From the site: “Trio Grotesk is Florian Schick’s personal interpretation of Kaart Antieke – an early 20th century sans serif used by Piet Zwart in his famous, yet never officially published essay about modern typography called “Van oude tot nieuwe typografie”. Trio Grotesk started as a student project for the KABK Type & Media masters course in type design. During a visit to the Meermanno Museum in Den Haag Florian discovered the only two remaining copies of Piet Zwart’s essay. Being struck by the historical value of this booklet, he decided to revive the typeface it was set in instantly. Florian enlarged and examined the original 7 point printed typeface in great detail and tried to replicate the image of this typeface as faithfully as possible. Certain features which are unique to letterpress printing, such as roundings caused by ink spread, have been preserved for instance. Trio Grotesk comes in three weights, sports a Latin extended characterset and includes small caps, seven ranges of figures, and numerous arrows, ornaments and dingbats.

From the site: “Social, [James Mobtalabno’s] latest family of fonts, comes out of the development of that LivingSocial logo and a set of two custom fonts I designed for their identity. [His] aim was to stay away from the bloated, over-fed forms of rounded sans that [he] was seeing and do something that was a bit more, how would you say, athletic. The upright forms are based on italic structure, everything is slightly condensed and taut. The design has some very heavy weights but I don't think they ever look bloated or fat. As with all my designs, I developed this to work as small text as well as display and it has a surprising sparkle and readability in text sizes. This is my first retail release to support Vietnamese, and after having so much fun drawing all of those wonderful stacked accents and hooks and dongs, there is no doubt that all of my future fonts will include Vietnamese support as well.”

In this article, I’ll share some tips that I use in my work in Adobe Fireworks that could help improve the quality of your designs and workflow. Some of these tips are just quick explanations of features that you might not be aware of, while some are techniques and methods to improve the default visual results. Let’s begin!

From the site: “Their unique character, with allusions to a stencil typeface and modern effects – these features of the Rounded versions of popular synthetic san serif fonts have long fascinated contemporary designers. Linotype has thus decided to issue some of the variants of Avenir® Next in Rounded versions. Working in consultation with Adrian Frutiger, Linotype’s Type Director Akira Kobayashi and the designer Sandra Winter have produced four basic weights Regular, Medium, Demi and Bold of Avenir Next Rounded with the corresponding italic versions. Avenir Next with its neutral, easy-going character is thus now available in up-to-date, contemporary variants. This has opened up entirely new perspectives for the use of this popular font in design projects.”

I recently came up against an issue in Safari where the background colour of an element seemed to ‘bleed’ through the edge of the corners when applying both borders and a border-radius (see the image above). After seeing David Cole tweet about the same issue I resolved to find a solution, and it came in the form of the -webkit-background-clip property.