Globe gothic typeface11/14/2023 ![]() Webfont users can reduce file sizes by subsetting fonts to include only necessary characters, snipping off special punctuation or Central and Eastern European language support. This brought the weight of the prototypes down to a baseline of about 300 KB–400 KB. We felt that, with some serious CSS tender-loving care on the font fallback styling, we could try to maintain the Globe brand. After discussing either dropping the visuals as a user gets to the smaller browser sizes or dropping the custom fonts, we decided to cut the custom fonts entirely on mobile. So, for the portions of code we do have control over, we talked through a couple of ideas that could help. And, while 1 MB isn’t uncommon or large on the desktop, it’s still quite heavy for mobile connections. ![]() At one point in the process our prototypes were around 700 KB–1 MB. Therefore, Filament Group worked pretty hard to refine the overall asset loading and distribution from mobile, tablet, and desktop to try and control the page weight. Speed considerations also took their toll on the mobile edition of the site:įrom a technical perspective, we have little control over any additional weight that ads and content producers might add to the overall page weight. Also, Georgia is based on Miller so using Georgia for the typography smaller than around 16pt is a wonderfully graceful and smooth transition. In print, anything under 15pt is Poynter so bringing that to would cost us a lot in terms of page weight and users would have a hard time deciphering the details of that font. With some families, fonts have to display at certain font sizes or larger before the user can see all of the nuances and details of the font. The print edition of the Globe uses Miller for text and Poynter Gothic for other small type, but Mulligan chose speed over absolute typographic consistency: Designers are often stuck with fonts that haven’t been optimized for screen, or perhaps, as the Globe found, they aren’t worth the download time. Still, bringing a legacy print identity to the web doesn’t always mean bringing every typeface along with it, even if webfonts are available. So there you have it, brand integration across media through consistent headline typography. In this feature visitors can listen to audio from a court trial while the transcript follows along automatically. The site sports a few nifty interactive extras that take advantage of the digital medium. Not every window width results in a beautiful page, but overall it’s a much better and more consistent experience from the big screen to the iPhone than most digital newspapers today. Font sizes, column widths, and navigation are informed by best practices in digital media, and specifically “responsive” design, resizing and repositioning text and images for optimal viewing at any window size. The type is the face of the Globe, and the Globe is the face of Boston.ĭespite the emphasis on maintaining the newspaper’s identity, is not merely a skeuomorphic replication of the printed paper. If you go to Boston’s bars and restaurants you can see framed front pages of the Globe from the Sox wins in 20 to the C’s in 2008, and I’m sure they are mounting the Bruins pages as we speak. Mike Swartz, whose Upstatement firm assisted with the site, confirms the importance of the newspaper’s type: Sidebar teasers are another example of how Miller Headline and Benton Sans complement each other throughout the site. In the extremely early visual prototypes of the site, long before we had engaged with any outside vendors, we had been utilizing Miller and Benton as the primary drivers of the visual design. Utilizing The Boston Globe’s print typography in its new site was tantamount from day one. ![]() Miranda Mulligan, creative director for the Globe’s digital products, says the two families were core to the new design: Supplemental heads and section titles are set in Benton Sans, Cyrus Highsmith’s contemporary interpretation of News Gothic that was introduced to the print edition four or five years ago. ![]() uses screen versions of the fonts via Webtype. It was created specifically for newspapers like the Globe and served as the main headline face for the paper since 2001. The typeface is a slightly condensed addition to the popular Miller family by (Boston area resident) Matthew Carter. At the heart of the Globe’s typographic personality is Miller Headline. Over the years, Miller’s role has expanded from a sturdy Scotch Roman for general purpose text, to even sturdier type for newspapers ( Daily), to more delicate versions for large ( Banner) and space-efficient ( Headline) display type. These are the most common typefaces in the database, but there are many more.Haas Inserat-Grotesk / Neue Aurora VIII (50).
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