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Toddler's sunglasses 'hid bruising', court told

Isabella Wheildon was made to wear dark glasses in the days before her death, a court hears.




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Care home residents pose for fundraising calendar

The project's organiser says she wants to show the vibrant lives led by the care home residents.




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Para-standing tennis star celebrates winning year

The world champion Georgia Routledge says she only took up the sport last year.




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Driving champion, 20, eyes future success

Nicky Taylor has won the GB Clio Cup and wants to step up to the British Touring Cars Championship.




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How AI is Transforming User Experience (UX) 

Artificial Intelligence (AI) is changing how user experience design is handled across various industries by playing a vital role in developing tailored and seamless experiences for users. Starting from app […]

The post How AI is Transforming User Experience (UX)  appeared first on Tech Digest.




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Office updates iOS, Android apps – Windows 10 apps coming soon

Since Microsoft first introduced Office for the iPad last March, it’s been downloaded some 40 million times, even with the restrictions of needing an Office 365 subscription to use it. Today, Microsoft announced that Office will soon be coming to …




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Has Microsoft given up on eReading?

Microsoft has a long, and not very successful, history with eReaders, going all the way back to Microsoft Reader, which debuted in 2000, but never made it beyond Windows Mobile and was shuttered in 2012. Since then, Microsoft hasn’t …




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The long, promising (and frustrating) history of Microsoft’s consumer file sync services

Live Drive, SDrive, Project M, Folders, FolderShare, Windows Live Sync, Live Mesh, SkyDrive, OneDrive. Yes, Microsoft has been at this file syncing game for a long time. The company bought FolderShare back in November of 2005, and has been …




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LiveSide is retiring, thanks for all your support

All good things must come to an end, and this blog is no exception. When Chris Overd, Matthew Weyer, and Harrison Hoffman founded LiveSide.net back in December of 2005 (LiveSide’s first post was on January 3rd, 2006, …




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The 10 most important things to look for when choosing a music distributor

I’ve been researching the distributor space lately and watching with interest as more pop up and margins get squeezed. It’s got to a place now where you can actually distribute music for free. But what else should you be looking for other than a pipeline? I’ve spoken to a lot of artists and record labels...

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Spotify to stop displaying playlist follower counts…possibly

Yesterday I noticed that the Spotify Windows desktop app had changed and instead of a “follow” button under a playlist there was now a heart icon. If you hover over the heart it says “Save to Your Library” and when you click on it the playlist appears with all of the other playlists that you...

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Playlist placement is not a marketing strategy

Last Friday (19th July 2019) an independent artist’s debut single was placed at the top of Spotify’s New Music Friday playlist and Apple Music’s Best of the Week playlist in the UK. Not only that but at the time of writing this, 5 days later the song is in a total of 54 Spotify editorial...

Read More




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Record labels are still ripping off artists…and getting away with it

A couple of weeks ago I received an email from an A&R person at a global dance music label. It was a pretty standard email along the lines of “hey we like your song, would you be interested in licensing it to us?” which I’ve received before and usually they amount to nothing. This often...

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One Year Late Review: On the songs of 2017

Today our comment and review media lurch from Hot Takes to History without pausing for a moment to get a sense of what actually happened. The concept of the One Year Later Review was that we might be able to get a better understanding of what mattered and what effects it had with a little […]



  • Radio & Music

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Resurfacing

It feels odd, writing your first blog post in seven years. It used to be such a large part of my life—and this blog used to be such a core part of my work and engagement with my community—that you’d think you’d never forget how to do it. I wrote here almost every day for […]




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How to donate to US elections without getting spammed to death…

Like many people who live in America I have donated to US political candidates and campaigns. And like many people who live in America I have subsequently found my entire life suddenly and completely overwhelmed by text-messages and e-mail spam and phone calls and any number of other venal, stressy, desperate campaign messages. Now of […]




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Avoiding the conversion cliff-edge: How SLAs support a successful lead handover

Service Level Agreements are the secret sauce for ensuring marketing and sales are singing from the same song sheet. Qualifying inbound leads is an exercise in cooperation between departments.




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Why customers buy again: 3 winning tactics for upsell and cross-sell

Customers are some of your best leads. According to a 2022 HubSpot Blog survey of more than 500 sales professionals, more than 70 percent said that upsell and cross-sell drives up to 30 percent of their revenue.




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The ultimate guide for using behavioural analytics and A/B testing to optimise website conversions

Content may be king, but data sits behind the throne and has the king’s ear. 

You want to be informed by data before you make changes to your marketing strategies. This is never truer than in the case of your website, which is a rich source of behavioural analytics and, therefore, a valuable insight into your audience’s interests.




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Using personalisation and segmentation to support advanced marketing techniques

Advanced marketing techniques such as Account-based Marketing (ABM) and 1-1 marketing require a more individualised approach than traditional inbound marketing tactics. No longer can we paint with a broad brush, as marketers. We must find ways to speak directly with individuals, rather than an audience.




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How to calculate the return on investment (ROI) of expert copywriting

“A leader is one who knows the way, goes the way and shows the way,” - John C Maxwell, best-selling author, speaker and coach.

Genuine thought leadership is a powerful differentiator for any business.

Articles and reports that demonstrate true expertise, authority and insight stand apart from your competitors’ me-too blah-blah. They build trust, enhance your brand, help close deals and defend your margins.

High-quality content also avoids the Google penalties that come with spammy or AI-created content. Don’t take our word for that, here’s what Google has to say about creating helpful, reliable, people-first content. (See our take on AI in marketing too.)

What is high-quality content?

Thought-leadership copywriting provides unique insights, presents new research and uses data. It covers complex subjects in a new and engaging way. It is designed to expand readers’ understanding. It manages to be persuasive but not pushy.

Everyone can write, but not everyone is a writer. High-quality marketing content requires expert copywriters. (Read more about what a copywriter actually does.)

To get it right, writers require a deep understanding of their audiences, clients, products, the wider context of the industry, and the current shape of the market. For businesses embracing thought-leadership content, that’s where the true value lies.

But you have to invest time, money and marketing effort to realise this value. That can be challenging when business leaders and decision-makers can’t see the return on investment (ROI).

Let’s explore the ROI of copywriting and thought leadership to help you build a business case for their value.

What are the likely costs of copywriting and thought leadership?

The short answer? It depends. The long answer? There’s no one-size-fits-all cost and most writers will offer packages or tailored pricing. According to a study by Clutch, the average UK digital agency charges approximately £98.10 per hour. Research by DDIY suggests that a monthly content marketing retainer can cost between £1,805.78 and £23,551.50.

Of course, an hourly rate doesn’t tell you much about how long something will take or the required level of expertise needed to do an outstanding job.

That’s why, at Articulate, we charge for copywriting on a fixed price basis related to the length and complexity of the piece.

For maximum transparency and flexibility, we have a tariff—a kind of menu—of common writing deliverables such as case studies, white papers, or thought leadership articles. Our fixed prices include research, interviewing, writing, project management, editing, proofreading two rounds of revisions (if required), keyword optimisation, and, for blog articles, meta descriptions, a featured image and a couple of social posts.

Our marketing retainers start at £4,100 per month and one-off copywriting projects start at £5,000 for things like a case study library or a lead generation campaign centred around a flagship report or ebook.

We charge for website copywriting slightly differently, on a per-word basis, because of the additional complexity of integrating it with design, search engine optimisation and the rest of the development process. Also, in our experience, writing website copy for clients is like writing poetry and demands a high level of experience and client knowledge for your most important marketing asset.

Broadly speaking though, the cost of a content project will vary depending on the following factors: the who, the what, the when, the where and above all, the why.

The Who

Freelance copywriters and marketing agencies will charge different prices because, of course, their overheads and offerings are different. An agency may cost more but brings benefits such as editing, additional skills (e.g. SEO, research), better availability and turnaround times.

Then there are factors such as years of experience, location, specialisations and so on. You might also consider an in-house or staff writer who will require a competitive salary.

There are specific skills required to be a good marketing copywriter, including:

  • Marketing know-how
  • Business, sector and client knowledge
  • Interviewing skills
  • Research and analytical skills
  • Search engine optimisation, e.g. writing with keywords
  • Agility with tone of voice and messaging
  • Self- and pair-editing
  • Proofreading
  • Social media writing skills
  • Content planning and ideation

It’s helpful to put a good marketing copywriter with a reasonable level of skill and five or more years of experience in the same bracket as, say, a lawyer or an experienced, professional journalist writing for a trade magazine or reputable newspaper.

Typically, in an agency, they will work in teams that provide complementary skills and coverage for illness or holidays. All of this is hard to replicate in-house. (For more on this see our article: Should you hire a marketing person or a marketing agency.)

The What

The nature of your business and its content can impact how much copywriting will cost you. For technical or niche businesses, you’ll need to work with writers who understand your industry thoroughly or who have the skills and processes in place to learn about it efficiently.

You might not need to work with specialists if your company wants more generic content. But generic isn’t going to cut through the noise. Similarly, the length of your copy will affect the price, too. Some providers charge per project, others per word.

The When

How quickly and how often do you need copywriting and thought leadership content? Time-sensitive projects may incur additional costs to help you meet deadlines. And the more content you need, the more it will add up. A freelancer will struggle to produce tens of thousands of words in a short period of time but an agency can bring a whole team and a well-oiled production process to the challenge. You can, however, explore these helpful tips from the Articulate Marketing team on how to make every piece of content work harder for you.

The Where

Where are you posting, hosting or submitting the writing? The platform will impact the word count and, in turn, the price. A detailed report, an eBook or a long-form pillar page will set you back more than a 750-word blog post for your company website, for example. Similarly, copy for your home page might be short but it is very important and getting it right might take longer and cost more on a per-word basis than a more general piece.

The Why

Here’s where it gets interesting. You might know who you want to work with, what you want them to produce, when you need it and where it’s going. But do you know why you’re doing it? Have you considered who you want to read your thought-leadership content? And what you want them to do once they’ve read it?

From top-of-the-funnel content for brand awareness and lead generation to bottom-of-the-funnel content for conversions or customer retention, your copywriter needs to know what role your content plays in the context of your wider business.

In our opinion, the ‘why’ separates good writers from bad ones — and both kinds from the likes of ChatGPT. This is why we call our writers ‘marketing copywriters’ because they understand how to weave their work into broader marketing objectives.

So, what’s the ROI of copywriting and thought leadership?

Whether you choose to go external or in-house, there’s significant value in investing in the art of copywriting. Here’s why.

Demonstrate relevance and expertise

A study by Edelman and LinkedIn found that 73 percent of decision-makers say an organisation’s thought leadership content is more trustworthy for assessing its capabilities than its marketing materials.

The same study found that 80% of respondents want to see third-party data included in it, and 44% believe the highest-quality content helps them better understand a business's challenges and opportunities.

Decision-makers want to know why they should work with you. And your knowledge, experience, and expertise are your differentiators. The ROI? As many as 60 per cent of decision-makers say they’re willing to pay a premium to work with a business that produces good thought leadership.

Establish your brand and raise your profile

While thought-leadership and content marketing materials are busy showcasing your expertise, they’re also putting you on the map. Readers get to know your brand and tone of voice (TOV). Decision-makers may even share your content online, quote your research in their content, and reference your work conversationally.

The front of a buyer’s mind is a powerful place to be. Especially when we consider that 70 percent of C-suite executives said thought leadership content made them question their current B2B relationships — with 54 percent realizing other vendors might better understand their needs, according to a study by Edelman and LinkedIn.

Reach new audiences

A key part of establishing your brand with thought leadership is connecting with new audiences. Businesses often have a clear idea of who they want to work with and who wants to work with them. But growing your brand presence with thought leadership content means you’ll start to appear in new places online.

For example, when Basecamp founder Jason Fried tweeted about his company’s new ad, which called out Google’s paid ad strategy, he subsequently received over 1,000 backlinks to the company’s website. Depending on how you value backlinks, that could be worth up to $500,000 in SEO benefits.

This kind of thought-leadership content will help you rank for new search engine queries, generate more backlinks, appear in different social media feeds and so on. You might even find that your successful written content creates entirely new opportunities for you — podcast appearances, webinar invitations, the chance to speak at industry events and so on.

Build existing customer loyalty

Your written content doesn’t just serve the purpose of attracting new audiences. It’s a valuable tool for staying connected to your existing customers (and re-connecting with previous ones, too).

According to Accenture, 80 percent of businesses spend less than a third of their time and budget on customer-focused messaging. This presents a clear missed opportunity when considering loyal customers' ROI.

On average, a loyal customer is worth up to 10 times the value of their original purchase, according to the Office of Consumer Affairs. And, Bain and Co found that increasing customer retention by two percent has the same impact as reducing costs by 10 percent. Remember: the grass is greener where you water it!

Content is still king

Powerful, engaging, well-written thought leadership content has a functional role to play, too. Of course, establishing your brand, growing your audience, and giving your customers something to talk about are important. But high-quality written content is necessary to get discovered online. For example, brands that regularly update their blog get 67 percent more leads than those that don’t, according to Absurd Insights.

Similarly, search engines are starting to prioritise the quality of the content they promote to users, cracking down on misinformation, clickbait, spam, and AI-generated content. For example, Google looks for content showcasing experience, expertise, authority, and trustworthiness. This is called E-E-A-T content and thought leadership is precisely the kind of writing that reflects these crucial areas.

Recent Google updates penalise companies that fill up their site with cheap AI-generated SEO content. This tactic is just empty calories and now it’s creating marketing heart attacks for companies that tried it. The need for high-quality EEAT content has never been higher.

The final word

The ROI of thought leadership is going to take a lot of work to prove. That’s because it’s about more than just numbers. It’s about value. An AI-generated blog post will save you time and probably be fairly accurate. It may even generate a small amount of traffic (before Google recognises it as AI and penalises you for it, that is). But well-written thought leadership is a conversation starter. It’s the kind of content people are still thinking about after they’ve logged off. It makes potential customers think — and start questioning whether they’re working with the right providers. It’s full of insight, personality, colour and expertise. You can’t put a price on that.




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How to use networking and customer advocacy to build your brand community

Personalisation in marketing works because personal connections matter. That extends beyond your customers, too. Personal connections include the relationships you have with your suppliers, your stakeholders, your employees, industry peers… the list goes on.




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Dao Day 2024 – a regression in the making

It’s twenty four years to the day since A List Apart published John Allsopp’s seminal treatise A Dao of Web Design. It must be one of the most vital and cited articles ever to be written about web design. In it John quoted the Tao Te Ching as a way of persuading us web designers to be like The Sage and “accept the ebb and flow of things”.

John compared the nature of print with the web:

The fact we can control a paper page is really a limitation of that medium. You can think – we can fix the size of text – or you can think – the size of text is unalterable. You can think – the dimensions of a page can be controlled – or – the dimensions of a page can’t be altered. These are simply facts of the medium.

And they aren’t necessarily good facts, especially for the reader.

We should embrace the fact that the web doesn’t have the same constraints, and design for this flexibility.

Those demands for flexibility led – 10 years later – to responsive web design as a best practice, and on to the present concept of fluid design.

However we’re currently battling against another regression. As John himself wrote recently, “having escaped the gravity well of web pages being ’print, only onscreen’, they became ’apps, only in the browser’”.

The better way of doing things will win out. Why? Because more people benefit from the accessible outcomes of fluid design, and it is coupled with a lower design and technical debt, even if the initial effort is higher. Meanwhile plus í§a change, plus c’est la míªme chose, or as the Lao Tse wrote 2,500 years ago “Well established hierarchies are not easily uprooted. So ritual enthrals generation after generation.”

Read or add comments




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Introducing TODS – a typographic and OpenType default stylesheet

Introducing TODS, an open source typography and opentype default stylesheet. One of the great things about going to conferences is the way it can spark an idea and kick start something. This project was initiated following a conversation with Roel Nieskens (of Wakamai Fondue fame) at CSS Day, where he demonstrated his Mildly Opinionated Prose Styles (MOPS).

The idea is to set sensible typographic defaults for use on prose (a column of text), making particular use of the font features provided by OpenType. The main principle is that it can be used as starting point for all projects, so doesn’t include design-specific aspects such as font choice, type scale or layout (including how you might like to set the line-length).

Within the styles is mildly opinionated best practice, which will help set suitable styles should you forget. This means you can also use the style sheet as a checklist, even if you don't want to implement it as-is.

TODS uses OpenType features extensively and variable font axes where available. It makes full use of the cascade to set sensible defaults high up, with overrides applied further down. It also contains some handy utility classes.

You can apply the TODS.css stylesheet in its entirety, as its full functionality relies on progressive enhancement within both browsers and fonts. Anything that is not supported will safely be ignored. The only possible exceptions to this are sub/superscripts and application of a grade axis in dark mode, as these are font-specific and could behave unexpectedly depending on the capability of the font.

In order to preview some of the TODS features, you can check out the preview page tods.html and toggle TODS.css on and off. (This needs more work as the text is a bit of a mish-mash of examples and instructions, and it's missing some of the utility classes and dark mode. But that’s what open source is for… feel free to fork, improve and add back into the repo.)

Walkthrough of the TODS.css stylesheet

You can download a latest version of the stylesheet from the TODS Github repo (meaning some of the code may have changed a bit).

Table of contents:

  1. Reset
  2. Web fonts
  3. Global defaults
  4. Block spacing
  5. Opentype utility classes
  6. Generic help classes
  7. Prose styling defaults
  8. Headings
  9. Superscripts and subscripts
  10. Tables and numbers
  11. Quotes
  12. Hyphenation
  13. Dark mode/inverted text

1. Reset

Based on Andy Bell’s more modern CSS reset. Only the typographic rules in his reset are used here. You might like to apply the other rules too.

html {
  -moz-text-size-adjust: none;
  -webkit-text-size-adjust: none;
  text-size-adjust: none;
}

Prevent font size inflation when rotating from portrait to landscape. The best explainer for this is by Kilian. He also explains why we still need those ugly prefixes too.

body, h1, h2, h3, h4, h5, h6, address, p, hr, pre, blockquote, ol, ul, li, dl, dt, dd, figure, figcaption, div, table, caption, form, fieldset {
  margin: 0;
}

Remove default margins in favour of better control in authored CSS.

input,
button,
textarea,
select {
  font-family: inherit;
  font-size: inherit;
}

Inherit fonts for inputs and buttons.

2. Web fonts

Use modern variable font syntax so that only supporting browsers get the variable font. Others will get generic fallbacks.

@font-face {
  font-family: 'Literata';
  src: url('/fonts/Literata-var.woff2') format('woff2') tech(variations),
       url('/fonts/Literata-var.woff2') format('woff2-variations');
  font-weight: 1 1000;
  font-stretch: 50% 200%;
  font-style: normal;
  font-display: fallback;
}

Include full possible weight range to avoid unintended synthesis of variable fonts with a weight axis. Same applies to stretch range for variable fonts with a width axis.

For main body fonts, use fallback for how the browser should behave while the webfont is loading. This gives the font an extremely small block period and a short swap period, providing the best chance for text to render.

@font-face {
  font-family: 'Literata';
  src: url('/fonts/Literata-Italic-var.woff2') format('woff2') tech(variations),
       url('/fonts/Literata-Italic-var.woff2') format('woff2-variations');
  font-weight: 1 1000;
  font-stretch: 50% 200%;
  font-style: italic;
  font-display: swap;
}

For italics use swap for an extremely small block period and an infinite swap period. This means italics can be synthesised and swapped in once loaded.

@font-face {
  font-family: 'Plex Sans';
  src: url('/fonts/Plex-Sans-var.woff2') format('woff2') tech(variations),
       url('/fonts/Plex-Sans-var.woff2') format('woff2-variations');
  font-weight: 1 1000;
  font-stretch: 50% 200%;
  font-style: normal;
  font-display: fallback;
  size-adjust:105%; /* make monospace fonts slightly bigger to match body text. Adjust to suit – you might need to make them smaller */
}

When monospace fonts are used inline with text fonts, they often need tweaking to appear balanced in terms of size. Use size-adjust to do this without affecting reported font size and associated units such as em.

3. Global defaults

Set some sensible defaults that can be used throughout the whole web page. Override these where you need to through the magic of the cascade.

body {
    line-height: 1.5;
    text-decoration-skip-ink: auto;
    font-optical-sizing: auto;
    font-variant-ligatures: common-ligatures no-discretionary-ligatures no-historical-ligatures contextual;
    font-kerning: normal;
}

Set a nice legible line height that gets inherited. The font- properties are set to default CSS and OpenType settings, however they are still worth setting specifically just in case.

button, input, label { 
  line-height: 1.1; 
}

Set shorter line heights on interactive elements. We’ll do the same for headings later on.

4. Block spacing

Reinstate block margins we removed in the reset section. We’re setting consistent spacing based on font size on primary elements within ‘flow’ contexts. The entire ‘prose’ area is a flow context, but so might other parts of the page. For more details on the ‘flow’ utility see Andy Bell’s favourite three lines of CSS.

.flow > * + * {
  margin-block-start: var(--flow-space, 1em);
}

Rule says that every direct sibling child element of .flow has margin-block-start added to it. The > combinator is added to prevent margins being added recursively.

.prose {
  --flow-space: 1.5em;
}

Set generous spacing between primary block elements (in this case it’s the same as the line height). You could also choose a value from a fluid spacing scale, if you are going down the fluid typography route (recommended, but your milage may vary). See Utopia.fyi for more details and a fluid type tool.

5. OpenType utility classes

.dlig { font-variant-ligatures: discretionary-ligatures; }
.hlig { font-variant-ligatures: historical-ligatures; }
.dlig.hlig { font-variant-ligatures: discretionary-ligatures historical-ligatures; } /* Apply both historic and discretionary */

.pnum { font-variant-numeric: proportional-nums; }
.tnum { font-variant-numeric: tabular-nums;    }
.lnum { font-variant-numeric: lining-nums; }
.onum { font-variant-numeric: oldstyle-nums; }
.zero { font-variant-numeric: slashed-zero;    }
.pnum.zero { font-variant-numeric: proportional-nums slashed-zero; } /* Apply slashed zeroes to proportional numerals */
.tnum.zero { font-variant-numeric: tabular-nums slashed-zero; }
.lnum.zero { font-variant-numeric: lining-nums slashed-zero; }
.onum.zero { font-variant-numeric: oldstyle-nums slashed-zero; }
.tnum.lnum.zero { font-variant-numeric: tabular-nums lining-nums slashed-zero; }
.frac { font-variant-numeric: diagonal-fractions; }
.afrc { font-variant-numeric: stacked-fractions; }
.ordn { font-variant-numeric: ordinal; }

.smcp { font-variant-caps: small-caps; }
.c2sc { font-variant-caps: unicase; }
.hist { font-variant-alternates: historical-forms; }

Helper utilities matching on/off Opentype layout features available through high level CSS properties.

@font-feature-values "Fancy Font Name" { /* match font-family webfont name */

    /* All features are font-specific. */
    @styleset { cursive: 1; swoopy: 7 16; }
    @character-variant { ampersand: 1; capital-q: 2; }
    @stylistic { two-story-g: 1; straight-y: 2; }
    @swash { swishy: 1; flowing: 2; wowzers: 3 }
    @ornaments { clover: 1; fleuron: 2; }
    @annotation { circled: 1; boxed: 2; }
}

Other Opentype features can have multiple glyphs, accessible via an index number defined in the font – these will be explained in documentation that came with your font. These vary between fonts, so you need to set up a new @font-font-features rule for each different font, ensuring the font name matches that of the font family. You then give each feature a custom name such as ‘swoopy’. Note that stylesets can be combined, which is why swoopy has a space-separated list of indices 7 16.

/* Stylesets */
.ss01 { font-variant-alternates: styleset(cursive); }
.ss02 { font-variant-alternates: styleset(swoopy); }

/* Character variants */
.cv01 { font-variant-alternates: character-variant(ampersand); }
.cv02 { font-variant-alternates: character-variant(capital-q); }

/* Stylistic alternates */
.salt1 { font-variant-alternates: stylistic(two-story-g); }
.salt2 { font-variant-alternates: stylistic(straight-y); }

/* Swashes */
.swsh1 { font-variant-alternates: swash(swishy); }
.swsh2 { font-variant-alternates: swash(flowing); }

/* Ornaments */
.ornm1 { font-variant-alternates: ornaments(clover); }
.ornm2 { font-variant-alternates: ornaments(fleuron); }

/* Alternative numerals */
.nalt1 { font-variant-alternates: annotation(circled); }
.nalt2 { font-variant-alternates: annotation(boxed); }

Handy utility classes showing how to access the font feature values you set up earlier using the font-variant-alternates property.

:root {
    --opentype-case: "case" off;
    --opentype-sinf: "sinf" off;
}

/* If class is applied, update custom property */
.case {
    --opentype-case: "case" on;
}

.sinf {
    --opentype-sinf: "sinf" on;
}

/* Apply current state of all custom properties, defaulting to off */
* { 
    font-feature-settings: var(--opentype-case, "case" off), var(--opentype-sinf, "sinf" off);
}

Set custom properties for OpenType features only available through low level font-feature-settings. We need this approach because font-feature-settings does not inherit in the same way as font-variant. See Roel’s write-up, including how to apply the same methodology to custom variable font axes.

6. Generic helper classes

Some utilities to help ensure best typographic practice.

.centered {
    text-align: center;
    text-wrap: balance;
}

When centring text you’ll almost always want the text to be ‘balanced’, meaning roughly the same number of characters on each line.

.uppercase {
    text-transform: uppercase;
    --opentype-case: "case" on;
}

When fully capitalising text, ensure punctuation designed to be used within caps is turned on where available, using the Opentype ‘case’ feature.

.smallcaps {
    font-variant-caps: all-small-caps;
    font-variant-numeric: oldstyle-nums;    
}

Transform both upper and lowercase letters to small caps, and use old style-numerals within runs of small caps so they match size-wise.

7. Prose styling defaults

Assign a .prose class to your running text, that is to say an entire piece of prose such as the full text of an article or blog post.

.prose {
    text-wrap: pretty;
    font-variant-numeric: oldstyle-nums proportional-nums;
    font-size-adjust: 0.507;
}

Firstly we get ourselves better widow/orphan control, aiming for blocks of text to not end with a line containing a word on its own. Also we use proportional old-style numerals in running text.

Also adjust the size of fallback fonts to match the webfont to maintain legibility with fallback fonts and reduce visible reflowing. The font-size-adjust number is the aspect ratio of the webfont, which you can calculate using this tool.

strong, b, th { 
    font-weight: bold;
    font-size-adjust: 0.514; 
}

Apply a different adjustment to elements which are typically emboldened by default, as bold weights often have a different aspect ratio – check for the different weights you may be using, including numeric semi-bolds (eg. 650). Headings are dealt with separately as the aspect ratio may be affected by optical sizing.

8. Headings

h1, h2, h3, h4 { 
    line-height: 1.1; 
    font-size-adjust: 0.514;
    font-variant-numeric: lining-nums; }

Set shorter line heights on your main headings. Set an aspect ratio for fallback fonts – check for different weights of headings. Use lining numerals in headings, especially when using Title Case.

h1 {
    font-variant-ligatures: discretionary-ligatures; 
    font-size-adjust: 0.521;
}

Turn on fancy ligatures for main headings. If the font has an optical sizing axis, you might need to adjust the aspect ratio accordingly.

h1.uppercase {
    font-variant-caps: titling-caps;
}

When setting a heading in all caps, use titling capitals which are specially designed for setting caps at larger sizes.

9. Superscripts and subscripts

Use proper super- and subscript characters. Apply to sub and sup elements as well as utility classes for when semantic sub/superscripts are not required.

@supports ( font-variant-position: sub ) {
    sub, .sub {
        vertical-align: baseline;
        font-size: 100%;
        line-height: inherit;
        font-variant-position: sub;
    }
}

@supports ( font-variant-position: super ) {
    sup, .sup {
        vertical-align: baseline;
        font-size: 100%;
        line-height: inherit;
        font-variant-position: super;
    }
}

If font-variant-position is not specified, browsers will synthesise sub/superscripts, so we need to manually turn off the synthesis. This is the only way to use a font’s proper sub/sup glyphs, however it’s only safe to use this if you know your font has glyphs for all the characters you are sub/superscripting. If the font lacks those characters (most only have sub/superscript numbers, not letters), then only Firefox (correctly) synthesises sup and sub – all other browsers will display normal characters in the regular way as we turned the synthesis off.

.chemical { 
    --opentype-sinf: "sinf" on;
}

For chemical formulae like H2O, use scientific inferiors instead of sub.

10. Tables and numbers

td, math, time[datetime*=":"] {
    font-variant-numeric: tabular-nums lining-nums slashed-zero;    
}

Make sure all numbers in tables are lining tabular numerals, adding slashed zeroes for clarity. This could usefully apply where a time is specifically marked up, as well as in mathematics.

11. Quotes

Use curly quotes and hang punctuation around blockquotes.

:lang(en) > * { quotes: '“' '”' '‘' '’' ; } /* “Generic English ‘style’” */
:lang(en-GB) > * { quotes: '‘' '’' '“' '”'; } /* ‘British “style”’ */
:lang(fr) > * { quotes: '«?0202F' '?0202F»' '“' '”'; } /* « French “style” » */

Set punctuation order for inline quotes. Quotes are language-specific, so set a lang attribute on your HTML element or send the language via a server header. Note the narrow non-breaking spaces encoded in the French example.

q::before { content: open-quote }
q::after  { content: close-quote }

Insert quotes before and after q element content.

.quoted, .quoted q {
    quotes: '“' '”' '‘' '’';
}

Punctuation order for blockquotes, using a utility class to surround with double-quotes.

.quoted p:first-of-type::before {
    content: open-quote;
}
.quoted p:last-of-type::after  {
    content: close-quote;
}

Append quotes to the first and last paragraphs in the blockquote.

.quoted p:first-of-type::before {
    margin-inline-start: -0.87ch; /* Adjust according to font */
}
.quoted p {
    hanging-punctuation: first last;
}
@supports(hanging-punctuation: first last) {
    .quoted p:first-of-type::before {
        margin-inline-start: 0;
    }
}

Hang the punctuation outside of the blockquote. Firstly manually hang punctuation with a negative margin, then remove the manual intervention and use hanging-punctuation if supported.

12. Hyphenation

Turn on hyphenation for prose. Language is required in order for the browser to use the correct hyphenation dictionary.

.prose {
    -webkit-hyphens: auto;
    -webkit-hyphenate-limit-before: 4;
    -webkit-hyphenate-limit-after: 3;
    -webkit-hyphenate-limit-lines: 2;

    hyphens: auto;
    hyphenate-limit-chars: 7 4 3;
    hyphenate-limit-lines: 2;    
    hyphenate-limit-zone: 8%;
    hyphenate-limit-last: always;
}

Include additional refinements to hyphenation. Respectively, these stop short words being hyphenated, prevent ladders of hyphens, and reduce overall hyphenation a bit. Safari uses legacy properties to achieve some of the same effects, hence the ugly prefixes and slightly different syntax.

.prose pre, .prose code, .prose var, .prose samp, .prose kbd,
.prose h1, .prose h2, .prose h3, .prose h4, .prose h5, .prose h6 {
    -webkit-hyphens: manual;
    hyphens: manual;
}

Turn hyphens off for monospace and headings.

13. Dark mode/inverted text

Reduce grade if available to prevent bloom of inverted type.

:root {
  --vf-grad: 0;
}

@media (prefers-color-scheme: dark) {
  :root {
    --vf-grad: -50;
  }
}

* {
  font-variation-settings: "GRAD" var(--vf-grad, 0);
}

Not all fonts have a grade (GRAD) axis, and the grade number is font-specific. We’re using the customer property method because font-variation-settings provides low-level control meaning each subsequent use of the property completely overrides prior use – the values are not inherited or combined, unlike with font-variant for example.

There are probably better ways of doing some of these things, and the preview page is rather lacking at the moment. Please let me know on Github, or better still fork it, edit and resubmit.

Read or add comments




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