"Gridset is a tool for making grids. It lets you create whatever type of grid you want: columnar, asymmetrical, ratio, compound, fixed, fluid, responsive and more. It serves multiple grids to your site based on breakpoints for different devices. Using it is as simple as embedding a link."

Indra Kupferschmid: "A fantastic blog about French lettering."

"Rather than using a more traditional HTML & CSS column/grid approach, I opted for column-count to keep everything extra efficient & scalable. The trouble is, sometimes content gets split across columns awkwardly."

Luke Wroblewski: "In his presentation at An Event Apart in Minneapolis MN, Richard Rutter walked through a preview of the detailed typographic control CSS3 will offer in the future. Here's my notes from his talk."

John Daggett: "In Firefox 6 we’ve added the ability to alter prefs that affect the underlying ClearType subpixel anti-aliasing that is used. [...] Because of the large differences between GDI and DirectWrite renderings for some fonts at small text sizes, for Firefox 7 we’ve implemented a pref that specifies a list of fonts for which GDI rendering will be used at sizes below 16px. By default the list contains fonts such as Arial, Tahoma, Verdana, Trebuchet MS, Segoe UI and Consolas. Downloadable fonts will always use DirectWrite."

John Hudson: "When Firefox 4.0 arrived, I was surprised to find that DWrite rendering was not active by default, and that I had to manually set some config flags in order to activate it (not something I'd be comfortable recommending to the average browser user). This week I wrote to John Daggett at Mozilla, and asked him to comment on this and whether there is any change in Firefox 5.0."

Stephen Coles: "The QBN Typecase, a feature I created in 2005 for trendy design portal Newstoday. I am no longer editor of the column, but it was a good gig while it lasted. It entailed two of my favorite jobs: designing typeface specimens, and pushing fonts on the youths."

Tons of links.

Thomas Phinney: "The challenging question is, what part of a 12-​​point font is 12 points high? For digital type, the short answer is 'none.'"

Mark Boulton: "If [...] layouts are based on a system that defines its ratios from the content, then there is connectedness on two levels: connectedness to the device, and connectedness to the content."

Elliot Jay Stocks muses on easy desktop versions of web fonts. My guess is that all of the solutions he proposes will come to be, and designers will prefer the easiest one.

Tom Rickner for FontsLive: "It is a significant challenge to produce a font which renders the same pixels in multiple environments."

Lynda.com web fonts tutorial/introduction by James Williamson. Haven't watched it, but the TOC looks good.

Trent Walton: "Lettering.js is a solution, but perhaps it’s not the ultimate solution. […] Here’s a brief timeline recounting what’s already been discussed."

Ethan Dunham: "The hack that makes this work is the '#' following the EOT filename. Seriously."

Matt Wiebe's very useful bookmarklet for testing type now has support for custom Font Family lists, including web fonts.

"At its simplest, the BigText jQuery plugin takes a single element and sizes the text inside of its child DIVs to fit the width of the parent element."

"An independent directory of typefaces organized into categories."

Igino Marini: "iKern is a mathematical model that describes the white space between the letters [and] is also a tool that uses the model to perform letterfitting."

A set of plugins by Tim Ahrens that help type designers harmonize glyph shapes, tune letters, and create different versions of glyphs for condenseds, extendeds, small caps, etc.

Like it says, by Cameron Moll. From 2005, but the advice is timeless. Shame about all of the link rot.

David Jonathan Ross for Font Bureau: "Inspiration for the final logo came from a dollar bill I found in my wallet. Some of the lettering on the bill had not one, but two layers of shading behind them."

Sean McBride explains the snowy CSS3 and JS details that went into this effort of his, Mandy Brown's, and Jason Santa Maria's.

Roger Johansson on viewport width settings and text zooming.

Side-scrolling to view the character set is surprisingly nice.

Tim Ahrens for Typekit: "TrueType hinting [...] bends the contour of the letter into a slightly different shape before it is rasterized."

What Inayaili de León would like to see made real. Lots of thoughtful typographic stuff here. Great list.

Michael Tuck: "By using a CSS reset, you’re setting the styles of the fundamental CSS elements to a baseline value, thusly rendering the browsers’ varying style defaults moot."

"So this is where I ran into some major inconsistencies in the way different browsers render percentage values."

Ryan Essmaker for Typekit: "The header and quote at the bottom of the site are set apart by a text shadow. This gives it a three-dimensional feel and emulates offset printing mishaps occasionally seen in newspapers."

Lists of fonts available on iOS devices.

"The -moz-font-feature-settings CSS property permits control over kerning, ligatures, alternates, real small caps and stylistic sets to name just a few."

"A simple CSS stylesheet that adhered to best typographic practices that anyone could just grab and run with."

"Web type is exploding all over the web but CSS currently doesn't offer complete down-to-the-letter control. So we created a jQuery plugin."

Thomas Phinney: "How fonts render online is a dance between the font, the browser, and the particular settings of the operating system (OS) it’s being viewed on. As I’ve noted before, a bad font, or a poor choice of font format (like OpenType CFF on most Windows browsers today) can look awful on most computers."

"We've always believed that a good typeface is the product of thousands of decisions like these, so we invite you to join us on a behind-the-scenes look at some of the invisible details that go into every font from H&FJ."

Fred design: "Frutiger's grid was first introduced in 1957 with the Univers type family. It became even more well known with the massively popular helvetica Neue. Essentially it was created to reduce the confusion to other labels such as bold, thin, light, heavy, and black. It looked to introduce a more elegant modernist system through numbers."

John Hudson and David Berlow wax rendering-ical about size-specific outlines.

Yahoo's recommendations for font size normalization across browsers and the method recommended by HTML5 Boilerplate. Explains why to use percentages to size type, rather than pixels or ems, and has a reference for common type sizes.

WOFF, explained in ATypI 2010 Dublin presentation slides by Vladimir Levantovsky.

"Most of these glyphs have interesting histories and evolutions as they survived the beatings given to them through rushed handwriting of scribes and misuses through history. They now mostly live on our keyboards and in our software, and a few are used often, so it seems only fitting to know where they come from and how to correctly use them."

"Fontsmith is a leading London based type design studio founded in 1999 by Jason Smith. The studio consists of a team dedicated to designing and developing high quality typefaces for both independent release as well as bespoke fonts for international clients."

Matt Wiebe explores the @font-face definition's src property to make a single family out of visitors' local Lucida Grande and Lucida Sans fonts.

"A css framework for cross-device layouts."

"For over 25 years Microsoft has been very focused on the development of type and type technologies. In order to fully understand the technical foundations of typography in Windows, a brief overview of some of the highlights of “typographic engineering” from the past 500 years can add some useful insight."

Originally for @fontdeck, it may be useful for typophiles: ‘Font naming conventions’ —

Paul Shaw for Imprint: "It is not a list of my favorite typefaces, nor is it a list of the most popular typefaces. Instead, it is a list of typefaces that have been “important” for one reason or another. However, I am not going to provide my reasons." (Paul ends up sharing his reasons in a comment — the comments are fantastic.)

John Downer on the processes of founding type, with thoughts on stylistic origin, imitation, and revival.

"General type classifications such as sans, serif, and display are often too broad. Sometimes you know what kind of serif you’re looking for — a Venetian, for example. Here we break down the main classes into useful subcategories."

Typophiles discuss typeface pairing.

Try Web FontFonts on any website.

"Simply adding a glyph with a ligature to your font doesn’t mean the program you’re using knows when or how to apply it. Whether you want your typeface to change the sequence of f|f|i into the appropriate ligature or want to use old-style figures instead of tabular, you’ll need to add features to your font — glyph substitution definitions — to make it happen."

Wonderful technical insight on the process of making font files, from Karsten Luecke Type Foundry.

The Glyph Positioning table (GPOS) provides precise control over glyph placement for sophisticated text layout and rendering in each script and language system that a font supports.

Peter Biľak: "Notice how different the outlines are in order to achieve the optimal legibility of screen. Every letter is basically designed for each point size again. This is exactly what hinting is about: programming instructions that fine-tune a font’s rasterisation, the process by which its mathematically ideal outlines are mapped onto a monitor’s pixels."

Simurai: "But what if you wanna turn text into smoke? Luckily you can set the text-fill-color to transparent and that gives your text a really nice smoky blur."

James Felici: "Having spent years as a proofreader in a commercial type shop, I’ve created the following checklist of typographic details to make that final once-over easier. I’ve divided this list into two halves: problems that can be located using electronic tools and problems that require human eyes and judgments."

"A simple extraction of some of the work I've been doing with rePublish, here's an unobtrusive approach to presenting properly sized text for any reading device that might happen upon your carefully written text. Don't worry about your layout; Any approach is fine, whether fluid or fixed, grid or not."

Good to know, @font-face gotchas: compiled by @paul_irish

Andy Appleton: "There is no way in CSS to specify italics for one font in a font stack and roman for another, so we need something a little bit more clever…"

Miguel Sousa: "In names like INDD or TIFF, one of the double letters would look good whereas the other would be fuzzy. This was happening because Adobe Clean is a proportional design, which meant that sometimes the vertical stems of the glyphs would align nicely with the pixel boundaries and render sharply, and other times they wouldn't. So what I had to do was to change each glyph in a way that when rasterized it would adjust to the pixel grid more gracefully. The changes consisted of using a multiple of 125* for the glyphs' advanced widths, and modifications to the outlines of the smallest size font."

Online application that presents all glyphs from a TTF or OTF font, including their OpenType alternatives (GSUB and GPOS).

Jon Black: "OpenType (OT) is a cross-platform type for mat that includes expert lay out fea tures to pro­vide richer lin guis tic sup port and advanced typo graphic con trol. Using OT tech nol ogy you can sub sti tute your char ac ters for dif fer ent glyphs using many dif fer ent meth ods; Ligatures, Small Caps, Oldstyle Figures, Fractions, Superscript/Subscript, Ordinals, Alternates, Titling Characters and many more."

John Boardley's response to Vignelli’s "We use way too many fonts."

"With serifs or sans? Handwritten or typed? Traditional or Avant-Garde? These are just some of the factors to consider when choosing a font. With a plethora of choices from Helvetica to Futura, let Hunch help you choose which typeface to use next."

Feature tags and friendly names.