Beautifully made site! Love it, and I think it instills some best practice methods. But I think it’s hard to justify (heh) a one-size-fits-all solution for typography. While font size, leading, tracking, and line width should all be considered, the beauty of graphic design is that you can manipulate these all independently. Obviously if your use case requires strict legibility for a particular audience or medium, then you should adjust accordingly. And while I believe the old adage that “typography is a beautiful group of letters, not a group of beautiful letters”, the impact of great typography often comes from pushing the boundaries of scale and balance. To quote David Carson, “Don’t confuse legibility with communication”. In short, there’s no perfect paragraph.

Haha! This is true for the most part. However for designers outside the United States planning to work here, the process for acquiring a work visa, in particular the H1-B program, could potentially be harder than it currently is. For employers and large organizations, hiring designers from abroad may also be tougher, given Trump's comments on international employment.

Is this for a future parent company like Alphabet is to Google or did we just find out what Cicada 3301 means?

That felt very German.

Try the design section of their dev center. It’s not the ultimate resource, and a lot is carried over from their Windows 8 templates, but it’s a start and very useful for wireframing and prototyping.

Exactly! For example, the Surface Pro has a ratio of 3:2. Then when it comes to their phones, you might have a Lumia phone that has a 5-inch display and another than has a 6-inch display which are both 1080×1920px but have different scaling factors. Apple and Android devices are similar in their inconsistencies. Google's device metrics page illustrates this well. I think ultimately you either test thoroughly on multiple devices or just give up, set everything on fire and go live on a desert island.

“In general I am pleased if new typefaces resemble Frutiger. If other designers copy my typeface it must be good.”

…from Eye Magazine’s 1999 feature on Adrian Frutiger.

It’s crazy to think the influence he’s had on modern type design and graphic design in general. Univers was a groundbreaking design, more human than its counterpart Helvetica, more modern than Akzidenz. Frutiger marks signage everywhere; at almost every airport. It’s the muse of typefaces like Myriad and TheSans, and the foundation of bastardizations — I mean, homages — like Segoe. And Avenir was an instant classic adopted by the digital world.

Absolutely… thinking in terms of components is essential. Also, tools like Edge Reflow are really handy for getting a grid structure with breakpoints and often quicker for a designer than writing CSS.

Yeah, I was kinda trolling.