WebKit now supports the text-wrap: pretty CSS property, improving typography for justified text. This property optimizes word spacing and hyphenation to produce more visually appealing and readable justified text, addressing issues like excessive whitespace or too many hyphenated lines. text-wrap: pretty aims to prioritize aesthetics and comprehension by intelligently balancing these typographic elements, leading to a more refined and professional look for justified text on the web. It provides a simple way for developers to enhance the appearance of justified text blocks without resorting to complex manual adjustments or JavaScript workarounds.
Standard Ebooks produces free, high-quality ebooks for readers. They meticulously format and proofread public domain texts, creating beautifully typeset, accessible editions optimized for various e-readers. Their goal is to liberate classic literature from inconsistent and often poorly formatted digital versions, offering a superior reading experience akin to well-crafted print books, while also respecting the author's original intent. They encourage community involvement through contributions like proofreading and cover art.
Hacker News users generally praised Standard Ebooks' mission and quality. Several commenters appreciated the attention to detail and craftsmanship applied to the ebook formatting, contrasting it favorably with the often poor quality of commercially available ebooks. Some users highlighted the value of well-formatted ebooks for visually impaired readers using screen readers. A few commenters questioned the long-term viability of relying on donations and volunteered labor, while others suggested potential business models like a Patreon or selling curated collections. The DRM-free nature of the ebooks and the project's commitment to open standards were also commended. A minor point of contention was the choice of fonts, with some expressing preferences for alternatives.
Sparks is a new open-source typeface designed to seamlessly integrate sparklines—small, inline charts—directly within text. It uses Unicode characters to represent various data points, allowing users to visually represent trends and variations without needing any code or specialized software. By simply typing specific characters from the Sparks font, users can create upward slopes, downward trends, peaks, valleys, and flat lines, making it easy to embed mini-visualizations within sentences, paragraphs, or spreadsheets for a more immediate understanding of data. The typeface aims to be broadly compatible and accessible, providing a lightweight and portable solution for incorporating simple data visualizations in any text-based context.
Hacker News users generally expressed interest in Sparks, praising its cleverness and potential utility for conveying data quickly within text. Some discussed potential use cases like embedding sparklines in terminal output, Markdown files, and spreadsheets. Concerns were raised about readability and accessibility, especially for users with visual impairments or using low-resolution displays. The fixed-width nature of the font also led to discussions about limitations in representing varied data ranges and the potential awkwardness of rendering in proportional fonts. Several commenters suggested improvements, such as variable-width characters and options for controlling the baseline. The project's novelty and simplicity were appreciated, but practical applications and broader adoption remain to be seen, according to the commenters.
Em dashes (—) are versatile and primarily used to indicate a break in thought—like this—or to set off parenthetical information. They can also replace colons or commas for added emphasis. En dashes (–) are shorter than em dashes and mainly connect ranges of numbers, dates, or times, like 9–5 or January–June. Hyphens (-) are the shortest and connect compound words (e.g., long-term) or parts of words broken at the end of a line. Use two hyphens together (--) if you don't have access to an em dash or en dash.
HN users generally appreciate Merriam-Webster's explanation of em and en dash usage. Some find the spacing rules around em dashes overly pedantic, especially in informal writing, suggesting that as long as the dash stands out, the spacing is less crucial. A few commenters discuss the challenges of typing these dashes efficiently, with suggested keyboard shortcuts and text replacement tools mentioned for macOS and Linux. One commenter points out the increasing trend of using hyphens in place of both en and em dashes, expressing concern that proper usage might be fading. Another highlights the ambiguity created by different coding styles rendering en/em dashes visually identical, leading to potential misinterpretations for developers.
Kylie Minogue's song "German Bold Italic," from her 2001 album "Fever," uses the typeface as a metaphor for a passionate and intense romantic relationship. The lyrics describe the feeling of being overwhelmed and consumed by love, comparing it to the visual impact of bold italicized text. The song suggests that this intense love, like the typeface, is striking and unforgettable, even if it might be a bit much at times. It plays with the idea that this love is both desirable and potentially overwhelming, much like the often-overused stylistic choice of bold italic text.
HN commenters were amused by the Kylie Minogue song "German Bold Italic," with several pointing out the unusual subject matter. Some discussed the song's quality, with opinions ranging from enjoyment to finding it silly. A few wondered about the typeface itself, with one commenter correctly identifying FF DIN as the likely inspiration. Some debated the merits of DIN, while others simply appreciated the unexpected connection between pop music and typography. A couple of users humorously suggested other typeface-inspired song titles. The overall sentiment seemed to be lighthearted appreciation for this quirky piece of pop culture trivia.
"Kerning, the Hard Way" details the painstaking process of manually kerning a font, specifically the author's Octet typeface. The post emphasizes that proper kerning isn't simply about consistent spacing, but about creating optically even gaps between letter pairs, which often requires asymmetrical adjustments. This involves meticulous visual examination of each pair and subtle nudging, a task complicated by the impact of neighboring letters and the varying shapes within a typeface. Ultimately, the article highlights the significant time investment and subjective judgment required for quality kerning, portraying it as a demanding yet essential step in font design for achieving visual harmony and readability.
HN users generally praised the article for its clear explanation of kerning and the complexities involved. Several commenters shared their own experiences with kerning, highlighting its subjective nature and the challenges of achieving optimal results. Some discussed the role of experience and "eye" in kerning, while others mentioned the usefulness of tools like kerning tables. A few users debated the merits of metric vs. optical kerning, and the impact of different rendering engines. One compelling comment thread explored the limitations of automated kerning and the importance of considering context and surrounding characters. Another pointed out the significance of kerning in non-Latin scripts, adding another layer of difficulty.
This article from the Journal of the Printing Historical Society details the history of phototypesetting at Monotype, focusing on their transition from hot metal to photographic composition. It covers the initial reluctance to embrace the new technology, driven by a significant investment in hot metal, and the eventual development of filmsetters like the Monophoto, Lasercomp, and Linotron 202. The piece highlights the technical challenges overcome, the evolution of font design and storage for photographic systems, and the ultimate impact of these innovations on the printing industry, marking a significant shift away from traditional methods.
Hacker News users discuss the linked PDF, which details the history of Monotype's involvement with phototypesetting. Several commenters express fascination with the technical details of early phototypesetting machines, particularly the challenges of achieving high-quality output and the ingenious mechanical solutions employed. Some lament the loss of the aesthetic qualities of hot metal type in the transition to phototypesetting, while others appreciate the increased speed and flexibility the newer technology offered. A few commenters share personal anecdotes about working with Monotype equipment, providing firsthand accounts of the era. The discussion also touches upon the broader historical context of the printing industry's shift from analog to digital processes.
VietGD.com showcases Vietnamese graphic design, aiming to document and promote the country's evolving visual identity. The site features a curated collection of work spanning various disciplines, including branding, typography, illustration, and packaging design, from both established and emerging Vietnamese creatives. It highlights the unique blend of traditional Vietnamese aesthetics and modern design influences present in the showcased work, offering a comprehensive overview of the current graphic design landscape in Vietnam.
Hacker News users discuss the unique aesthetic of Vietnamese graphic design showcased on vietgd.com, noting its vibrant colors, bold typography, and occasional "maximalist" approach that contrasts with Western minimalist design trends. Some commenters draw parallels to Chinese and Korean graphic design, highlighting shared cultural influences and a preference for ornamentation. Others appreciate the website's organization and the historical context provided. A few express interest in learning more about Vietnamese design principles and the cultural context that shapes these aesthetics. Some users critique the site's English translation and suggest improvements. Overall, the comments reflect a positive reception of the website and a genuine curiosity about Vietnamese graphic design.
BritCSS is a humorous CSS framework that replaces American English spellings in CSS properties and values with their British English equivalents. It aims to provide a more "civilised" (British English spelling) styling experience, swapping terms like color for colour and center for centre. While functionally identical to standard CSS, it serves primarily as a lighthearted commentary on the dominance of American English in web development.
Hacker News users generally found BritCSS humorous, but impractical. Several commenters pointed out the inherent problems with trying to localize CSS, given its global nature and the established convention of using American English. Some suggested it would fragment the community and create unnecessary complexity in workflows. One commenter jokingly suggested expanding the idea to include other localized CSS versions, like Australian English, further highlighting the absurdity of the project. Others questioned the motivation behind targeting American English specifically, suggesting it stemmed from a place of anti-American sentiment. There's also discussion about the technical limitations and challenges of such an undertaking, like handling existing libraries and frameworks. While some appreciated the satire, the consensus was that BritCSS wasn't a serious proposal.
Helvetica is ubiquitous in New York City's signage, especially in the subway system. Originally designed as a neutral, legible typeface, it became the standard for wayfinding and official communications, conveying authority and efficiency. The post explores this pervasiveness, showcasing numerous examples of Helvetica's use across various applications from street signs to building names. Its widespread adoption, though intended to create a unified and clear urban environment, has arguably led to a homogenized visual landscape. The essay ultimately suggests that while functional, Helvetica's dominance potentially diminishes the city's unique visual character.
HN commenters largely appreciate the deep dive into Helvetica's use in NYC signage, particularly its historical context and evolution. Some debate the merits of Helvetica versus other sans-serif fonts, with a few suggesting alternatives like Franklin Gothic or Akzidenz-Grotesk would be better choices. Others highlight the importance of considering the overall design, not just the font, pointing out that even Helvetica can be used poorly. A couple of commenters offer additional examples of Helvetica's pervasiveness, referencing its use in government and transportation systems. One compelling observation notes the shift away from Helvetica in newer signage, suggesting a changing aesthetic landscape in the city.
Chromium-based browsers on Windows are improving text rendering to match the clarity and accuracy of native Windows applications. By leveraging the DirectWrite API, these browsers will now render text using the same system-enhanced font rendering settings as other Windows programs, resulting in crisper, more legible text, particularly noticeable at smaller font sizes and on high-DPI screens. This change also improves text layout, resolving issues like incorrect bolding or clipping, and makes text selection and measurement more precise. The improved rendering is progressively rolling out to users on Windows 10 and 11.
HN commenters largely praise the improvements to text rendering in Chromium on Windows, noting a significant difference in clarity and readability, especially for fonts like Consolas. Some express excitement for the change, calling it a "huge quality of life improvement" and hoping other browsers will follow suit. A few commenters mention lingering issues or inconsistencies, particularly with ClearType settings and certain fonts. Others discuss the technical details of DirectWrite and how it compares to previous rendering methods, including GDI. The lack of subpixel rendering support in DirectWrite is also mentioned, with some hoping for its eventual implementation. Finally, a few users request similar improvements for macOS.
This post compares the layout models of TeX and Typst, two typesetting systems. TeX uses a box, glue, and penalty model, where content is placed in boxes, connected by flexible glue, and broken into lines/pages based on penalties assigned to different breaks. This system, while powerful and time-tested, can be complex and unintuitive. Typst, in contrast, uses a flow model where content flows naturally into frames, automatically reflowing based on the available space. This offers greater simplicity and flexibility, especially for complex layouts, but sacrifices some fine-grained control compared to TeX's explicit breakpoints and penalties. The author concludes that while both systems are effective, Typst's flow-based model presents a more modern and potentially easier-to-grasp approach to typesetting.
HN commenters largely praised the article for its clear explanation of layout models in TeX and Typst. Several noted the helpful visualizations and the clear comparisons between the two systems. Some discussed the trade-offs between the flexibility of TeX and the predictability of Typst, with some expressing interest in Typst's approach for certain use cases. One commenter pointed out that the article didn't cover all of TeX's complexities, which the author acknowledged. There was also a brief discussion about the potential for combining aspects of both systems.
"The Human Alphabet," published in 1848, presents a whimsical yet structured exploration of letterforms created by contorting the human body. Engraved by artist Edward Lumley, the illustrations depict men, women, and children individually and in groups, painstakingly arranged to mimic each letter of the alphabet. The poses range from simple to complex, demonstrating both the flexibility of the human form and the ingenuity required to achieve these typographic representations. Ultimately, the work serves as a playful intersection of art, anatomy, and typography, offering a unique visual interpretation of the alphabet.
Hacker News users discussed the historical context and artistic merit of human alphabets. Some noted similar formations depicted in older works, like a 15th-century manuscript. Several appreciated the diversity represented by including non-Western alphabets, pointing out examples from Ethiopia and India. There was debate about the practicality and accuracy of the formations, with some questioning how legible or standardized they truly were, particularly for languages with larger character sets. Others found the concept aesthetically pleasing and fascinating, appreciating the ingenuity and creativity of representing language through the human body. A few comments focused on the photographer's skill in capturing these intricate poses. The overall sentiment leaned toward appreciation for the historical curiosity and visual appeal of the human alphabets.
This post advocates for clear, legible mathematical handwriting, emphasizing the importance of distinguishing similar symbols. It offers specific guidelines for writing letters (like lowercase 'x' and 'times,' 'u' and 'union,' and Greek letters), numerals (particularly distinguishing '1,' '7,' and 'I'), and other mathematical symbols (such as plus/minus, radicals, and various brackets). The author stresses vertical alignment within equations, proper spacing, and the use of serifs for improved clarity. Overall, the goal is to enhance readability and avoid ambiguity in handwritten mathematics, benefiting both the writer and anyone reading the work.
Hacker News users discuss the linked guide on mathematical handwriting, largely praising its practical advice. Several commenters highlight the importance of clear communication in mathematics, emphasizing that legible handwriting benefits both the writer and the reader. Some share personal anecdotes about struggling with handwriting and the impact it has on mathematical work. The suggestion to practice writing Greek letters resonates with many, as does the advice on spacing and distinguishing similar-looking symbols. A few commenters offer additional tips, such as using lined paper turned sideways for better vertical alignment and practicing writing on a whiteboard to improve clarity and flow. Overall, the comments reflect an appreciation for the guide's focus on the often-overlooked skill of legible mathematical writing.
This blog post discusses the New Yorker's historical and occasionally inconsistent use of diaereses. While the magazine famously uses them on words like "coöperate" and "reëlect," representing a now-archaic pronunciation distinction, its application isn't entirely systematic. The author explores the diaeresis's function in English, highlighting its role in indicating a separate vowel sound, particularly after prefixes. They note the New Yorker's wavering adherence to its own style guide over time, even within the same issue, and suggest this inconsistency stems from the fading awareness of the diaeresis's original purpose. Ultimately, the author concludes the New Yorker's use of the diaeresis is primarily an aesthetic choice, a visual quirk that contributes to the magazine's distinctive identity.
HN commenters largely discuss the inconsistent and often incorrect usage of diaereses and umlauts, particularly in English publications like The New Yorker. Some point out the technical distinctions between the two marks, with the diaeresis indicating separate vowel sounds within a single syllable and the umlaut signifying a fronting or modification of a vowel. Others lament the decline of the diaeresis in modern typesetting and its occasional misapplication as a decorative element. A few commenters mention specific examples of proper and improper usage in various languages, highlighting the nuances of these diacritical marks and the challenges faced by writers and editors in maintaining accuracy. Some express a sense of pedantry surrounding the issue, acknowledging the minor impact on comprehension while still valuing correct usage. There's also some discussion about the specific software and typesetting practices that contribute to the problem.
The Letterform Archive recently acquired a collection of over 700 Japanese chopstick sleeves, showcasing their role as miniature canvases for typography and cultural expression. These disposable yet designed objects reveal a wide range of typefaces, from traditional calligraphy to modern sans serifs, often paired with illustrative elements like landscapes, animals, or abstract patterns. The collection provides a glimpse into graphic design trends, regional aesthetics, and even historical periods, demonstrating how even ephemeral items can reflect broader cultural values and artistic sensibilities.
HN users generally enjoyed the article about chopstick sleeves, appreciating the deep dive into a seemingly mundane object. Several commenters pointed out the connection between the aesthetic appreciation of everyday items and Japanese culture, with one highlighting the similar artistry found in Japanese matchboxes. Another user noted the prevalence of beautiful, yet disposable, ephemera in Japan. A few commenters discussed the practicality of the sleeves, suggesting their primary function is hygienic, while the design is a secondary, albeit appreciated, aspect. Some questioned the environmental impact of single-use items like these, prompting a discussion about reusable chopstick options and cultural norms around dining. Finally, one commenter expressed a desire for more articles exploring the design and history of everyday objects.
Summary of Comments ( 137 )
https://news.ycombinator.com/item?id=43622703
Hacker News users generally praised the new
text-wrap: prettyCSS property for addressing a long-standing typography issue with justified text. Several commenters pointed out the benefits for accessibility, particularly for users with dyslexia or other cognitive differences, as the more consistent spacing makes text easier to parse. Some expressed concern about potential performance implications, especially with large blocks of text, but others downplayed these concerns given modern browser optimizations. A few users wished for further refinements, like hyphenation control or integration with existing text justification methods, but overall the sentiment was positive, viewing the feature as a significant improvement for web typography. The discussion also touched upon the subtle differences betweentext-wrap: prettyandtext-justify: distribute, with some clarifying the distinct functionalities and advantages of each.The Hacker News post "Better typography with text-wrap: pretty" generated several comments discussing the new CSS property
text-wrap: pretty. Many commenters express enthusiasm for the feature, viewing it as a significant improvement for web typography.Several commenters highlight the practical benefits of
text-wrap: pretty, especially for East Asian languages. They point out how it intelligently handles word breaks and spacing, creating a more visually appealing and readable layout. One commenter specifically mentions the improvement in handling punctuation marks, which often caused awkward line breaks in the past. The enhanced control over widows and orphans, preventing single lines of text at the beginning or end of paragraphs, is also mentioned as a positive aspect.Some comments delve into the technical details of the implementation, discussing how it differs from existing methods of achieving similar results. One commenter mentions the challenges of balancing typographic beauty with performance, and praises the WebKit team for finding a good compromise. Another explains how
text-wrap: prettygoes beyond simply preventing widows and orphans, and also considers other typographic nuances for a more refined appearance.The discussion also touches upon the broader implications of this feature for web design. Some commenters anticipate wider adoption of advanced typographic techniques now that they are easier to implement. Others express hope that this will encourage a greater focus on typography in web development overall.
A few commenters raise questions and concerns. One asks about the potential impact on accessibility, particularly for users with dyslexia. Another wonders about browser compatibility and the timeline for wider adoption.
Overall, the comments reflect a positive reception to the
text-wrap: prettyproperty. Commenters see it as a valuable addition to CSS that will improve the quality of web typography, particularly for East Asian languages, by providing a more elegant and refined way to handle text flow and line breaks. While some practical questions remain about implementation and accessibility, the general sentiment is one of excitement and anticipation for its wider adoption.