that happened because typography was copying a previously established, rich art, it makes sense. All those extra things you don’t see in a font are problems that people, when they’re writing by hand, just solve with a pen. But when you need to fit everything into a keyboard, it becomes a little more complicated. When we look at all of the glyphs and characters that a font has, when we look at all of the features a font might have, you can understand their relevance and the functions they serve a reader by keeping those three facts in mind.

Typography needed to create glyphs, or characters, for all these permutations that we create when we write—and it was challenging, because printing presses meant you needed to have every single character in a little metal box. Before we get to what’s in all of those individual metal slugs, let’s brush up on our 15th century European history and talk a little bit about Johannes Gutenberg. Why did the printing press change written word so much? To understand how we got from calligraphy to typography, it’s helpful to understand how a printing press works. To print books on a printing press, you set small metal bars called slugs, each with a letter or a combination of letters, in rows.

The slugs need to be set up in this way to be moveable and interchangeable. Written word, before the printing press, was able to fix awkward spacing between letters. Acronyms in bodies of text flowed. If you were talented, adding flourishes to your work was simple.

Printing presses’ needs were very different. Typography needed ways to solve awkward spacing, and build flourishes, and have number fractions—all of the things that had been solved and were easy to write, but not easy to typeset. Ellen Lupton in her book Thinking with Type puts this really elegantly: “The first typefaces were directly models on forms of calligraphy. Typefaces, however, are not bodily gestures—they are manufactured images design for infinite repetition.” — Ellen Lupton, Thinking with Type To solve these issues, type designers had to create all the glyphs that you can find in fonts today: Slugs meant that as a type designer you had to choose and find important combinations of letters. You had to give decorative glyphs for people printing books. You needed to create small caps. You needed to create often-used fractions.